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Hello all you artists and beatniks out there, Today's painting is of something you might be interested in its called( La Ruche) and it is a artists residence in Paris France in the South-Western outskirts. Many artists in the early 20th century lived here.If you want to learn about a really cool place check it out, At one time it was a place where artists could stay for very cheap,but today its not that way, I think some artists still live and work there.La Ruche was built in Paris in 1902. by Alfred Boucher a fireman and sculptor, to help artists by providing them to share models and with an exhibition space open to all residents. I first learned about this place after reading about Chaim Soutine and found out he lived there, after doing some more research I couldnt believe how many other artists have called this place home at one time or another, it was also called the beehive because of its shape, take care Steve. p.s. if you squint your eyes and tilt your head on a 45 degree angle and hop on one leg you can kind of make it out.
Oil on canvas; 55 x 46 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.
c. 1921. Oli sobre tela. 88,9 x 55,8 cm. Museu d'Art Modern de Nova York, Nova York. 830.1996. Obra no exposada.
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
Marc Zakharovich Chagall (/ʃəˈɡɑːl/ shə-GAHL;[3][nb 1] born Moishe Zakharovich Shagal;[4] 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist of Belarusian Jewish origin.[1] An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's preeminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
Before World War I, he travelled between Saint Petersburg, Paris and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk."[5] "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".[6]
Contents
1 Early life and education
1.1 Early life
1.2 Art education
1.3 Artistic inspiration
2 Art career
2.1 Russia (1906–1910)
2.2 France (1910–1914)
2.3 Russia and Soviet Belarus (1914–1922)
2.4 France (1923–1941)
2.4.1 The Bible illustrations
2.4.2 Nazi campaigns against modern art
2.4.3 Escaping occupied France
2.5 United States (1941–1948)
2.5.1 Aleko ballet (1942)
2.5.2 Coming to grips with World War II
2.5.3 Post-war years
2.6 France (1948–1985)
2.6.1 Ceiling of the Paris Opera (1963)
3 Art styles and techniques
3.1 Color
3.2 Subject matter
3.2.1 From life memories to fantasy
3.2.2 Jewish themes
Early life and education
Chagall's Parents
Marc Chagall was born Moishe Segal in a Lithuanian Jewish family in Liozna,[7] near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887.[note][8] At the time of his birth, Vitebsk's population was about 66,000, with half the population being Jewish.[5] A picturesque city of churches and synagogues, it was called "Russian Toledo", after a cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.
Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family.[9] His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire being 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:
Day after day, winter and summer, at six o'clock in the morning, my father got up and went off to the synagogue. There he said his usual prayer for some dead man or other. On his return he made ready the samovar, drank some tea and went to work. Hellish work, the work of a galley-slave. Why try to hide it? How tell about it? No word will ever ease my father's lot... There was always plenty of butter and cheese on our table. Buttered bread, like an eternal symbol, was never out of my childish hands.[10]
One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout Russia. They also made furniture and various agricultural tools.[11] From the late 18th century to the First World War, the Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.[12]:14
Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Vitebsk itself had been a center of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:
Chagall's art can be understood as the response to a situation that has long marked the history of Russian Jews. Though they were cultural innovators who made important contributions to the broader society, Jews were considered outsiders in a frequently hostile society... Chagall himself was born of a family steeped in religious life; his parents were observant Hasidic Jews who found spiritual satisfaction in a life defined by their faith and organized by prayer.[12]:14
Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.[13]
Art education
Portrait of Chagall by Yehuda (Yuri) Pen, his first art teacher in Vitebsk
In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.[10]
A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.[11]
He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.[11]
Artistic inspiration
Marc Chagall, 1912, Calvary (Golgotha), oil on canvas, 174.6 × 192.4 cm, Museum of Modern Art, New York. Alternative titles: Kreuzigung Bild 2 Christus gewidmet [Golgotha. Crucifixion. Dedicated to Christ]. Sold through Galerie Der Sturm (Herwarth Walden), Berlin to Bernhard Koehler (1849–1927), Berlin, 1913. Exhibited: Erster Deutscher Herbstsalon, Berlin, 1913
Goodman notes that during this period in Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."[12]:14
Chagall biographer Franz Meyer, explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art."[14] Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "[5]
Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":
Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.[15]
Art career
Russia (1906–1910)
In 1906, he moved to Saint Petersburg which was then the capital of Russia and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years.[11] By 1907, he had begun painting naturalistic self-portraits and landscapes.
Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin.[16] Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."[17]:30
Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me."[11]:22
France (1910–1914)
Marc Chagall, 1911–12, The Drunkard (Le saoul), 1912, oil on canvas. 85 × 115 cm. Private collection
Marc Chagall, 1912, The Fiddler, an inspiration for the musical Fiddler on the Roof[18]
In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire.[19]:7 Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.[20]
He therefore developed friendships with Guillaume Apollinaire and other avant-garde luminaries such as Robert Delaunay and Fernand Léger.[21] Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true."[11]:33 His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Russian folklore, his Hasidic experiences, his family, and especially Bella".
In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."[11] Baal-Teshuva describes this new phase in Chagall's artistic development:
Chagall was exhilarated, intoxicated, as he strolled through the streets and along the banks of the Seine. Everything about the French capital excited him: the shops, the smell of fresh bread in the morning, the markets with their fresh fruit and vegetables, the wide boulevards, the cafés and restaurants, and above all the Eiffel Tower.
Another completely new world that opened up for him was the kaleidoscope of colours and forms in the works of French artists. Chagall enthusiastically reviewed their many different tendencies, having to rethink his position as an artist and decide what creative avenue he wanted to pursue.[11]:33
During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night.[11]:44 "My homeland exists only in my soul", he once said.[20]:viii He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.[5]
Marc Chagall, 1912, Still-life (Nature morte), oil on canvas, private collection
Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down.[5] The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism.[5] Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".[19]:10
Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".[19]:7
Russia and Soviet Belarus (1914–1922)
Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."[11]
People's Art School where the Vitebsk Museum of Modern Art was situated
After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career".[5] His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.[11]:75
Bella with White Collar, 1917
In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917.[22] Chagall was 30 years old and had begun to become well known.[11]:77
The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. By then he was one of the Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution".[5] He was offered a notable position as a commissar of visual arts for the country[clarification needed], but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".
It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.
In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was 9 feet (2.7 m) tall by 24 feet (7.3 m) long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis.[5] The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.[11]:87
Famine spread after the war ended in 1918. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although he now had to commute to Moscow daily using crowded trains. In 1921, he worked as an art teacher in a Jewish boys' shelter in suburban Malakhovka, which housed orphaned refugees from Ukrainian pogroms.[6]:270 While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.[6]:273
After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.[11]:121
France (1923–1941)
In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.[5]
He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts.[5] In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat.[23] By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva.[11] It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:
Chagall interrogates life in the light of a refined, anxious, childlike sensibility, a slightly romantic temperament ... a blend of sadness and gaiety characteristic of a grave view of life. His imagination, his temperament, no doubt forbid a Latin severity of composition.[6]:314
During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook.[6]:9 He also visited nearby countries and later wrote about the impressions some of those travels left on him:
I should like to recall how advantageous my travels outside France have been for me in an artistic sense—in Holland or in Spain, Italy, Egypt, Palestine, or simply in the south of France. There, in the south, for the first time in my life, I saw that rich greenness—the like of which I had never seen in my own country. In Holland I thought I discovered that familiar and throbbing light, like the light between the late afternoon and dusk. In Italy I found that peace of the museums which the sunlight brought to life. In Spain I was happy to find the inspiration of a mystical, if sometimes cruel, past, to find the song of its sky and of its people. And in the East [Palestine] I found unexpectedly the Bible and a part of my very being.[15]:77
The Bible illustrations
"The Prophet Jeremiah" (1968)
After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. He arrived there in February 1931 and ended up staying for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".[11]:133
Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations".[6]:343 Chagall stated that "In the East I found the Bible and part of my own being."
