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In the style of Soutine, I tried to accentuate certain features of myself and distort the shape of the body so as to reflect how I perceive myself. I then rolled block ink over the finished product to add more to the background before colorising it.
An auction of MacDougall's on June 6, 2018 in London. "Bust Chaim Soutine" carved in 1918 by his friend LEON INDENBAUM 1890-1981. This Russian sculptor naturalized French was born in Belarus, he arrived in 1911 in Paris with his friend Chaim Soutine, they will participate in the movement "Ecole de Paris" with ... Archipenko, Bourdelle, Brancusi, Chapiro, Chagall, Csaky, Foujita, Kikoine, Kremegne, Modigliani, Orloff, Picasso, Rivera, Zadkine ... Bronze 19.6 inch - 50 cm, estimation £ 7,000 / £ 9,000.
Recreating a Egon Schiele self portrait and then doing a Chaim Soutine portrait Schiele style using pen and watercolour.
A Night at the Museum entry by the Soutine Bakery from Le Parker Meridien's Gingerbread Extravaganza.
Modi (Modiglani) and Soutine chairs at Dr.Vigari Gallery
Starting price $1000 (each)
Sorry, hats are extra $60.
Paul Rebeyrolle
Eymoutiers, France, 1926 - Boudreville, France, 2005
1987
Mixed media on canvas
Gift of Mr. and Mrs. Alain Gourdeau
Inventory 2006.265
At a very young age, Rebeyrolle developed tuberculosis of the bones, which forced him to remain immobile for long periods. He made drawings to pass the time while his parents, who were both elementary school teachers, taught him to read and write. In October 1944, after earing his baccalaureat in philosophy, he headed north to Paris on "the first Liberation train." there he discovered the works of his contemporaries Soutine and Picasso, as well as those of Rubens and Rembrandt. Throughout his life he would ceaselessly draw on the lessons he learned durring those memorable years.
The canvas Obviously, which belongs to his "kingdom of the blind" series, clearly conveys the bitter vision of the world that informs Rebeyrolle's work. Here we see a character with a gaping mouth and imagine a cry of pain emanating from it. His hands frame his eye sockets which are black and empty; his eyeballs stare up from the table in front of him. Rebeyrolle sought to raise awareness with this allegory of human blindness.
Leo Tolstoy (1828-1910) – A man can live and be healthy without killing animals for food; therefore, if he eats meat, he participates in taking animal life merely for the sake of his appetite. And to act so is immoral.
Thomas Edison (1847-1931) – Non-violence leads to the highest ethics, which is the goal of all evolution. Until we stop harming all other living beings, we are still savages.
George Benard Shaw (1856-1950) –Animals are my friends and I don’t eat my friends.
MY GRANMA TOLD ME ONCE THAT WE HAVE TO ASSUME OUR CHOICES AND LEARN TO KILL AND PREPARE WHAT WE EAT. I DID NOT KILL THIS ONE, A HUNTER GAVE IT TO ME. BUT WE PREPARED IT AND HAD IT FOR LUNCH.
Linda Wier: Photography by Simon Cook 01736 360041
I hope the increased definition and expression of the fishermens in their purposeful movements , the whole compressed by a crazy headland. the near impossibility of drawing the houses above the harbour pushes the drawing into a Chaim Soutine like desperation/ craziness.
From the exhibition label: Johnson, while known as a portraitist, embraced landscape painting especially during periods of expatriation in Europe. As a young artist, he spent a year in Paris before moving to the south of France, where this work was made. The lively depiction of an old house in Chartres, with its thick strokes of pure color, shows his interest in French Impressionism and alignment with European modernists such as Chaim Soutine (whose work is on view nearby).
From the exhibition label: Soutine made his way to Paris in 1913, where he befriended other Jewish artists from Eastern Europe and gravitated to expressive styles of modern art. Like William H. Johnson's work nearby, this canvas was painted during a period spent away from the city—in this case, in the mountain village of Cagnes along the French Riviera. The color palette suggests the serene atmosphere of the region, while the swirling, energetic brushwork gives the village a distorted, pulsating quality.