Expressionism/Expressionismus
View allAll Photos Tagged Soutine,
There is a whole variety of believers. Whosoever comes to these desolate mountains couldn't be exactly ambitious, at least not over worldly matters, and one can be sure life is hard here.
Maurice Gendron and Mstislav Rostropovich (pno), Chopin Cello Sonata - Largo ( How are the two of them getting along?)
www.youtube.com/watch?v=7KtbmO6qfPA
www.youtube.com/watch?v=Eve-57S6Gw0
www.youtube.com/watch?v=6no0IQq9LWQ
www.youtube.com/watch?v=OfzVegGAhaw
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虚谷的画，有一种透明感
www.bilibili.com/video/BV1SU4y1x73R?from=search&seid=...
baijiahao.baidu.com/s?id=1667846468186918518&wfr=spid...
Sanyu (常 玉), a Chinese Painter living in Paris ( in Chinese )
www.youtube.com/watch?v=kJW_hkr753Y
www.youtube.com/watch?v=50h71Xy-emQ
Tsuguharu Foujita (藤田嗣治) (1886-1968) Expressionism
www.youtube.com/watch?v=1NSmXAjO_Rg
Chaime Soutine (柴姆·蘇丁)
www.youtube.com/watch?v=bB4N6SVob9M
Moise Kisling
www.google.com/search?q=moise+kisling+paintings&tbm=i...
PS
Sanyu was nicknamed the Modigliani/ Matisse of the East. He came from a wealthy family having been taught Chinese poetry and ink painting by one of the Emporer's scholarly advisors in his youth. He studied arts in Japan for a couple of years before turning to Paris in his early 20's. Instead of attending any of the academies there, he chose to hang around saloons. He extended many of the aesthetic formalities of both of the East and the West, since he painted only from his heart and soul. He blended the styles from both the West and the East very uniquely, in subjects, materials or treatments. Other than expressionist exaggerations , he is also a great master of minimalism, keen to capture the very essence of the substances with a few symbolic strokes. His paintings are well received both in the East and the West. For a long time, his paintings are fetching a very high price. He is the only Chinese painter who had essentially integrated into or even pioneered Western painting albeit with things which could be traced back to his background. In his later years, having squandered all his money away, he became extremely poor...
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On Health by a Korean Physician
www.youtube.com/watch?v=oodt7__cxCk
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Ricardo Odnoposoff plays Zigeunerwiesen
www.youtube.com/watch?v=1pWCgE_KbiU
Max Bruch
Gluck - Melody :
S. Rachmaninoff
www.youtube.com/watch?v=I2O0mVzmftY
J Hofmann
www.youtube.com/watch?v=6eB5jipGhAU
www.youtube.com/watch?v=3l5x_IT4hjM
Guiomar Novaes
www.youtube.com/watch?v=io-7CqUkuPI
Nelson Freire ( traces of scales exercises are evident )
www.youtube.com/watch?v=McGLJ4Skuf4
Sarasate plays Zigeunerweisen
www.youtube.com/watch?v=ABm7nMVyNh4
Sarasate plays his Miramar (Zortico)
www.youtube.com/watch?v=gtTO6YKIxro&list=RDABm7nMVyNh...
Ysaye Plays Wieniawski Mazurka
www.youtube.com/watch?v=T0iNsWeQ2UY&list=RDABm7nMVyNh...
Joseph Joachim plays Brahms Hungarian Dance #1
www.youtube.com/watch?v=f-p8YeIQkxs&list=RDABm7nMVyNh...
Jenő Hubay plays Hubay Csárdásjelenet No. 12
www.youtube.com/watch?v=53fpgFUDLjA
www.youtube.com/watch?v=LNhkiCy9Naw
George Enescu plays Chausson Poeme
www.youtube.com/watch?v=1NwLDMcA9U4
www.youtube.com/watch?v=IbwuIrqvQTk
Beethoven Concerto
www.youtube.com/watch?v=ZsqWm2l7ung
Franz von Vecsey plays Carmen Fantasy
www.youtube.com/watch?v=9BhtkKe46Ac
Feuermann plays Chopin nocturne Op.9 No.2
www.youtube.com/watch?v=xjVN-abVeZs
Piatigorsky: Swan
www.youtube.com/watch?v=TES6zKU-YBE
Gerhard Taschner plays Sarasate: Carmen Fantasy op. 25
( Was the piano Arrau's teacher ?)
www.youtube.com/watch?v=-2_cVh460TI
www.youtube.com/watch?v=i42yWRbs16s
Nicolai Ghiaurov (1963) | Bellini's La Sonnambula
www.youtube.com/watch?v=Ym8V6h6uPlE&list=RDGMEM8h-ASY...
