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1914 "Head of Christ" by LEON INDENBAUM 1890-1981, this Russian sculptor of Jewish religion, naturalized French born in Belarus, arrived in Paris at Montparnasse with his friends born in the Russian Empire of the time … Marc Chagall, Michel Kikoine, Pinchus Kremegne, Jacques Lipchitz, Chaim Soutine, Ossip Zadkine, Alexander Archipenko, Joseph Csaky, Constantin Brancusi, Jacques Chapiro, Chana Orloff … In 1968, Indenbaum received the prestigious "Georges Wildenstein" Award of "Institut de France" for all of his work. Bronze sculpture offered in 1918 to Mr. and Mrs. Ostrouon, restaurateur of "La Ruche"in exchange for meals for Leon Indenbaum's penniless friends ...
1922 BUST OF A YOUNG GIRL by Leon Indenbaum 1890-1981. This Belarus sculptor (Russian Empire) of Jewish religion, naturalized French , arrived in Paris in 1911 in "La Ruche" with his Belarusian compatriots and friends … Marc Chagall, Michel Kikoine, Pinchus Kremegne, Ossip Lubitch, Oscar Miestchaninoff, Chaim Soutine, Ossip Zadkine, Serge Zelikson … This marble was commissioned in 1922 by the bankers, the brothers Georges and Marcel Benard, patrons of the artist and great collectors of Henry Matisse, Pierre Bonnard ...
via Painters' Table - Contemporary Art Magazine: Daily Painting Links on Artist Blogs, Painting Blogs and Art Websites ift.tt/2zaMlzh
1936 "Woman's bust to the sweater" 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.
1917 "Head of a young man" by LEON INDENBAUM 1890-1981. This Russian sculptor of Jewish religion, naturalized French born in Belarus, arrived 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 beats the 2004 world record at Christie's for a 20th century decorative artwork at $ 4.6M. Terracotta sculpture of 8 1/4 inch - 21 cm, monogrammed "LI". Sold at Christie's in 2006.
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 painted 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.
In 1928, Maria Lani, an invented German star, arrived in Paris. Conductors of the deception, her brother and her husband pretend to be her agents and ask all the popular artists to paint her portrait. Enthused by her beauty and her supposed celebrity, many of them complied: fifty-one portraits, painted by Bonnard, Rouault, Dufy, Vuillard, Soutine or even Foujita, sculpted by Despiau, Bourdelle or even Zadkine, are exhibited at Georges Bernheim in November 1930, before being taken across the Atlantic by the trio of crooks.
Despite this incredible story, the identity of the model is of little importance to Picabia. The portrait is part of the series of Transparencies developed by the artist between 1927 and 1932: it was then inspired by the cubist treatment of volumes as much as surrealist collages. Inventive and willingly unclassifiable, Picabia is interested in turn in these two currents. Active member of the avant-garde alongside Marcel Duchamp, involved following Tristan Tzara in the Dada movement, he approaches all styles with an insatiable curiosity, alternately painter, illustrator, draftsman or even poet...
After the production of Monsters , colorful and deformed characters resulting from all sorts of collages, and as a new period of his private life began alongside the young Olga Molher, he began the Transparency series . In these paintings, the artist superimposes several figurative motifs whose color and scale he modifies. When these works were presented in October 1928, the film critic Gaston Ravel referred to them as "over-impressionism", referring to the simultaneity of superimposed film images: the ambition was then to give the sensation of the third dimension without the aid of perspective.
The subjects often have as their starting point classical figures by Botticelli or Piero della Francesca, or even ancient statuary, reworked from printed reproductions. The stereotypical faces offer the possibility of questioning the perception of the planes and the theme of the gaze: the motif of the multiple eyes here places the portrait at the heart of a questioning of the very idea of vision.
the barnes foundation by paul philippe cret
a huge, amazing collection here featuring renoir, cézanne, matisse, picasso, soutine, rousseau, modigliani, degas, van gogh, seurat, manet, monet, and many others.....
(philadelphia, pennsylvania, usa)
1936 "Man standing, hands on hips" by LEON INDENBAUM 1890-1981, this Russian sculptor naturalized French, of Jewish religion, born in Belarus, arrived in Paris in 1911 at "La Ruche" and he participated with his friends in the artistic movement "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, Miro, Miestchaninoff, Miro, Modigliani, Orloff, Picasso, Pompon, Rivera, Soutine, Thaikov, Utrillo, Valandon, Vlaminck, Zadkine, Zelikson ... Bronze sculpture 21 inch - 53 cm.
