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Céret is famous for its Musée d'Art Moderne (Museum of Modern Art), which has numerous Picasso paintings, sculptures and ceramics, including the famous bull fighting bowl series. The museum also features paintings by Chagall, Matisse, Herbin, Soutine, lots of Fauves and a few Impressionists.
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
Chaim Soutine. (French, 1893-1943). Dead Fowl. c. 1924. Oil on canvas, 43 1/2 x 32" (110.4 x 81.1 cm). Gift of Mr. and Mrs. Justin K. Thannhauser. © 2008 Artists Rights Society (ARS), New York / ADAGP, Paris
Retrato de Nicole, Fina Inglés Capella. Recuerda a algunos expresionistas (Kokoshka, Soutine, Ensor, Munch)
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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...
After composing a still life of rotting cow bones and thigh meat, I used diverse process such as lino printing, abstract collages and observational illustrations focusing on the geometrical shapes within the composition. To further this investigation I created a traditional vanitas style oil painting inspired by Belarusian painter, Chaïm Soutine.
#nw8 #barrow #hill st #john's high street #wellington place #maison #soutine cafe #kugoo g2 pro england #grace #richard #nixon #memoirs
#nw8 #barrow #hill st #john's high street #wellington place #maison #soutine cafe #kugoo g2 pro england #grace #richard #nixon #memoirs
#nw8 #barrow #hill st #john's high street #wellington place #maison #soutine cafe #kugoo g2 pro england #grace #richard #nixon #memoirs
#nw8 #barrow #hill st #john's high street #wellington place #maison #soutine cafe #kugoo g2 pro england #grace #richard #nixon #memoirs
William H. Johnson - 1901 - 1970
Lille Mor - circa 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.
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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