View allAll Photos Tagged Soutine,
111 first street from paris to jersey city they showed no love
movie premiere
Jersey City Free Public Library
Biblioteca Criolla
“Who remembers the building owners or politicians in 1920’s Paris, where artists such as Modigliani, Chagall, Lipchitz, Soutine, Brancusi, Rivera, Man Ray, Kisling, Picasso, Juan Gris, Matisse, Apollinaire, Braque, and the rest..., made their art flourish?”
“Nobody”
“The same will happen, as the legend of the artists of 111 First Street grows. Their art quality, will make them eternal.”
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)
1923 HEAD OF YOUNG GIRL by LEON INDENBAUM 1890-1981. This sculptor lives in LA RUCHE in Paris where he hosted Soutine and Modigliani. He works at Bourdelle and Maillol and participates in the movement ECOLE DE PARIS with his friends: Soutine, Chagall, Zadkine, Foujita, Orloff, Rivera ... Gets in 1968 the prestigious Wildenstein prize. One of his sculptures beats the world record for 1964 for a 20th century decorative artwork at $ 4.6M - Photo published in the magazine "La Renaissance" in 1932.
111 first street from paris to jersey city they showed no love
movie premiere
Jersey City Free Public Library
Biblioteca Criolla
“Who remembers the building owners or politicians in 1920’s Paris, where artists such as Modigliani, Chagall, Lipchitz, Soutine, Brancusi, Rivera, Man Ray, Kisling, Picasso, Juan Gris, Matisse, Apollinaire, Braque, and the rest..., made their art flourish?”
“Nobody”
“The same will happen, as the legend of the artists of 111 First Street grows. Their art quality, will make them eternal.”
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)
My Reggae Band in 2000
Pull It Jah!
Please don't use this image on websites, blogs or other media
without my explicit permission.
© MaxTesS 2009
More on www.myspace.com/pullitjah
|^|.°|°.
The Colombe d'Or (Golden Dove) was popular with many of the artists and writers who flocked to the Riviera in the 1920s.
Early patrons included Picasso, Soutine, Modigliani, Sognac. Colette and Cocteau.
They often paid for their rooms and meals with paintings.
www.nga.gov/Collection/art-object-page.46522.html Amedeo Modigliani, Chaim Soutine, Italian, 1884 - 1920, 1917, oil on canvas, Chester Dale Collection
1915 - Artist's studio of LEON INDENBAUM 1890-1981, this Russian sculptor of Jewish religion, naturalized French born in Belarus, arrived in Paris in 1911 in Montparnasse in "La Ruche" with his friends born in the “Russian Empire” of the time … Marc Chagall, Michel Kikoine, Pinchus Kremegne, Chaim Soutine, Ossip Zadkine, Alexander Archipenko, Joseph Csaky, Constantin Brancusi, Jacques Chapiro, Chana Orloff … In 1968, Indenbaum received the prestigious "Wildenstein" Award of "Institut de France" for all of his work.
1922 "Naked woman lying down" by LEON INDENBAUM 1890-1981. This Russian sculptor, naturalized French, arrived in Paris in 1911 at "La Ruche" where he took part in the artistic movement "Ecole de Paris" with his friends ... Archipenko, Bonnard, Boucher, Bourdelle, Brancusi, Braque, Chagall, Cocteau, Codreano, Csaky, Epstein, Foujita, Giacometti, Hepworth, Janniot, Kikoine, Kisling, Laurencin, Laurens, Léger, Lichitz, Marevna, Matisse, Miestchaninoff, Miro, Modigliani, Orloff, Picasso, Pompon, Rivera, Soutine, Utrillo, Valandon, Zadkine, Zelikson. … Photo taken from the book "Indenbaum" by Adolphe Basler - Collection "Artistes Juifs" from 1933.
111 first street from paris to jersey city they showed no love
movie premiere
Jersey City Free Public Library
Biblioteca Criolla
“Who remembers the building owners or politicians in 1920’s Paris, where artists such as Modigliani, Chagall, Lipchitz, Soutine, Brancusi, Rivera, Man Ray, Kisling, Picasso, Juan Gris, Matisse, Apollinaire, Braque, and the rest..., made their art flourish?”
