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Oil on canvas; 50 x 40 in.
TWORKOV, JACK (1900–1982), U.S. educator, printmaker, painter. Tworkov was born in Biala, Poland and immigrated to the U.S. in 1913. He studied at Columbia University, the National Academy of Design, and the Art Students League. Tworkov worked as an artist for the Works Project Administration's Federal Art Project in 1935, where he met Willem de Kooning. Both men emerged as forces in the Abstract Expressionist movement. Tworkov was also one of the founders of The Club, a loose New York association of Abstract Expressionists which met to discuss matters relating to art making. Like many other Abstract Expressionists, Tworkov's early work consisted of figures and still-lifes. He also rendered images in a cubist style before adopting the visual aspects of Abstract Expressionism. As to be expected, his early work shared many stylistic characteristics with that of de Kooning. As Tworkov gained eminence along with his colleagues in the New York School representational subject matter became subsumed in abundantly textured long, dashing, diagonal brush strokes, as in his painting Blue Note from 1959. Among other influences, Tworkov also turned to the art of the marginalized Expressionist painter Chaim Soutine as a source of inspiration; in fact, Tworkov wrote an article on Soutine during the latter's 1950 show at MOMA. Tworkov achieved the illusion of vibrating and multiple fields or screens of color from a cool, restricted palette and subtle nuances of tone. Likely influenced by the Minimalists, Tworkov integrated grids and other ordering systems into his images from the 1960s onward, such as Shield (1961) and Variables II (1964–65). One of his major series of paintings, House of the Sun, refers to Ulysses, whose epic adventures suggested a variety of themes to the artist. Tworkov taught at numerous institutions: the American University, Black Mountain College (other luminaries of this period such as John Cage, Franz Kline, and Lyonel Feininger also taught here during the 1940s), Queens College, the Pratt Institute, and Yale University, where he functioned as chairman of the art department. He was a recipient of a Corcoran Gold Medal in 1963. Tworkov's art has been exhibited at numerous major museums, including the Art Institute of Chicago, the Guggenheim Museum, the Museum of Modern Art, New York, the Pennsylvania Academy, and the Whitney Museum, among other venues. His work is in the collections of the Hirschhorn Museum and Sculpture Garden, the National Gallery of Art, Washington, D.C., and the Smithsonian Museum of American Art.
Chaïm Soutine (1893-1943)
L'ordre du chaos
3 octobre 2012 - 21 janvier 2013
Réunis par la passion du marchand Paul Guillaume pour ces « portraits où la mesure et la démence luttent et s’équilibrent », vingt-deux tableaux du peintre russe Chaïm Soutine (1893-1943) sont conservés par le musée de l’Orangerie.
Ils seront le noyau d’une rétrospective, organisée à l’automne 2012, célébrant la puissance expressionniste et l’ardeur d’une palette uniques dans le Paris de l’entre-deux-guerres. L’influence que cette œuvre eut sur les artistes de la fin du XXème siècle rend nécessaire un nouveau regard sur un peintre encore incompris en France.
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.
Chaim Soutine French ( born Lithuania) 1893 - 1943
Portrait of Moïse Kisling , c. 1930
Oil on cardboard, mounted on Masonite
Chaim Soutine moved to Paris in 1913 and worked in relative obscurity until 1922, when the noted American collector Dr. Albert C. Barnes purchased fifty-four of his Expressionist paintings for his foundation in Merion, Pennsylvania. Barnes was attracted to the artist’s thickly painted portraits and turbulent landscape paintings, and his unprecedented acquisition of almost the entire contents of Soutine’s studio meant that the artist suddenly achieved fame and financial security after almost a decade of poverty and struggle for recognition. This portrait of the Polish-born artist Moïse Kisling ( 1891-1953) is an incisive likeness of his close friend, although the energetic paint handlinhg imbues the work with a startling Expressionist force.
