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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.
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 65 cm, 1924, The Israel Museum, Jerusalem.
Après s'être installé en France en 1913, Soutine vécut dans une extrême pauvreté pendant une décennie. Sa fortune bascule fin 1922, lorsque le collectionneur américain Albert Barnes achète un grand nombre de ses tableaux, ouvrant ainsi la voie à une reconnaissance internationale et à une plus grande sécurité financière. C'est à cette époque que Soutine peint certaines de ses toiles les plus expressives et colorées, dont un extraordinaire groupe de portraits.
Garçon en bleu appartient à ce groupe de portraits, qui représentaient généralement des individus qui n'étaient pas proches de l'artiste. Bien que la distance émotionnelle permette à Soutine un certain degré d’objectivité, et même si ce tableau est clairement une représentation d’une personne spécifique, la projection de l’agitation intérieure de l’artiste sur le modèle est très apparente. Le transfert de sentiment se manifeste dans la fluidité de la figure et dans les formes déformées. La composition résonne de formes élastiques en S qui se répètent dans les manches en ballons, la courbe de l'oreille, la cuisse et le poignet contorsionné. La tête du garçon semble reliée de manière précaire à ses épaules par son menton pointu, et l'accent est mis sur ses oreilles et ses yeux surdimensionnés et ses mains élargies et déformées. Bien qu'un grand soin ait été apporté au pinceau du visage, dans des zones telles que la poitrine exposée et l'arrière-plan inférieur droit, des gouttes de peinture confèrent un sentiment de mutabilité. Le sourire optimiste de la jeunesse est ainsi démenti par le langage formel de Soutine, qui fait allusion à la fragilité fondamentale de la condition humaine (cf. musée d'Israël).
"LONDON: KIBOSH ON THE OPTIC" by Anthony Cox
in "Art and Artists" November, 1966
-- Page 62 - 63
LONDON
KIBOSH ON THE OPTIC?
AS A NEW YORKER, and over-stepped in the
ripe vegetarian of which the art world
there is composed, there seemed an
attraction in the recent host-house events
taking place on the London art scene.
No doubt there is a current in the air;
what has been described to me by one
young artist as an effort to 'put the
Ki bosh on the optic.' But it hasn't been
measured yet, and, as one knows,
measurement is the elusive but necessary
first step in making discoveries.
I trust that the London scene, as
looked at through the world of gal-
leries is only off to a show start and that
lurking about somewhere there must be at
least a couple of dark horses who are
now exercising their mental muscles in
secret. If there is so, will the gallery world
discover them? If not, will it simply be
left with the unusual bill of fare? And, if it
is, what is wrong with that?
Nothing really. At least one will have
a greater dissemination of ideas that come
from another source, whether it's your
own past or someone else's. Why the need
for a damper? On the other hand, there
could be a situation developing, like a
good compost heap, which might become
fertile ground for new plants.
Could this be the year that McLuhan
will be put to use? If the artist's position,
according to McLuhan, is to prepare us
for the future then one must be ready to
be confronted with the unknown. This
doesn't mean the only good art is un-
known, but it doesn't mean that the future
couldn't take place in London as well as
anywhere else either. McLuhan does,
after all, have certain roots in this country.
Just as there is a danger in only looking
for that which is unheard of, so there is a
danger in only looking for minute refine-
ments that indicate the slight differences
from one style to another, or even from
one painter to another in the same style.
In this refinement-sense, one paradox
that I have seen in London is the attitude
expressed towards two artists who appear
in the Group H show at the Drian
Galleries: John Latham, whose work has
been referred to as 'codswallop', and who
hasn't had a major showing here since
1962 and Jeff Nuthall who hasn't been
shown before. apparently their works are
considered offensive, but why the stir?
Latham hangs quite serenely in New York's
Museum of Modern Art with several
of the gods is considered a very refined
example of British art there. Nuthall
(England's answer to Bruce Conner), had
a big box stuffed with bloody bedding
that was a polished steal at £1,500. The
show was exciting for at least there was
some energy expressed in it, as in David
Warren's grotesque emulation of Bacon.