Nathan Perelman -SCHUBERT piano sonata D568
www.youtube.com/watch?v=YSFmBFdwQv4
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Sanyu (常 玉), a Chinese Painter living in Paris ( in Chinese )
www.youtube.com/watch?v=kJW_hkr753Y
www.youtube.com/watch?v=50h71Xy-emQ
www.youtube.com/watch?v=yLn_1GKguN4
Tsuguharu Foujita (藤田嗣治) (1886-1968) Expressionism
www.youtube.com/watch?v=1NSmXAjO_Rg
Chaime Soutine (柴姆·蘇丁)
www.youtube.com/watch?v=bB4N6SVob9M
Moise Kisling
ww.google.com/search?q=moise+kisling+paintings&tbm=i...
Cagnes-sur-Mer es la quinta ciudad del departamento de Alpes Marítimos de Francia, con una población de 48.941 habitantes. Forma parte de la aglomeración de Niza, y tiene más de 4 kilómetros de playa. Las actividades principales son el turismo y el comercio. Chaim Soutine pintó sus paisajes.
Cagnes-sur-Mer is the fifth city in the Alpes-Maritimes department of France, with a population of 48,941 inhabitants. It is part of the agglomeration of Nice, and has more than 4 kilometers of beach. The main activities are tourism and commerce. Chaim Soutine painted his landscapes.
There were so many great cellists from France
www.youtube.com/watch?v=LS6FlTv-DBY&list=RDv_lJIQzx8E...
www.youtube.com/watch?v=tyJAaC95VYw
www.youtube.com/watch?v=a9ULFk6t740
Andre Navarro (cellist) : 14 Japanese FolK Songs
www.youtube.com/watch?v=jcqJ19fO2ds
Brigitte Engerer : Chopin - Complete Nocturnes
www.youtube.com/watch?v=liTSRH4fix4
Reine Gianoli :
Mozart sonata K279
www.youtube.com/watch?v=PVCdKzgAjGM
Schumann - Complete Piano Works (9 hrs long )
www.youtube.com/watch?v=hga9MGCpJXk
Lazare-Lévy plays Mozart, Sonata in a minor K. 310
www.youtube.com/watch?v=fK0GEXiWBN8
常玉作品導覽
www.google.com/search?rlz=1C1GKLB_enHK634HK637&source...
www.youtube.com/watch?v=Ze71ZJF13j8
www.youtube.com/watch?v=Nup1zL2UPTA
Kreisler, Beethoven Violin Concerto '35
www.youtube.com/watch?v=IhfZEjw9roM
French Chinese Painter, Sanyu ( in Chinese )
www.youtube.com/watch?v=kJW_hkr753Y
Tsuguharu Foujita (藤田 嗣治) (1886-1968) Expressionism
www.youtube.com/watch?v=1NSmXAjO_Rg
www.youtube.com/watch?v=eA5uA5PCYGg
www.youtube.com/watch?v=eA5uA5PCYGg
Chaime Soutine 柴姆·蘇丁
www.youtube.com/watch?v=bB4N6SVob9M
Moise Kisling
www.google.com/search?q=moise+kisling+paintings&tbm=i...
虚谷 ( Chinese Ink Paintings )
www.ixigua.com/6972308841463546399?logTag=9c84a2a03cc1dcf...
( Coming with Noisy Background Music )
www.ixigua.com/6954002754968748581?logTag=fa6f18b13525aba...
www.ixigua.com/6961921132127584800?logTag=fc7f6e00ff1cb8f...
The Butcher, a painting by Chaim Soutine, photographed at the Louisiana Museum of Modern Art in Humlebæk, Denmark.
Chaim Soutine was a French painter of Belarusian-Jewish origin of the School of Paris, who made a major contribution to the Expressionist movement while living and working in Paris..
Shot inside the Louisiana Museum of Modern Art in Denmark with the Olympus E-M1, Mark II.
