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Parcours Pédagogique Collège Le Cubisme
PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle. -
Impressionist Adventures
impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios. -
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects. -
Page 1 H-France Review Vol. 15 (July 2015), No. 91 Claire White
H-France Review Volume 15 (2015) Page 1 H-France Review Vol. 15 (July 2015), No. 91 Claire White, Work and Leisure in Late Nineteenth-Century French Literature and Visual Culture: Time, Politics and Class. Basingstoke: Palgrave MacMillan, 2014. 246 pp. Figures, notes, bibliography, and index. $75.00 U.S. (hb). ISBN 978-1-137-37306-9. Review by Elizabeth Emery, Montclair State University. The 2006 youth protests against the Contrat première embauche and the 2014 CGT and FO walkouts on the third Conférence sociale pour le travail provide vivid examples of the extent to which the regulation of work continues to dominate the French cultural landscape. Claire White’s Work and Leisure in Late Nineteenth-Century French Literature and Visual Culture contributes a new and fascinating, if idiosyncratic, chapter to our knowledge of French attitudes toward labor and leisure. This is not a classic history of labor reform, but rather, as the author puts it in her introduction, an attempt to situate art and literature within this well-studied context by focusing primarily on the representation of work and leisure in the novels of Emile Zola, the poetry of Jules Laforgue, and the paintings of Maximilien Luce. The book’s title should not be interpreted as a study of the representation of work and leisure in literature and visual culture in general, but in the specific case of these three artists, each of whom “engages with discourses of labour and leisure in a way which is both highly self-conscious and which reveals something about his own understanding of the processes, values and politics of cultural work in the early Third Republic” (p. -
Vase De Fleurs Dans La Fenêtre
SP 5425 MARC CHAGALL Vitebsk, Russia 1887 - 1985 Saint-Paul-de-Vence, France Vase de fleurs dans la fenêtre Signed lower right: Chagall Gouache and pastel on paper laid down on board: 24 3/16 x 19 7/16 in / 61.5 x 49.4 cm Frame size: 34 in / 88.6 x 76.8 cm Painted in 1935-36 Provenance: James Vigeveno Galleries, Los Angeles Joan Fontaine (1917-2013), Los Angeles, acquired from the above circa 1945 and sold to benefit The Society for the Prevention of Cruelty to Animals, Monterey County, California Exhibited: Pasadena Art Museum, Seventieth Anniversary Exhibition, Marc Chagall, 26th May – 28th July 1957, no. 28 (as Flowers, 1938) The Comité Marc Chagall has confirmed the authenticity of this work and is recorded by them as No: 2008086. “Supernatural” declared the French poet and art critic, Guillaume Apollinaire, upon seeing Chagall’s work for the first time. An apt description of this remarkable, luxuriant flower piece whose fantastic, iridescent forms entwine into rich, intricate layers of texture and tone. Rising from a small, central vase, Chagall’s intense and exubrant flowers almost fill the canvas, the vibrant blooms exploding from their verdant, blue/green foliage like fireworks. A delicate balance of painting and drawing, the arrangement defines and densely layers a variety of flora, contrasting luscious passages of brilliant, opaque colour with bright patches of paper, revealing the artist’s sophisticated gouache technique and power as a colourist. A lyrical painter-poet in his own right, Chagall’s vital vision of miraculous bounty is framed, but not bounded by an open window on the left with two ethereal figures delineated beneath in a pale, otherworldly predella. -
PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso. -
Impressionist & Modern
Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts. -
The Greatest Artists of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily. -
Impressionist & Modern
IMPRESSIONIST & MODERN ART Thursday 1 March 2018 IMPRESSIONIST & MODERN ART Thursday 1 March 2018 at 5pm New Bond Street, London VIEWING ENQUIRIES Brussels Rome Thursday 22 February, 9am to 5pm London Christine de Schaetzen Emma Dalla Libera Friday 23 February, 9am to 5pm India Phillips +32 2736 5076 +39 06 485 900 Saturday 24 February, 11am to 4pm Head of Department [email protected] [email protected] Sunday 25 February, 11am to 4pm +44 (0) 20 7468 8328 Monday 26 February, 9am to 5pm [email protected] Cologne Tokyo Tuesday 27 February, 9am to 3pm Katharina Schmid Ryo Wakabayashi Wednesday 28 February 9am to 5pm Hannah Foster +49 221 2779 9650 +81 3 5532 8636 Thursday 1 March, 9am to 2pm Department Director [email protected] [email protected] +44 (0) 20 7468 5814 SALE NUMBER [email protected] Geneva Zurich 24743 Victoria Rey-de-Rudder Andrea Bodmer Ruth Woodbridge +41 22 300 3160 +41 (0) 44 281 95 35 CATALOGUE Specialist [email protected] [email protected] £22.00 +44 (0) 20 7468 5816 [email protected] Livie Gallone Moeller PHYSICAL CONDITION OF LOTS ILLUSTRATIONS +41 22 300 3160 IN THIS AUCTION Front cover: Lot 16 Aimée Honig [email protected] Inside front covers: Lots 20, Junior Cataloguer PLEASE NOTE THAT THERE IS NO 21, 15, 70, 68, 9 +44 (0) 20 7468 8276 Hong Kong REFERENCE IN THIS CATALOGUE Back cover: Lot 33 [email protected] Dorothy Lin TO THE PHYSICAL CONDITION OF +1 323 436 5430 ANY LOT. -
