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Berthe Morisot
Oil on canvas
From the exhibition
Berthe Morisot and the Art of the 18th Century
(18 October 2023 to 3 March 2024)
Morisot's work, which flourished mainly in the 19th century, reflects a fascination with modern life. However, many during her lifetime drew parallels between her work and that of the great French masters of the 18th century. It's no coincidence that Renoir described her as "the last elegant, feminine artist we've had since Fragonard". Paul Girard, at the artist's posthumous retrospective in 1896, had no hesitation in asserting: "This is the eighteenth century modernized".
The exhibition at the Musée Marmottan Monet focuses on this idea, presenting a series of carefully selected works. It invites us to discover the imprint of the eighteenth century on Morisot's work, juxtaposing her emblematic paintings with those of major figures such as Watteau, Boucher, Fragonard and Perronneau. A unique opportunity to understand the resonances between Impressionism and the Age of Enlightenment, and to plunge into the rich and complex world of Berthe Morisot.
[*Musée Marmottan Monet]
Taken in Musée Marmottan Monet
The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).
In the 16th arrondissement
Underside of a Voodoo fender for Dynas showing optional lightbar with Kellermann stop/tail/turn lights ... #voodoofender #dyna #streetbob #kellermann #deathsquad #dynasrock
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Berthe Morisot
Oil on canvas
From the exhibition
Berthe Morisot and the Art of the 18th Century
(18 October 2023 to 3 March 2024)
Morisot's work, which flourished mainly in the 19th century, reflects a fascination with modern life. However, many during her lifetime drew parallels between her work and that of the great French masters of the 18th century. It's no coincidence that Renoir described her as "the last elegant, feminine artist we've had since Fragonard". Paul Girard, at the artist's posthumous retrospective in 1896, had no hesitation in asserting: "This is the eighteenth century modernized".
The exhibition at the Musée Marmottan Monet focuses on this idea, presenting a series of carefully selected works. It invites us to discover the imprint of the eighteenth century on Morisot's work, juxtaposing her emblematic paintings with those of major figures such as Watteau, Boucher, Fragonard and Perronneau. A unique opportunity to understand the resonances between Impressionism and the Age of Enlightenment, and to plunge into the rich and complex world of Berthe Morisot.
[*Musée Marmottan Monet]
Taken in Musée Marmottan Monet
The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).
In the 16th arrondissement
Berthe Morisot
Oil on canvas
For her self-portrait, Morisot struck an emblematic pose, her bust in profile, her face turned towards the viewer, as if walking past us. She treated it as a pochade, a term that referred to "free or swiftly sketched efforts." This evoked the taste among 18th-century art lover for the sketch form.*
From the exhibition
Berthe Morisot and the Art of the 18th Century
(18 October 2023 to 3 March 2024)
Morisot's work, which flourished mainly in the 19th century, reflects a fascination with modern life. However, many during her lifetime drew parallels between her work and that of the great French masters of the 18th century. It's no coincidence that Renoir described her as "the last elegant, feminine artist we've had since Fragonard". Paul Girard, at the artist's posthumous retrospective in 1896, had no hesitation in asserting: "This is the eighteenth century modernized".
The exhibition at the Musée Marmottan Monet focuses on this idea, presenting a series of carefully selected works. It invites us to discover the imprint of the eighteenth century on Morisot's work, juxtaposing her emblematic paintings with those of major figures such as Watteau, Boucher, Fragonard and Perronneau. A unique opportunity to understand the resonances between Impressionism and the Age of Enlightenment, and to plunge into the rich and complex world of Berthe Morisot.
[*Musée Marmottan Monet]
Taken in Musée Marmottan Monet
The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).
In the 16th arrondissement
The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).
In the 16th arrondissement
Berthe Morisot
Oil on canvas
For her self-portrait, Morisot struck an emblematic pose, her bust in profile, her face turned towards the viewer, as if walking past us. She treated it as a pochade, a term that referred to "free or swiftly sketched efforts." This evoked the taste among 18th-century art lover for the sketch form.*
From the exhibition
Berthe Morisot and the Art of the 18th Century
(18 October 2023 to 3 March 2024)
Morisot's work, which flourished mainly in the 19th century, reflects a fascination with modern life. However, many during her lifetime drew parallels between her work and that of the great French masters of the 18th century. It's no coincidence that Renoir described her as "the last elegant, feminine artist we've had since Fragonard". Paul Girard, at the artist's posthumous retrospective in 1896, had no hesitation in asserting: "This is the eighteenth century modernized".