Gift of Arthur Wiesenberger, 1943-101-1
From the placard: Philadelphia Museum of Art
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en.wikipedia.org/wiki/Chaim_Soutine
www.barnesfoundation.org/collections/art-collection/artis...
www.artcritical.com/2006/07/06/the-new-landscapethe-new-s...
www.jewishvirtuallibrary.org/jsource/biography/Soutine.html
www.abcgallery.com/S/soutine/soutine.html
www.musee-orsay.fr/en/events/exhibitions/extramural/exhib...
Oil on canvas; 110.4 x 81.1 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.
Oil on canvas; 54 x 54 in.
TWORKOV, JACK (1900–1982), U.S. educator, printmaker, painter. Tworkov was born in Biala, Poland and immigrated to the U.S. in 1913. He studied at Columbia University, the National Academy of Design, and the Art Students League. Tworkov worked as an artist for the Works Project Administration's Federal Art Project in 1935, where he met Willem de Kooning. Both men emerged as forces in the Abstract Expressionist movement. Tworkov was also one of the founders of The Club, a loose New York association of Abstract Expressionists which met to discuss matters relating to art making. Like many other Abstract Expressionists, Tworkov's early work consisted of figures and still-lifes. He also rendered images in a cubist style before adopting the visual aspects of Abstract Expressionism. As to be expected, his early work shared many stylistic characteristics with that of de Kooning. As Tworkov gained eminence along with his colleagues in the New York School representational subject matter became subsumed in abundantly textured long, dashing, diagonal brush strokes, as in his painting Blue Note from 1959. Among other influences, Tworkov also turned to the art of the marginalized Expressionist painter Chaim Soutine as a source of inspiration; in fact, Tworkov wrote an article on Soutine during the latter's 1950 show at MOMA. Tworkov achieved the illusion of vibrating and multiple fields or screens of color from a cool, restricted palette and subtle nuances of tone. Likely influenced by the Minimalists, Tworkov integrated grids and other ordering systems into his images from the 1960s onward, such as Shield (1961) and Variables II (1964–65). One of his major series of paintings, House of the Sun, refers to Ulysses, whose epic adventures suggested a variety of themes to the artist. Tworkov taught at numerous institutions: the American University, Black Mountain College (other luminaries of this period such as John Cage, Franz Kline, and Lyonel Feininger also taught here during the 1940s), Queens College, the Pratt Institute, and Yale University, where he functioned as chairman of the art department. He was a recipient of a Corcoran Gold Medal in 1963. Tworkov's art has been exhibited at numerous major museums, including the Art Institute of Chicago, the Guggenheim Museum, the Museum of Modern Art, New York, the Pennsylvania Academy, and the Whitney Museum, among other venues. His work is in the collections of the Hirschhorn Museum and Sculpture Garden, the National Gallery of Art, Washington, D.C., and the Smithsonian Museum of American Art.
Mixed technique on board; 34 x 48.5 cm.
Antonio Scialoja was born in Rome on December 16, 1914. In the late 1930s he joined the artistic and literary circles of the Galleria La Cometa. Having given up his law studies in 1937, he devoted himself entirely to painting and produced his first Expressionist paintings, in which his use of thick textural brushstrokes was clearly influenced by French painting, in particular Soutine. In 1939 he exhibited at the third Quadriennale of Rome and in 1941 had a private show at the Società Amici dell’Arte in Turin. The following year he took part in a group show at the Galleria Lo Zodiaco in Rome, along with Emilio Vedova, Giulio Turcato, and Leoncillo Leonardi. He was actively involved in the Resistance, and he worked for the theater, designing his first stage sets in 1943. At the end of the war, along with the artists Stradone, Ciarrocchi, and Sadun, he founded the group “I quattro fuori strada”. During the late 1940s he went to Paris, where he became increasingly immersed in European artistic culture; this environment strongly affected his investigation into tone and Neo-Cubism. In the 1950s Scialoja gradually broke free from Expressionism, turning to Analytical Cubism and then to abstraction. His contacts with the group Origine, who were against the decorative aspects of abstract art, together with his trip to the U.S. in 1956, where he met the protagonists of American Abstract Expressionism, pushed the artist to thoroughly explore color, texture, and gestural painting. His first Impronte date back to 1957; in these works traces of deposited color are printed from one surface onto the other, and onto diverse materials ranging from paper to canvas. Meanwhile Scialoja toock part in important national and international shows; in 1960 he moved first to New York and then from 1961 to 1963 to Paris. Back in Italy he exhibited in the 1964 Venice Biennale. His artistic production ceased for a prolonged period during the 1970s, and he only resumed painting in 1983. Scialoja was also a poet, writer, and set designer. He taught at the Academy of Fine Arts in Rome and served as its director for many years. He died in Rome on March 1, 1998.
