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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.
Portrait of a Man (Émile Lejeune), 1922-1923, Chaïm Soutine (Smilavichy, Belarus 1893-Paris1943) at Musée de l'Orangerie
The Swiss painter Emile Lejeune in his workshop organized exhibitions including one devoted to African art, with Paul Guillaume, and it is through him that Soutine met the collector.
pub. in Penguin Books 1959 in the Penguin Twentieth-Century Classics -cover shows a detail from 'Paysage avec personnage allongé - Champigny' by Chaim Soutine.
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.
1913 HEAD OF YOUNG EPHEBE by LEON INDENBAUM 1890-1981. This Russian sculptor naturalized French born in Belarus and of Jewish religion arrived in Paris in 1911 at "La Ruche" (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 … In 1968, Léon Indenbaum obtains the prestigious prize of sculpture "Georges Wildenstein" from the "Institut de France" for all of his work ... In 2005 the "Head of young ephebe" is solded for the "original wax" for $ 50,000 (estimated at $ 15,000) by the auction house "Delettrez". Bronze sculpture 32 cm - 12.6 inch.
1937 "Bust of young man" by LEON INDENBAUM 1890-1981. This Russian sculptor of Jewish religion, naturalized French born in Belarus, arrives in Paris in 1911 where he hosted Soutine and Modigliani in his workshop of the LA RUCHE. Amedeo Modigliani and Diego Rivera each made a portrait of Leon Indenbaum. Léon Indenbaum sculpted the busts of Chaim Soutine, of Leonard Foujita, of Chana Orloff ... In 1968, Léon Indenbaum received from the "Institut de France" the prestigious sculpture prize "Wildenstein" for all of his work. One of his sculptures "Musiciens et antilopes" beats the 2004 world record at Christie's Paris for a 20th century decorative artwork at $ 4.6M. "Bust of the young boy" terracotta sculpture of 10 inch - 25 cm.
Amedeo Modigliani - Italian, 1884 - 1920
Chaim Soutine, 1917
East Building, Ground Level — Gallery 103-A
Shown from the lap up, a cleanshaven man with black hair and dark clothes faces us as he sits with his hands resting together in his lap in this stylized, vertical portrait painting. The man's features, clothing, and the room are painted with areas of mottled color with visible brushstrokes, so many details are indistinct. The man has peach-colored skin, and his facial features are outlined. He has dark eyes that look at us or slightly up, under thin, arched brows. One eye is a little higher than the other, and the two halves of his long face do not quite match. He has a wide nose, and his full, dark rose-pink lips are closed. His hair is parted down the middle and is brushed down to meet his ears. He has an elongated neck, and his narrow shoulders slope down. He wears black pants and a black coat over a dark teal-green vest. A white shirt is visible along his neckline, and an area of black could be the knot of a tie. He holds the fingers of one hand in his other, both hands resting in his lap. A loosely painted, brown table sits next to the man to our right, and an area of slate blue and white could be a glass on the table. A vertical line in the background behind the man, to our right, probably indicates the corner of the room. The walls are painted with strokes of smoke gray, ocean blue, and some parchment white. The artist signed the work in dark letters in the upper right corner, “modigliani.”
Born in 1884 to an aristocratic family in Livorno, Italy, Amedeo Modigliani settled in the Montmartre neighborhood of Paris in 1906 and began making paintings influenced by both the mood of Picasso's Blue period and the pictorial structure of late Cézanne. In 1909 he met Constantin Brancusi and began to focus on sculpture; the thin features and references to African art in the series of stone heads of 1909–1914 clearly reflect Brancusi's influence.
As both painter and sculptor Modigliani concentrated on portraiture. Though he abandoned sculpture in late 1913 or early 1914 to return to painting, the long necks and attenuated features of his sculptures continue in his later painted portraits. Modigliani is also renowned for a series of languorous nudes, some of which he exhibited in 1918 at the Galerie Berthe Weill in Paris; the exhibition was closed by the police on the grounds of obscenity. Modigliani died of tubercular meningitis, aggravated by drugs and alcohol, in a Paris hospital in 1920.
The 11th child of a Russian Jewish tailor, Chaim Soutine (1894–1943) was rescued from poverty and abuse by a rabbi who recognized his talent and sent him to art school—first in Minsk, then in Vilna. Soutine arrived in Paris at the age of 17 in 1911–1912 and met Modigliani in Montparnasse in about 1914. They developed a close friendship, and Modigliani painted Soutine's portrait several times. Soutine's unruly, spontaneous manner of painting was alien to his Italian friend, who, to describe his own state of drunkenness, once quipped, "Everything dances around me as in a landscape by Soutine." The elegant Modigliani felt protective of the uncouth Soutine, 10 years his junior. In 1916 Modigliani introduced his friend to his dealer, Leopold Zborowski, and urged him to handle Soutine's work, which he began to do. Shortly before Modigliani died, he told Zborowski, "Don't worry, I'm leaving you Soutine."