Gemälde von Chaim Soutine
(1893-1943)
Ausstellung im Kunsthaus Bern, 16.8.-1.12.2024
Foto: FP-PHOTO-ART, F. Pulver
Gemälde von Chaim Soutine
(1893-1943)
Ausstellung im Kunsthaus Bern, 16.8.-1.12.2024
Foto: FP-PHOTO-ART, F. Pulver
A painting by Chaim Soutine, photographed at the Louisiana Museum of Modern Art in Humlebæk, Denmark.
Chaim Soutine was a French painter of Belarusian-Jewish origin of the School of Paris, who made a major contribution to the Expressionist movement while living and working in Paris..
Shot inside the Louisiana Museum of Modern Art in Denmark with the Olympus E-M1, Mark II.
And finally a chance to do some photo stuff now that the end of term is well and truly nigh! This is up on the Dene North of Newcastle and my local dog walker's playground. This has been processed using 'Oilist' and is supposed to be finished in the style of a 'Kokoschka Soutine' sunset. Not so sure, but I like the colours...
Roussillon, czyli północna Katalonia. Céret - to taki francuski Kazimierz Dolny, tyle że na skalę światową: tu pomieszkiwali, zostawiając po sobie dzieła najwyższej klasy, Picasso, Braque, Chagall, Soutine i wielu, wielu innych wybitnych artystów XX wieku.
Wejście do miasta przez La porte de France, Bramę Francuską, datowaną na XIII wiek.
Francia 2021 07 Avignone
Un Museo bellissimo, ricco, variato e ... gratuito !
(e si possono fare foto !)
Ci sono sale di pittura di varie epoche, fino alla moderna (qui sotto vi mostro un Soutine), e tante altre espressioni artistiche. Anche la location, il palazzo Villeneuve-Martignan, vale la visita, prossimamente vi mostrerò alcuni esempi dei suoi bellissimi interni.
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Sorry, to me is very difficult to visit people that always only leave a fav without commenting...
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Do not use any of my images on websites, blogs or other media without my explicit written permission.
All rights reserved - Copyright © fotomie2009 - Nora Caracci
The Detroit Industry fresco cycle was conceived by Mexican muralist Diego Rivera (1886–1957) as a tribute to the city's manufacturing base and labor force of the 1930s. Rivera completed the twenty-seven panel work in eleven months, from April 1932 to March 1933. It is considered the finest example of Mexican mural art in the United States, and the artist thought it the best work of his career.
Rivera was a Marxist who believed that art belonged on public walls rather than in private galleries. He found his medium in the fresco, where paint is applied to wet plaster. Its vast size allowed him to explore grand and complex themes, which would be accessible to a large audience. In Mexico, Rivera's murals tied modern Mexican culture to its indigenous roots, revealing the ancient Indian cultures as Mexico's true heritage. Similarly, Rivera's Detroit Industry murals depict industry and technology as the indigenous culture of Detroit.
Chaïm Soutine .
Born-3 January 1893,Died – 9 August 1943.
Steve.D.Hammond.
Enjoy The Clip www.youtube.com/watch?v=NOQkWwaWozM&list=FLldIyqYPIGO...
Chaim Soutine - The Pheasant, 1927 at Gauguin-to-Picasso Exhibit - Philllips Collection Washington DC (Exhibit Catalog Book)
Another slightly rainy day ...
PLEASE FOLLOW ME ON FB FOR MORE PHOTOS.
www.facebook.com/mswanderlust.photos
Montparnasse became famous in the 1920s, referred to as les Années Folles (the Crazy Years), and the 1930s as the heart of intellectual and artistic life in Paris. From 1910 to the start of World War II, Paris' artistic circles migrated to Montparnasse as alternative to the Montmartre district which had been the intellectual breeding ground for the previous generation of artists. The Paris of Zola, Manet, France, Degas, Fauré, a group that had assembled more on the basis of status affinity than actual artistic tastes, indulging in the refinements of Dandyism, was at the opposite end of the economic, social, and political spectrum from the gritty, tough-talking, die-hard, emigrant artists that peopled Montparnasse.
Virtually penniless painters, sculptors, writers, poets and composers came from around the world to thrive in the creative atmosphere and for the cheap rent at artist communes such as La Ruche. Living without running water, in damp, unheated "studios", seldom free of rats, many sold their works for a few francs just to buy food.[citation needed] Jean Cocteau once said that poverty was a luxury in Montparnasse. First promoted by art dealers such as Daniel-Henry Kahnweiler, today works by those artists sell for millions of euros.