Paris, France.
Musée de l'Orangerie
The museum is most famous as the permanent home of eight large Water Lilies murals by Claude Monet, and also contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Alfred Sisley, Chaim Soutine, Maurice Utrillo, and others.
Little Girl, (1918 - 1929)
Chaim Soutine - (French 1894- 1943)
The Detroit Institute of Arts has one of the largest and most significant art collections in the United States. With more than 65,000 artworks that date from the earliest civilizations to the present, the museum offers visitors an encounter with human creativity from all over the world.
www.youtube.com/watch?v=M2E8t-aPwo4
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The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first van Gogh painting to enter a U.S. museum (Self-Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932–33), the DIA's collection is known for its quality, range, and depth. The DIA’s mission is to create opportunities for all visitors to find personal meaning in art.
www.michigan.org/property/detroit-institute-arts
Detroit Institute of Arts, art museum in Detroit, Michigan, U.S., noted for its collection of American paintings from the 19th century and its Dutch, Flemish, and Italian paintings from the Renaissance through the Baroque period. It is also known for a large collection of arts of antiquity and of the Islamic world, based on works acquired by pharmaceutical magnate Frederick Stearns. The Greek, Roman, Egyptian, and ancient Persian holdings have been augmented by artifacts from western Europe, Mesopotamia, and ancient Arabia. The museum also houses traditional Asian, African, Oceanian, and Native American works and contemporary art from around the world.
The museum was founded in 1885 by a group of Detroit citizens. It was given to the city in 1919 and moved into its present Neoclassical-style structure in 1927. It was enlarged by additions completed in 1966 and 1971. The museum’s central courtyard is decorated with a series of 27 murals by the Mexican painter Diego Rivera that depict the automobile industry. In 2001 the museum created a new department, the General Motors Center for African American Art, and in 2010 it opened a gallery dedicated to Islamic art.
www.britannica.com/topic/Detroit-Institute-of-Arts
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Chaim Soutine - French, born Russia (now
Belarus), 1893 - 1943
Portrait of a Boy, 1928
East Building, Ground Level — Gallery 103-D
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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...
1928 "The Chicken" by LEON INDENBAUM 1890-1981, this Russian sculptor naturalized French, of Jewish religion, born in Belarus, arrived in Paris in 1911 at "La Ruche" and he participated in the artistic movement ECOLE DE PARIS with his friends … Archipenko, Brancusi, Braque, Bugatti, Chagall, Chapiro, Cocteau, Csaky, Foujita, Giacometti, Janniot, Kahlo, Kikoine, Laurencin, Laurens, Lichitz, Leger, Matisse, Miestchaninoff, Modigliani, Miro, Orloff, Picasso, Pompon, Rivera, Soutine, Utrillo, Zadkine, … In 1968, the "Institut de France" awarded him the prestigious "Georges Wildenstein" sculpture award for all of his work. Terracotta sculpture of 10 1/2 inch - 27 cm - Indenbaum family collection.
1915 HEAD OF FUJITA by the Russian sculptor (Bielorussian) LEON INDENBAUM 1890-1981. Indenbaum arrives in Paris in 1911 at LA RUCHE and participates in the movement ECOLE DE PARIS gathering his friends painters and sculptors: Modigliani, Soutine, Kahlo, Chagall, Rivera, Bourdelle, Orloff, Giacometti, Pompon, Kikoine, Brancusi, Bugatti, Matisse , Picasso, Zadkine, Léger, Archipenko ... Terracotta sculpture depicting Leonard Foujita or Tsuguharu Fujita 11inch - 29 cm. Despiau Museum in France.
By Marc Chagall
Belarusian, worked in France, 1887-1985
1940
Oil on canvas
The fairy-tale-like environment Marc Chagall created in his paintings was often specifically autobiographical. He developed a symbolic language filled with musical energy and dominated by rich imagery drawn from the Bible and from memories of the Jewish life and folklore of his youth in Belarus. Although his dreamlike images have much in common with Surrealists explorations of the subconscious, and some of the spatial distortions are based on Cubist principles, Chagall always imposed his own highly distinctive style.
Chagall moved to Paris from Saint Petersburg, Russia, in 1910. In Paris, he was associated with the avant-garde circle that also included the artists Amadeo Modigliari, Fernand Leger, and Chaim Soutine. Chagall returned to Russia from 1914 until 1923 and lived in the United States during the 1940s, but otherwise spent the rest of his life in France. He was not only a prolific painter and book illustrator, but also designed stained glass and sets for theater and ballet.