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Detail from Les deux saules by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
1913 "Girl with hair curls" by LEON INDENBAUM 1890-1981. This Russian sculptor naturalized French born in Belarus and of Jewish religion arrived in Paris in 1911 at "La Ruche" (Montparnasse) where he hosted Soutine and Modigliani. He works for Antoine Bourdelle and Aristide Maillol. He participates in the movement "Ecole de Paris" with his friends ... Chaim Soutine, Amedeo Modigliani, Diego Rivera, Barbara Hepworth, Chana Orloff, Michel Kikoine, Leonard Foujita, Ossip Zadkine, Pablo Picasso, Alberto Giacometti … Gets in 1968 the prestigious Wildenstein prize. One of his sculptures beats the world record for 2004 for a 20th century decorative artwork at $4.6M. Sculpture 11.5 inch - 29 cm. Gallery Giraud and Museum of Lausanne.
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
Brown appropriates images by living, working artists, such as Frank Auerbach and Georg Baselitz, as well as paintings by historical artists, such as Guido Reni, Diego Velázquez, Anthony van Dyck, Rembrandt, Jean-Honoré Fragonard, Eugène Delacroix, John Martin, Gustave Courbet, Adolph Menzel, Pierre-Auguste Renoir, Vincent van Gogh, Chaim Soutine and Salvador Dalí. He claims that the references to these artists are not direct quotations, but alterations and combinations of several works by different artists, although the artists whose work is appropriated do not always agree. As art critic Michael Bracewell states, Brown is less concerned with the art-historical status of those works he appropriates than with their ability to serve his purpose – namely his epic exploration of paint and painting. In most cases, the artist uses reproductions printed in exhibition catalogues, found on the internet or ordered through print-on-demand companies. By scanning and changing the image with programmes like Photoshop, Brown playfully alters the image to his specific needs. He distorts, stretches, pulls, turns the image upside down and changes the colour, usually based on other found images, as well as the background setting. Describing his working practice in an interview, Brown stated: I‘m rather like a Dr Frankenstein, constructing paintings out of the residue or dead parts of other artist‘s work. I hope to create a sense of strangeness by bringing together examples of the way the best historic and modern-day artists have depicted their personal sense of the world. I see their worlds from multiple or schizophrenic perspectives, through all their eyes. Their sources of inspiration suggest things I would never normally see – rocks floating in far-off galaxies, for example, or a bowl of flowers in an 18th-century room, or a child in a fancy-dress costume. It‘s those fictions that I take as subject matter. The scenes may have been relatively normal to Rembrandt or Fragonard but because of the passage of time and the difference in culture, to me they are fantastical.
w.p.
Huile sur toile, 75 x 71 cm, 1928.
La commune de Châtel-Guyon est située dans le département du Puy-de-Dôme en région d'Auvergne-Rhône-Alpes.
Huile sur toile, 73 x 36 cm, 1923-1924, musée de l'Orangerie, Paris.
Très tôt dans sa carrière, Soutine peint des natures mortes à partir de modèles et d'objets qu'il aimait agencer à sa manière. Il fut également un grand admirateur de Chardin (1699-1779), remarquable peintre de natures mortes, et dont il contemplera les œuvres au musée du Louvre, en copiant par exemple La Raie peint vers 1725-1726. L présent tableau fait partie d’une série réalisée par Soutine qui prend pour sujet des lièvres ou des lapins suspendus par la patte. Le lapin s'étend du haut vers le bas de la toile. Contrairement aux poules plumées qu'il avait peintes, le lapin a toujours sa fourrure, dans des tons délicats allant du brun au doré. A côté du lapin se trouve également un pichet rouge de forme irrégulière suspendu par son anse. Cet élément reflète le goût de Soutine pour les touches de rouge dans ses peintures, comme en témoignent le tissu du Petit pâtissier et les fleurs des Glaïeuls du musée de l'Orangerie (cf. Paul Guillaume et Dominique Walter, musée de l'Orangerie).