As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past".[6]:350 Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:
I did not see the Bible, I dreamed it. Ever since early childhood, I have been captivated by the Bible. It has always seemed to me and still seems today the greatest source of poetry of all time.[6]:350
Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".[6]:350
He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists".[11]:135 Leymarie has described these drawings by Chagall as "monumental" and,
...full of divine inspiration, which retrace the legendary destiny and the epic history of Israel to Genesis to the Prophets, through the Patriarchs and the Heroes. Each picture becomes one with the event, informing the text with a solemn intimacy unknown since Rembrandt.[20]:ix
Nazi campaigns against modern art
Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:
The Nazis had begun their campaign against modernist art as soon as they seized power. Expressionist, cubist, abstract, and surrealist art—anything intellectual, Jewish, foreign, socialist-inspired, or difficult to understand—was targeted, from Picasso and Matisse going back to Cézanne and van Gogh; in its place traditional German realism, accessible and open to patriotic interpretation, was extolled.[6]:374
Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels.[6]:375 Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".[6]:376
After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped".[6]:382 Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.
Escaping occupied France
According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the French army, with British support, capitulated even more quickly than Poland had done" a year earlier. "Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world."[6]:388 Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation."[6]:389 Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaim Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman.[24]:1181 Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:
Here is a beggar's alley gathering the remnants of revolutions, democracies and crushed intellects... In our ranks are enough doctors, psychologists, engineers, educationalists, poets, painters, writers, musicians, economists and public men to vitalize a whole great country.[6]:392
After prodding by their daughter Ida, who "perceived the need to act fast",[6]:388 and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union.[11]:150 Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work.[25] A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.[26]
United States (1941–1948)
Photo portrait of Chagall in 1941 by Carl Van Vechten
Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.[17]:57
After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street.[27] He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.[11]:155
Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.[11]
Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them.[11]:155 Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941.[11] Art critic Henry McBride wrote about this exhibit for the New York Sun:
Chagall is about as gypsy as they come... these pictures do more for his reputation than anything we have previously seen... His colors sparkle with poetry... his work is authentically Russian as a Volga boatman's song...[28]
He was offered a commission by choreographer Leonid Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there.[17] Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.
When the ballet premiered on 8 September 1942 it was considered a "remarkable success."[11] In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The ballet also opened in New York City four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening".[11]:158 Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:
has turned into a dramatized exhibition of giant paintings... It surpasses anything Chagall has done on the easel scale, and it is a breathtaking experience, of a kind one hardly expects in the theatre.[29]
Coming to grips with World War II
After Chagall returned to New York in 1943, however, current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed.[11]:159 He also learned about the Nazi concentration camps.[11] During a speech in February 1944, he described some of his feelings:
Meanwhile, the enemy jokes, saying that we are a "stupid nation." He thought that when he started slaughtering the Jews, we would all in our grief suddenly raise the greatest prophetic scream, and would be joined by the Christian humanists. But, after two thousand years of "Christianity" in the world—say whatever you like—but, with few exceptions, their hearts are silent... I see the artists in Christian nations sit still—who has heard them speak up? They are not worried about themselves, and our Jewish life doesn't concern them.[15]:89
In the same speech he credited Soviet Russia with doing the most to save the Jews:
The Jews will always be grateful to it. What other great country has saved a million and a half Jews from Hitler's hands, and shared its last piece of bread? What country abolished antisemitism? What other country devoted at least a piece of land as an autonomous region for Jews who want to live there? All this, and more, weighs heavily on the scales of history.[15]:89
On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory.[17] Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."[6]:419
With Virginia Haggard McNeil
After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946.[11] Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).
A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":
In recent years I have felt unhappy that I couldn't be with you, my friends. My enemy forced me to take the road of exile. On that tragic road, I lost my wife, the companion of my life, the woman who was my inspiration. I want to say to my friends in France that she joins me in this greeting, she who loved France and French art so faithfully. Her last joy was the liberation of Paris... Now, when Paris is liberated, when the art of France is resurrected, the whole world too will, once and for all, be free of the satanic enemies who wanted to annihilate not just the body but also the soul—the soul, without which there is no life, no artistic creativity.[15]:101
Paris hier et aujourd’hui. Boulevard du Montparnasse. Café du Dôme opened in 1898 and is one of the famous cafés of the Montparnasse quarter. With its sister cafés; Le Sélect, La Coupole and La Rotonde, they became the social center of Paris during the years between the wars with writers and artists frequenting these establishments. The term Dômiers was coined to refer to the international group of visual, and literary artists who gathered at Le Dôme, including; Henri Cartier-Bresson, Tsuguharu Foujita, Paul Gauguin, Ernest Hemingway, Vladimir Lenin, Sinclair Lewis, Amedeo Modigliani, Pablo Picasso, Man Ray and Chaim Soutine to name a few. Today it is an expensive fish restaurant, which I have heard is excellent. I’ve never been inside since “my” café, Le Sélect, is just across the boulevard and much more preferred.
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
Orangerie, Paris, France.
El Museo de la Orangerie es una galería de arte de pinturas impresionistas y postimpresionistas y de arte moderno de principios de siglo ubicada en el Jardín de las Tullerías en París. Alberga obras de Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley y Maurice Utrillo entre otros.
La galería está a orillas del Sena en la antigua orangerie del Palacio de las Tullerías en el Jardín de las Tullerías, del lado Este de la Plaza de la Concordia, cerca de las estaciones «Concorde» y «Tuileries» del metro de París.
Según su sitio web, el edificio fue construido originalmente en 1852 por el arquitecto Firmin Bourgeois y completado por su sucesor, Louis Visconti, para proteger los naranjos del jardín de las Tullerías. Fue utilizado durante la III República como depósito de bienes, sala de examen y lugar de alojamiento para soldados movilizados; también sirvió para albergar eventos deportivos, musicales y patrióticos. Además, era un lugar de exhibiciones de la industria, animales, plantas, así como muestras raras de pintura.
Como afirma el historiador de arte Michel Hoog: "En 1921, la administración de Bellas Artes decidió asignar a la Dirección de Museos Nacionales (como se llamaba entonces) los dos edificios que daban a la Plaza de la Concordia, el Jeu de Paume, y la Orangerie, que hasta entonces había sido utilizada para su propósito original. La Orangerie se convirtió en un anexo del Museo de Luxemburgo , criticado por unanimidad por ser demasiado pequeño, mientras que el Jeu de Paume iba a ser utilizado para exposiciones temporales y para albergar la pintura extranjera contemporánea."
El pintor impresionista Claude Monet había decidido donar paneles decorativos para el gobierno francés, como un homenaje al final de la Primera Guerra Mundial. El ex primer ministro de Francia y gran amigo de Monet, Georges Clemenceau, sugirió que Monet instalara las pinturas en la Orangerie, recientemente disponible, en lugar de hacerlo en el museo del Jeu de Paume, que tenía un espacio de pared más pequeño o, como se había planeado anteriormente, en un anexo al Museo Rodin.
El 12 de abril de 1922, Claude Monet firmó un contrato para donar la serie de paneles decorativos "Les Nymphéas", pintados sobre lienzo, al gobierno francés, que se alojarían en unas habitaciones ovales en la Orangerie, rediseñadas. Con el aporte de Monet, la arquitecta jefe del Louvre, Camille Lefèvre, elaboró nuevos planos y alzados en 1922, para albergar los grandes lienzos "Les Nymphéas" de Monet, que incorporan luz natural, paredes lisas y escasa decoración interior. Según la investigación de Hoog, "los fondos estuvieron disponibles el 17 de agosto de 1922, el trabajo comenzó en octubre y parece haber finalizado en [el] año siguiente". Poco dispuesto a renunciar a sus últimas obras de arte, estas pinturas se quedaron con Monet hasta su muerte, el 5 de diciembre de 1926. El 31 de enero de 1927 la compañía Laurent-Fournier acordó instalar y montar los paneles, en un proceso que involucraba pegar el lienzo directamente a las paredes. Las pinturas estuvieron en su lugar el 26 de marzo de ese año. El 17 de mayo de 1927 "Les Nymphéas" de Monet se abrieron al público, en el Museo de l'Orangerie.
Según Hoog, "En agosto de 1944, durante la batalla por la liberación de París, cinco proyectiles cayeron sobre las salas de las ninfas, dos paneles (los situados en la pared entre las dos habitaciones) sufrieron daños, pero inmediatamente se restauraron. Este trabajo de restauración se renovó y se realizó una limpieza general".
