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Montmartre. Painters square.Place du Tertre.
Picasso, Vlamenck, Derain, Soutine, Modigliani, Van Gogh and countless others lived and worked in these narrow streets.
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.
"THE FAMILY" - 1916 - realized by CHANA ORLOFF (1888-1968) - Ukrainian sculptor of the movement "ECOLE DE PARIS" (all artists between 1905 and 1939) ... Orloff works with his friends, young painters and sculptors: Modigliani, Soutine, Foujita, Kahlo, Chagall, Rivera, Indenbaum, Bourdelle, Brancusi, Valadon, Kikoine, Bugatti, Laurencin, Matisse, Miro, Picasso, Leger, Archipenko, Bonnard, Lipchitz, Utrillo, Laurens … Bronze "The family": Museum mahJ - Paris. 28 x 20.8 in. (72 x 53 cm)
Cité Falguière, Paris
Old house for artists, where Amedeo Modigliani and Chaïm Soutine lived and worked. Now, an association invites artists from everywhere for residences. More information : www.lairarts.com
Icarus, Barbara Liotta
Through January 31, 2010
Conceived as a portrait of human energy and inner strength and as a symbol of flight and aspiration, this large-scale sculpture is made of strings and stones and suspended from the ceiling. Icarus is paired with portraits from the museum's permanent collection, including Eugène Delacroix's Paganini, Amedeo Modigliani's Elena Povolozky, and Chaim Soutine's Woman in Profile.
Part of INTERSECTIONS, a contemporary art series
Downstairs at the Orangerie there was an exhibition called "Les Arts à Paris - La collection Walter-Guillaume". Guillaume was a major Paris art dealer in the mid 20th century.
Here, Soutine focuses on the striaght road and respect for the vanishing lines of perspective, accentuated by the figure walking at its centre. The colours remain in natural harmony, but the houses in the background are tilted to the left, using a device Soutine employed quite often.
1929 "Head of woman" by LEON INDENBAUM 1890-1981, this Russian sculptor naturalized French, of Jewish religion, born in Belarus, arrived in Paris in 1911 at "La Ruche" and he participated in the artistic movement "Ecole de Paris" with his friends … Archipenko, Bonnard, Boucher, Bourdelle, Brancusi, Braque, Bugatti, Chagall, Chapiro, Cocteau, Codreano, Csaky, Derain, Despiau, Epstein, Foujita, Giacometti, Hepworth, Indenbaum, Janniot, Kikoine, Kisling, Kremegne, Laurencin, Laurens, Léger, Lichitz, Marevna, Matisse, Miestchaninoff, Miro, Modigliani, Orloff, Picasso, Pompon, Rivera, Soutine, Thaikov, Utrillo, Valandon, Vlaminck, Zadkine, Zelikson … Marble sculpture 16 in. 41cm. Galery Malaquais. Private collection.
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.
Chaïm Soutine (1893 - 1943), "Les maisons", huile sur toile, vers 1920-1921, Coll. Jean Walter et Paul Guillaume, Musée de l'Orangerie, Paris
www.musee-orangerie.fr/fr/artiste/chaim-soutine
про ОЩИПАННЫЙ ЦЫПЛЕНОК art.1september.ru/article.php?ID=200800211
1914 "Musicians and Antelopes" by LEON INDENBAUM 1890-1981. Commissioned in 1914 by the patron of Leon Indenbaum the famous couturiers Jacques Doucet and Paul Poiret. Sculpture in marble 85x162 cm - 33x63 inch. This French sculptor born in Belarus, arrived in Paris in 1911 in the "La Ruche" and participated in the movement "Ecole de Paris" with his friends Chaim Soutine, Amedeo Modigliani, Leonard Foujita (Fujita), Chana Orloff, Diego Rivera, Marc Chagall, Alberto Giacometti, Ossip Zadkine, Alexander Archipenko… In 1968, the "Institut de France" awarded him the prestigious "Georges Wildenstein" sculpture award. This "Musicians and antelopes" sculpture break the world record for 2004 for a 20th century decorative artwork at at Christies - Paris for $ 4,600,000.