1923 HEAD OF YOUNG GIRL by LEON INDENBAUM 1890-1981. Russian sculptor of Jewish religion, naturalized French born in Belarus, arrives in Paris in 1911 at LA RUCHE and participated in the artistic movement ECOLE DE PARIS with his friends Marc Chagall, Chaim Soutine, Amedeo Modigliani, Diego Rivera, Leonard Fujita, Ossip Zadkine, Pablo Picasso, Alberto Giacometti… In 1968, the "Institut de France" awarded him the prestigious "Georges Wildenstein" sculpture award. One of his sculptures "Musicians and antelopes" beats the world record 2004 for a decorative artwork of the 20th century at $ 4.6M at Christie's Paris. Marble sculpture. Photo reproduced from the book of 1928 "Modern Russian Art" (Art Russe Moderne) prefaced by André Salmon.
Pablo Picasso
Spanish, active France, 1881-1973
Oil on canvas
Courtesy of the Kirkland Family
In early 1912, Pablo Picasso and his friend and
rival Georges Braque created a new style of
painting they called Analytical Cubism, of which
La Glace (Ice Cream) is a key example.
Breaking down a classical, traditional "low" form of art - the still life - into a surface of "cubes," he created
geometrical forms rendered with ambiguous tonal
and formal transitions. This approach obscures
and ultimately dissolves the original subject by
incorporating multiple points of view.
He included not only a faceted, crystalline
bowl but also newspapers and the signs seen in the cafe across the street from his studio. Picasso and Braque in turn inspired Marcel Duchamp, whose Cubist masterpiece Nude Descending a Staircase of 1912 scandalized visitors to the Portland Art Museum the following year, when it was displayed after its appearance at the Armory Show in New York City.
-------------------------------------
Portland Art Museum
Pissarro to Picasso: Masterworks on Loan from the Kirkland Family Collection
Thanks to the generosity of the Kirkland family of Los Angeles, visitors to the Portland Art Museum will be able to enjoy fourteen art treasures from the family’s collection, many of which have not been publicly displayed for decades. The works span nearly a century, from the monumental 1887 canvas of Jamaica by Martin Johnson Heade, to Marc Chagall’s 1975 The Betrothed, these works follow the revolutionary changes in art in Europe and the United States. Two still lifes by Pablo Picasso trace the shift from the astonishing 1912 debut of cubism with La Glace (bowl of ice cream) to its mature form in 1938.
The landscape form transmutes from Heade’s highly detailed canvas to Claude Monet’s light-filled Impressionist masterpiece Banks of the Seine River near Vétheuil, to Chaim Soutine’s blood-red expressionist 1918 Southern Landscape. Also included are rare landscapes by Henri Matisse and Georgia O’Keeffe, and a stunning scene of lovers floating in the night sky by Chagall based on stories in Thousand and One Nights. The Portland Art Museum is grateful to be able to exhibit these artworks during the Monet to Matisse: French Moderns exhibition, providing a number of provocative parallels to the treasures on loan this summer from the Brooklyn Museum.
-------------------------------------
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
Huile sur toile, 66 x 50 cm, 1919, fondation Barnes, Philadelphie.
Lorsqu'Albert Barnes visita pour la première fois l'atelier parisien de Chaim Soutine en 1922, l'artiste en difficulté n'était connu que dans les cercles bohèmes de la ville. La vue de ce tableau représentant un pâtissier a incité le Dr Barnes à acheter plus de 50 œuvres de Soutine en quelques semaines, par l'intermédiaire du marchand d'art Paul Guillaume. En 1923, ce dernier raconte sa découverte de l'œuvre de Soutine : "Un jour que j'étais allé chez un peintre voir un tableau de Modigliani, j'ai remarqué dans un coin de l'atelier une œuvre qui m'a immédiatement excité. Il montrait un pâtissier, un pâtissier incroyable, captivant, tangible, coloré, maudit avec une oreille immense, magnifique, inattendu mais juste ; un chef-d'œuvre. Je l'ai acheté" (cf fondation Barnes).
Huile sur toile, 65 x 54 cm, 1919, fondation Barnes, Philadelphie.