La viuda de Paul Guillaume, la señora Jean Walter, donó su colección de arte moderno a los Museos Nacionales de Francia, en 1958. L'Orangerie ha albergado la colección Walter-Guillaume de pintura impresionista, de los siglos XIX y XX, desde 1965.
En enero de 2000, el museo fue cerrado por trabajos de renovación, completamente revisado y restaurado, y se volvió a abrir al público en mayo de 2006. En los meses previos a su cierra hubo una exhibición especial de Les Nympheas de Monet que estaban dispersadas por museos de todo el mundo. Se incluyeron más de 60 de las 250 pinturas que hizo de los nenúfares de su jardín. Las paredes fueron repintadas en tonos púrpuras y violetas para esta exposición en particular. Tras la renovación, se trasladaron Les Nympheas a la planta superior del edificio. Ahora están dispuestas bajo una luz difusa, tal como inicialmente pretendió Monet. Las ocho pinturas se muestran en dos salas.
The Musée de l'Orangerie is an art gallery of Impressionist and Post-Impressionist paintings and modern art from the turn of the century located in the Tuileries Garden in Paris. It houses works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the banks of the Seine in the old orangery of the Tuileries Palace in the Tuileries Garden, on the east side of Place de la Concorde, near the "Concorde" and "Tuileries" stations of the Paris metro.
According to its website, the building was originally built in 1852 by architect Firmin Bourgeois and completed by his successor, Louis Visconti, to protect the orange trees in the Tuileries garden. It was used during the Third Republic as a deposit of goods, examination room and place of accommodation for mobilized soldiers; it also served to host sporting, musical and patriotic events. Furthermore, it was a place for exhibitions of industry, animals, plants, as well as rare samples of paint.
As the art historian Michel Hoog states: "In 1921, the Fine Arts administration decided to assign to the Directorate of National Museums (as it was called then) the two buildings that led to Place de la Concorde, the Jeu de Paume, and the Orangerie, which until then had been used for its original purpose. The Orangerie became an annex to the Luxembourg Museum, unanimously criticized for being too small, while the Jeu de Paume was to be used for temporary exhibitions and to house contemporary foreign painting. "
Impressionist painter Claude Monet had decided to donate decorative panels to the French government, as a tribute to the end of the First World War. Former Prime Minister of France and Monet's close friend Georges Clemenceau suggested that Monet install the paintings in the recently available Orangerie, rather than in the Jeu de Paume museum, which had a smaller wall space or, as previously planned, in an annex to the Rodin Museum.
On April 12, 1922, Claude Monet signed a contract to donate the "Les Nymphéas" series of decorative panels, painted on canvas, to the French government, to be housed in oval rooms in the redesigned Orangerie. With the contribution of Monet, the Louvre's chief architect, Camille Lefèvre, produced new plans and elevations in 1922, to house Monet's large "Les Nymphéas" canvases, which incorporate natural light, smooth walls, and poor interior decoration. According to Hoog's research, "the funds were available on August 17, 1922, the work began in October and appears to have been completed in [the] following year." Unwilling to give up his latest works of art, these paintings remained with Monet until his death on December 5, 1926. On January 31, 1927 the Laurent-Fournier company agreed to install and assemble the panels, in a process which involved gluing the canvas directly to the walls. The paintings were in place on March 26 of that year. On May 17, 1927 Monet's "Les Nymphéas" were opened to the public at the Musée de l'Orangerie.
According to Hoog, "In August 1944, during the battle for the liberation of Paris, five shells fell on the nymph rooms, two panels (those on the wall between the two rooms) were damaged, but were immediately restored. This restoration work was renewed and a general cleaning was carried out. " I don't know
Paul Guillaume's widow, Mrs. Jean Walter, donated her collection of modern art to the National Museums of France in 1958. L'Orangerie has housed the Walter-Guillaume collection of Impressionist painting, from the 19th and 20th centuries, since 1965.
In January 2000, the museum was closed for renovation work, completely overhauled and restored, and reopened to the public in May 2006. In the months leading up to its closure there was a special exhibition of Les Nympheas de Monet which were scattered by museums around the world. More than 60 of the 250 paintings she made of the water lilies in her garden were included. The walls were repainted in purple and violet tones for this particular exhibition. Following the renovation, Les Nympheas was moved to the top floor of the building. They are now arranged in a diffused light, just as Monet originally intended. The eight paintings are displayed in two rooms.
1925. Oli sobre tela. 116,21 x 80,65 cm. Minneapolis Institute of Arts, Minneapolis. 57.12. Obra exposada: Galeria 377.
Orangerie, Paris, France.
El Museo de la Orangerie es una galería de arte de pinturas impresionistas y postimpresionistas y de arte moderno de principios de siglo ubicada en el Jardín de las Tullerías en París. Alberga obras de Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley y Maurice Utrillo entre otros.
La galería está a orillas del Sena en la antigua orangerie del Palacio de las Tullerías en el Jardín de las Tullerías, del lado Este de la Plaza de la Concordia, cerca de las estaciones «Concorde» y «Tuileries» del metro de París.
Según su sitio web, el edificio fue construido originalmente en 1852 por el arquitecto Firmin Bourgeois y completado por su sucesor, Louis Visconti, para proteger los naranjos del jardín de las Tullerías. Fue utilizado durante la III República como depósito de bienes, sala de examen y lugar de alojamiento para soldados movilizados; también sirvió para albergar eventos deportivos, musicales y patrióticos. Además, era un lugar de exhibiciones de la industria, animales, plantas, así como muestras raras de pintura.
Como afirma el historiador de arte Michel Hoog: "En 1921, la administración de Bellas Artes decidió asignar a la Dirección de Museos Nacionales (como se llamaba entonces) los dos edificios que daban a la Plaza de la Concordia, el Jeu de Paume, y la Orangerie, que hasta entonces había sido utilizada para su propósito original. La Orangerie se convirtió en un anexo del Museo de Luxemburgo , criticado por unanimidad por ser demasiado pequeño, mientras que el Jeu de Paume iba a ser utilizado para exposiciones temporales y para albergar la pintura extranjera contemporánea."
El pintor impresionista Claude Monet había decidido donar paneles decorativos para el gobierno francés, como un homenaje al final de la Primera Guerra Mundial. El ex primer ministro de Francia y gran amigo de Monet, Georges Clemenceau, sugirió que Monet instalara las pinturas en la Orangerie, recientemente disponible, en lugar de hacerlo en el museo del Jeu de Paume, que tenía un espacio de pared más pequeño o, como se había planeado anteriormente, en un anexo al Museo Rodin.
El 12 de abril de 1922, Claude Monet firmó un contrato para donar la serie de paneles decorativos "Les Nymphéas", pintados sobre lienzo, al gobierno francés, que se alojarían en unas habitaciones ovales en la Orangerie, rediseñadas. Con el aporte de Monet, la arquitecta jefe del Louvre, Camille Lefèvre, elaboró nuevos planos y alzados en 1922, para albergar los grandes lienzos "Les Nymphéas" de Monet, que incorporan luz natural, paredes lisas y escasa decoración interior. Según la investigación de Hoog, "los fondos estuvieron disponibles el 17 de agosto de 1922, el trabajo comenzó en octubre y parece haber finalizado en [el] año siguiente". Poco dispuesto a renunciar a sus últimas obras de arte, estas pinturas se quedaron con Monet hasta su muerte, el 5 de diciembre de 1926. El 31 de enero de 1927 la compañía Laurent-Fournier acordó instalar y montar los paneles, en un proceso que involucraba pegar el lienzo directamente a las paredes. Las pinturas estuvieron en su lugar el 26 de marzo de ese año. El 17 de mayo de 1927 "Les Nymphéas" de Monet se abrieron al público, en el Museo de l'Orangerie.
Según Hoog, "En agosto de 1944, durante la batalla por la liberación de París, cinco proyectiles cayeron sobre las salas de las ninfas, dos paneles (los situados en la pared entre las dos habitaciones) sufrieron daños, pero inmediatamente se restauraron. Este trabajo de restauración se renovó y se realizó una limpieza general".