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.
TWORKOV, JACK (1900–1982), U.S. educator, printmaker, painter. Tworkov was born in Biala, Poland and immigrated to the U.S. in 1913. He studied at Columbia University, the National Academy of Design, and the Art Students League. Tworkov worked as an artist for the Works Project Administration's Federal Art Project in 1935, where he met Willem de Kooning. Both men emerged as forces in the Abstract Expressionist movement. Tworkov was also one of the founders of The Club, a loose New York association of Abstract Expressionists which met to discuss matters relating to art making. Like many other Abstract Expressionists, Tworkov's early work consisted of figures and still-lifes. He also rendered images in a cubist style before adopting the visual aspects of Abstract Expressionism. As to be expected, his early work shared many stylistic characteristics with that of de Kooning. As Tworkov gained eminence along with his colleagues in the New York School representational subject matter became subsumed in abundantly textured long, dashing, diagonal brush strokes, as in his painting Blue Note from 1959. Among other influences, Tworkov also turned to the art of the marginalized Expressionist painter Chaim Soutine as a source of inspiration; in fact, Tworkov wrote an article on Soutine during the latter's 1950 show at MOMA. Tworkov achieved the illusion of vibrating and multiple fields or screens of color from a cool, restricted palette and subtle nuances of tone. Likely influenced by the Minimalists, Tworkov integrated grids and other ordering systems into his images from the 1960s onward, such as Shield (1961) and Variables II (1964–65). One of his major series of paintings, House of the Sun, refers to Ulysses, whose epic adventures suggested a variety of themes to the artist. Tworkov taught at numerous institutions: the American University, Black Mountain College (other luminaries of this period such as John Cage, Franz Kline, and Lyonel Feininger also taught here during the 1940s), Queens College, the Pratt Institute, and Yale University, where he functioned as chairman of the art department. He was a recipient of a Corcoran Gold Medal in 1963. Tworkov's art has been exhibited at numerous major museums, including the Art Institute of Chicago, the Guggenheim Museum, the Museum of Modern Art, New York, the Pennsylvania Academy, and the Whitney Museum, among other venues. His work is in the collections of the Hirschhorn Museum and Sculpture Garden, the National Gallery of Art, Washington, D.C., and the Smithsonian Museum of American Art.
Huile sur toile, 92 x 59 cm, 1921, musée de l'Orangerie, Paris.
Les Maisons ont été peintes à Céret (Pyrénées-Orientales), lieu de résidence plus ou moins forcé du peintre de 1919 à 1922. En effet, Léopold Zborowski (1889-1932), marchand de Soutine, l’avait envoyé dans ce village en lui assurant le logement et le couvert contre l’envoi de sa production. Le tableau représente les maisons de la Rue de la république, vues du ravin des Tins. Soutine a démesurément allongé les maisons qui envahissent tout l’espace du tableau et viennent occulter le ciel. Ce dernier d’une tonalité grise crayeuse semblable aux façades des maisons est quasiment absent. Le ravin, dans cette version tient une place marginale en bas de la composition. Les maisons se tordent et ondulent en une vision hallucinée. Elles se font l’écho du tourment intérieur du peintre. Traité dans un camaïeu de brun, de gris et de vert et dans des tonalités beaucoup plus sourdes que la plupart des tableaux de la période de Céret, ce paysage évoque les paysages d’Egon Schiele (1890-1918). Par ses déformations il se rapproche stylistiquement de ceux des expressionnistes allemands de Die Brücke (cf. musée de l'Orangerie).