Une petite fille vêtue d'un chemisier rouge et d'un nœud rose pose fièrement pour son portrait, les mains sur les genoux, les doigts entrelacés. Soutine, enfant, avait été sévèrement battu pour avoir demandé à un rabbin de poser pour un portrait, sans bien comprendre les règles juives contre la représentation. Plus tard, en tant qu'émigré en France, il embrassa la tradition du portrait. Celui que Soutine dresse de cet enfant semble irradier sa joie de créer l'image d'une autre personne humaine (cf. fondation Barnes).
Oil on canvas; 60.6 x 50.2 cm.
Léonard Tsugouharu Foujita was a painter and printmaker born in Tokyo, Japan who applied Japanese ink techniques to Western style paintings.
Immediately after graduating secondary school, Foujita wished to study in France, but on the advice of Mori Ogai (his father's senpai military physician) he decided to study western art in Japan first. In 1910 when he was twenty-four years old Foujita graduated from what is now the Tokyo National University of Fine Arts and Music. His paintings during the period before he moved to France were often signed "Fujita" rather than the gallicized "Foujita" he adopted later.
Three years later he went to Montparnasse in Paris, France. When he arrived there, knowing nobody, he met Amedeo Modigliani, Pascin, Chaim Soutine, and Fernand Léger and became friends with Juan Gris, Pablo Picasso and Henri Matisse. Foujita claimed in his memoir that he met Picasso less than a week after his arrival, but a recent biographer, relying on letters Foujita sent to his first wife in Japan, clearly shows that it was several months until he met Picasso. He also took dance lessons from the legendary Isadora Duncan.[2]
Foujita had his first studio at no. 5 rue Delambre in Montparnasse... Many models came over to Foujita's place to enjoy this luxury, among them Man Ray's very liberated lover, Kiki, who boldly posed for Foujita in the nude... Another portrait of Kiki titled "Reclining Nude with Toile de Jouy .... was the sensation of Paris at the Salon d'Automne in 1922, selling for more than 8,000 francs.... Within a few years, particularly after his 1918 exposition, he achieved great fame as a painter of beautiful women and cats in a very original technique. He is one of the few Montparnasse artists who made a great deal of money in his early years. By 1925, Tsuguharu Foujita had received the Belgian Order of Leopold and the French government awarded him the Legion of Honor.
After the breakup of his third marriage, and his flight to Brazil in 1931 (with his new love, Mady), Foujita traveled and painted all over Latin America, giving hugely successful exhibitions along the way. In Buenos Aires, Argentina, 60,000 people attended his exhibition, and more than 10,000 queued up for his autograph. In 1932 he contributed a work to the Pax Mundi, a large folio book produced by the League of Nations calling for a prolonged world peace.[3] However, by 1933 he was welcomed back as a minor celebrity to Japan where he stayed and became a noted producer of militaristic propaganda during the war. For example, in 1938 the Imperial Navy Information Office supported his visit to China as an official war artist.
On his return to France, Foujita converted to Catholicism. He was baptised in Reims cathedral on 14 October 1959, with René Lalou (the head of the Mumm champagne house) as his godfather and Françoise Taittinger as his godmother. This is reflected in his last major work,at the age of 80, the design, building and decoration of the Foujita chapel in the gardens of the Mumm champagne house in Reims, France, which he completed in 1966, not long before his death.
en.wikipedia.org/wiki/Tsuguharu_Foujita
‘View of Cagnes’, ca. 1924-25 Chaim Soutine. French, born in Lithuania, 1893-1943
Oil on canvas
The Mr. and Mrs. Klaus G. Peris Colliection, 1997
1997.149.2
From 1923 to 1925 Soutine spent time in the mountain village of Cagnes on the Cote d’Azur. The palette of blue, green, and ocher suggests the serene atmosphere of the region, while the swirling expressionistic brushwork gives the village a fairytale quality.