La viuda de Paul Guillaume, la señora Jean Walter, donó su colección de arte moderno a los Museos Nacionales de Francia, en 1958. L'Orangerie ha albergado la colección Walter-Guillaume de pintura impresionista, de los siglos XIX y XX, desde 1965.
En enero de 2000, el museo fue cerrado por trabajos de renovación, completamente revisado y restaurado, y se volvió a abrir al público en mayo de 2006. En los meses previos a su cierra hubo una exhibición especial de Les Nympheas de Monet que estaban dispersadas por museos de todo el mundo. Se incluyeron más de 60 de las 250 pinturas que hizo de los nenúfares de su jardín. Las paredes fueron repintadas en tonos púrpuras y violetas para esta exposición en particular. Tras la renovación, se trasladaron Les Nympheas a la planta superior del edificio. Ahora están dispuestas bajo una luz difusa, tal como inicialmente pretendió Monet. Las ocho pinturas se muestran en dos salas.
The Musée de l'Orangerie is an art gallery of Impressionist and Post-Impressionist paintings and modern art from the turn of the century located in the Tuileries Garden in Paris. It houses works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the banks of the Seine in the old orangery of the Tuileries Palace in the Tuileries Garden, on the east side of Place de la Concorde, near the "Concorde" and "Tuileries" stations of the Paris metro.
According to its website, the building was originally built in 1852 by architect Firmin Bourgeois and completed by his successor, Louis Visconti, to protect the orange trees in the Tuileries garden. It was used during the Third Republic as a deposit of goods, examination room and place of accommodation for mobilized soldiers; it also served to host sporting, musical and patriotic events. Furthermore, it was a place for exhibitions of industry, animals, plants, as well as rare samples of paint.
As the art historian Michel Hoog states: "In 1921, the Fine Arts administration decided to assign to the Directorate of National Museums (as it was called then) the two buildings that led to Place de la Concorde, the Jeu de Paume, and the Orangerie, which until then had been used for its original purpose. The Orangerie became an annex to the Luxembourg Museum, unanimously criticized for being too small, while the Jeu de Paume was to be used for temporary exhibitions and to house contemporary foreign painting. "
Impressionist painter Claude Monet had decided to donate decorative panels to the French government, as a tribute to the end of the First World War. Former Prime Minister of France and Monet's close friend Georges Clemenceau suggested that Monet install the paintings in the recently available Orangerie, rather than in the Jeu de Paume museum, which had a smaller wall space or, as previously planned, in an annex to the Rodin Museum.
On April 12, 1922, Claude Monet signed a contract to donate the "Les Nymphéas" series of decorative panels, painted on canvas, to the French government, to be housed in oval rooms in the redesigned Orangerie. With the contribution of Monet, the Louvre's chief architect, Camille Lefèvre, produced new plans and elevations in 1922, to house Monet's large "Les Nymphéas" canvases, which incorporate natural light, smooth walls, and poor interior decoration. According to Hoog's research, "the funds were available on August 17, 1922, the work began in October and appears to have been completed in [the] following year." Unwilling to give up his latest works of art, these paintings remained with Monet until his death on December 5, 1926. On January 31, 1927 the Laurent-Fournier company agreed to install and assemble the panels, in a process which involved gluing the canvas directly to the walls. The paintings were in place on March 26 of that year. On May 17, 1927 Monet's "Les Nymphéas" were opened to the public at the Musée de l'Orangerie.
According to Hoog, "In August 1944, during the battle for the liberation of Paris, five shells fell on the nymph rooms, two panels (those on the wall between the two rooms) were damaged, but were immediately restored. This restoration work was renewed and a general cleaning was carried out. " I don't know
Paul Guillaume's widow, Mrs. Jean Walter, donated her collection of modern art to the National Museums of France in 1958. L'Orangerie has housed the Walter-Guillaume collection of Impressionist painting, from the 19th and 20th centuries, since 1965.
In January 2000, the museum was closed for renovation work, completely overhauled and restored, and reopened to the public in May 2006. In the months leading up to its closure there was a special exhibition of Les Nympheas de Monet which were scattered by museums around the world. More than 60 of the 250 paintings she made of the water lilies in her garden were included. The walls were repainted in purple and violet tones for this particular exhibition. Following the renovation, Les Nympheas was moved to the top floor of the building. They are now arranged in a diffused light, just as Monet originally intended. The eight paintings are displayed in two rooms.
Orangerie, Paris, France.
El Museo de la Orangerie es una galería de arte de pinturas impresionistas y postimpresionistas y de arte moderno de principios de siglo ubicada en el Jardín de las Tullerías en París. Alberga obras de Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley y Maurice Utrillo entre otros.
La galería está a orillas del Sena en la antigua orangerie del Palacio de las Tullerías en el Jardín de las Tullerías, del lado Este de la Plaza de la Concordia, cerca de las estaciones «Concorde» y «Tuileries» del metro de París.
Según su sitio web, el edificio fue construido originalmente en 1852 por el arquitecto Firmin Bourgeois y completado por su sucesor, Louis Visconti, para proteger los naranjos del jardín de las Tullerías. Fue utilizado durante la III República como depósito de bienes, sala de examen y lugar de alojamiento para soldados movilizados; también sirvió para albergar eventos deportivos, musicales y patrióticos. Además, era un lugar de exhibiciones de la industria, animales, plantas, así como muestras raras de pintura.
Como afirma el historiador de arte Michel Hoog: "En 1921, la administración de Bellas Artes decidió asignar a la Dirección de Museos Nacionales (como se llamaba entonces) los dos edificios que daban a la Plaza de la Concordia, el Jeu de Paume, y la Orangerie, que hasta entonces había sido utilizada para su propósito original. La Orangerie se convirtió en un anexo del Museo de Luxemburgo , criticado por unanimidad por ser demasiado pequeño, mientras que el Jeu de Paume iba a ser utilizado para exposiciones temporales y para albergar la pintura extranjera contemporánea."
El pintor impresionista Claude Monet había decidido donar paneles decorativos para el gobierno francés, como un homenaje al final de la Primera Guerra Mundial. El ex primer ministro de Francia y gran amigo de Monet, Georges Clemenceau, sugirió que Monet instalara las pinturas en la Orangerie, recientemente disponible, en lugar de hacerlo en el museo del Jeu de Paume, que tenía un espacio de pared más pequeño o, como se había planeado anteriormente, en un anexo al Museo Rodin.
El 12 de abril de 1922, Claude Monet firmó un contrato para donar la serie de paneles decorativos "Les Nymphéas", pintados sobre lienzo, al gobierno francés, que se alojarían en unas habitaciones ovales en la Orangerie, rediseñadas. Con el aporte de Monet, la arquitecta jefe del Louvre, Camille Lefèvre, elaboró nuevos planos y alzados en 1922, para albergar los grandes lienzos "Les Nymphéas" de Monet, que incorporan luz natural, paredes lisas y escasa decoración interior. Según la investigación de Hoog, "los fondos estuvieron disponibles el 17 de agosto de 1922, el trabajo comenzó en octubre y parece haber finalizado en [el] año siguiente". Poco dispuesto a renunciar a sus últimas obras de arte, estas pinturas se quedaron con Monet hasta su muerte, el 5 de diciembre de 1926. El 31 de enero de 1927 la compañía Laurent-Fournier acordó instalar y montar los paneles, en un proceso que involucraba pegar el lienzo directamente a las paredes. Las pinturas estuvieron en su lugar el 26 de marzo de ese año. El 17 de mayo de 1927 "Les Nymphéas" de Monet se abrieron al público, en el Museo de l'Orangerie.
Según Hoog, "En agosto de 1944, durante la batalla por la liberación de París, cinco proyectiles cayeron sobre las salas de las ninfas, dos paneles (los situados en la pared entre las dos habitaciones) sufrieron daños, pero inmediatamente se restauraron. Este trabajo de restauración se renovó y se realizó una limpieza general".
La viuda de Paul Guillaume, la señora Jean Walter, donó su colección de arte moderno a los Museos Nacionales de Francia, en 1958. L'Orangerie ha albergado la colección Walter-Guillaume de pintura impresionista, de los siglos XIX y XX, desde 1965.