With the recent foray into the world of
the mind, most of Scottie Wilson's early
works and some of his recent, express
that quiet but bizzare state that takes
place in an illusion. He is at the Brook
Street Gallery.
Antony Donaldson's imprisoned fig-
ures at the Rowan Gallery reflect a gently
mysterious kind of Op-Pop; they leave
the viewer to decide where they are on
the canvas, as if the rest of the scene is
enveloped in a fog. in Sundry Alliance
this is brought out in the 'op' effect, lost
in the 'pop' (symbolic triple version); is it
the night before, or the morning after?
the least successful works here are those
where the structure takes over.
If there is a mystique to be found in Op
aer where would it be? In Jeffery Steele's
Sub Rosa one can see something in the
painting that looks like an underlying
structure - what might be described as a
kind of muse; it can be examined, it
remains the same, it acts like a bridge,
rather than a baseball bat. Segments of
a greater whole here are building up to
something, as if you blew up the shadow
of the birthmark on a certain venus. He
may be seen at McRoberts and Tunnard,
opening on the 8th of the month.
Gallery dealers take a lot of abuse.
Here is a job with all the strain of Wall
Street and none of the kicks. To find out
what made a great, as well as articulate
- described as a litterateur - dealer tick,
one might read Diary of an Art Dealer by
René Gimpel. Some of the works anec-
doted in this volume will be exhibited in
'Homage to René Gimpel' at the Gimpel
Fils Gallery. Not Rembrandt's Aristotle
however ('a painter must never indulge
in the theatrical' advised Gimpel père),
that's in the Metropolitan Museum, New
York, but there will be Degas, Fragonard,
Cassatt, Renoir, as well as Soutine and a
controversial self-portrait by Poussin,
along with lots of original and rarely
published manuscripts.
Critic and stage designer, as well as a
remarkable colourist with an incisive
sense of vision, Robin Ironside was self-
taught and a continual threat to his time
with his radical ideas, such as: 'formal
relations have absolutely no value in a
picture, and colour is about as important
as your carpet or wallpaper.' A memorial
to a man who was convinced that formal
training was a drawback to the imagina-
tion, the show is opening to November
30 at the New Art Centre.
Sculptures by Max Bill, shown for the
first time in this country, are on view at
the Hanover Gallery. Most of them are
smooth exercises in stone and metal, in
odd contrast to his painting which is more
stimulating in use of colour.
The Leicester Galleries, a grand old
standby, is showing prints of 19th and
20th century masters, including: three
generations of Pissaro (Caille, Lucien
and Orovida - who is still living); early
etchings by Augustus John, one of which
is a self-portrait; two rare prints by
C. R. W. Nevinson, one of the official
First World War artists, and a self-portrait
by Paul Nash. Many others are included
among some 300-odd prints in the show.
The work of Calliyannis, the Greek Ex-
pressionist painter now living in Paris, is
also being exhibited at the same time.
In the group show at the Grabowski
Gallery are Abrahams, Chilton and
Sandle. The graphic assemblages by
Sandle are an interesting metamorphosis
from machines to machine-clouds that
seem to cry.
The Hamilton Galleries has, among
other things, a very interesting people-hole
in the wall, a good eye cleaner when one
is taking in several transitions a day,
which should not be missed. Further
explanation would ruin the point, but I
strongly advise a visit there to get the
experience first-hand.
ANTHONY COX
Calliyannis The Massacre of Chios (after
Delacroix) Oil on canvas 63 1/4" x 51 1/4"
The Leicester Galleries
Augustus John Self-portrait in an oval
Etching
The Leicester Galleries
-- Page 63
Jeffrey Steele Sub Rosa 1966 Oil on canvas 48" x 36" McRoberts and Tunnard Gallery
Art and Artists
Volume One, Number Eight
November 1966
Edited by Mario Amaya
London: Hansom Books, 1966
Private collection of Mikihiko Hori
Huile sur toile, 56 x 46 cm, 1919, musée de l'Orangerie, Paris.