“Nobody”
“The same will happen, as the legend of the artists of 111 First Street grows. Their art quality, will make them eternal.”
© branko
youtube channel: www.youtube.com/a2b1
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)
Beracasa: Frieze Masters 2019 - Not Quite Frozen in Brexit
www.LAHT.com/article.asp?ArticleId=2485011&CategoryId...
Chaim Soutine
(1893 - 1943)
Woman in Red on Blue Background
Oil on Canvas
circa 1928
Richard Nagy Ltd
www.pearlmancollection.org/artwork/self-portrait Chaïm Soutine (French, 1893-1943)
Self Portrait, ca. 1918
Oil on canvas
54.6 x 45.7 cm. (21 1/2 x 18 in.)
Signed lower left: Soutine
Provenance
Jonas Netter (1867–1946), Paris; by descent to his widow, Madame Netter, Paris; sold to Henry Pearlman, by 11 July 1949; Henry and Rose Pearlman Foundation, 1983.
Critical Perspective
After his first purchase of a painting by Soutine, in 1945, Pearlman acquired several more works by the artist, including this exceptional Self-Portrait. While self-portraits usually show the artist glancing sideways toward a mirror, here Soutine depicted himself full face. The painter’s suit and tie are also unusual, lending him the appearance of a proper bourgeois gentleman instead of an artist at work. On the back of the canvas in front of him is a fragment of a portrait, perhaps also a self-portrait, suggesting a play between the two images.
В Главном здании открылась выставка «Хаим Сутин. Ретроспектива». Выставка состоит из трех разделов: «Портреты», «Пейзажи» и «Натюрморты». В каждой части представлены работы Сутина, картины мастеров старой школы и произведения классиков современного искусства.
На выставке показаны шедевры классического, модернистского и новейшего искусства из крупнейших французских музеев: Музея Оранжери, Национального музея современного искусства / Центра промышленного дизайна – Центра Помпиду, Музея современного искусства города Парижа, Лувра, Музея Пикардии. На выставке также представлены работы из Швейцарии – ранняя абстракция Марка Ротко и картина Фрэнсиса Бэкона 1969 года (Фонд Бейелер); из Англии – работы классика британского современного искусства Франка Ауэрбаха (Галерея Тейт), а также более 20 работ из самых солидных российских частных коллекций, в том числе хрестоматийные: «Туша быка», «Сиеста», «Женщина, входящая в воду», «Индейка на фоне кирпичной стены».
Amedeo Modigliani - Italian, 1884 - 1920
Chaim Soutine, 1917
East Building, Ground Level — Gallery 103-A
Shown from the lap up, a cleanshaven man with black hair and dark clothes faces us as he sits with his hands resting together in his lap in this stylized, vertical portrait painting. The man's features, clothing, and the room are painted with areas of mottled color with visible brushstrokes, so many details are indistinct. The man has peach-colored skin, and his facial features are outlined. He has dark eyes that look at us or slightly up, under thin, arched brows. One eye is a little higher than the other, and the two halves of his long face do not quite match. He has a wide nose, and his full, dark rose-pink lips are closed. His hair is parted down the middle and is brushed down to meet his ears. He has an elongated neck, and his narrow shoulders slope down. He wears black pants and a black coat over a dark teal-green vest. A white shirt is visible along his neckline, and an area of black could be the knot of a tie. He holds the fingers of one hand in his other, both hands resting in his lap. A loosely painted, brown table sits next to the man to our right, and an area of slate blue and white could be a glass on the table. A vertical line in the background behind the man, to our right, probably indicates the corner of the room. The walls are painted with strokes of smoke gray, ocean blue, and some parchment white. The artist signed the work in dark letters in the upper right corner, “modigliani.”
Born in 1884 to an aristocratic family in Livorno, Italy, Amedeo Modigliani settled in the Montmartre neighborhood of Paris in 1906 and began making paintings influenced by both the mood of Picasso's Blue period and the pictorial structure of late Cézanne. In 1909 he met Constantin Brancusi and began to focus on sculpture; the thin features and references to African art in the series of stone heads of 1909–1914 clearly reflect Brancusi's influence.