Chaim Soutine (1893-1943) oil on canvas at the Columbus Museum of Art in Columbus Ohio. Written near the painting: Cagnes is a town located in the sunny environment of southern France. It is depicted here by Soutine, an Eastern European artist who had settled in Paris in the early 20th century and worked in a modernist style based on expressive distortions. In this view of Cagnes, where he spent time in the early 1920s, his typically thick paint warps shapes, bending buildings and trees, and flattening space.
www.nga.gov/Collection/art-object-page.46522.html Amedeo Modigliani, Chaim Soutine, Italian, 1884 - 1920, 1917, oil on canvas, Chester Dale Collection
==
Amedeo Modigliani (1884–1920)
TitleChaim Soutine
Date1917
Mediumoil on canvas
Dimensions91.7 × 59.7 cm (36.1 × 23.5 in)
Current location
National Gallery of Art
West Building, Main Floor - Gallery 80
Accession number1963.10.47
Credit lineChester Dale Collection
InscriptionsSignature top right: modigliani
Source/PhotographerThe National Gallery of Art, Washington, D.C.
commons.wikimedia.org/wiki/File:Amedeo_Modigliani_-_Chaim...(1917).jpg
1918 Bronze "Head of Chaim Soutine" by LEON INDENBAUM 1890-1981. Sculpture in LA RUCHE, home of artistic creation, sheltering the workshops of Soutine, Chagall, Brancusi, Kikoine, Lipsi, Kremegne, Epstein, Lipchitz ... These artists formed the Mouvement ECOLE DE PARIS with their friends: Modigliani, Foujita, Rivera, Matisse, Giacometti, Orloff, Miro ... Sculpture bronze 19.6 inch - 50 cm. A sculpture by Leon Indenbaum beats the world record for 1964 for a 20th century decorative artwork at $ 4.6M.
www.sothebys.com/en/auctions/ecatalogue/lot.44.html/2017/... PROPERTY FROM AN ESTATE
Chaïm Soutine
LA VIEILLE DAME AU CHIEN
Estimate 1,200,000 — 1,800,000 USD
JUMP TO LOT
IMAGE ZOOM
The Captivating Expressionism of Chaïm Soutine
DETAILS & CATALOGUING
ADD TO MY CATALOGUE
TRACK LOT
IMPRESSIONIST & MODERN ART EVENING SALE
16 MAY 2017 | 7:00 PM EDT
NEW YORK
CONTACT INFO
Chaïm Soutine
1893 - 1943
LA VIEILLE DAME AU CHIEN
Oil on canvas
36 1/4 by 25 5/8 in.
92.1 by 65.2 cm
Painted circa 1919.
