View allAll Photos Tagged 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.
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.
Chaïm Soutine（1893 - 1943）
oil on canvas
Painted circa 1917
Sotheby's
Impressionist & Modern Art Day Sale
London 25 June 2015
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
Chaïm Soutine (1893-1943) . La maison blanche [The white house] (ca. 1918). In the Walter-Guillaume Collection at Musée de l'Orangerie, Paris.
Huile sur toile, 41 x 64 cm, 1920, Moma, New York.
À son arrivée à Paris en 1913, Soutine travaille aux côtés de Modigliani et Chagall dans un groupe d'ateliers d'artistes appelé La Ruche. Dans cette première nature morte, la bouche ouverte des harengs crée l'illusion que les poissons sont à bout de souffle, préfigurant l'intensité dramatique des œuvres ultérieures de l'artiste. A La Ruche, Soutine a également expérimenté le travail au pinceau expressionniste, comme en témoigne l'application épaisse et énergique de la peinture (cf. Moma).
1917 "La maternity" by LEON INDENBAUM 1890-1981. Sculpture represents the artist's wife and daughter. This sculpture is part of is part of a series of oak bas-reliefs commissioned by Jacques Doucet and Paul Poiret, famous couturiers and collectors, patrons of the artist. Léon Indenbaum Russian sculptor of Jewish religion, 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 Amedeo Modigliani, Chaim Soutine, Leonard Foujita, Diego Rivera, Marc Chagall, Chana Orloff, Pablo Picasso… Bronze bas relief in diptych of 67 inch - 172 cm.
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.
1941 "Portrait of young boy" by LEON INDENBAUM 1890-1981. This Russian sculptor naturalized French born in Belarus, arrived in Paris in 1911 Paris at "La Ruche" in the district "Montparnasse" in the neighboring workshop of his compatriot Marc Chagall. He participates in the movement "Ecole de Paris" with his friends ... Chaim Soutine, Amedeo Modigliani, Diego Rivera, Barbara Hepworth, Chana Orloff, Michel Kikoine, Leonard Foujita, Ossip Zadkine, Pablo Picasso, Alberto Giacometti …. Amedeo Modigliani and Diego Rivera each painted a portrait of Leon Indenbaum. In 1968, Léon Indenbaum received from the "Institut de France" the prestigious sculpture prize "Wildenstein" for all of his work. Terracotta sculpture of 12 inch - 30 cm.
1947 "Woman with jumper" by LEON INDENBAUM 1890-1981. Russian sculptor naturalized French born in Belarus. In 1968, the "Institut de France" awarded him the prestigious "Georges Wildenstein" sculpture award for all of his work. From 1911 to 1913 and from 1916 to 1927 Indenbaum Leon joined the legendary artists studios of "La Ruche" in Paris. He works with young artists, painters and sculptors, many of whom became famous and together they formed "Ecole de Paris" … Archipenko, Bonnard, Boucher, Bourdelle, Brancusi, Braque, Bugatti, Chagall, Chapiro, Cocteau, Codreano, Csaky, Derain, Despiau, Epstein, Foujita, Giacometti, Hepworth, Indenbaum, Janniot, Kikoine, Kisling, Kremegne, Laurencin, Laurens, Léger, Lichitz, Marevna, Matisse, Miestchaninoff, Miro, Modigliani, Orloff, Picasso, Pompon, Rivera, Soutine, Thaikov, Utrillo, Valandon, Vlaminck, Zadkine, Zelikson … Original plaster of 15 inch - 39 cm.