En enero de 2000, el museo fue cerrado por trabajos de renovación, completamente revisado y restaurado, y se volvió a abrir al público en mayo de 2006. En los meses previos a su cierra hubo una exhibición especial de Les Nympheas de Monet que estaban dispersadas por museos de todo el mundo. Se incluyeron más de 60 de las 250 pinturas que hizo de los nenúfares de su jardín. Las paredes fueron repintadas en tonos púrpuras y violetas para esta exposición en particular. Tras la renovación, se trasladaron Les Nympheas a la planta superior del edificio. Ahora están dispuestas bajo una luz difusa, tal como inicialmente pretendió Monet. Las ocho pinturas se muestran en dos salas.
The Musée de l'Orangerie is an art gallery of Impressionist and Post-Impressionist paintings and modern art from the turn of the century located in the Tuileries Garden in Paris. It houses works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the banks of the Seine in the old orangery of the Tuileries Palace in the Tuileries Garden, on the east side of Place de la Concorde, near the "Concorde" and "Tuileries" stations of the Paris metro.
According to its website, the building was originally built in 1852 by architect Firmin Bourgeois and completed by his successor, Louis Visconti, to protect the orange trees in the Tuileries garden. It was used during the Third Republic as a deposit of goods, examination room and place of accommodation for mobilized soldiers; it also served to host sporting, musical and patriotic events. Furthermore, it was a place for exhibitions of industry, animals, plants, as well as rare samples of paint.
As the art historian Michel Hoog states: "In 1921, the Fine Arts administration decided to assign to the Directorate of National Museums (as it was called then) the two buildings that led to Place de la Concorde, the Jeu de Paume, and the Orangerie, which until then had been used for its original purpose. The Orangerie became an annex to the Luxembourg Museum, unanimously criticized for being too small, while the Jeu de Paume was to be used for temporary exhibitions and to house contemporary foreign painting. "
Impressionist painter Claude Monet had decided to donate decorative panels to the French government, as a tribute to the end of the First World War. Former Prime Minister of France and Monet's close friend Georges Clemenceau suggested that Monet install the paintings in the recently available Orangerie, rather than in the Jeu de Paume museum, which had a smaller wall space or, as previously planned, in an annex to the Rodin Museum.
On April 12, 1922, Claude Monet signed a contract to donate the "Les Nymphéas" series of decorative panels, painted on canvas, to the French government, to be housed in oval rooms in the redesigned Orangerie. With the contribution of Monet, the Louvre's chief architect, Camille Lefèvre, produced new plans and elevations in 1922, to house Monet's large "Les Nymphéas" canvases, which incorporate natural light, smooth walls, and poor interior decoration. According to Hoog's research, "the funds were available on August 17, 1922, the work began in October and appears to have been completed in [the] following year." Unwilling to give up his latest works of art, these paintings remained with Monet until his death on December 5, 1926. On January 31, 1927 the Laurent-Fournier company agreed to install and assemble the panels, in a process which involved gluing the canvas directly to the walls. The paintings were in place on March 26 of that year. On May 17, 1927 Monet's "Les Nymphéas" were opened to the public at the Musée de l'Orangerie.
According to Hoog, "In August 1944, during the battle for the liberation of Paris, five shells fell on the nymph rooms, two panels (those on the wall between the two rooms) were damaged, but were immediately restored. This restoration work was renewed and a general cleaning was carried out. " I don't know
Paul Guillaume's widow, Mrs. Jean Walter, donated her collection of modern art to the National Museums of France in 1958. L'Orangerie has housed the Walter-Guillaume collection of Impressionist painting, from the 19th and 20th centuries, since 1965.
In January 2000, the museum was closed for renovation work, completely overhauled and restored, and reopened to the public in May 2006. In the months leading up to its closure there was a special exhibition of Les Nympheas de Monet which were scattered by museums around the world. More than 60 of the 250 paintings she made of the water lilies in her garden were included. The walls were repainted in purple and violet tones for this particular exhibition. Following the renovation, Les Nympheas was moved to the top floor of the building. They are now arranged in a diffused light, just as Monet originally intended. The eight paintings are displayed in two rooms.
Huile sur toile, 64 x 92 cm, 1924, musée de l'0rangerie, Paris.
Dans sa série de natures mortes aux volailles, Soutine peint plusieurs faisans dont le plumage très coloré le fascine.
Cette nature morte ressemble à un cadavre voire au Christ mort étendu sur son linceul. L'oiseau est en effet posé sur un drap blanc, véritable linceul, et surveillé par la cruche blanche en arrière-plan. Un objet mystérieux, probablement une cuillère, semble jaillir de son bec. La table est inclinée vers le spectateur comme pour offrir une meilleure vue. Les formes déferlantes donnent vie au tableau ; tout semble onduler : la table, le corps du faisan et le tissu sur lequel il repose. La courbe rouge du poivron accentue le corps de l’oiseau et souligne cette instabilité.
Le plumage de l’animal est l’occasion d’une orgie de couleurs : rouges, oranges, ocres et bleu-gris. Des tourbillons et des stries de jaune vif animent le blanc du tissu, qui à son tour met en valeur l'animal. Le coup de pinceau sur le faisan est vif, se développant par endroits en empâtements épais, ce qui, étrangement, confère de l'énergie à ce sujet inerte. Un nouveau dynamisme émerge de la concentration de tous ces éléments contrastés dans le tableau (cf. musée de l'Orangerie).
Watercolor, gold leaf, pen and black ink on paper; 28.6 x 42.9 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.
Orangerie, Paris, France.
El Museo de la Orangerie es una galería de arte de pinturas impresionistas y postimpresionistas y de arte moderno de principios de siglo ubicada en el Jardín de las Tullerías en París. Alberga obras de Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley y Maurice Utrillo entre otros.
La galería está a orillas del Sena en la antigua orangerie del Palacio de las Tullerías en el Jardín de las Tullerías, del lado Este de la Plaza de la Concordia, cerca de las estaciones «Concorde» y «Tuileries» del metro de París.
Según su sitio web, el edificio fue construido originalmente en 1852 por el arquitecto Firmin Bourgeois y completado por su sucesor, Louis Visconti, para proteger los naranjos del jardín de las Tullerías. Fue utilizado durante la III República como depósito de bienes, sala de examen y lugar de alojamiento para soldados movilizados; también sirvió para albergar eventos deportivos, musicales y patrióticos. Además, era un lugar de exhibiciones de la industria, animales, plantas, así como muestras raras de pintura.
Como afirma el historiador de arte Michel Hoog: "En 1921, la administración de Bellas Artes decidió asignar a la Dirección de Museos Nacionales (como se llamaba entonces) los dos edificios que daban a la Plaza de la Concordia, el Jeu de Paume, y la Orangerie, que hasta entonces había sido utilizada para su propósito original. La Orangerie se convirtió en un anexo del Museo de Luxemburgo , criticado por unanimidad por ser demasiado pequeño, mientras que el Jeu de Paume iba a ser utilizado para exposiciones temporales y para albergar la pintura extranjera contemporánea."
El pintor impresionista Claude Monet había decidido donar paneles decorativos para el gobierno francés, como un homenaje al final de la Primera Guerra Mundial. El ex primer ministro de Francia y gran amigo de Monet, Georges Clemenceau, sugirió que Monet instalara las pinturas en la Orangerie, recientemente disponible, en lugar de hacerlo en el museo del Jeu de Paume, que tenía un espacio de pared más pequeño o, como se había planeado anteriormente, en un anexo al Museo Rodin.
El 12 de abril de 1922, Claude Monet firmó un contrato para donar la serie de paneles decorativos "Les Nymphéas", pintados sobre lienzo, al gobierno francés, que se alojarían en unas habitaciones ovales en la Orangerie, rediseñadas. Con el aporte de Monet, la arquitecta jefe del Louvre, Camille Lefèvre, elaboró nuevos planos y alzados en 1922, para albergar los grandes lienzos "Les Nymphéas" de Monet, que incorporan luz natural, paredes lisas y escasa decoración interior. Según la investigación de Hoog, "los fondos estuvieron disponibles el 17 de agosto de 1922, el trabajo comenzó en octubre y parece haber finalizado en [el] año siguiente". Poco dispuesto a renunciar a sus últimas obras de arte, estas pinturas se quedaron con Monet hasta su muerte, el 5 de diciembre de 1926. El 31 de enero de 1927 la compañía Laurent-Fournier acordó instalar y montar los paneles, en un proceso que involucraba pegar el lienzo directamente a las paredes. Las pinturas estuvieron en su lugar el 26 de marzo de ese año. El 17 de mayo de 1927 "Les Nymphéas" de Monet se abrieron al público, en el Museo de l'Orangerie.