As both painter and sculptor Modigliani concentrated on portraiture. Though he abandoned sculpture in late 1913 or early 1914 to return to painting, the long necks and attenuated features of his sculptures continue in his later painted portraits. Modigliani is also renowned for a series of languorous nudes, some of which he exhibited in 1918 at the Galerie Berthe Weill in Paris; the exhibition was closed by the police on the grounds of obscenity. Modigliani died of tubercular meningitis, aggravated by drugs and alcohol, in a Paris hospital in 1920.
The 11th child of a Russian Jewish tailor, Chaim Soutine (1894–1943) was rescued from poverty and abuse by a rabbi who recognized his talent and sent him to art school—first in Minsk, then in Vilna. Soutine arrived in Paris at the age of 17 in 1911–1912 and met Modigliani in Montparnasse in about 1914. They developed a close friendship, and Modigliani painted Soutine's portrait several times. Soutine's unruly, spontaneous manner of painting was alien to his Italian friend, who, to describe his own state of drunkenness, once quipped, "Everything dances around me as in a landscape by Soutine." The elegant Modigliani felt protective of the uncouth Soutine, 10 years his junior. In 1916 Modigliani introduced his friend to his dealer, Leopold Zborowski, and urged him to handle Soutine's work, which he began to do. Shortly before Modigliani died, he told Zborowski, "Don't worry, I'm leaving you Soutine."
While many of Modigliani's portraits are either stylized and impersonal—with eyes often left blank—or almost caricatural, this painting seems to be both particular and sympathetic. Soutine sits with tumbling hair and ill-matched clothes, his hands placed awkwardly in his lap, his nose spreading across his face as he stares out of the frame. The half-closed eyes, one slightly higher than the other, might suggest Soutine's despair and hopelessness, attitudes with which Modigliani could identify as a poor artist in Paris. Modigliani's treatment of Soutine may also reflect the special place that Soutine had won in the older artist's affections.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
The Colombe d'Or (Golden Dove) was popular with many of the artists and writers who flocked to the Riviera in the 1920s.
Early patrons included Picasso, Soutine, Modigliani, Sognac. Colette and Cocteau.
They often paid for their rooms and meals with paintings.
1950 YOUNG MAN STANDING by LEON INDENBAUM 1890-1981. Sculpture 38 in. - 96 cm. This Russian sculptor lives in LA RUCHE in Paris where he hosted Soutine and Modigliani. He works for Bourdelle and Maillol. He participated in the movement ECOLE DE PARIS with his friends: Foujita, Matisse, Orloff, Rivera, Giacometti, Miro, Picasso ... Gets in 1968 the prestigious Wildenstein prize. One of his sculptures beats the world record for 1964 for a 20th century decorative artwork at $ 4.6M
Paul Rebeyrolle
Eymoutiers, France, 1926 - Boudreville, France, 2005
1987
Mixed media on canvas
Gift of Mr. and Mrs. Alain Gourdeau
Inventory 2006.265
At a very young age, Rebeyrolle developed tuberculosis of the bones, which forced him to remain immobile for long periods. He made drawings to pass the time while his parents, who were both elementary school teachers, taught him to read and write. In October 1944, after earing his baccalaureat in philosophy, he headed north to Paris on "the first Liberation train." there he discovered the works of his contemporaries Soutine and Picasso, as well as those of Rubens and Rembrandt. Throughout his life he would ceaselessly draw on the lessons he learned durring those memorable years.
The canvas Obviously, which belongs to his "kingdom of the blind" series, clearly conveys the bitter vision of the world that informs Rebeyrolle's work. Here we see a character with a gaping mouth and imagine a cry of pain emanating from it. His hands frame his eye sockets which are black and empty; his eyeballs stare up from the table in front of him. Rebeyrolle sought to raise awareness with this allegory of human blindness.
by Douglas Ord.
Ottawa, Oberon Press, 2ooo.
18o pp/175 printed, offset. 5-1/2 x 8-1/2, perfectbound wrappers.
a booklength essay on, from chapter 1, "Artists provide a different sort of voice. An Alternative. But who needs–the retort may come from the taxpayer–an alternative that consists of piles of felt, obsessively repeated stripes, or chunks of beefsteak sewn into the shape of a dress? Among a great many other very strange looking things. The question merits being addressed...", with specific focus on Tadashi Kawamata & Chaim Soutine. cover graphic by David Milne.
25.oo