READ CONDITION REPORT
SALEROOM NOTICE
PROVENANCE
Private Collection, England (and sold: Hôtel Drouot, Paris, March 30, 1938, lot 30)
Mardelet Collection, Paris (acquired by 1945)
Mr. & Mrs. Oscar Miestchaninoff, Paris & New York
Pierre Wertheimer, Lausanne
Galerie Hervé Odermatt, Paris
Hirschl & Adler Galleries, Inc., New York, (acquired circa 1970)
Private Collection, New York
Acquavella Galleries, New York (acquired by 1973)
Galerie Hervé Odermatt, Paris (acquired from the above in 1973)
Private Collection, Japan (and sold: Sotheby's New York, November 11, 1987, lot 62)
Acquired at the above sale
EXHIBITED
Tokyo, Odakyu Museum; Nara, Nara Sogo Museum; Ibaraki, Kasam Nichido Musem & Hokkaido, Hokkaido Museum of Art, Chaïm Soutine Centenary Exhibition, 1992-93, no. 17, illustrated in color in the catalogue
Tel Aviv, Tel Aviv Museum of Art, 1996, n.n, illustrated in color in the catalogue
LITERATURE
Raymond Cogniat, Soutine, Paris, 1945, no. 29, illustrated n.p. (dated 1927)
Pierre Courthion, Soutine: Peintre du déchirant, Lausanne, 1972, illustrated p. 264
Maurice Tuchman, Este Dunow & Klaus Perls, Chaim Soutine: Catalogue Raisonné, Cologne, 1993, vol. II, no. 29, illustrated in color p. 563
IFAR Journal, vol. 10, no. 3/4, 2008/09, illustrated p. 57
CATALOGUE NOTE
La Vieille dame au chien is a vigorous example of Chaïm Soutine’s portraiture. Painted circa 1919, the composition is dominated by an anonymous sitter, attired in a rich and sumptuous black, with a small dog in her lap and sporting a hat adorned with a red blossom, who contrasts sharply against the background of deep blues and lyrical greens. “The singular approach to portraiture which is present as early as 1916…remains typical of Soutine throughout his life; basically it is the distinctive manner in which the figure is placed in the picture field. Subjects are set into their pictorial space with a certain clumsy rigor. They are centrally and frontally positioned… Soutine’s figures face you and command your attention. Yet they are apparently indifferent to the presence of the artist. While Soutine ‘projected’ himself into his portraits, there is still much individual characterisation in these works….At first glance, Soutine’s models are seemingly free in their life space, but they are flattened and distorted, spread out and hung up. Their flesh has metamorphosed into purely coloured paste, its viscous surface often of the same textural consistency as the background or surrounding space. All is flesh, all as if flesh were grafted onto flesh” (C. Soutine, 1893-1943 (exhibition catalogue), Westfälisches Landesmuseum für Kunst und Kulturgeschicht, Munster; Kunsthalle Tubingen, Tubingen; Hayward Gallery, London & Kunstmuseum Luzerne, Lucerne, 1981-82 p. 60).
It was around the time this work was painted that Soutine left Paris for a long stay in Ceret. The preceding years he had spent in the French capital, immersed in the world of La Ruche and its residents; he arrived in Paris in July of 1912 and soon took up residence in this artists’ colony. Monroe Wheeler writes of the group of artists with whom Soutine mixed in Paris in the late 1910s, and of his character as an artist: "Soutine, Pascin, Utrillo and Modigliani - they have been grouped together as though violence of temper and proneness to trouble constituted a school of art. In France they are called Les peintres maudits - painters under a curse... Soutine was the least calamitous and least dissipated of the four, but perhaps the saddest. For as his art developed, it offered no distraction from his anxieties, animosities and self-reproach - no escape. Not that he intended any effect of autobiography by means of his art. But from an early age he used his hardship, pessimism and truculence to set a tragic tone for his painting, irrespective of its subject matter. Limiting the themes of his work to conventional categories - still life, landscape, portraiture and picturesque figure-painting - he would always charge his pictures with extreme implications of what he had in mind: violence of nature, universality of hunger, and a peculiar mingling of enthusiasm and antipathies" (M. Wheeler, Chaïm Soutine, New York, The Museum of Modern Art (exhibition catalogue), 1950, p. 31).
PROPERTY FROM AN ESTATE
Chaïm Soutine
LA VIEILLE DAME AU CHIEN
Estimate 1,200,000 — 1,800,000 USD
JUMP TO LOT
IMAGE ZOOM
The Captivating Expressionism of Chaïm Soutine
DETAILS & CATALOGUING
ADD TO MY CATALOGUE
TRACK LOT
IMPRESSIONIST & MODERN ART EVENING SALE
16 MAY 2017 | 7:00 PM EDT
NEW YORK
CONTACT INFO
Chaïm Soutine
1893 - 1943
LA VIEILLE DAME AU CHIEN
Oil on canvas
36 1/4 by 25 5/8 in.
92.1 by 65.2 cm
Painted circa 1919.
