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www.sothebys.com/en/auctions/ecatalogue/lot.41.html/2015/... Chaïm Soutine
LA FOLLE
Estimate 1,000,000 — 2,000,000 USD
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05 NOVEMBER 2015 | 7:00 PM EST
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Chaïm Soutine
1893 - 1943
LA FOLLE
Signed Ch. Soutine (lower right)
Oil on canvas
28 3/4 by 23 5/8 in.
73 by 60 cm
Painted in 1918.
READ CONDITION REPORT
SALEROOM NOTICE
This painting will be included in the forthcoming Volume III of the Chaim Soutine Catalogue Raisonne by Maurice Tuchman and Esti Dunow, currently in preparation.
PROVENANCE
Léopold Zborowski, Paris
Henri Bing, Paris
Mrs. Gaetane Hyordey-Bing, Cannes (by descent from the above in 1965)
Acquired from the above in 1980
LITERATURE
Pierre Courthion, Soutine, Peintre du déchirant, Paris, 1972, illustrated p. 31 & p. 186
CATALOGUE NOTE
Soutine's approach to portraiture was characterized by a profound psychological sensitivity that was unusual for the artists of his generation. While his contemporaries such as Modigliani painted portraits of attractive nudes or flattering, commissioned depictions of fashionable doyennes, Soutine preferred to focus his attention on society's forgotten figures. His models were often members of the working class, the poor or the otherwise downtrodden, portrayed with an honesty and gritty realism that was startlingly in contrast with the sleekness and sophistication of the 1920s. These portraits gave visibility to people normally relegated to the shadows of modern society and presented their bodies and their existential plight as subjects worthy of consideration.
The present work depicts a young patient from a mental hospital, painted in Paris in 1918. Europe at this moment was reeling from the catastrophic events of the war, now in its final weeks, and artists were beginning to process the impact of post-war life through their work. Like Giacometti would do in response to World War II, Soutine here focuses his attention on the psyche in turmoil. While the identity of this particular sitter is unknown, she embodies the weariness, confusion and frustration of a society at its breaking point.
Soutine was not the first to subject the fragility of life to the scrutiny of artistic interpretation. Inspired by the painters of the 19th century, the artist reprises a line of inquiry that once fascinated the celebrated 19th century Romantic painter, Gericault. In his consideration of La Folle, art historian William N. Ambler has observed Soutine's indebtedness to Gericault in this regard:
"Théodore Géricault inspired Chaim Soutine in a variety of ways. In addition to an appreciation for Romantically expressive brushwork, both were drawn to the macabre, including a fascination with painting dead flesh and portraying the insane. Shortly before his tragic death in 1824, aged 32, Géricault painted portraits of the patients of his friend, Étienne-Jean Georget who served as chief physician of the Salpêtrière, the women's asylum in Paris. Géricault's grandfather and uncle had died insane and Géricault's own mental breakdown in 1819 ensured the artist's interest in the subject of mental illness. Géricault infuses his renderings of Dr. Georget's patients with a delicate balance of compassion and incisive accuracy, while also seizing the opportunity to provide a bravura display of brilliant painterly brushwork" (W.N. Ambler, in correspondence with Sotheby's, October 2015).
CHARDIN'S STILL LIFE transformed the genre and became an irresistible model for subsequent artists—including Manet, Cézanne, Matisse and Soutine—and a benchmark for the avant-garde.
Pablo Picasso
Spanish, active France, 1881-1973
Oil on canvas
Courtesy of the Kirkland Family
Decades after Pablo Picasso and Georges Braque had taken the world by storm with their Analytical Cubist canvases, Picasso further developed the style, once again through the genre of still life,which he felt enabled him to "tell something by means of the most common objects." He continued to suggest multiple points of view and ambiguous space, but here the fruit takes on a sensuous alluring quality through color.
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Portland Art Museum
Pissarro to Picasso: Masterworks on Loan from the Kirkland Family Collection
Thanks to the generosity of the Kirkland family of Los Angeles, visitors to the Portland Art Museum will be able to enjoy fourteen art treasures from the family’s collection, many of which have not been publicly displayed for decades. The works span nearly a century, from the monumental 1887 canvas of Jamaica by Martin Johnson Heade, to Marc Chagall’s 1975 The Betrothed, these works follow the revolutionary changes in art in Europe and the United States. Two still lifes by Pablo Picasso trace the shift from the astonishing 1912 debut of cubism with La Glace (bowl of ice cream) to its mature form in 1938.
The landscape form transmutes from Heade’s highly detailed canvas to Claude Monet’s light-filled Impressionist masterpiece Banks of the Seine River near Vétheuil, to Chaim Soutine’s blood-red expressionist 1918 Southern Landscape. Also included are rare landscapes by Henri Matisse and Georgia O’Keeffe, and a stunning scene of lovers floating in the night sky by Chagall based on stories in Thousand and One Nights. The Portland Art Museum is grateful to be able to exhibit these artworks during the Monet to Matisse: French Moderns exhibition, providing a number of provocative parallels to the treasures on loan this summer from the Brooklyn Museum.
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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.