From the placard: Metropolitan Museum of Art
1910 to 1920 - The artist studios of "La Ruche" in Montparnasse to Paris … Alexander Archipenko 1887-1964 (Ukrainian Sculptor) - Alfred Boucher 1850-1934 (French sculptor) - Antoine Bourdelle 1861-1929 (French sculptor) - Constantin Brancusi 1876-1957 (Romanian sculptor) - Marc Chagall 1887-1985 (Belarusian painter) - Jacques Chapiro 1887-1972 (Latvian painter) - Joseph Csaky 1888-1971 (Hungarian sculptor) - Jacob Epstein 1880-1959 (American sculptor) - Leonard Foujita (Fujita) 1886 -1968 (japanese painter) - Leon Indenbaum 1890-1981 (Belarusian sculptor) - Michel Kikoine 1892 1968 (Belarusian painter) - Moise Kisling 1891-1953 (Polish painter) - Pinchus Kremegne 1890-1981 (Belarusian painter) - Henri Laurens 1885-1954 (French sculptor) - Fernand Léger 1881-1955 (French painter) - Chaim Jacob Lipchitz 1881-1955 (Lithuanian sculptor) - Marevna 1892-1984 (Russian painter) - Oscar Miestchaninoff 1886-1956 (Belarusian sculptor) - Amedeo Modigliani 1884-1920 (italian painter) - Chana Orloff 1888-1968 (Ukrainian sculptor) - Diego Rivera 1886-1957 (Mexican painter) - Chaim Soutine 1893-1943 (Belarusian painter) - Joseph Tchaikov 1888-1979 (Ukrainian sculptor) - Ossip Zadkine 1890-1967 (Belarusian sculptor) …
Door in Villa Seurat, Paris. Many famous artists lived in this street from the 1920's until the 1950's including Chana Orloff, Chaim Soutine, Henry Miller and Salvador Dali. You can read more about this beautiful street at adrianyekkes.blogspot.co.uk/2014/01/villa-seurat-parisian...
This is one of the paintings in the fantastic Collection Jean Walter et Claude Guillaume, in the Musée de l'Orangerie in the Jardin des Tuileries in Paris. To protect the paintings the rooms are lit by dim yellow lighting, for which I tried to compensate in taking these pictures without flash (the museum doesn't allow flash photography). However, I don't think the images here are quite the true colours in the paintings, though they do give some idea of the magnificence of the paintings. It's really well worth visiting the Musée de l'Orangerie, which is a very manageable size to see in its entirety in an afternoon. Then you'd get to see these fantastic Impressionist paintings in their true glory.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
Huile sur toile, 83 x 65 cm, 1924, The Israel Museum, Jerusalem.
Après s'être installé en France en 1913, Soutine vécut dans une extrême pauvreté pendant une décennie. Sa fortune bascule fin 1922, lorsque le collectionneur américain Albert Barnes achète un grand nombre de ses tableaux, ouvrant ainsi la voie à une reconnaissance internationale et à une plus grande sécurité financière. C'est à cette époque que Soutine peint certaines de ses toiles les plus expressives et colorées, dont un extraordinaire groupe de portraits.
Garçon en bleu appartient à ce groupe de portraits, qui représentaient généralement des individus qui n'étaient pas proches de l'artiste. Bien que la distance émotionnelle permette à Soutine un certain degré d’objectivité, et même si ce tableau est clairement une représentation d’une personne spécifique, la projection de l’agitation intérieure de l’artiste sur le modèle est très apparente. Le transfert de sentiment se manifeste dans la fluidité de la figure et dans les formes déformées. La composition résonne de formes élastiques en S qui se répètent dans les manches en ballons, la courbe de l'oreille, la cuisse et le poignet contorsionné. La tête du garçon semble reliée de manière précaire à ses épaules par son menton pointu, et l'accent est mis sur ses oreilles et ses yeux surdimensionnés et ses mains élargies et déformées. Bien qu'un grand soin ait été apporté au pinceau du visage, dans des zones telles que la poitrine exposée et l'arrière-plan inférieur droit, des gouttes de peinture confèrent un sentiment de mutabilité. Le sourire optimiste de la jeunesse est ainsi démenti par le langage formel de Soutine, qui fait allusion à la fragilité fondamentale de la condition humaine (cf. musée d'Israël).