Soutine a réalisé des bouquets de fleurs dès son à arrivée à la Ruche ou à la Cité Falguière à Paris avant 1917. Si au départ ceux-ci s’insèrent dans des natures mortes complexes, les autres objets et le décor s’effacent peu à peu pour faire bientôt du bouquet le seul et unique sujet de la toile. C’est le cas des Glaïeuls du musée de l’Orangerie. Le vase est ici déporté en bas à droite de la composition tandis que les tiges se déploient occupant les trois quarts de l’espace. Le fond brun sombre et indéterminé permet un contraste violent avec le rouge des corolles de fleur. Les touches larges et nerveuses, esquissant seulement les formes, participent du dynamisme ardent de la composition. Les glaïeuls sont le sujet de la première série thématique de toiles de Chaïm Soutine. On connaît aujourd’hui une quinzaine de toile du peintre traitant ce sujet. Les premiers bouquets de la série réalisés par l'artiste sur les glaïeuls présentaient des tons sourds. Puis, suite à ses premiers voyages dans le Midi de la France, il renouvelle sa technique afin d’évoquer le jaillissement des fleurs par des tons beaucoup plus vifs. Réentoilée, l’œuvre est légèrement agrandie vers le bas par l’artiste (cf. musée de l'Orangerie).
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.
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.
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, 73 x 54 cm, 1922-1923, musée de l'Orangerie, Paris.
Ce portrait de pâtissier constitue le moment décisif de la carrière de Soutine. Paul Guillaume, alors à la recherche d'œuvres de Modigliani, découvre Soutine grâce à Michel Georges-Michel, écrivain et critique d'art qui avait écrit un article sur le peintre. Puis, en 1923, Paul Guillaume décrit le tableau qu'il a acquis, dans sa revue Les Arts à Paris, et qui semble être celui de la collection de la Fondation Barnes aux États-Unis : "un tableau extraordinaire, fascinant, réel et truculent". Pâtissier, doté d'une oreille immense et magnifique, surprenant et juste : un chef-d'œuvre. Alors je l'ai acheté. Barnes l'a vu chez moi et a crié "C'est une pêche" ! Le plaisir spontané qu'il retire de cette toile va immédiatement changer la fortune de Soutine, le transformant du jour au lendemain en un peintre reconnu, recherché par les mécènes, et un artiste à prendre au sérieux, un héros à Montparnasse. Soutine, qui travaille souvent en série, réalise six versions de ce même sujet que nous connaissons aujourd'hui. Paul Guillaume a acheté ce tableau au début des années 1930 en souvenir du premier Pâtissier qu'il avait tant aimé. Cette version extrêmement aboutie conservée au Musée de l'Orangerie présente un modèle avec un visage allongé et un cou fragile, portant sa toque et sa veste de pâtissier. Ses traits du visage et ses membres sont déformés, donnant au tableau une forte puissance expressive. Le tissu qu'il tient, exprimé dans un rouge plat et vif, contraste avec la surface de ses vêtements, rendus en blanc avec des touches de gris et de vert. La pose du modèle pourrait être inspirée d'un des tableaux du musée du Louvre, le Portrait de Charles VII de Jean Fouquet (cf. Paul-Guillaume et Dominique Walter).
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.
On the left is my copy of Francis Bacons "figure with meat", 1954, oil. created with ink, bleach and watercolour and on the right is a research page looking at depiction of meat in art, for example Rembrandt and chaim soutine.
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.
Detail from: ‘View of Cagnes’, ca. 1924-25 Chaim Soutine. French, born in Lithuania, 1893-1943
Oil on canvas
The Mr. and Mrs. Klaus G. Peris Colliection, 1997
1997.149.2
From 1923 to 1925 Soutine spent time in the mountain village of Cagnes on the Cote d’Azur. The palette of blue, green, and ocher suggests the serene atmosphere of the region, while the swirling expressionistic brushwork gives the village a fairytale quality.
From the placard: Metropolitan Museum of Art
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.