1926 "Woman sitting to hairdressing" by LEON INDENBAUM 1890-1981. Russian sculptor, naturalized French born in Belarus, arrived in Paris in 1911 at "La Ruche" and participated in the artistic movement "Ecole de Paris" with his friends Marc Chagall, Chaim Soutine, Amedeo Modigliani, Diego Rivera, Leonard Foujita, Ossip Zadkine, Pablo Picasso, Alberto Giacometti … In 1968, Léon Indenbaum obtains the prestigious prize of sculpture "Georges Wildenstein" from the "Institut de France" for all of his work ... Photo of this sculpture in the book "Indenbaum" by Adolphe Basler - Collection "Artistes Juifs" from 1933. Marble sculpture of 29.5 inch - 75 cm.
Garçon d'Honneur (Head Waiter in English?), 1924-1925, Chaïm Soutine (Smilavichy, Belarus 1893-Paris1943) at Musée de l'Orangerie
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
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.
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.
1935 A NAKED TEENAGER by LEON INDENBAUM 1890-1981. Sculpture 31.5 inch - 80 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, Matisse, Rivera, Giacometti, Kikoine, Hepworth ... Obtained 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
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
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.
Pablo Picasso
Large still Life
1917 - 1918
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
Huile sur toile, 40 x 67 cm, 1925, musée de l'Orangerie, Paris.
Le poulet plumé appartient à la série des volailles plumées et des lapins que Soutine réalise en parallèle de la série des bœufs écorchés. Le peintre aime en effet représenter plusieurs fois les mêmes sujets dans des compositions différentes. Ces peintures développées en série, souvent rapprochées dans le temps, sont caractéristiques du travail de Chaïm Soutine. Dans cette composition, le poulet plumé pend par le cou le long d’une table renversée sur le côté. Le corps de l’animal permet un jaillissement de couleurs se détachant d’un fond où tous les éléments sont traités dans des gammes de bleus et de gris. Le cou de l’animal montre que cette zone n’a pas été entièrement plumée.
Elie Faure (1873-1937) dans son essai publié sur le peintre en 1929 écrivait déjà : "C’est dans la viande déjà morte qu’il trouve sa joie sensuelle […] il pend ses volailles mortes par le cou, le bec ouvert". La fascination de Soutine pour les animaux plumés ou écorchés trouverait sa source dans de lointains souvenirs traumatiques de son enfance (cf. musée de l'Orangerie).
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.
1915 - Portrait of LEON INDENBAUM by AMADEO MODIGLIANI, realized in LA RUCHE. This center of artistic creation at the beginning of the 20th century, center of the ECOLE DE PARIS movement, housed the workshops of Chagall, Modigliani, Soutine, Foujita, Kikoine, Rivera, Leger, Zadkine, Laurencin, Marevna, Archipenko, Kremegne, Epstein, Orloff, Lipchitz, Bourdelle, Boucher, Chapman, Brancusi, Miestchaninoff, Volovick, Csaky, Kisling, Lipsi, Laurens, Morel, Szwarc, Altman, Dorignac, Dobrinsky ...
1917 "WOMAN AND CHILD OF THE ARTIST" by LEON INDENBAUM 1890-1981. Wood Sculpture 145 cm - 53.3 inch. Collection Jacques Doucet and Paul Poiret. Sell 2013 at Christie's London us $ 95.000 (private collection) This Russian sculptor lives in LA RUCHE Paris. He formed with his friends L'ECOLE DE PARIS: Soutine, Modigliani, Foujita, Chagall, Rivera ... 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
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.
Title: The Mrs. Adele R. Levy Collection: A Memorial Exhibition
Author: Preface by Blanchette H. Rockefeller, Alfred M. Frankfurter, and Alfred H. Barr, Jr.
Publication: The Museum of Modern Art, New York
Publication Date: N/A
Book Description: White paperback. 31 pages with black and white plate artist images by Bonnard, Braque, Ceazzne, Corot, Degas, Fantin-Latour, Gauguin, Van Gogh, Manet, Martin, Matisse, Picasso, Redon, Renoir, Rounault, Segonzac, Seurate, Soutine, and Toulouse Lautrec from the collecton of Mrs. Adele R. Levy.
Call Number: MOMA N 5220 .L44
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Orangerie Museum, Tuileries gardens, Paris
Six great intellectuals recently described the museum chosen and arranged by Claude Monet to
showcase his “testamentary” masterpieces as “Unique in its genre”.
Next to the Nymphéas, “the haven of peaceful meditation”, a gift to modern man with his “overworked
nerves”, the Orangerie offers a fabulous concentration of masterpieces from the Jean Walter and Paul
Guillaume Collection, a highly original insight into modern art featuring Cézanne, Renoir, Picasso,
Rousseau, Matisse, Derain, Modigliani, Soutine, Utrillo and Laurencin.
Closed for renovation work since January 2000, completely reviewed and restructured, the museum
was reopened to the public in May 2006.
Cité Falguière, Paris
Old house for artists, where Amedeo Modigliani and Chaïm Soutine lived and worked. Now, an association invites artists from everywhere for residences. More information : www.lairarts.com