Según Hoog, "En agosto de 1944, durante la batalla por la liberación de París, cinco proyectiles cayeron sobre las salas de las ninfas, dos paneles (los situados en la pared entre las dos habitaciones) sufrieron daños, pero inmediatamente se restauraron. Este trabajo de restauración se renovó y se realizó una limpieza general".
La viuda de Paul Guillaume, la señora Jean Walter, donó su colección de arte moderno a los Museos Nacionales de Francia, en 1958. L'Orangerie ha albergado la colección Walter-Guillaume de pintura impresionista, de los siglos XIX y XX, desde 1965.
En enero de 2000, el museo fue cerrado por trabajos de renovación, completamente revisado y restaurado, y se volvió a abrir al público en mayo de 2006. En los meses previos a su cierra hubo una exhibición especial de Les Nympheas de Monet que estaban dispersadas por museos de todo el mundo. Se incluyeron más de 60 de las 250 pinturas que hizo de los nenúfares de su jardín. Las paredes fueron repintadas en tonos púrpuras y violetas para esta exposición en particular. Tras la renovación, se trasladaron Les Nympheas a la planta superior del edificio. Ahora están dispuestas bajo una luz difusa, tal como inicialmente pretendió Monet. Las ocho pinturas se muestran en dos salas.
The Musée de l'Orangerie is an art gallery of Impressionist and Post-Impressionist paintings and modern art from the turn of the century located in the Tuileries Garden in Paris. It houses works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the banks of the Seine in the old orangery of the Tuileries Palace in the Tuileries Garden, on the east side of Place de la Concorde, near the "Concorde" and "Tuileries" stations of the Paris metro.
According to its website, the building was originally built in 1852 by architect Firmin Bourgeois and completed by his successor, Louis Visconti, to protect the orange trees in the Tuileries garden. It was used during the Third Republic as a deposit of goods, examination room and place of accommodation for mobilized soldiers; it also served to host sporting, musical and patriotic events. Furthermore, it was a place for exhibitions of industry, animals, plants, as well as rare samples of paint.
As the art historian Michel Hoog states: "In 1921, the Fine Arts administration decided to assign to the Directorate of National Museums (as it was called then) the two buildings that led to Place de la Concorde, the Jeu de Paume, and the Orangerie, which until then had been used for its original purpose. The Orangerie became an annex to the Luxembourg Museum, unanimously criticized for being too small, while the Jeu de Paume was to be used for temporary exhibitions and to house contemporary foreign painting. "
Impressionist painter Claude Monet had decided to donate decorative panels to the French government, as a tribute to the end of the First World War. Former Prime Minister of France and Monet's close friend Georges Clemenceau suggested that Monet install the paintings in the recently available Orangerie, rather than in the Jeu de Paume museum, which had a smaller wall space or, as previously planned, in an annex to the Rodin Museum.
On April 12, 1922, Claude Monet signed a contract to donate the "Les Nymphéas" series of decorative panels, painted on canvas, to the French government, to be housed in oval rooms in the redesigned Orangerie. With the contribution of Monet, the Louvre's chief architect, Camille Lefèvre, produced new plans and elevations in 1922, to house Monet's large "Les Nymphéas" canvases, which incorporate natural light, smooth walls, and poor interior decoration. According to Hoog's research, "the funds were available on August 17, 1922, the work began in October and appears to have been completed in [the] following year." Unwilling to give up his latest works of art, these paintings remained with Monet until his death on December 5, 1926. On January 31, 1927 the Laurent-Fournier company agreed to install and assemble the panels, in a process which involved gluing the canvas directly to the walls. The paintings were in place on March 26 of that year. On May 17, 1927 Monet's "Les Nymphéas" were opened to the public at the Musée de l'Orangerie.
According to Hoog, "In August 1944, during the battle for the liberation of Paris, five shells fell on the nymph rooms, two panels (those on the wall between the two rooms) were damaged, but were immediately restored. This restoration work was renewed and a general cleaning was carried out. " I don't know
Paul Guillaume's widow, Mrs. Jean Walter, donated her collection of modern art to the National Museums of France in 1958. L'Orangerie has housed the Walter-Guillaume collection of Impressionist painting, from the 19th and 20th centuries, since 1965.
In January 2000, the museum was closed for renovation work, completely overhauled and restored, and reopened to the public in May 2006. In the months leading up to its closure there was a special exhibition of Les Nympheas de Monet which were scattered by museums around the world. More than 60 of the 250 paintings she made of the water lilies in her garden were included. The walls were repainted in purple and violet tones for this particular exhibition. Following the renovation, Les Nympheas was moved to the top floor of the building. They are now arranged in a diffused light, just as Monet originally intended. The eight paintings are displayed in two rooms.
The Musée de l'Orangerie is an important art gallery of impressionist and post-impressionist paintings located in the Tuileries Gardens, Paris. Though most famous for being the permanent home for eight Water Lilies murals by Claude Monet, the museum also contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Alfred Sisley, Chaim Soutine, and Maurice Utrillo, a.o.
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Orangerie, Paris, France.
El Museo de la Orangerie es una galería de arte de pinturas impresionistas y postimpresionistas y de arte moderno de principios de siglo ubicada en el Jardín de las Tullerías en París. Alberga obras de Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley y Maurice Utrillo entre otros.
La galería está a orillas del Sena en la antigua orangerie del Palacio de las Tullerías en el Jardín de las Tullerías, del lado Este de la Plaza de la Concordia, cerca de las estaciones «Concorde» y «Tuileries» del metro de París.
Según su sitio web, el edificio fue construido originalmente en 1852 por el arquitecto Firmin Bourgeois y completado por su sucesor, Louis Visconti, para proteger los naranjos del jardín de las Tullerías. Fue utilizado durante la III República como depósito de bienes, sala de examen y lugar de alojamiento para soldados movilizados; también sirvió para albergar eventos deportivos, musicales y patrióticos. Además, era un lugar de exhibiciones de la industria, animales, plantas, así como muestras raras de pintura.
Como afirma el historiador de arte Michel Hoog: "En 1921, la administración de Bellas Artes decidió asignar a la Dirección de Museos Nacionales (como se llamaba entonces) los dos edificios que daban a la Plaza de la Concordia, el Jeu de Paume, y la Orangerie, que hasta entonces había sido utilizada para su propósito original. La Orangerie se convirtió en un anexo del Museo de Luxemburgo , criticado por unanimidad por ser demasiado pequeño, mientras que el Jeu de Paume iba a ser utilizado para exposiciones temporales y para albergar la pintura extranjera contemporánea."
El pintor impresionista Claude Monet había decidido donar paneles decorativos para el gobierno francés, como un homenaje al final de la Primera Guerra Mundial. El ex primer ministro de Francia y gran amigo de Monet, Georges Clemenceau, sugirió que Monet instalara las pinturas en la Orangerie, recientemente disponible, en lugar de hacerlo en el museo del Jeu de Paume, que tenía un espacio de pared más pequeño o, como se había planeado anteriormente, en un anexo al Museo Rodin.
