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From left to right: Soutine (R21.04, one of Shifra's collared orphan study subjects), R23.14 is touched by the trunk of R24.14, R23.09 in the back, Georgia (R22.8904) lying down, and Matisse (R24) is the big mama on the right
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.
From the museum label: During the 1920s, the Belarusian-Jewish artist Chaim Soutine became fascinated with the single-coloured uniforms of people working in Parisian restaurants and hotels. He painted six young pastry chefs, of which this is the last. The series of paintings established his artistic reputation and they are perhaps his best-known works. Focusing on the boy's white jacket, the portrait shows Soutine's distinctive brushwork.
Paintings from the MOMA collection put through object detection with Darknet Yolo with a threshold of 0.001
Installation view of the exhibition Chaim Soutine: Flesh, May 4 – September 16, 2018, The Jewish Museum, NY. Photo by: Jason Mandella
N7592.6.A43 2007
Focusing on avant-garde European paintings and sculpture from the 1890s to the 1980s, The Mirror and the Mask: Portraiture in the Age of Picasso shows the fascinating transformations that portraiture underwent as a flourishing, international phenomenon of the age. Through a spectacular panorama of late 19th- and 20th-century portraits, and using Picasso’s stylistic evolution as a constant point of reference, the book explores how the genre developed in response to artistic movements and great historical events. It features more than 100 paintings and sculptures by artists including Cézanne, Van Gogh, Picasso, Matisse, Modigliani, Kokoschka, Beckmann, Soutine, Dubuffet, Bacon, and Freud.
Installation view of the exhibition Chaim Soutine: Flesh, May 4 – September 16, 2018, The Jewish Museum, NY. Photo by: Jason Mandella
Chaim Soutine. (French, 1893-1943). The Old Mill. c. 1922-23. Oil on canvas, 26 1/8 x 32 3/8" (66.4 x 82.2 cm). Vladimir Horowitz and Bernard Davis Funds. © 2008 Artists Rights Society (ARS), New York / ADAGP, Paris
William H. Johnson - 1901 - 1970
Copper Kettle - circa 1933 - 1934
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Exhibition: William H. Johnson: Full Circle
Feb 10, 2018 — Jun 10, 2018
One of the most important African-American artists of his time, William H. Johnson (1901-1970) was born in Florence, South Carolina. As a youngster, Johnson copied comics from the local newspaper. He also worked to help support himself and his family. By the age of seventeen, he had saved enough to go to New York. He moved to Harlem, where he worked as a hotel porter, cook, and stevedore while studying at the National Academy of Design with Impressionist Charles Hawthorne. Hawthorne financed Johnson’s first trip abroad, and, in 1926, Johnson settled in Paris, where he experimented with French Post-Impressionist styles, using bright colors and deliberate brushstrokes. These early European works highlighted his eager assimilation of the styles of such artists as Vincent van Gogh and Chaim Soutine. While working in southern France, Johnson met Holcha Krake, a Danish artist. They married in 1930 and made their home in Kerteminde, Denmark, a fishing village that is the subject of much of Johnson’s work of the period. In 1935 the couple traveled to Norway where they painted, exhibited, and met the modern expressionist master Edvard Munch, whom Johnson greatly admired.
In 1994, Steve Turner, gallerist and art historian, retraced Johnson’s European sojourn in search of the artist’s collectors and paintings. Turner found that the artist enjoyed a highly respected career. He received extensive press coverage during the 1930s and boasted a following of collectors who avidly acquired his work. Turner subsequently mounted an exhibition titled William H. Johnson: Truth Be Told, which traveled to four museums in 1998-1999 and shed new light on Johnson’s life and career.
This installation features twenty-six of the works collected by Turner in Scandinavia and brings the art of William H. Johnson full circle, from his native South Carolina to international centers of modernism—Paris, Oslo, and New York—and back to the state of his birth, where his standing as a significant painter is more fully realized today.