While many of Modigliani's portraits are either stylized and impersonal—with eyes often left blank—or almost caricatural, this painting seems to be both particular and sympathetic. Soutine sits with tumbling hair and ill-matched clothes, his hands placed awkwardly in his lap, his nose spreading across his face as he stares out of the frame. The half-closed eyes, one slightly higher than the other, might suggest Soutine's despair and hopelessness, attitudes with which Modigliani could identify as a poor artist in Paris. Modigliani's treatment of Soutine may also reflect the special place that Soutine had won in the older artist's affections.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
elongated the neck and used the colors he'd used in his portrait of chaim soutine. not happy. still need to do a few more. I'd seen him with a light blue sweater in his last self portrait and was trying to get that color here but it turned out too bright.
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
www.metmuseum.org/art/collection/search/486840?pos=7&... View of Cagnes
Artist:Chaim Soutine (French (born Lithuania), Smilovitchi 1893–1943 Paris)
Date:ca. 1924–25
Medium:Oil on canvas
Dimensions:23 3/4 × 28 7/8 in. (60.3 × 73.3 cm)
Classification:Paintings
Credit Line:The Mr. and Mrs. Klaus G. Perls Collection, 1997
Accession Number:1997.149.2
Not on view
Best known for his somber portraits, Soutine also painted landscapes throughout his career. From 1923 to 1925, Soutine spent time in the mountain village of Cagnes along the French Rivera. The blue, green, and ocher palette suggests the serene atmosphere of the region, while the swirling expressionistic brushwork gives the village a fanciful, almost fairytale quality. Soutine’s stacked and condensed forms cause the hilltop town to appear nestled into its coastal surroundings.
Signatures, Inscriptions, and Markings
Inscription: Signed (lower right): Soutine
The Metropolitan Museum of Art www.metmuseum.org/art/collection/search/486840
1919 Artist studio in Paris of the Russian sculptor LEON INDENBAUM 1890-1981. The other artist studios of "La Ruche" ... Alexander ARCHIPENKO, Ukrainian sculptor 1887-1964 / BRANCUSI Constantin, Romanian sculptor 1876-1957 / CHAGALL Marc, painter and Belarusian sculptor 1887-1985 / INDENBAUM Léon, Belarusian sculptor 1890-1981 / KIKOINE Michel, Belarusian painter 1892-1968 / KISLING Moise, Polish painter 1891-1953 / LÉGER Fernand, painter and French sculptor 1881-1955 / LIPSCHITZ Jacques, Lithuanian sculptor 1909-1916 / MODIGLIANI Amedeo, painter and Italian sculptor 1884-1920 / PASCIN Jules-Pincas, Bulgarian painter 1885-1930 / SOUTINE Chaim, Belarusian painter 1893-1943 / ZADKINE Ossip, Belarusian sculptor 1890-1967... Plaster sculpture of 1918 "Sacrifice and blessing" of 41 inch - 103 cm.
1930 "Naked woman with drapery" by LEON INDENBAUM 1890-1981, this Russian sculptor of Jewish religion, naturalized French born in Belarus has joined in 1911 the legendary workshops of "La Ruche" in Paris or he worked with young artists, painters and sculptors, many of whom became famous … Archipenko, Bonnard, Boucher, Bourdelle, Brancusi, Braque, Chagall, Cocteau, Codreano, Csaky, Epstein, Foujita, Giacometti, Hepworth, Janniot, Kikoine, Kisling, Laurencin, Laurens, Léger, Lichitz, Marevna, Matisse, Miestchaninoff, Miro, Modigliani, Orloff, Picasso, Pompon, Rivera, Soutine, Chaikov, Utrillo, Valandon, Zadkine, Zelikson ... Together they formed the artistic movement "Ecole de Paris". Bronze sculpture 10 inch - 25 cm.
1932 "Man Lying" by LEON INDENBAUM 1890-1981. In 1911 he lives in LA RUCHE in Paris where he hosted Soutine and Modigliani. He works with Bourdelle and participates in the movement ECOLE DE PARIS with his friends: Foujita, Kikoine, Rivera, Chagall, Zadkine, Hepworth, Picasso, Giacometti, Miro, Laurencin, Hepworth ... Gets the prestigious Wildenstein Award in 1968. One of his sculptures beats the world record for 1964 for a 20th century decorative artwork at $ 4.6M. Sculpture 15.3 in. - 39 cm.
1929 Artist studio of LEON INDENBAUM with the sculptures "Mademoiselle" and "Antique head". This Russian sculptor naturalized French, born in Belarus (Russian Empire), arrived in Paris in 1911 at "La Ruche" and he participated in the artistic movement "Ecole de Paris" with his friends … Archipenko, Bourdelle, Brancusi, Bugatti, Chagall, Chapiro, Codreano, Csaky, Derain, Despiau, Epstein, Foujita, Giacometti, Hepworth, Janniot, Kikoine, Kisling, Kremegne, Laurencin, Léger, Marevna, Matisse, Miestchaninoff, Modigliani, Picasso, Pompon, Rivera, Soutine, Thaikov, Utrillo , Zadkine … Amedeo Modigliani and Diego Rivera each painted a portrait of Leon Indenbaum. He carved the busts of Chaim Soutine, Leonard Foujita, Chana Orloff ...
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.