El 12 de abril de 1922, Claude Monet firmó un contrato para donar la serie de paneles decorativos "Les Nymphéas", pintados sobre lienzo, al gobierno francés, que se alojarían en unas habitaciones ovales en la Orangerie, rediseñadas. Con el aporte de Monet, la arquitecta jefe del Louvre, Camille Lefèvre, elaboró nuevos planos y alzados en 1922, para albergar los grandes lienzos "Les Nymphéas" de Monet, que incorporan luz natural, paredes lisas y escasa decoración interior. Según la investigación de Hoog, "los fondos estuvieron disponibles el 17 de agosto de 1922, el trabajo comenzó en octubre y parece haber finalizado en [el] año siguiente". Poco dispuesto a renunciar a sus últimas obras de arte, estas pinturas se quedaron con Monet hasta su muerte, el 5 de diciembre de 1926. El 31 de enero de 1927 la compañía Laurent-Fournier acordó instalar y montar los paneles, en un proceso que involucraba pegar el lienzo directamente a las paredes. Las pinturas estuvieron en su lugar el 26 de marzo de ese año. El 17 de mayo de 1927 "Les Nymphéas" de Monet se abrieron al público, en el Museo de l'Orangerie.
Según Hoog, "En agosto de 1944, durante la batalla por la liberación de París, cinco proyectiles cayeron sobre las salas de las ninfas, dos paneles (los situados en la pared entre las dos habitaciones) sufrieron daños, pero inmediatamente se restauraron. Este trabajo de restauración se renovó y se realizó una limpieza general".
La viuda de Paul Guillaume, la señora Jean Walter, donó su colección de arte moderno a los Museos Nacionales de Francia, en 1958. L'Orangerie ha albergado la colección Walter-Guillaume de pintura impresionista, de los siglos XIX y XX, desde 1965.
En enero de 2000, el museo fue cerrado por trabajos de renovación, completamente revisado y restaurado, y se volvió a abrir al público en mayo de 2006. En los meses previos a su cierra hubo una exhibición especial de Les Nympheas de Monet que estaban dispersadas por museos de todo el mundo. Se incluyeron más de 60 de las 250 pinturas que hizo de los nenúfares de su jardín. Las paredes fueron repintadas en tonos púrpuras y violetas para esta exposición en particular. Tras la renovación, se trasladaron Les Nympheas a la planta superior del edificio. Ahora están dispuestas bajo una luz difusa, tal como inicialmente pretendió Monet. Las ocho pinturas se muestran en dos salas.
The Musée de l'Orangerie is an art gallery of Impressionist and Post-Impressionist paintings and modern art from the turn of the century located in the Tuileries Garden in Paris. It houses works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaïm Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the banks of the Seine in the old orangery of the Tuileries Palace in the Tuileries Garden, on the east side of Place de la Concorde, near the "Concorde" and "Tuileries" stations of the Paris metro.
According to its website, the building was originally built in 1852 by architect Firmin Bourgeois and completed by his successor, Louis Visconti, to protect the orange trees in the Tuileries garden. It was used during the Third Republic as a deposit of goods, examination room and place of accommodation for mobilized soldiers; it also served to host sporting, musical and patriotic events. Furthermore, it was a place for exhibitions of industry, animals, plants, as well as rare samples of paint.
As the art historian Michel Hoog states: "In 1921, the Fine Arts administration decided to assign to the Directorate of National Museums (as it was called then) the two buildings that led to Place de la Concorde, the Jeu de Paume, and the Orangerie, which until then had been used for its original purpose. The Orangerie became an annex to the Luxembourg Museum, unanimously criticized for being too small, while the Jeu de Paume was to be used for temporary exhibitions and to house contemporary foreign painting. "
Impressionist painter Claude Monet had decided to donate decorative panels to the French government, as a tribute to the end of the First World War. Former Prime Minister of France and Monet's close friend Georges Clemenceau suggested that Monet install the paintings in the recently available Orangerie, rather than in the Jeu de Paume museum, which had a smaller wall space or, as previously planned, in an annex to the Rodin Museum.
On April 12, 1922, Claude Monet signed a contract to donate the "Les Nymphéas" series of decorative panels, painted on canvas, to the French government, to be housed in oval rooms in the redesigned Orangerie. With the contribution of Monet, the Louvre's chief architect, Camille Lefèvre, produced new plans and elevations in 1922, to house Monet's large "Les Nymphéas" canvases, which incorporate natural light, smooth walls, and poor interior decoration. According to Hoog's research, "the funds were available on August 17, 1922, the work began in October and appears to have been completed in [the] following year." Unwilling to give up his latest works of art, these paintings remained with Monet until his death on December 5, 1926. On January 31, 1927 the Laurent-Fournier company agreed to install and assemble the panels, in a process which involved gluing the canvas directly to the walls. The paintings were in place on March 26 of that year. On May 17, 1927 Monet's "Les Nymphéas" were opened to the public at the Musée de l'Orangerie.
According to Hoog, "In August 1944, during the battle for the liberation of Paris, five shells fell on the nymph rooms, two panels (those on the wall between the two rooms) were damaged, but were immediately restored. This restoration work was renewed and a general cleaning was carried out. " I don't know
Paul Guillaume's widow, Mrs. Jean Walter, donated her collection of modern art to the National Museums of France in 1958. L'Orangerie has housed the Walter-Guillaume collection of Impressionist painting, from the 19th and 20th centuries, since 1965.
In January 2000, the museum was closed for renovation work, completely overhauled and restored, and reopened to the public in May 2006. In the months leading up to its closure there was a special exhibition of Les Nympheas de Monet which were scattered by museums around the world. More than 60 of the 250 paintings she made of the water lilies in her garden were included. The walls were repainted in purple and violet tones for this particular exhibition. Following the renovation, Les Nympheas was moved to the top floor of the building. They are now arranged in a diffused light, just as Monet originally intended. The eight paintings are displayed in two rooms.
Chaïm Soutine（1893 - 1943）
Oil on canvas
50.1 by 65.5 cm
www.sothebys.com/en/auctions/ecatalogue/2015/masterworks-...
Estimate : 1,500,000 - 2,000,000 USD
Sotheby's
The Collection of A. Alfred Taubman : Masterworks
New York, 4 Nov 2015
Ink and colour on silk; 44.4 x 34.3 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.
1922 huile sur toile
Soutine 1893-1943
fr.wikipedia.org/wiki/Cha%C3%AFm_Soutine
Musée d'art moderne de Fontevraud
Abbaye royale de Fontevraud
donation Martine et Léon Cligman
Paris hier et ajourd’hui. Boulevard Edgar Quinet. One of my favorite places to visit, in Paris, is the Cimetière du Montparnasse. Here is the main entrance to the cemetery. Found in the southern part of the city it was originally known as Le Cimetière du Sud (Southern Cemetery) and it officially opened July 25, 1824. It is the second largest cemetery in Paris after Cimetière du Père Lachaise. There are over 35,000 plots at this cemetery and more than 300,000 people have been buried here (a number I find hard to believe, but that’s the information I found). Many notable people can be found here, including; writer Samuel Beckett, painter Henri Fantin-Latour, photographer Man Ray (to this day I have never found his grave!), American actress Jean Seberg, American writer Susan Sontag, artist Chain Soutine, Frédéric Auguste Bartholdi – sculpture best known for the Statue of Liberty, icon Serge Gainsbourg and writers Simone de Beauvoir & Jean-Paul Sartre (who are buried together). The old photo says, “Le matin de la Toussant,” which is the 1st of November and All Saint’s Day. In France this is a public holiday and a time when families visit cemeteries to remember and honor their deceased relatives. I have been on this exact spot on the 1st of November and except for the horse and carriages, it was basically the same scene. Many people with flowers entering the cemetery.
West 13th Street, NYC
by navema
Street Artists include: Elbow-Toe, Mr. Brainwash (MBW), Clown Solider, & Gaia
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Photo taken in March 2010 (original taken in December 2009): www.flickr.com/photos/28488028@N06/4268622356/in/set-7215...
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"There is a crack in the bubble that is so damn large, that I could swim forever in the open space" ~ Elbow-Toe
ELBOW-TOE is a Brooklyn, NY based artist that has been creating introspective urban art for several years. His artwork for the streets is grounded in myth, symbolism and poetry and is primarily executed in woodcut, stencil or large-scale charcoal drawings. His oeuvre is a study of human gesture as communication and he utilizes public spaces
as stages for private moments. He is particularly interested in the ability of environmental forces outside his control to create a timeless quality to the work thereby allowing it to feel as if it has been memory and is part of the collective unconscious.
