View allAll Photos Tagged soutine
Oil on canvas
Given by the Contemporary Art Society in 1963
What they thought then:
Adrian Ryan was highly regarded by the art world in the 1950s and early '60s and had regular exhibitions at the Redfern Gallery in London.
What we think now:
Ryan showed his work less in the 1960s and 1970s, his work became unfashionable and he died in obscurity in 1998. There has been a revival of interest in recent years and there is now a website devoted to his work.
The artist Sven Berlin wrote of him (in 1994), ‘..a fine painter with a touch of Soutine that betokened a macabre streak. He could paint a calf's head fresh from the butcher, day after day, until it was teeming with maggots, yet produce a landscape as gentle to the eye as a Ruysdael.
He himself wrote of painting fish, ‘Fish lie before the artist with their sad eyes and fading colours, but in death - as in life - fish are beautiful.’
Detail from Reflets verts by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
Detail from le matin aux saules by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
Huile sur toile,
H : 0,92 L : 0,65,
Date de création vers 1920,
Signé Soutine
Donation Joseph Rignault, 1947 Inv : 22281
Musée Calvet, Avignon
Detail from Les Nuages by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located on the Place de la Concorde in Paris. It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde near the Concorde metro station.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927. The museum has housed the Walter-Guillaume collection of impressionist paintings since 1965.
Plan of Musée de l'Orangerie
The museum was closed to the public from the end of August 1999 until May 2006. For several months before it was closed there was a special exhibit of Monet's Nympheas that were gathered from museums throughout the world. More than 60 of the 250 paintings he made of the water lilies in his garden were included. The walls were repainted in shades of purples and violet for this special exhibit. The Orangerie was renovated in order to move the paintings to the upper floor of the gallery. They are now available under direct diffused light as was originally intended by Monet. The eight paintings are displayed in two rooms. Source: www.wikipedia.com
Detail from le matin clair aux saules by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
LA RUCHE in 1918 is a residence of artists in the district Montparnasse of Paris, founded in 1902 by Alfred Boucher, having among his pensioners Bourdelle, Modigliani, Chagall, Indenbaum, Soutine, Foujita (Fujita), Rivera, Kahlo, Orloff, Kikoine, Krémègne, Zadkine, Lipsi, Archipenko, Miro, Tchaikov, Chapiro, Epstein, Csaky, Léger, Altmann, Brancusi, Laurencin, Marevna …The artists' movement formed the ECOLE DE PARIS movement between 1905 and 1939.
Detail from Les Nuages by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
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.
Après Roy Lichtestein, c’est au peintre Chaïm Soutine d’être à l’honneur à la toute nouvelle Pinacothèque de Paris. L’expo est riche et très intelligente. On en prend plen la vue, étant donné le malin plaisir que le peintre venu de Lituanie adorait les rouges vifs et les bleus electriques.
Pour lire la suite :
Huile siur toile, 73 x 92 cm, 1923, musée de l'Orangerie, Paris.
Le village est le plus radical et le plus singulier des paysages de Soutine. Le sujet choisi par l’artiste semble classique, un paysage, des maisons et des arbres surplombés d’un ciel, mais ici le traitement révèle une personnalité tourmentée et l’affirmation d’une grande modernité. En effet tous les éléments de la toile sont soumis à des distorsions spectaculaires et semblent s’imbriquer les uns dans les autres abolissant tout sentiment de perspective et d’équilibre. Le paysage mental éclipse l’observation stricte de la nature pour faire place à l’expression du sentiment. Cependant le peintre a bien pris pour modèle un lieu existant.
Le paysage du musée de l’Orangerie appartient à un groupe de neuf peintures réalisées en 1923-1924 à La Basse Gaude, située à environ huit kilomètres de Cagnes. Soutine a choisi ce lieu pour ses maisons et son moulin accrochés sur un pic rocheux à des hauteurs différentes. Le peintre réalise cette toile alors qu’il nourrit des sentiments contradictoires envers ce paysage qu’il avait profondément aimé. Il écrit en effet au galeriste parisien Zborowski à la fin de l’année 1923 "je voudrais quitter Cagnes. Ce paysage que je ne peux plus supporter…". Cette retranscription d’une vision angoissée et subjective de son environnement place Soutine dans la lignée de la peinture expressionniste qui trouve ses racines en Europe dès la fin du XIXe siècle et est particulièrement marqué avant et après la Première guerre mondiale (cf. musée de l'Orangerie).
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
www.sothebys.com/it/auctions/ecatalogue/lot.116.html/2011... PROPERTY FROM A DISTINGUISHED EAST COAST COLLECTION
Chaïm Soutine
LA SERVANTE EN BLEU
Stima 300,000 — 400,000 USD
Lotto. Venduto 554,500 USD (Prezzo di aggiudicazione con commissione d'acquisto)
VAI AL LOTTO
IMAGE ZOOM
DETAILS & CATALOGUING
AGGIUNGERE AL MIO CATALOGO
TRACK LOT
STAMPA
IMPRESSIONIST & MODERN ART DAY SALE
04 MAGGIO 2011 | 10:00 EDT
NEW YORK
CONTATTI
Chaïm Soutine
1893 - 1943
LA SERVANTE EN BLEU
Signed C. Soutine (lower right)
Oil on panel
19 3/4 by 20 7/8 in.