In post-WWI Paris, Montparnasse was a euphoric meeting ground for the artistic world. Fernand Léger wrote of that period: “man…relaxes and recaptures his taste for life, his frenzy to dance, to spend money…an explosion of life-force fills the world.” [1] They came to Montparnasse from all over the globe, from Europe, including Russia and Ukraine, from the United States, Canada, Mexico, Central and South America, and from as far away as Japan. Manuel Ortiz de Zárate, Camilo Mori and others made their way from Chile where the profound innovations in art spawned the formation of the Grupo Montparnasse in Santiago. A few of the other artists who gathered in Montparnasse were Pablo Picasso, Guillaume Apollinaire, Ossip Zadkine, Carmelo Gonzalez, Julio Gonzalez, Moise Kisling, Jean Cocteau, Erik Satie, Marios Varvoglis, Marc Chagall, Nina Hamnett, Jean Rhys, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaim Soutine, James Joyce, Ernest Hemingway, Michel Kikoine, Pinchus Kremegne, Amedeo Modigliani, Ford Madox Ford, Toño Salazar, Ezra Pound, Max Ernst, Marcel Duchamp, Suzanne Duchamp-Crotti, Henri Rousseau, Constantin Brâncuși, Paul Fort, Juan Gris, Diego Rivera, Federico Cantú, Angel Zarraga, Marevna, Tsuguharu Foujita, Marie Vassilieff, Léon-Paul Fargue, Alberto Giacometti, René Iché, André Breton, Alfonso Reyes, Pascin, Salvador Dalí, Henry Miller, Samuel Beckett, Emil Cioran, Reginald Gray, Joan Miró, Hilaire Hiler and, in his declining years, Edgar Degas.
Another slightly rainy day ...
PLEASE FOLLOW ME ON FB FOR MORE PHOTOS.
www.facebook.com/mswanderlust.photos
Montparnasse became famous in the 1920s, referred to as les Années Folles (the Crazy Years), and the 1930s as the heart of intellectual and artistic life in Paris. From 1910 to the start of World War II, Paris' artistic circles migrated to Montparnasse as alternative to the Montmartre district which had been the intellectual breeding ground for the previous generation of artists. The Paris of Zola, Manet, France, Degas, Fauré, a group that had assembled more on the basis of status affinity than actual artistic tastes, indulging in the refinements of Dandyism, was at the opposite end of the economic, social, and political spectrum from the gritty, tough-talking, die-hard, emigrant artists that peopled Montparnasse.
Virtually penniless painters, sculptors, writers, poets and composers came from around the world to thrive in the creative atmosphere and for the cheap rent at artist communes such as La Ruche. Living without running water, in damp, unheated "studios", seldom free of rats, many sold their works for a few francs just to buy food.[citation needed] Jean Cocteau once said that poverty was a luxury in Montparnasse. First promoted by art dealers such as Daniel-Henry Kahnweiler, today works by those artists sell for millions of euros.
In post-WWI Paris, Montparnasse was a euphoric meeting ground for the artistic world. Fernand Léger wrote of that period: “man…relaxes and recaptures his taste for life, his frenzy to dance, to spend money…an explosion of life-force fills the world.” [1] They came to Montparnasse from all over the globe, from Europe, including Russia and Ukraine, from the United States, Canada, Mexico, Central and South America, and from as far away as Japan. Manuel Ortiz de Zárate, Camilo Mori and others made their way from Chile where the profound innovations in art spawned the formation of the Grupo Montparnasse in Santiago. A few of the other artists who gathered in Montparnasse were Pablo Picasso, Guillaume Apollinaire, Ossip Zadkine, Carmelo Gonzalez, Julio Gonzalez, Moise Kisling, Jean Cocteau, Erik Satie, Marios Varvoglis, Marc Chagall, Nina Hamnett, Jean Rhys, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaim Soutine, James Joyce, Ernest Hemingway, Michel Kikoine, Pinchus Kremegne, Amedeo Modigliani, Ford Madox Ford, Toño Salazar, Ezra Pound, Max Ernst, Marcel Duchamp, Suzanne Duchamp-Crotti, Henri Rousseau, Constantin Brâncuși, Paul Fort, Juan Gris, Diego Rivera, Federico Cantú, Angel Zarraga, Marevna, Tsuguharu Foujita, Marie Vassilieff, Léon-Paul Fargue, Alberto Giacometti, René Iché, André Breton, Alfonso Reyes, Pascin, Salvador Dalí, Henry Miller, Samuel Beckett, Emil Cioran, Reginald Gray, Joan Miró, Hilaire Hiler and, in his declining years, Edgar Degas.