ELBOW-TOE’s gallery work focuses on portraiture and abstract narrative and is primarily executed in collage. These intricate collages at first glance might be mistaken for paintings given that they have a fluidity rarely seen in collages. Whilst his work has a very unique style it draws on a rich history of figurative painting and has qualities reminiscent of Freud, Bacon and Soutine.
For more information about the artist, visit: www.elbow-toe.com
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"All You Need is Love" (John Lennon & Panda) Wheatpaste
MR BRAINWASH (aka Thierry Guetta) is a Los Angeles based French street artist, Mr. Brainwash, the alter-ego of French immigrant Thierry Guetta, who now lives in Los Angeles. His preoccupation with street art and graffiti led him to years filming the people behind the work, and eventually he became an artist too.
This body of work being presented in the exhibition ICONS is the result of traveling throughout Europe and the United States as the subject of Banksy's new documentary, Exit Through the Gift Shop. This documentary about the process secretly premiered at the Sundance Film Festival in January of 2010. It wasn’t listed in the program, but quickly became the hottest ticket at the festival. Featuring famed street artists like Banksy, Ron English, Borf and Shepard Fairey, the viewer is able to watch the famous fiends at work. One of the most memorable scenes is of Banksy installing an inflatable replica of a Guantanamo torture victim right next to a roller coaster in The Happiest Place On Earth — Disneyland.
Being a trusted accomplice of Banksy is no small feat — and accomplice is perhaps a better word than friend, given that Banksy described Guetta as “maybe just someone with mental problems who happened to have a camera.”
Since his entrance onto the contemporary art scene in 2008 with his Los Angles show “Life is Beautiful”, Mr. Brainwash (Guetta) has raised a lot of questions, namely ‘is he for real?’ Guetta began to follow the exploits street artists’ Shepard Fairey and Banksy with a digital video camera, but soon Banksy turned the camera on Guetta, encouraging him to create his own persona, which is the end product of Exit Through the Gift Shop, the documentary being billed as ‘the world’s first street art disaster movie’. Critics and gallerists alike have written him off as a hack, or simply a regurgitation of Banksy and Shepard Fairey’s existing work.
For more about the artist, visit: www.mrbrainwash.com
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Clown Wheatpaste
CLOWN SOLDIER
For more info, visit: www.clownsoldier.com
To view the artist's photostream, visit: www.flickr.com/photos/46091260@N04/
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Bird Wheatpaste
GAIA is a Brooklyn and Baltimore based street artist with a background in Printmaking and Sculpture. Marrying the animal and the human form, Gaia conjures mysterious figures that carry a heavy sense of mythology and recall a past when man and nature were once united. These romantic creatures stand in relief to the urban environment as they lurk and beckon in the city’s forgotten and neglected spaces. The conveyance of their story relies on the chance coincidence with a passerby, and even in that intimate moment, their narrative is precarious and delicate.
For more info, visit: gaiastreetart.com/
To view the artist's photostream, visit: www.flickr.com/photos/gaiastreetart/
Oil on canvas; 64.5 x 52.6 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.
Chaïm Soutine（1893 - 1943）
Oil on canvas
37.9 x 61.3 cm
www.sothebys.com/en/auctions/ecatalogue/2016/impressionis...
Estimate : £ 120,000 - £ 180,000
Sold : £ 137,000
Sotheby's
Impressionist & Modern Art Day Sale
London, 4 Feb 2016
Huile sur toile, 49 x 73 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).
La Femme au Grand Chapeau, 1919
Renowned for his visceral paintings of animal carcasses, Soutine also made portraits of ordinary working people. 'La Femme au Grand Chapeau' has a regal elegance. With her columnar throat, tilted oval face, and towering hat the figure is both a study of a personality and balancing act of form.
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.
1. Full name is Claudia Soutine.
2.She is very much like a cat, gets sleepy in the morning, lazy on the sunny afternoon... just like a kitten.(or you can say a so-called 'vampire', but she fears not daylight).
3.She said she was "ABOUT 16" but it seems like she never aged or changed(Prist:" A cup never changed"——WARNING: NEVER say this when she's around)
4.Lives on blood and coconut juice(WTF).
5.To most people, she seems to have a weird taste for beauty. For example, animal carcasses and still life.
6.She has a lot of difficulty remembering people's names(in other words, she never bothers to)
7.Laughs at radical feminism.
8. She only bites those she fancies. She only drinks blood from those she wants to make love with(sometimes has to go hungry for a long time). BTW, she doesn't believe in long-term relationships.
9.She views a lot of modern society doctrines as bullshit, including pragmatism, empiricism, rationalism, globalization and "positive psychology".
10.Started to live with Prist like his young sister several years ago when they first met. Reason unknown.
I had so much fun writing this lol ;D！Join me haha~
Hello todays painting is of a woman that all women artists need to know about,and all men artists can only dream about, she was amazing her name was Alice Prin A.K.A. Kiki, was the stage name for Alice Ernestine Prin (1901 - 1953), a nightclub singer, actress, model, and painter.
Born in Chatillon-sur-Seine, Côte d'Or, Burgundy, France on October 2, 1901. An illegitimate child, she was raised in abject poverty by her grandmother. At age 12 she was sent to Paris to be educated she was posing nude for sculptors. Alice Prin became one of the most famous artists' models ever, the most notable of which is a colection of photographs by Man Ray and the portrait of her painted by Moise Kisling titled Nu assis. Her partnership with Man Ray produced some of Surrealism's most significant images. The symbol of bohemian and creative Paris, at age 28 she was declared "Queen of Montparnasse."
She was the mistress of Man Ray, and a friend of Chaim Soutine, Jean Cocteau, Max Ernst and other artists. Ernest Hemingway and Tsuguharu Foujita provided the introduction for her 1929 memoirs. This book was published the following year in New York City by Black Manikin Press but it was banned by the United States government. Kiki's Memoirs remained barred in the United States as late as the 1970s when it was still held in the section for banned books in the New York Public Library. Finally, in 1996, her book was translated and published.
A capable painter in her own right, a sold-out exhibition of Kiki's own paintings was held in Paris' Galerie au Sacre du Printemps in 1927. Her drawings and paintings comprised portraits and dreamy landscapes composed in a light, slightly uneven expressionist style that was very much a reflection of her own easy-going manner and boundless optimism.
Even during difficult times, she maintained her positive attitude saying, "All I need is an onion, a bit of bread, and a bottle of red (wine); and I will always find somebody to offer me that."
When she died, a huge crowd of artists and fans attended her funeral. Foujita said that with Kiki, they buried forever the glorious days of Montparnasse.this is only a small part of her amazing life, below is a you tube video with her in it enjoy. steve
Oil on canvas; 47 x 27.9 cm.
Chaïm Soutine was a Jewish, expressionist painter from Belarus. He has been interpreted as a forerunner of Abstract Expressionism. From 1910–1913 he studied in Vilnius at the Vilna Academy of Fine Arts. In 1913 he emigrated to Paris, where he studied at the Ecole des Beaux-Arts under Fernand Cormon. He soon developed a highly personal vision and painting technique. For a time, he and his friends lived at La Ruche, a residence for struggling artists in Montparnasse, where he became friends with Amedeo Modigliani. Modigliani painted Soutine's portrait several times.
In 1923, the American collector Dr. Albert C. Barnes visited his studio and immediately bought 60 of Soutine's paintings. In February 2006, the oil painting of the series 'Le Boeuf Ecorche' (1924) sold for a record £7.8 million ($13.8 million) to an anonymous buyer at a Christies auction held in London - after it was estimated to fetch £4.8 million.
Soutine produced the majority of his works from 1920 to 1929. He seldom showed his works, but he did take part in the important exhibition The Origins and Development of International Independent Art held at the Galerie nationale du Jeu de Paume in 1937 in Paris, where he was at last hailed as a great painter. Soon thereafter France was invaded by German troops. As a Jew, Soutine had to escape from the French capital and hide in order to avoid arrest by the Gestapo. He moved from one place to another and was sometimes forced to seek shelter in forests, sleeping outdoors. Suffering from a stomach ulcer and bleeding badly, he left a safe hiding place for Paris in order to undergo emergency surgery, which failed to save his life. On August 9, 1943, Chaim Soutine died of a perforated ulcer.
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