READ CONDITION REPORT
SALEROOM NOTICE
PROVENANCE
Private Collection, England (and sold: Hôtel Drouot, Paris, March 30, 1938, lot 30)
Mardelet Collection, Paris (acquired by 1945)
Mr. & Mrs. Oscar Miestchaninoff, Paris & New York
Pierre Wertheimer, Lausanne
Galerie Hervé Odermatt, Paris
Hirschl & Adler Galleries, Inc., New York, (acquired circa 1970)
Private Collection, New York
Acquavella Galleries, New York (acquired by 1973)
Galerie Hervé Odermatt, Paris (acquired from the above in 1973)
Private Collection, Japan (and sold: Sotheby's New York, November 11, 1987, lot 62)
Acquired at the above sale
EXHIBITED
Tokyo, Odakyu Museum; Nara, Nara Sogo Museum; Ibaraki, Kasam Nichido Musem & Hokkaido, Hokkaido Museum of Art, Chaïm Soutine Centenary Exhibition, 1992-93, no. 17, illustrated in color in the catalogue
Tel Aviv, Tel Aviv Museum of Art, 1996, n.n, illustrated in color in the catalogue
LITERATURE
Raymond Cogniat, Soutine, Paris, 1945, no. 29, illustrated n.p. (dated 1927)
Pierre Courthion, Soutine: Peintre du déchirant, Lausanne, 1972, illustrated p. 264
Maurice Tuchman, Este Dunow & Klaus Perls, Chaim Soutine: Catalogue Raisonné, Cologne, 1993, vol. II, no. 29, illustrated in color p. 563
IFAR Journal, vol. 10, no. 3/4, 2008/09, illustrated p. 57
CATALOGUE NOTE
La Vieille dame au chien is a vigorous example of Chaïm Soutine’s portraiture. Painted circa 1919, the composition is dominated by an anonymous sitter, attired in a rich and sumptuous black, with a small dog in her lap and sporting a hat adorned with a red blossom, who contrasts sharply against the background of deep blues and lyrical greens. “The singular approach to portraiture which is present as early as 1916…remains typical of Soutine throughout his life; basically it is the distinctive manner in which the figure is placed in the picture field. Subjects are set into their pictorial space with a certain clumsy rigor. They are centrally and frontally positioned… Soutine’s figures face you and command your attention. Yet they are apparently indifferent to the presence of the artist. While Soutine ‘projected’ himself into his portraits, there is still much individual characterisation in these works….At first glance, Soutine’s models are seemingly free in their life space, but they are flattened and distorted, spread out and hung up. Their flesh has metamorphosed into purely coloured paste, its viscous surface often of the same textural consistency as the background or surrounding space. All is flesh, all as if flesh were grafted onto flesh” (C. Soutine, 1893-1943 (exhibition catalogue), Westfälisches Landesmuseum für Kunst und Kulturgeschicht, Munster; Kunsthalle Tubingen, Tubingen; Hayward Gallery, London & Kunstmuseum Luzerne, Lucerne, 1981-82 p. 60).
It was around the time this work was painted that Soutine left Paris for a long stay in Ceret. The preceding years he had spent in the French capital, immersed in the world of La Ruche and its residents; he arrived in Paris in July of 1912 and soon took up residence in this artists’ colony. Monroe Wheeler writes of the group of artists with whom Soutine mixed in Paris in the late 1910s, and of his character as an artist: "Soutine, Pascin, Utrillo and Modigliani - they have been grouped together as though violence of temper and proneness to trouble constituted a school of art. In France they are called Les peintres maudits - painters under a curse... Soutine was the least calamitous and least dissipated of the four, but perhaps the saddest. For as his art developed, it offered no distraction from his anxieties, animosities and self-reproach - no escape. Not that he intended any effect of autobiography by means of his art. But from an early age he used his hardship, pessimism and truculence to set a tragic tone for his painting, irrespective of its subject matter. Limiting the themes of his work to conventional categories - still life, landscape, portraiture and picturesque figure-painting - he would always charge his pictures with extreme implications of what he had in mind: violence of nature, universality of hunger, and a peculiar mingling of enthusiasm and antipathies" (M. Wheeler, Chaïm Soutine, New York, The Museum of Modern Art (exhibition catalogue), 1950, p. 31).
