View allAll Photos Tagged Soutine,
60x72cm, Oil on canvas. Self-portrait. Exploring and incorporating the directional 'handwriting' of my painting style into a portrait inspired by Freud, Bacon, Saville and Soutine.
#nw8 #barrow #hill st #john's high street #wellington place #maison #soutine cafe #kugoo g2 pro england #grace #richard #nixon #memoirs
I think this is the view painted by Chaim Soutine - see here:https://www.wikiart.org/en/chaim-soutine/view-of-ceret
"Rita Cameron counts these artists as influences: Klimt, Turner, Soutine, Motherwell, Frankenthaler, Degas, Kiefer, Klee, Chagall, Modigliani, Diebenkorn, Barnett Newman, Kollowitz, Kline, and Hoffman..." To continue reading click the following link: www.artebelladaily.org/artists/rita-cameron/
Chaim Soutine - French, born Russia (now
Belarus), 1893 - 1943
Portrait of a Boy, 1928
East Building, Ground Level — Gallery 103-D
__________________________________________
www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Artist | Amedeo Modigliani (1884 in Italy - 1920 in France)
Title | Woman in a Sailor Shirt (1916)
oil on canvas
55 x 35 cm
Exhibitor | Peggy Guggenheim Collection
www.guggenheim-venice.it/en/art/works/woman-in-a-sailor-s...
Amedeo Modigliani was born July 12, 1884, in Livorno, Italy. The serious illnesses he suffered during his childhood persisted throughout his life. At age 14, he began to study painting. He first experimented with sculpture during the summer of 1902 and the following year attended the Reale Istituto di Belle Arti in Venice. Early in 1906, Modigliani went to Paris, where he settled in Montmartre and attended the Académie Colarossi. His early work was influenced by Paul Cézanne, Henri de Toulouse-Lautrec, Paul Gauguin, and Théophile Alexandre Steinlen. In the fall of 1907, he met his first patron, Dr Paul Alexandre, who purchased works from him before World War I. Modigliani exhibited in the Salon d’Automne in 1907 and 1912 and in the Salon des Indépendants in 1908, 1910, and 1911.
In 1909, Modigliani met Constantin Brancusi when both artists were living in Montparnasse. From 1909 to 1914, he concentrated on sculpture, but also drew and painted. However, the majority of his paintings date from 1916 to 1919. Modigliani’s circle of friends first consisted of Max Jacob, Jacques Lipchitz, and the Portuguese painter Amadeo de Souza Cardoso; later, he associated with Tsugouharu Foujita, Moïse Kisling, Jules Pascin, the Sitwells, Chaim Soutine, and Maurice Utrillo. His dealers were Paul Guillaume (1914–16) and Leopold Zborowski (by 1917). The only solo show given to the artist during his lifetime took place at the Galerie Berthe Weill in December 1917.
In March 1917, Modigliani met Jeanne Hébuterne, who became his companion and model. From March or April 1918 until May 31, 1919, they lived in the south of France, in both Nice and Cagnes. Modigliani died on January 24, 1920, in Paris.
PGC061
Reminds me of the other Chaïm, used by Roald Dahl in his short called *Skin*:
| Old man Drioli is down and out on the streets of Paris, when he sees a painting of trees by his Kalmuck, Chaïm Soutine, in a posh artist's gallery. That reminds him of the time when the Kalmuck had tattooed a portrait of Drioli's wife on his (Drioli's) back. Drioli runs into the gallery shouting that he too has a painting by the same artist. With Dahl, there's only one way the story can end
From the museum label: Executed predominantly during Soutine's stay in Céret in the early 1920s, these sinuous, tortured landscapes seem to be dancing. The artist's treatment makes the world pitch unsteadily in the grip of instability. However harmony prevails nonetheless and, like Van Gogh (1853-1890) and the German Expressionists, Soutine offers a vision of the cosmos which is steeped in pantheism.
"Rita Cameron counts these artists as influences: Klimt, Turner, Soutine, Motherwell, Frankenthaler, Degas, Kiefer, Klee, Chagall, Modigliani, Diebenkorn, Barnett Newman, Kollowitz, Kline, and Hoffman..." To continue reading click the following link: www.artebelladaily.org/artists/rita-cameron/
"Rita Cameron counts these artists as influences: Klimt, Turner, Soutine, Motherwell, Frankenthaler, Degas, Kiefer, Klee, Chagall, Modigliani, Diebenkorn, Barnett Newman, Kollowitz, Kline, and Hoffman..." To continue reading click the following link: www.artebelladaily.org/artists/rita-cameron/
1985
Oil on canvas
Gift of Simon Blais
Inventory 2008.177
To understand the significance of Drapeau écorché ("Slaughtered Flag" in English), it is first necessary to consider the history of McEwen's artwork. He originally used the word drapeau in the title - "Le drapeau inconnu" ["The Unknown Flag"] - of a major 1964 series of twenty - three paintings based on the motif of a cruciform. The title is relevant, as the canveses were created in the year that debate raged in Canada over the selection of a design for the nation'S flag. However, the series has no political significance; it was the clear and simple forms of flags that retained McEwen's interest.
Secondly, we need to refer to the history of art and to the Rembrandt painting The Slaughtered Ox [Le boeuf écorché] (1655), which inspired Chaim Soutine's 1925 painting of the same title, which in turn influenced McEwen. An écorché is a statue of a human or animal figure stripped of its skin that is used as a model of internal anatomy in drawing classes in order to enable students to master the depiction of musculature.
The artist combines the two terms, drapeau and écorché, to prompt the viewer to examine the internal structure of the painting and its layers of colour. The artist deconstructs the series executed in 1964 by breaking the organizing element of the colour field apart through exaggerated gesture. This daring and radical solution destabilizes without destroying the order we expect in McEwen's art.
This is the studio in which the modernist painter Chaim Soutine worked in the beginning of the 20th century.
Chaim Soutin
French, born Russia, 1893-1943
The Pheasant
c. 1926-7
Oil on canvas
Born near Minsk, Russia (now Belarus), Soutine left behind extreme poverty and a household defined by strict Jewish piety to study art in Vilnius, Lithuania, before moving in 1913 to Paris to paint.
From the museum label: Soutine moved to Paris in 1913, where he became associated with a circle of artists that included Amedeo Modigliani, Marc Chagall, and Jacques Lipchitz. In 1922 and 1923, he visited Cagnes on the Côte d'Azur, a village frequented by avant-garde artists. It was there that he painted this Expressionistic work. At the centre of the scene, a man walks on a steep flight of steps. The low viewpoint, swirling sky and bending trees, heighten the dizzying perspective. Soutine often used a strong vertical device to anchor his compositions; here, the slanting yellow rails create a stable focal point within the turbulent landscape.