www.sothebys.com/en/auctions/ecatalogue/2012/impressionis... Chaïm Soutine
POISSONS ET TOMATES
Estimate 1,200,000 — 1,800,000 GBP
LOT SOLD. 2,729,250 GBP (Hammer Price with Buyer's Premium)
Chaïm Soutine
1893 - 1943
POISSONS ET TOMATES
signed Soutine (lower left and upper right)
oil on canvas
61 by 81.3cm.
24 by 32in.
Painted circa 1924.
READ CONDITION REPORT
SALEROOM NOTICE
PROVENANCE
Henri Bing, Paris
François Reichenbach, Paris
Mr & Mrs Jack I. Poses, New York (acquired by 1950)
Thence by descent to the present owners
EXHIBITED
New York, Museum of Modern Art & Cleveland, Cleveland Museum of Modern Art, Soutine, 1950-51, illustrated in the catalogue (as dating from circa 1923)
Waltham, Massachusetts, Brandeis University, Rose Art Museum, A Century of Modern European Painting, 1961, no. 41
New York, Wildenstein & Co. & Waltham, Massachusetts, Brandeis University, Rose Art Museum, Modern French Painting, 1962, no. 62, illustrated in colour in the catalogue
London, Tate Gallery & Edinburgh, Edinburgh Art Festival, Chaïm Soutine, 1963, no. 32, illustrated in colour in the catalogue (as dating from circa 1925)
Paris, Musée de l'Orangerie des Tuileries, Soutine, 1973, no. 28, illustrated in the catalogue (as dating from circa 1925)
New York, Marlborough Gallery, Chaïm Soutine 1893-1943, 1973, no. 35, illustrated in colour in the catalogue
New York, The Jewish Museum, The Jewish Experience in the Art of the Twentieth Century, 1975-76, no. 229, illustrated in the catalogue
Münster, Westfälisches Landesmuseum für Kunst und Kulturgeschichte; Tübingen, Kunsthalle; London, Hayward Gallery & Lucerne, Kunstmuseum, Chaïm Soutine, 1981-82, no. 63, illustrated in colour in the catalogue
New York, Galleri Bellman, Chaïm Soutine, 1983-84, no. 21, illustrated in colour in the catalogue
LITERATURE
Margaret Breuning, 'The Cataclysmic World of Chaïm Soutine', in Art Digest, 15th November 1950, mentioned p. 11
'A Study of Soutine', in The Times Literary Supplement, 4th May 1951, mentioned p. 270
Jean Leymarie & Marcellin Castaing, Soutine, Paris, 1963, illustrated in colour pl. VI
Cordelia Oliver, 'Soutine and Modigliani', in Manchester Guardian, 20th August 1963, mentioned
Andrew Forge, Soutine, London, 1965, illustrated in colour pl. 27
Pierre Courthion, Soutine. Peintre du déchirant, Lausanne, 1972, illustrated p. 253; illustrated in colour p. 81 (as dating from 1926-27)
Raymond Cogniat, Soutine, Paris, 1973, illustrated in colour p. 40
Alfred Werner, Chaïm Soutine, New York, 1977, illustrated fig. 65 (as dating from circa 1925)
Lynne Cooke, 'London, Hayward Gallery: Soutine', in Burlington Magazine, vol. CXXIV, October 1982, mentioned p. 647
Nancy Princenthal, 'Chaim Soutine. Galleri Bellman', in Art News, vol. 83, March 1984, mentioned p. 209
Maurice Tuchman, Esti Dunow & Klaus Perls, Chaim Soutine, Catalogue Raisonné, Cologne, 1993, vol. I, no. 57, illustrated in colour p. 417
CATALOGUE NOTE
Soutine's pictures, known for their textural bravura and focus on sensual beauty of objects, astounded his contemporaries. Whether portraits of the working class, depictions of local monuments or still-lifes, he was able to invest vernacular subjects with a raw beauty that set him apart from the rest of the avant-garde.