50 by 53 cm
Painted circa 1934.
LEGGI LA SCHEDA DI CONSERVAZIONE
SALEROOM NOTICE
PROVENIENZA(E)
Kunstmuseum Luzern, Switzerland
Glenway Wescott, New York
Helen Serger, La Boétie, Inc., New York
John Heller Gallery, New York
The Ritter Foundation, New York (acquired in 1959 and sold: Parke-Bernet Galleries, New York, October 25, 1972, lot 41)
Modarco Advisory Service, Geneva (acquired in 1972)
Knoedler-Modarco, S.A., New York (acquired in 1978)
Galerie Internazionale, Milan
Private Collection
Sale: Sotheby's, New York, May 11, 1987, lot 79
Sale: Christie's, London, June 26, 1989, lot 53
Gasiunasen Gallery, Palm Beach
Acquired from the above in 2001
ESPOSIZIONE
New York, The Museum of Modern Art & Cleveland Museum of Art, 1950-51
Palm Beach, Florida, Society of the Four Arts, 1952, no. 30, illustrated in the catalogue
New York, Fine Arts Associates, Paintings from the Ritter Foundation, 1959, no. 13, illustrated in the catalogue
New York, The Metropolitan Museum of Art, Paintings, Drawings, and Sculpture from Private Collections, 1966, no. 175, illustrated in the catalogue
Los Angeles County Museum of Art, 1968, no. 75, illustrated in the catalogue
Jerusalem, Israel Museum, 1968, no. 41, illustrated in the catalogue
Brooklyn Museum, Summer Exhibition, 1971
Brooklyn Museum, Summer Exhibition, 1972
BIBLIOGRAFIA
Margaret Breuning, Art Digest, November 15, 1950, illustrated p. 11
Pierre Courthion, Soutine, Peintre du dechirant, Lausanne, 1972, no. 280A, illustrated p. 280
Joseph Chazades, "Anvers: Modarco ou le charme discret de la grande banque," in L'Oeil, Paris, 1975, no. 245, illustrated p. 81
Benedikt Taschen Verlag, Chaim Soutine Catalogue Raisonne Werkverzeichnis II, Germany, 1993, no. 160, illustrated p. 743
NOTA A CATALOGO
Chaïm Soutine's childhood and early adulthood were marked by extreme poverty and deprivation. In 1923 the famous American collector Albert Barnes began to voraciously acquire Soutine's work; as a result, the interest of other collectors increased and Soutine's prices rose dramatically. By the mid-1930s, when the present work was painted, he was financially secure and increasingly eccentric, but his paintings remained grounded in his everyday inspirations of landscapes, still lifes, and picture-portraits. Le Servante en bleu is a classic example of his interest in models from everyday working life, anonymous sitters depicted in confined and unusually ambiguous spaces, who nevertheless retain his or her character in Soutine's compositions.
La Servante en bleu also demonstrates the changing elements of Soutine's portraiture in the early 1930s. "The figure paintings of the later years – from the early 1930s on – are marked by a structural solidity and a change in mood and speed of the image. The tempo is slowed down, giving way to a more meditative and quiet expression.... The uniformed figures of the nightclubs and hotels are replaced by uniformed domestic servants – maids, cleaning girls, house cooks....The faces and gestures are quieter and more withdrawn. Eyes are generally averted, looking askance, sometimes closed in sleep. These people do not aggressively confront us as in earlier portraits; they do not meet our gaze" (Norman L. Kleeblatt, & Kenneth E. Silver, An Expressionist in Paris: the Paintings of Chaim Soutine, New York: 1998. p. 139, from the essay "The Late Works: Regression or Resolution" by Esti Dunow).
His bold and more aggressive portraiture of the 1920's as seen, for example, in Le Chasseur de Chez Maxim's of circa 1925 (see fig. 1), have become more muted and subtle in the present work: the quieter facial expression and gestures, the subject of the maid pictured with items from the market, the blue dress and white apron of the domestic servant's uniform, the hooded eyes, and the lack of confrontation from the figure. There is still tension in her tightly clenched left hand and raised right shoulder. While she is stationary, she seems ready to spring up again as soon as the painter is finished – to get on with her daily routine. While the subject has softened considerably, the picture retains an underlying tension and profound emotive quality.
Detail from Les deux saules by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
‘Madeleine Castaing’ ca. 1929 Chaim Soutine. French, born in Lithuania, 1893-1943
Oil on canvas
Bequest of Miss Adelaide Milton de Groot (1876-1967), 1967
67.187.107
Soutine met the successful Parisian interior decorator and antiquarian Medeleine Castaing (1864-1992) in 1920. She and her husband became one of the artist’s most important patrons during the following decade. The portrait took six sittings in the artist’s Pais studio. Castaing’s fidgeting hands, awkwardly positioned legs, and tense facial expression convey her impatience and discomfort while posing.
From the placard: Metropolitan Museum of Art.