Beyond the Existing Readings of Marc Chagall's Crucifixion Paintings
Resistance, Resurrection, Liberation: Beyond the Existing Readings of Marc Chagall’s Crucifixion Paintings A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Art in Art History in the Department of the School of Art of the College of Design, Architecture, Art, and Planning (DAAP) by Jennifer Horvath March 10, 2015 B.S. University of Virginia May, 1993 Committee Chair: Kimberly Paice, Ph.D. Abstract This study deals with a small body of crucifixion scenes that were rendered by the well- known Russian and Jewish Expressionist artist Marc Chagall (1887-1985). It closely reads these works, made between 1937 and 1952 when Chagall lived in exile in France and the United States. Extensive scholarship and The Jewish Museum’s exhibition Chagall: Love, War, and Exile (2013-14), have emphasized ways that these paintings speak to the then-current tragedies and suffering of Jews associated with the Holocaust. This study builds on this established research. Yet, it offers a nuanced reading of the iconographical and compositional strategies that Chagall uses. Here, the lyrical-expressionist style and dream-like spatial qualities of his early modernist works infuses his painted crucifixions with the condition of exile. By emphasizing the circulation of the affects of love and hate through a network of signs, Chagall ties the theme of the crucifixion to a life of perpetual exile and to the sense of not belonging that goes with such a life. As explained in the study, Chagall’s crucifixion scenes relate as much to the suffering of humanity and Jews in the Holocaust as to the hoped-for liberation and subsequent failed promises of the Russian Revolution, to Chagall’s childhood in the Pale of Settlement, and to his lifelong experience of exile and desire to find a place in the world. -
Hommage À Chagall Spectacle Musical Teatr Groteska
Service Jeune Public SAISON 2011-2012 Jeu Service Mirum: Vivamus est ipsum, vehicula nec, feugiat ne p rhoncus, accumsan id, nisl. Lorem ipsum dolor sit Jeune Public amet, consectetuer Dossier Dossier Pédagogique Hommage à Chagall Spectacle musical Entre théâtre et peinture, arts du masque et de Directeur : Adolf Weltschek - Scénographie : la marionnette, Adolf Weltschek et le Théâtre Malgorzata Mercredi 14 décembre Groteska de Cracovie rendent à travers leur ZwoliĎska - Musique et enregistrements 19h tournée européenne un hommage inspiré au sonores : Roman peintre Marc Chagall. Réalisé sans paroles, Opuszynski - Système de moteur : Katarzyna Seance scolaire : mais en musique, la performance revèle toute Skawinska - Jeudi 15 décembre la puissance poétique de l’univers artistiques de Directeur II : Lech Walicki - Mise en oeuvre de Chagall à travers ses personnages aériens, ses l'animation par ordinateur : Pawel Weremiuk 14h30 couleurs caractéristiques, ses motifs familiers Avec : Monika Filipowicz, Oliwia Jakubik, Diana comme le coq et le bœuf. Jedrzejewska, Maja Kubacka, Kataryna L’évocation prend la forme d’un véritable hymne Kuzmicz, Iwona Olszewska, Marek Karpowicz, Sommaire à l’amour, celui que porte le peintre à sa femme Bogdan Nowak / Pawel Mroz, Rafal Szumski, Belle. Préservé par l’harmonie de leur couple et Lech Walicki et Bartosz Watemborski Note d’intention 2 le pouvoir de l’union plus forte que la mort, Exposition au Musée des Beaux-Arts Marc et Bella Chagall échappent aux realités 2 sociopolitiques du XXème siècle. Entré dans Biographie 3 l’ordre cosmique et dépassant les contingences du monde réel, leur amour atteint une Quelques citations de Marc Chagall 4 dimension métaphysique. -
La Condena De Le Sillon, Un Episodio De La Crisis Modernista, 25 Agosto 1910
Hispania Sacra, LXV Extra I, enero-junio 2013, 283-334 e-ISSN: 1988-4265, doi: 10.3989/hs.2013.023 LA CONDENA DE LE SILLON, UN EPISODIO DE LA CRISIS MODERNISTA, 25 AGOSTO 1910 POR CRISTÓBAL ROBLES MUÑOZ Instituto de Historia, CSIC, Madrid RESUMEN: La crisis modernista puede estudiarse desde los mismos modernistas y desde su posición frente a los que los combatieron acusándolos de conspirar contra el catolicismo. Pueden estudiarse la oposición contra ese plan y la estrategia de sus adversarios. Este trabajo la estudia. Analiza las presiones llevaron a la condena de Le Sillon el 25 de agosto de 1910 Se utiliza la documentación existente en el Archivo Secreto Vaticano. Aporta los información que recoge y acepta la encíclica del Papa Pío X. La Santa Sede se desligó de un movimiento que seguía la opción de León XIII aceptando abiertamente la República y la democracia. PALABRAS CLAVES: Le Sillon, Marc Sangnier, Pío X, Merry del Val, Umberto Benigni, Emmanuel Barbier, Henri Louis Chapon, Eudoxe-Irenée Mignot, Le Grand Sillon, Louis Billot, Action Action Française, Notre Charge Apostolique CONDEMNATION OF LE SILLON, AN EPISODE OF THE MODERNIST CRISIS (25 August 1910) ABSTRACT: The modernist crisis can be studied from the same modernist and from the position against those who attacked accusing them of plotting against Catholicism. Can be analyzed the opposition against this plan and strategy of their opponents. This paper studies it. Analyzes pressures led to the conviction of Le Sillon the August 25, 1910, with existing documentation in the Vatican Secret Archives. It provides the information collects and accepts by the encyclical of Pope Pius X.