Dawn at the Cafe de Flore, Latin Quarter. I had to get up early in the morning to get here in time to take a picture before a lot of cars and traffic blocked the view!! You can see the chairs are still stacked out front. And the blue light of dawn gives the image a soft look.
You can learn more about this lovely place on Google, but in the meantime here's this from www.paris.org:
"Like its celebrated rival Les Deux Magots, Café de Flore can claim to have been the heart of the Existentialist Movement during the early part of this century with Sartre, Simone de Beauvoir, Camus and others regularly meeting here." www.paris.org/Cafes/flore.html
I read that the name 'Flore' came about because there is a little statue of the Goddess Flore across the street. Modigliani, Picasso and Soutine used to come by regularly.
Meme que c'etait l'aube les voitures commencaient deja a bloquer ma prise de vue alors j'ai du travailler tres rapidement pour faire cette photo. Quel ravissante facade! On reconnait l'atmosphere bleuatre de l'aube. Il parait que le nom de ce cafe celebre vient d'une petite statue de la deesse romaine Flore qui etait place en face a l'autre cote de la rue.
Huile sur toile, 45 x 50 cm, 1939, collection Philips, Washington.
À l'été 1939, Chaïm Soutine peint des scènes dans et autour du village de Civry-sur-Serein, non loin d'Auxerre, notamment Jour de vent, Auxerre et Retour de l'école après la tempête. Sa compagne, Gerda Groth, raconte : "La route de L’Isle-sur-Serein était bordée de hauts peupliers… Soutine a peint plusieurs tableaux de cette route, Jour venteux à Auxerre la montrant sous un ciel d’orage. Le thème et les personnages de Retour de l'école après la tempête sont presque identiques à Jour venteux à Auxerre, mais en montrent une vue télescopique".
Avec le début de la Seconde guerre mondiale en septembre 1939, Soutine et Groth, en tant qu'étrangers, se voient interdire de quitter Civry, bien que Soutine obtienne un permis pour retourner à Paris pour des raisons médicales. Ils se cachèrent, vivant à Paris et dans ses environs, dans la peur constante d'être déportés par les nazis (en effet, Groth fut déportée vers un camp de concentration depuis Paris au printemps 1940). Des lettres révèlent la détresse émotionnelle et physique de Soutine à cette époque, où l’anxiété de l’artiste semble être annoncée dans ces scènes, où des forces turbulentes secouent la nature et des enfants vulnérables. Selon Groth, Soutine a lu religieusement le journal tout au long de l’été 1939, "s’efforçant de découvrir entre les lignes le secret d’un avenir imminent et plein de dangers".
La vision de Duncan Phillip des derniers paysages, tels que ce tableau, a été confirmée par des chercheurs ultérieurs, notamment Esti Dunow, qui constate que "ces enfants commencent à symboliser une sorte d'innocence et de cohésion face à des forces imminentes et écrasantes, analogues à celles de l'humanité", correspondantes aux propres sentiments de vulnérabilité de Soutine (cf. collection Philips).
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
Another slightly rainy day ...
PLEASE FOLLOW ME ON FB FOR MORE PHOTOS.
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Montparnasse became famous in the 1920s, referred to as les Années Folles (the Crazy Years), and the 1930s as the heart of intellectual and artistic life in Paris. From 1910 to the start of World War II, Paris' artistic circles migrated to Montparnasse as alternative to the Montmartre district which had been the intellectual breeding ground for the previous generation of artists. The Paris of Zola, Manet, France, Degas, Fauré, a group that had assembled more on the basis of status affinity than actual artistic tastes, indulging in the refinements of Dandyism, was at the opposite end of the economic, social, and political spectrum from the gritty, tough-talking, die-hard, emigrant artists that peopled Montparnasse.