CHANA ORLOFF posing in 1924 at LA RUCHE in Paris in the artiste studio of the sculptor LEON INDENBAUM 1890-1981. These two artists took part in the movement ECOLE DE PARIS with their friends: Modigliani, Soutine, Foujita, Kahlo, Chagall, Rivera, Giacometti, Bourdelle, Valandon, Kikoine, Brancusi, Bugatti, Laurencin, Matisse, Picasso, Vlamenk, Zadkine, Marevna , Leger, Pompon, Archipenko, Kremegne, Hebuterne, Bonnard, Kisling, Utrillo... Indenbaum also sculpted the busts of Foujita, Soutine...
HEAD OF CHAIM SOUTINE 1918, realized by his intimate friend LEON INDENBAUM(1890-1981)Russian (Belarus) sculptor of the movement "ECOLE DE PARIS" (all artists between 1905 and 1939). Indenbaum was working in Paris with his friends, young artist: Modigliani, Foujita, Kahlo, Chagall, Rivera, Bourdelle, Orloff, Valadon, Pompon, Kikoine, Brancusi, Bugatti, Laurencin, Matisse, Miro, Picasso, Zadkine, Marevna, Leger, Archipenko, Kremegne … Bronze "Head of Chaim Soutine" 11.4 x 9 in. (29 x 23 cm)
"Chaïm Soutine (13 January 1893 – 9 August 1943) was a Russian-French painter of Jewish origin. Soutine made a major contribution to the expressionist movement while living in Paris.
"Inspired by classic painting in the European tradition, exemplified by the works of Rembrandt, Chardin and Courbet, Soutine developed an individual style more concerned with shape, colour, and texture over representation, which served as a bridge between more traditional approaches and the developing form of Abstract Expressionism."
Source: Wikipedia
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.
The Museum de l'Orangerie is home to several masperpieces, most famously Claude Monet's water lilies series (entitled Nympheas). Besides the water lilies, there are 146 paintings in the Jean Walter - Paul Guillaume collection. The collection includes twenty-five works by Auguste Renoir, fifteen works by Paul Cézanne, and one each by Paul Gauguin, Claude Monet and Alfred Sisley, all from the Impressionist period. From the twentieth century, the Musée de l'Orangerie boasts twelve works by Pablo Picasso, ten by Henri Matisse, five by Amedeo Modigliani, five by Marie Laurencin, nine by the Douanier Rousseau, twenty-nine by André Derain, ten by Maurice Utrillo, twenty-two by Chaïm Soutine and one by Kees Van Dongen.
1918 BUST OF YOUNG WOMAN by LEON INDENBAUM 1890-1981. Russian sculptor naturalized French born in Belarus and of Jewish religion. He arrived in Paris in 1911 at "La Ruche" in the neighboring workshop of his compatriot Marc Chagall. 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 … In 1968, Léon Indenbaum obtains the prestigious prize of sculpture "Georges Wildenstein" from the "Institut de France" for all of his work. Marble sculpture.
1922 "Archaic head of a woman" by LEON INDENBAUM 1890-1981. This Russian sculptor naturalized French born in Belarus, arrived in Paris in 1911 where he hosted Soutine and Modigliani in his workshop of the "La Ruche". Amedeo Modigliani and Diego Rivera each painted a portrait of Leon Indenbaum. Léon Indenbaum sculpted the busts of Chaim Soutine, of Leonard Foujita, of Chana Orloff ... In 1968, Léon Indenbaum received from the "Institut de France" the prestigious sculpture prize "Georges Wildenstein" for all of his work. One of his sculptures beats the 2004 world record at Christie's for a 20th century decorative artwork at $ 4.6M. Bronze sculpture of 9 inch - 23 cm.