Painted circa 1924, Poissons et tomates epitomises Soutine's mature style, with its great expressiveness of execution, rhythmically charged brushstrokes and intense colours. The artist's still-lifes are imbued with an almost tactile presence. As the authors of the catalogue raisonné have commented: 'In the still-life paintings of the Cagnes period, 1922-25, Soutine demonstrated that he had absorbed the landscape lessons of Cagnes. In certain still-lifes the images read like one of these landscapes: the bird becomes a valley of vegetation, the pitcher a house, the fruit and cloth a mountain, the ladle a road. The table cushions the foreground and provides an entry point; the background corners intrude and enclose like fragments of sky. The forms now sit as volumes in a shallow space, contained within the ellipse-shaped composition. The elliptical composition is even more pronounced in certain still-lifes of these years and coincides with the emergence of a focal image - centralized, stabilized, identifiable and located clearly in space – a shared characteristic of the still lifes, portraits, and landscapes. Furthermore, the anthropomorphic suggestions in the landscapes [...] and still-lifes (the grasping claws or handlike forks) make us aware of the power of associations now originating for Soutine in the actual objects. The paint and stroke are as evocative of energy as ever, but the object depicted takes on greater and greater attention' (M. Tuchman, E. Dunow & K. Perls, op. cit., p. 340).
Throughout the years 1923-25, Soutine was going back and forth from Cagnes to Paris where he began to frequent the Louvre on a regular basis. It was thus that he became inspired by themes of the Old Masters whilst admiring the spatial and technical innovations of painters such as Manet (fig. 1). As well as echoing the magnificent still-lifes on display at the Louvre, the appetisingly arranged fish and lush red tomatoes in the present work also evoke the artist's obsession with food. 'There is no question as to the overwhelming importance food held for Soutine, both consciously and somewhat less consciously. As a child, he suffered terrible poverty and hunger. Food was obviously not an aspect of daily life that could be taken for granted. [...] Food and the rituals associated with it played a dominant role in the family, community, and religion [...]. Moreover, throughout his adult life Soutine suffered from stomach ulcers, a condition that affected his life on many levels [...]. Even when he achieved financial well-being, he was unable to eat the foods that he could not afford earlier in life. [...] The food that Soutine painted with such concentration – meat, fowl, fish – were the very foods prohibited to him. [...] In the still-life paintings of the early 1920s he has moved from a preoccupation with food images to a fixation on particular types of food – fish, fowl and beef. In these years it is especially upon fish that he concentrates, and ultimately emerges with a specific fish whose image he repeatedly paints' (ibid., pp. 339-340) (fig. 2).
In the present work, the restless agitation that permeated and stimulated the artist bursts into the richly coloured canvas; the artist projects this energy with the stroke of his virtuoso paintbrush. Maurice Tuchman has observed that 'the growing importance of individual brushstroke, the singular touch of the painter's hand, is shared by many modern Expressionists from van Gogh right through to the American Abstract Expressionists, passing through Soutine. The expressionist brushstroke is extremely loaded and self-conscious. Soutine's characteristic is not a line but a greasy smear left by some entrails' (ibid., p. 35). In this way, the bold creativity of Poissons et tomates appears to foreshadow the seething intensity of the subsequent avant-garde.