The exhibition at the Musée Marmottan Monet focuses on this idea, presenting a series of carefully selected works. It invites us to discover the imprint of the eighteenth century on Morisot's work, juxtaposing her emblematic paintings with those of major figures such as Watteau, Boucher, Fragonard and Perronneau. A unique opportunity to understand the resonances between Impressionism and the Age of Enlightenment, and to plunge into the rich and complex world of Berthe Morisot.
[*Musée Marmottan Monet]
Taken in Musée Marmottan Monet
The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).
In the 16th arrondissement
The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).
In the 16th arrondissement
Berthe Morisot
Oil on canvas
From the exhibition
Berthe Morisot and the Art of the 18th Century
(18 October 2023 to 3 March 2024)
Morisot's work, which flourished mainly in the 19th century, reflects a fascination with modern life. However, many during her lifetime drew parallels between her work and that of the great French masters of the 18th century. It's no coincidence that Renoir described her as "the last elegant, feminine artist we've had since Fragonard". Paul Girard, at the artist's posthumous retrospective in 1896, had no hesitation in asserting: "This is the eighteenth century modernized".
The exhibition at the Musée Marmottan Monet focuses on this idea, presenting a series of carefully selected works. It invites us to discover the imprint of the eighteenth century on Morisot's work, juxtaposing her emblematic paintings with those of major figures such as Watteau, Boucher, Fragonard and Perronneau. A unique opportunity to understand the resonances between Impressionism and the Age of Enlightenment, and to plunge into the rich and complex world of Berthe Morisot.
[*Musée Marmottan Monet]
Taken in Musée Marmottan Monet
The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).
In the 16th arrondissement
Portrait d'homme, d'apres Maurice Quentin Delatour or Jean Valade, c1873-76
Edgar Degas
Oil on canvas
The pastel and its copy by Degas are brought together here for the first time in 150 years. Degas sought to follow in the footsteps of the Old Masters. Direct comparison allows us to appreciate the challenge he set himself of rediscovering the practice of those few 18th-century portrait painters gifted with a double talent and capable of reproducing a pastel portrait in oils. Degas's brush mimics the surface with fine diagonal hatching in the shadows. He sought to render the plush aspect of the paper and to restore the bluish passages of the background on the right.
During this period, Degas invited Berthe Morisot to join him at the first Impressionist exhibition in 1874. She was well aware of his experiments.*
From the exhibition
Berthe Morisot and the Art of the 18th Century
(18 October 2023 to 3 March 2024)
Morisot's work, which flourished mainly in the 19th century, reflects a fascination with modern life. However, many during her lifetime drew parallels between her work and that of the great French masters of the 18th century. It's no coincidence that Renoir described her as "the last elegant, feminine artist we've had since Fragonard". Paul Girard, at the artist's posthumous retrospective in 1896, had no hesitation in asserting: "This is the eighteenth century modernized".
The exhibition at the Musée Marmottan Monet focuses on this idea, presenting a series of carefully selected works. It invites us to discover the imprint of the eighteenth century on Morisot's work, juxtaposing her emblematic paintings with those of major figures such as Watteau, Boucher, Fragonard and Perronneau. A unique opportunity to understand the resonances between Impressionism and the Age of Enlightenment, and to plunge into the rich and complex world of Berthe Morisot.
[*Musée Marmottan Monet]
Taken in Musée Marmottan Monet
The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).
In the 16th arrondissement
clignotant led kellermann bullet atto noir verre clair, disponible chez idealmoto www.idealmoto.com/fr/clignotants/2710-kellermann-clignota...
North County High School Algebra teachers Mrs. Russell and Mr. Kellermann shared what they learned while working with roster artist Christina Delgado to help teach Algebra 1 concepts.
The pair led an exercise in digital photography and, with the math department, brainstormed ways in which the teachers can further integrate photography into their lessons.
clignotant led kellermann bullet atto noir verre clair, disponible chez idealmoto www.idealmoto.com/fr/clignotants/2710-kellermann-clignota...