Virtually penniless painters, sculptors, writers, poets and composers came from around the world to thrive in the creative atmosphere and for the cheap rent at artist communes such as La Ruche. Living without running water, in damp, unheated "studios", seldom free of rats, many sold their works for a few francs just to buy food.[citation needed] Jean Cocteau once said that poverty was a luxury in Montparnasse. First promoted by art dealers such as Daniel-Henry Kahnweiler, today works by those artists sell for millions of euros.
In post-WWI Paris, Montparnasse was a euphoric meeting ground for the artistic world. Fernand Léger wrote of that period: “man…relaxes and recaptures his taste for life, his frenzy to dance, to spend money…an explosion of life-force fills the world.” [1] They came to Montparnasse from all over the globe, from Europe, including Russia and Ukraine, from the United States, Canada, Mexico, Central and South America, and from as far away as Japan. Manuel Ortiz de Zárate, Camilo Mori and others made their way from Chile where the profound innovations in art spawned the formation of the Grupo Montparnasse in Santiago. A few of the other artists who gathered in Montparnasse were Pablo Picasso, Guillaume Apollinaire, Ossip Zadkine, Carmelo Gonzalez, Julio Gonzalez, Moise Kisling, Jean Cocteau, Erik Satie, Marios Varvoglis, Marc Chagall, Nina Hamnett, Jean Rhys, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaim Soutine, James Joyce, Ernest Hemingway, Michel Kikoine, Pinchus Kremegne, Amedeo Modigliani, Ford Madox Ford, Toño Salazar, Ezra Pound, Max Ernst, Marcel Duchamp, Suzanne Duchamp-Crotti, Henri Rousseau, Constantin Brâncuși, Paul Fort, Juan Gris, Diego Rivera, Federico Cantú, Angel Zarraga, Marevna, Tsuguharu Foujita, Marie Vassilieff, Léon-Paul Fargue, Alberto Giacometti, René Iché, André Breton, Alfonso Reyes, Pascin, Salvador Dalí, Henry Miller, Samuel Beckett, Emil Cioran, Reginald Gray, Joan Miró, Hilaire Hiler and, in his declining years, Edgar Degas.
Bartabas: Golgota
Acclaimed equestrian theatre artist Bartabas returns to the Sadler’s Wells stage accompanied by contemporary flamenco dancer Andrés Marín, four horses and a donkey, to present the UK Premiere of Golgota. 14-21 March.
Credits:
Creation, stage design, direction: Bartabas
Choreography, performance: Andrés Marín & Bartabas
Horses: Horizonte, Le Tintoret, Soutine, Champagne & Lautrec the donkey
Music: Tomás Luis de Victoria, motets for solo voice
Countertenor: Christophe Baska
Cornet: Adrien Mabire
Lute: Marc Wolff
Actor: William Panza
Costumes: Sophie Manach & Yannick Laisné
Props: Sébastien Puech
Scenery: Les Ateliers Jipanco
Lights: Laurent Matignon
photo - © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
Another slightly rainy day ...
PLEASE FOLLOW ME ON FB FOR MORE PHOTOS.
www.facebook.com/mswanderlust.photos
Montparnasse became famous in the 1920s, referred to as les Années Folles (the Crazy Years), and the 1930s as the heart of intellectual and artistic life in Paris. From 1910 to the start of World War II, Paris' artistic circles migrated to Montparnasse as alternative to the Montmartre district which had been the intellectual breeding ground for the previous generation of artists. The Paris of Zola, Manet, France, Degas, Fauré, a group that had assembled more on the basis of status affinity than actual artistic tastes, indulging in the refinements of Dandyism, was at the opposite end of the economic, social, and political spectrum from the gritty, tough-talking, die-hard, emigrant artists that peopled Montparnasse.
Virtually penniless painters, sculptors, writers, poets and composers came from around the world to thrive in the creative atmosphere and for the cheap rent at artist communes such as La Ruche. Living without running water, in damp, unheated "studios", seldom free of rats, many sold their works for a few francs just to buy food.[citation needed] Jean Cocteau once said that poverty was a luxury in Montparnasse. First promoted by art dealers such as Daniel-Henry Kahnweiler, today works by those artists sell for millions of euros.