Fig. 1, Edouard Manet, Nature morte aux poissons, 1864, oil on canvas, The Art Institute of Chicago, Chicago
Fig. 2, Chaïm Soutine, Nature morte à la raie, circa 1924, oil on canvas, Private Collection
Brown appropriates images by living, working artists, such as Frank Auerbach and Georg Baselitz, as well as paintings by historical artists, such as Guido Reni, Diego Velázquez, Anthony van Dyck, Rembrandt, Jean-Honoré Fragonard, Eugène Delacroix, John Martin, Gustave Courbet, Adolph Menzel, Pierre-Auguste Renoir, Vincent van Gogh, Chaim Soutine and Salvador Dalí. He claims that the references to these artists are not direct quotations, but alterations and combinations of several works by different artists, although the artists whose work is appropriated do not always agree. As art critic Michael Bracewell states, Brown is less concerned with the art-historical status of those works he appropriates than with their ability to serve his purpose – namely his epic exploration of paint and painting. In most cases, the artist uses reproductions printed in exhibition catalogues, found on the internet or ordered through print-on-demand companies. By scanning and changing the image with programmes like Photoshop, Brown playfully alters the image to his specific needs. He distorts, stretches, pulls, turns the image upside down and changes the colour, usually based on other found images, as well as the background setting. Describing his working practice in an interview, Brown stated: I‘m rather like a Dr Frankenstein, constructing paintings out of the residue or dead parts of other artist‘s work. I hope to create a sense of strangeness by bringing together examples of the way the best historic and modern-day artists have depicted their personal sense of the world. I see their worlds from multiple or schizophrenic perspectives, through all their eyes. Their sources of inspiration suggest things I would never normally see – rocks floating in far-off galaxies, for example, or a bowl of flowers in an 18th-century room, or a child in a fancy-dress costume. It‘s those fictions that I take as subject matter. The scenes may have been relatively normal to Rembrandt or Fragonard but because of the passage of time and the difference in culture, to me they are fantastical.
w.p.
iPad
Art Set Pro App
From direct observation of Soutine's painting.
These three are a small indication of the range of images I looked at in my travels - more than 15 museums in ~18 days- my eyes and brain are still processing!
Huile sur toile, 66 x 54 cm, 1918, fondation Barnes, Philadelphie.
Un enchevêtrement de fleurs jaunes et rouges émerge d'un vase brunâtre. Des traits en zigzag animent la table et des touches de vert citron électrisent le bouquet et le jardin aperçu à travers une porte. Le bouquet de Soutine, sans doute le plus bilieux de la fondation Barnes, témoigne d'un commentaire selon lequel il "jetait des couleurs sur la toile comme des papillons empoisonnés" et met le spectateur au défi d'analyser ses propres réponses esthétiques, quelles qu'elles soient (cf. fondation Barnes).
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.
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
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
AWM American Watercolor Movement, Live at Coney Island. Brooklyn
Let the Mermaids dance. The sunset concert.
Music and Lyrics: Copyright, American Watercolor Movement
americanwatercolormovement.com
A Branko Film
Show's Producer: Branko
Film Copyright Branko
Unedited, one long shot.
From the Documentary movie: 111 First Street From Paris to Jersey City they showed no love.Back in the years 2003-2004, Documentary Filmmaker Branko, started doing a documentary film on the work of the artists working and living in artists studios, at a four square blocks, semi-abandoned deposit and warehouse, which had been converted to studio spaces in the 1990's, located at 111 First Street, Jersey City, New Jersey. Branko mentions: "Back in those days, the place was a dump with walls, nobody wanted to rent there, it was not made for human residences" After some months of work on the Documentary, and months before the artists left the building in the year 2005, Branko shelved the project. He needed time to look after his own private life. It had nothing to do with the politics and controversy surrounding the City of Jersey City, the landlord and the resident artists. Branko mentions: "I make Documentaries, that I know have a positive social influence, I don't go after who robbed what, who killed whom, etc.; the world is full of that. I am a Bible believing Christian, and just like the Quakers, Calvinists, Huguenots of the past, who prayed and dedicated their beautiful works to Jehovah, I do likewise. My humble work, is my prayer to the Lord." This documentary deals exclusively with the art made and/or performed by the artists. Branko says: "Who remembers the building owners or politicians in 1920's Paris, where artists such as Modigliani, Chagall, Lipchitz, Soutine, Brancusi, Rivera, Man Ray, Kisling, Picasso, Juan Gris, Matisse, Apollinaire, Braque, and the rest..., made their art flourish?" "Nobody" "The same will happen, as the legend of the artists of 111 First Street grows. Their art quality, will make them eternal." "Working Artists are creating now, what the rest of us normal human beings, will only be able to appreciate, in 20-30 years." In the history of mankind, this location compares to a few places, where so much artistic talent has been housed at the same place and time. The viewer can enter this wonderful utopia.