Detail from Les deux saules by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
"WOMAN'S HEAD" - 1912 - by AMEDEO MODIGLIANI (1884-1920) - Italian sculptor of the movement "ECOLE DE PARIS" (all artists between 1905 and 1939) ... Modigliani works with his friends, young painters and sculptors: Soutine, Foujita, Kahlo, Chagall, Rivera, Indenbaum, Bourdelle, Orloff, Valadon, Pompon, Kikoine, Brancusi, Bugatti, Laurencin, Matisse, Miro, Picasso, Leger, Archipenko, Kremegne, Bonnard … Sculpture "Woman's head" - Metropolitan Museum of Art, New York. - 27 x 9 3/4 in. (68 x 24 cm)
Penguin First edition published as a Modern Classic in 1971.The cover shows a detail from 'Woman in Red' by Chaim Soutine in the collection of Dr.Harry Bakwin,New York.
ISBN 0 14 00.3158 8
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.
Huile sur toile, 83 x 80 cm, 1920, musée de l'Orangerie, Paris.
Le Gros Arbre bleu a été peint par Soutine lors d'un séjour à Céret de 1919 à 1922. L'arbre se tord et ondule au centre du tableau comme emporté par un coup de vent. Le coffre semble prêt à se briser en deux. Le ciel sombre crée un climat oppressant, le début d’une tempête ? Cependant, le ciel de cette époque était souvent peint du même bleu foncé avec des arbres tordus semblant secoués par les tempêtes. Sur la place de l’Ormeau à Céret de 1920, l'artiste peint d'ailleurs un autre arbre qui bascule vers la droite, ces paysages dramatiques exprimant autant les émotions intimes du peintre que la réalité. Dans ces paysages de Céret, les bâtiments sont souvent en forte pente vers la droite. C'est le cas ici des deux maisons qui encadrent l'arbre. La route penche également vers la droite. Au premier plan à gauche se trouvent deux personnages, une femme assise coiffée d'un chapeau et un homme debout dont la tête disparaît dans le paysage. L'homme penché à gauche contrebalance la pente de la maison de droite. Dans les paysages de l'époque céretoise, Soutine commence parfois à introduire des personnages comme dans Personnages assis place de la liberté à Céret de 1920 (cf. Paul Guillaume et Dominique Walter, musée de l'Orangerie).
Detail from Les deux saules by Claude Monet.
Claude Monet, born Oscar Claude Monet (14 November 1840 – 5 December 1926), was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.
The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant).
The Musée de l'Orangerie is an art gallery of impressionist and post-impressionist paintings located in Paris.
It contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Claude Monet, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Chaim Soutine, Alfred Sisley and Maurice Utrillo among others.
The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde.
A cycle of Monet's water-lily paintings, known as the Nympheas, was arranged on the ground floor of the Orangerie in 1927.
The museum was closed to the public from the end of August 1999 until May 2006. The Orangerie was renovated in order to move Les Nympheas to the upper floor of the gallery.
They are now available under direct diffused light as was originally intended by Monet.
The eight paintings are displayed in two rooms. They are:
1) Le Matin aux saules
2) Le Matin clair aux saules
3) Reflets d'arbres
4) Les Nuages
5) Soleil couchant
6) Reflets verts
7) Les deux saules
8) Matin.
White Box presents
Hyman Bloom
Paintings and Drawings 1940–2005
(“The Rabbinical Series”)
July 17 through September 23
Hyman Bloom (1913–2009) was a Latvian-born painter influenced by Eastern European Jewish heritage, Middle Eastern
and South Asian music, and mortality. Bloom and his family immigrated to Boston in the 1920s where he was discovered at
14, and received a scholarship to study drawing under famed Harvard art professor, Denman Ross.
The Rabbinical paintings presented in this exhibition, permeated by historical influences ranging from Grünewald and
Rembrandt, to Redon and Soutine, to Indian tantric art and Chinese painting, reflect the mystical and macabre with vivid
intensity: sordid subjects depicted in sensual, jewel-like colors. According to the artist, his works serve as “an attempt to cope
with one’s destiny and become master of it.”
Art critic, Thomas Hess, hailed Bloom in Art News as “one of the outstanding painters of his generation”. Bloom’s
“successors” Jackson Pollock and Willem de Kooning considered him the first Abstract Expressionist. His first public showing
contained thirteen paintings in the Museum of Modern Art exhibition “Americans 1942”, curated by Dorothy C. Miller. Bloom
represented the United States at the 1950 Venice Biennale alongside Gorky, Pollock, and de Kooning. In 1954, a traveling
retrospective of his work appeared at the Whitney Museum of American Art, to critical and press acclaim. In the mid-50s, he
participated in an experiment recording the effects of LSD in his drawings.
Bloom was a key figure in the Boston Expressionist movement. His shy, reclusive nature did not allow for joining arms
with the Abstract Expressionist explosion in the art world of the mid-20th century in New York. Rather, uninterested in fame,
Bloom veered off in his own direction, evoking the spiritual and the metaphysical, and not succumbing either to the pop art
movement that became ubiquitous later. Nonetheless, he remains an important link in American post-war art history, and his
work has been increasingly revisited since his death at the age of 96.