In post-WWI Paris, Montparnasse was a euphoric meeting ground for the artistic world. Fernand Léger wrote of that period: “man…relaxes and recaptures his taste for life, his frenzy to dance, to spend money…an explosion of life-force fills the world.” [1] They came to Montparnasse from all over the globe, from Europe, including Russia and Ukraine, from the United States, Canada, Mexico, Central and South America, and from as far away as Japan. Manuel Ortiz de Zárate, Camilo Mori and others made their way from Chile where the profound innovations in art spawned the formation of the Grupo Montparnasse in Santiago. A few of the other artists who gathered in Montparnasse were Pablo Picasso, Guillaume Apollinaire, Ossip Zadkine, Carmelo Gonzalez, Julio Gonzalez, Moise Kisling, Jean Cocteau, Erik Satie, Marios Varvoglis, Marc Chagall, Nina Hamnett, Jean Rhys, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaim Soutine, James Joyce, Ernest Hemingway, Michel Kikoine, Pinchus Kremegne, Amedeo Modigliani, Ford Madox Ford, Toño Salazar, Ezra Pound, Max Ernst, Marcel Duchamp, Suzanne Duchamp-Crotti, Henri Rousseau, Constantin Brâncuși, Paul Fort, Juan Gris, Diego Rivera, Federico Cantú, Angel Zarraga, Marevna, Tsuguharu Foujita, Marie Vassilieff, Léon-Paul Fargue, Alberto Giacometti, René Iché, André Breton, Alfonso Reyes, Pascin, Salvador Dalí, Henry Miller, Samuel Beckett, Emil Cioran, Reginald Gray, Joan Miró, Hilaire Hiler and, in his declining years, Edgar Degas.
Another slightly rainy day ...
PLEASE FOLLOW ME ON FB FOR MORE PHOTOS.
www.facebook.com/mswanderlust.photos
Montparnasse became famous in the 1920s, referred to as les Années Folles (the Crazy Years), and the 1930s as the heart of intellectual and artistic life in Paris. From 1910 to the start of World War II, Paris' artistic circles migrated to Montparnasse as alternative to the Montmartre district which had been the intellectual breeding ground for the previous generation of artists. The Paris of Zola, Manet, France, Degas, Fauré, a group that had assembled more on the basis of status affinity than actual artistic tastes, indulging in the refinements of Dandyism, was at the opposite end of the economic, social, and political spectrum from the gritty, tough-talking, die-hard, emigrant artists that peopled Montparnasse.
Virtually penniless painters, sculptors, writers, poets and composers came from around the world to thrive in the creative atmosphere and for the cheap rent at artist communes such as La Ruche. Living without running water, in damp, unheated "studios", seldom free of rats, many sold their works for a few francs just to buy food.[citation needed] Jean Cocteau once said that poverty was a luxury in Montparnasse. First promoted by art dealers such as Daniel-Henry Kahnweiler, today works by those artists sell for millions of euros.
In post-WWI Paris, Montparnasse was a euphoric meeting ground for the artistic world. Fernand Léger wrote of that period: “man…relaxes and recaptures his taste for life, his frenzy to dance, to spend money…an explosion of life-force fills the world.” [1] They came to Montparnasse from all over the globe, from Europe, including Russia and Ukraine, from the United States, Canada, Mexico, Central and South America, and from as far away as Japan. Manuel Ortiz de Zárate, Camilo Mori and others made their way from Chile where the profound innovations in art spawned the formation of the Grupo Montparnasse in Santiago. A few of the other artists who gathered in Montparnasse were Pablo Picasso, Guillaume Apollinaire, Ossip Zadkine, Carmelo Gonzalez, Julio Gonzalez, Moise Kisling, Jean Cocteau, Erik Satie, Marios Varvoglis, Marc Chagall, Nina Hamnett, Jean Rhys, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaim Soutine, James Joyce, Ernest Hemingway, Michel Kikoine, Pinchus Kremegne, Amedeo Modigliani, Ford Madox Ford, Toño Salazar, Ezra Pound, Max Ernst, Marcel Duchamp, Suzanne Duchamp-Crotti, Henri Rousseau, Constantin Brâncuși, Paul Fort, Juan Gris, Diego Rivera, Federico Cantú, Angel Zarraga, Marevna, Tsuguharu Foujita, Marie Vassilieff, Léon-Paul Fargue, Alberto Giacometti, René Iché, André Breton, Alfonso Reyes, Pascin, Salvador Dalí, Henry Miller, Samuel Beckett, Emil Cioran, Reginald Gray, Joan Miró, Hilaire Hiler and, in his declining years, Edgar Degas.