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Oil on paper; 65.3 x 48.7 cm.
TWORKOV, JACK (1900–1982), U.S. educator, printmaker, painter. Tworkov was born in Biala, Poland and immigrated to the U.S. in 1913. He studied at Columbia University, the National Academy of Design, and the Art Students League. Tworkov worked as an artist for the Works Project Administration's Federal Art Project in 1935, where he met Willem de Kooning. Both men emerged as forces in the Abstract Expressionist movement. Tworkov was also one of the founders of The Club, a loose New York association of Abstract Expressionists which met to discuss matters relating to art making. Like many other Abstract Expressionists, Tworkov's early work consisted of figures and still-lifes. He also rendered images in a cubist style before adopting the visual aspects of Abstract Expressionism. As to be expected, his early work shared many stylistic characteristics with that of de Kooning. As Tworkov gained eminence along with his colleagues in the New York School representational subject matter became subsumed in abundantly textured long, dashing, diagonal brush strokes, as in his painting Blue Note from 1959. Among other influences, Tworkov also turned to the art of the marginalized Expressionist painter Chaim Soutine as a source of inspiration; in fact, Tworkov wrote an article on Soutine during the latter's 1950 show at MOMA. Tworkov achieved the illusion of vibrating and multiple fields or screens of color from a cool, restricted palette and subtle nuances of tone. Likely influenced by the Minimalists, Tworkov integrated grids and other ordering systems into his images from the 1960s onward, such as Shield (1961) and Variables II (1964–65). One of his major series of paintings, House of the Sun, refers to Ulysses, whose epic adventures suggested a variety of themes to the artist. Tworkov taught at numerous institutions: the American University, Black Mountain College (other luminaries of this period such as John Cage, Franz Kline, and Lyonel Feininger also taught here during the 1940s), Queens College, the Pratt Institute, and Yale University, where he functioned as chairman of the art department. He was a recipient of a Corcoran Gold Medal in 1963. Tworkov's art has been exhibited at numerous major museums, including the Art Institute of Chicago, the Guggenheim Museum, the Museum of Modern Art, New York, the Pennsylvania Academy, and the Whitney Museum, among other venues. His work is in the collections of the Hirschhorn Museum and Sculpture Garden, the National Gallery of Art, Washington, D.C., and the Smithsonian Museum of American Art.
Huile sur toile, 202 x 114 cm, 1925, musée d'Art, Grenoble.
En 1925, Soutine réalise une série de toiles sur le thème du boeuf écorché qui a pour point de départ un tableau du Louvre : La Carcasse de boeuf de Rembrandt. Il choisit cette oeuvre non pour la copier mais pour l’interpréter et, à partir de là, inventer sa propre peinture. Ne pouvant travailler qu’en présence d’un modèle, il fit installer une carcasse de boeuf dans son atelier et, sans dessins préparatoires, exécuta plusieurs versions de ce sujet, celle de Grenoble étant la plus magistrale, pénètrant tout autant dans les entrailles de l’animal que dans la peinture elle-même. Cette oeuvre est aussi une évocation de la crucifixion que sert et exalte la fusion des formes et des couleurs. À travers cette image surprenante où la vie côtoie la mort, l’artiste parvient à restituer l’émotion et le tourment que lui ont procuré l’acte de peindre (cf. musée d'Art de Grenoble).