Fantastic sculpture in the Ashmolean's Cézanne exhibition. There were also some Chaïm Soutine paintings that did it for me, but the Cézanne mostly left me unmoved (not to say it's not good, just that it didn't fire me up, on the whole. ) Some of the lighting was pretty poor, but I complained and, who knows, it might be fixed when you go!
Originally the private collection of Siegfried and Angela Rosengart. The museum reflects the tastes of Siegfried Rosengart and his daughter Angela. They were friends with Pablo Picasso and the collection displays 30 of his works. Paul Klee is also well represented with 125 drawings, watercolours and paintings. In all the museum houses 300 works by 23 different "Classic Modernist" artists: Bonnard, Braque, Cézanne, Chagall, Dufy, Kandinsky, Laurens, Léger, Marini, Matisse, Miró, Modigliani, Monet, Pissarro, Renoir, Rouault, Seurat, Signac, Soutine, Utrillo and Vuillard.
Oil on canvas; 54 x 30 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.
"Head of Chana Orloff” realized in 1925 by his friend LEON INDENBAUM 1890-1981.This French sculptor, of Jewish origin born in Belarus (Russian empire) works with Bourdelle and Maillol and participates in the movement ECOLE DE PARIS with his friends: Modigliani, Rivera, Kikoine, Giacometti, Chagall, Zadkine, Picasso, Brancusi, Archipenko… Indenbaum also sculpted the bust of the painter Chaim Soutine, of the painter Léonard Foujita… In 1968 he was awarded the prestigious Wildenstein Prize of Institut de France. One of his sculptures beats the world record for 1964 for a 20th century decorative artwork at $ 4.6M. Wood carving sculpture 22 inch - 56 cm.
As its name suggests, the Musée de l'Orangerie is located in a former orangery, built in 1852 by architect Firmin Bourgeois and completed by his successor, Ludovico Visconti to house the orange trees of the garden of the Tuileries.
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.
"SLEEPING MUSE" - 1910 - by CONSTANTIN BRANCUSI (1876-1957) - Romain sculptor of the movement "ECOLE DE PARIS" (all artists between 1905 and 1939) ... Brancusi works with his friends, young painters and sculptors: Modigliani, Soutine, Foujita, Kahlo, Chagall, Rivera, Indenbaum, Bourdelle, Orloff, Valadon, Kikoine, Bugatti, Laurencin, Matisse, Miro, Picasso, Leger, Archipenko, Bonnard, Miestchaninoff … Sculpture "Sleepin Muse": Alfred Stieglitz Collection - 6 3/4 x 9 1/2 in. (17 x 24 cm)
This painting by Chaim Soutine is at the Milwaukee Art Museum, a gift from Mrs. Harry Lynde Bradley, who left her wonderful extensive art collection to the museum. Harry Lynde Bradley was the co-founder of the Allen-Bradley Company.
Chaim Soutine (1894-1943) was a Lithuanian-born Jewish Expressionist painter and a great friend of Amedeo Modigliani whom he met while living in the Montparnasse area of Paris. Soutine produced the majority of his works from 1920 to 1929.
I discovered his work in Paris at the Musee de l'Orangerie. I just like his paintings even though the subject matter coulbe a little weird like his famous paintings of beef carcesses.
1932 "THE CAT" by LEON INDENBAUM 1890-1981. Sculpture 17.5 in. - 44 cm. This Russian sculptor lives in LA RUCHE in Paris where he hosted Soutine and Modigliani. He works for Bourdelle and Maillol. He participated in the movement ECOLE DE PARIS with his friends: Foujita, Kikoine, Orloff, Rivera, Giacometti, Chagall, Pompon, Brancusi, Chagall ... Gets in 1968 the prestigious Wildenstein prize. One of his sculptures beats the world record for 1964 for a 20th century decorative artwork at $ 4.6M
Autor original: Chaim Soutine
Título: Buey desollado
Fecha original: 1926
Autor reproducción: Jordi Marcel
Fecha: Septiembre 2011
Dimensiones: 90 x 120 cm.
Técnica: Óleo sobre Tela
Precio: $90.000
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.