DOCSLIB.ORG

Claude Monet (1840-1926)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Claude Monet (1840-1926) 1/27 Data Claude Monet (1840-1926) Pays : France Langue : Français Sexe : Masculin Naissance : Paris 9e, 14-11-1840 Mort : Giverny (Eure), 06-12-1926 Note : Peintre. - Établi à Giverny en 1883 Domaines : Peinture ISNI : ISNI 0000 0001 2124 4328 (Informations sur l'ISNI) Claude Monet (1840-1926) : œuvres (61 ressources dans data.bnf.fr) Œuvres textuelles (18) "Claude Monet, quinze nymphéas inédits" "L'oeuvre de Rodin" (1958) (1900) de Katia Granoff de Arsène Alexandre et autre(s) avec Claude Monet (1840-1926) comme Peintre avec Claude Monet (1840-1926) comme Préfacier Voir plus de documents de ce genre Œuvres mixtes (27) "Un Noël en noir et blanc" (2003) de Hélène Kérillis avec Claude Monet (1840-1926) comme Illustrateur Voir plus de documents de ce genre data.bnf.fr 2/27 Data Œuvres des beaux-arts et des arts décoratifs (8) The Agapanthus triptych Les nymphéas (1915) (1899) Cathédrale de Rouen Camille sur son lit de mort (1892) (1879) La gare Saint-Lazare Les coquelicots (1877) (1873) Impression, soleil levant Camille (1872) (1866) Manuscrits et archives (8) "1 lettre autographe signée à Claude Monet (Mn-890)" "Monet. Lettres à Clemenceau (NAF 28018 (16))" avec Claude Monet (1840-1926) comme Destinataire de lettres avec Claude Monet (1840-1926) comme Auteur de lettres "Divers (Ms-15148 (1))" "Clemenceau. Lettres à Monet (NAF 28018 (16))" avec Claude Monet (1840-1926) comme Auteur de lettres avec Claude Monet (1840-1926) comme Destinataire de lettres "25 lettres autographes signées et 2 lettres manuscrites signées à Claude Monet (Mn-889)" avec Claude Monet (1840-1926) comme Destinataire de lettres Voir plus de documents de ce genre data.bnf.fr 3/27 Data Documents sur Claude Monet (1840-1926) (415 ressources dans data.bnf.fr) Livres (362) Claude Monet, 1840-1926 , Emmanuel Fougerat Monet , Genève : Édito-service ; (1869-1958), Paris : [Évreux] : [diffusion Guilde Laboratoire Chantereau , internationale du disque] , 195. cop. 1987 Monet , Raymond Cogniat [Recueil. Documentation None (1896-1977), Paris : F. sur Claude Monet] Nathan , [19--?] Monet, Renoir, Chagall , Paris : Hazan : Atelier des Monet e gli impressionisti , Milano : Skira , 2020 (2020) lumières , DL 2020 (2020) Giverny , Paris : Ulmer , DL 2020 Le jardin de Monet , Kaatje Vermeire, Bruxelles (2020) (2020) : Versant sud , DL 2020 Claude Monet , Gérard Denizeau, [Paris] : L'herbier secret de Giverny , Réunion des musées (2020) Larousse , DL 2020 (2020) métropolitains Rouen Normandie, Michel Hoff, Marc Pignal [et autre(s)], Milan : Silvana editoriale , DL 2020 Monet , Anne Sefrioui, [Vanves] : Monet , Daniel Wildenstein (2020) Hazan , DL 2020 (2019) (1917-2001), Köln ; [Paris] : Taschen Voyage au temps des , Paris : Éditions de la Monet, Auburtin , Musée des impressionnistes avec Réunion des musées (2019) impressionnismes. Giverny, Monet nationaux-Grand Palais ; Eure, Paris : Gallimard ; (2019) [Hem] : Minus éditions , DL Giverny : Musée des 2019 impressionnismes , DL 2019 Claude Monet et , Félicie Faizand de Claude Monet en 15 , Marianne Mathieu, l'exposition Maupeou, Mont-Saint- questions [Vanves] : Hazan , DL 2018 (2018) Aignan : Presses (2018) universitaires de Rouen et du Havre , DL 2018 Monet - Boudin , Laurent Manoeuvre, Juan Monet et l'architecture , Richard Thomson, (2018) Ángel López-Manzanares, (2018) Bruxelles (Belgique) : Géraldine Lefebvre, Madrid Fonds Mercator , 2018 : Fundación Colección Thyssen-Bornemisza data.bnf.fr 4/27 Data Quatre peintres , Marcel Proust Monet & architecture , Richard Thomson, London (2018) (1871-1922), Angoulême : (2018) : National gallery company Éditions Marguerite : distributed by Yale Waknine , DL 2018 university press Monet et les , Marion Augustin, Bruno Monet , Musée Marmottan Monet. impressionnistes Heitz, Bruxelles ; [Paris] : (2018) Paris, Musée Mer marine. (2018) Casterman , DL 2018 Bordeaux, Paris : Hazan ; Bordeaux : Musée Mer marine , DL 2018 Monet , Richard Wiles, [Malakoff] Hodler, Monet, Munch , Musée Marmottan Monet. (2017) : Armand Colin , DL 2017 (2017) Paris, Fondation Pierre Gianadda, Philippe Dagen, Martigny : Fondation Pierre Gianadda , impr. 2017 Monet , Salva Rubio, Efa, Bruxelles Monet collectionneur , Musée Marmottan Monet. (2017) ; [Paris] : le Lombard , DL (2017) Paris, Dominique Lobstein, 2017 Marianne Mathieu, Vanves : Hazan ; Paris : Musée Marmottan Monet , DL 2017 Un jour avec Claude Monet , Adrien Goetz, Paris : Claude Monet , Martina Padberg, Paris : à Giverny Flammarion , DL 2017 (2016) Éditions Place des (2017) Victoires , [2016] Chez Claude Monet , Édouard Mortier (duc de Monet , George T. M. Shackelford, (2016) Trévise, 1883-1946), [Paris] (2016) Forth Worth : Kimbell art : l'Échoppe , DL 2016 museum , 2016 Monet , Anne Lauricella, Paris : Le musée intime de Monet , Sylvie Patin, Giverny : (2016) Eliart , DL 2016 à Giverny Fondation Claude Monet- (2016) Éditions Claude Monet Giverny ; Montreuil : Gourcuff Gradenigo , DL 2016 Monet au Havre , [Vanves] : Hazan , DL 2016 Daubigny, Monet, Van Gogh , Cincinnati : Taft museum (2016) (2016) of art , 2016 Enquête sur la genèse de , Mylène Caillette, Paris : Monet's private picture , Sylvie Patin, Giverny : l'impressionnisme et la Mylène Caillette , impr. gallery at Giverny Fondation Claude Monet- filiation Turner-Monet 2016 (2016) Éditions Claude Monet (2016) Giverny ; Montreuil : Gourcuff Gradenigo , DL 2016 data.bnf.fr 5/27 Data Monet , Stéphane Lambert, Paris : Hodler, Monet, Munch , Musée Marmottan Monet. (2016) Arléa , DL 2016 (2016) Paris, Philippe Dagen, Vanves : Hazan ; Paris : Musée Marmottan Monet , DL 2016 Recevoir selon Monet , Florence Gentner, Vanves Recevoir selon Monet , Florence Gentner, Paris : (2016) : Chêne , DL 2015 (2016) Éditions France loisirs , DL 2016 Monet , Musée des beaux-arts du Monet , Francesco Arcangeli (2015) Canada. Ottawa, Anabelle (2015) (1915-1974), Roberto Tassi, Kienle Poňka, Simon Kelly Milano : Abscondita , cop. [et autre(s)], Ottawa : 2015 National gallery of Canada = Musée des beaux-arts du Canada ; Milano : 5 continents éditions ; [Paris] : diffusion Seuil , cop. 2015 Claude Monet , Christoph Heinrich, Köln ; Monet à Giverny , Adrien Goetz, Giverny : (2015) [Paris] : Taschen , cop. (2015) Fondation Claude Monet- 2015 Éditions Claude Monet Giverny ; [Montreuil] : Gourcuff Gradenigo , impr. 2015 Daubigny, Monet, Van Gogh , Cincinnati : Taft Museum Monet ou Le triomphe de , Daniel Wildenstein (2015) of art , cop. 2015 l'impressionnisme (1917-2001), Köln ; [Paris] : (2014) Taschen , cop. 2014 Monet , Fernando Gruber, Cachan Monet-Kelly , Yve-Alain Bois, Sarah (2014) : Sélection du "Reader's (2014) Lees, Williamstown, digest" , DL 2014 Massachusetts : Clark Art Institute , 2014 Claude Monet à Giverny , Dominique Lobstein, L'oeil impressionniste , [Clermont-Ferrand] : (2014) [Paris] : le Grand livre du (2014) Éditions Paleo , cop. 2014 mois , impr. 2014 Monet , Tokyo : Tokyo Claude Monet , Caroline Coppey, Paris : (2013) broadcasting system (2013) l'Harmattan , DL 2013 television , cop. 2013 Comment parler de Claude , Élisabeth de Lambilly, Claude Monet , Marion Brisson, Rouen : Monet aux enfants Paris : Éd. le Baron perché (2013) Éd. des Falaises , DL 2013 (2013) , impr. 2013 data.bnf.fr 6/27 Data Claude Monet-Georges , Alexandre Duval-Stalla, Claude Monet à Giverny , Dominique Lobstein, Paris Clemenceau [Paris] : Gallimard , impr. (2013) : La Martinière , impr. 2013 (2013) 2013 Monet, Renoir, Chagall , Thomas Schlesser, Claude La bibliothèque de Monet , Festival Normandie (2013) Pommereau, Issy-les- (2013) impressionniste (2013), Moulineaux : "Beaux-arts" Claire Maingon, Félicie éd.-TTM éd. , DL 2013 Faizand de Maupeou, Paris : Citadelles & Mazenod , impr. 2013 Putting Monet and , Richard M. Berrong, Monet, au cœur de la vie , Philippe Cros, Cinisello Rembrandt into words Chapel Hill, North Carolina (2013) Balsamo : Silvana Editoriale (2013) : University of North , 2013 Carolina Press , 2013 Le jardin de Monet , Christina Björk, [Bruxelles] Hiramatsu, le bassin aux , Musée des (2013) ; [Paris] : Casterman , DL nymphéas impressionnismes. Giverny, 2013 (2013) Eure, Brigitte Koyama- Richard, Gand : Snoeck éditions , DL 2013 Regardez, monsieur Monet, , Le Havre. Seine-Maritime, Monet , Paris : Éd. Arola , DL 2012 comme la Seine a changé ! Festival Normandie (2012) (2013) impressionniste (2013), HAROPA, Paris : Somogy , impr. 2013 Monet intime , Musée des Inshō-ha no yukue , Pōra bijutsukan. Hakone, (2012) impressionnismes. Giverny, (2012) Japon, Hakone-machi, Eure, Trézélan : Filigranes Kanagawa-ken : Pōra éd. ; Giverny : Musée des bijutsu shinkō zaidan Pōra impressionnismes , impr. bijutsukan , 2012. - 2012 Hakone-machi, Kanagawa- ken : Pōra bijutsu shinkō zaidan Pōra bijutsukan , 30 30 30 7F 88 63 82 8C 56 30 30 2012 : DD FC E9 8E 53 2F 08 A1 E3 DD FC 30 7F 88 99 E9 8E 53 28 , 2012 Contre-déclin , Laurence Bertrand Monet , Gérard Denizeau, [Paris] : (2012) Dorléac, Paris : Gallimard , (2012) Larousse , DL 2012 impr. 2012 Claude Monet , Christoph Heinrich, Köln ; Monet , Sylvie Patin, Paris : Musée (2011) Paris : Taschen , cop. 2011 (2011) d'Orsay : Skira-Flammarion , DL 2011 data.bnf.fr 7/27 Data Sur les pas de Claude , Isabelle Dubois, Proust e Monet , Giuliana Giulietti, Roma : Monet, un peintre à Colombelles : Éd. du (2011) Donzelli , 2011 Argenteuil Valhermeil ; Argenteuil : (2011) Ville d'Argenteuil , impr. 2011 Sur les pas de Claude , Pierre Buvat, [Fresselines] Monet au musée , Daniel Marchesseau, Monet à
Load more

Recommended publications
  • A Guide for Educators and Students TABLE of CONTENTS
    The Munich Secession and America A Guide for Educators and Students TABLE OF CONTENTS FOR EDUCATORS GETTING STARTED 3 ABOUT THE FRYE 3 THE MUNICH SECESSION AND AMERICA 4 FOR STUDENTS WELCOME! 5 EXPERIENCING ART AT THE FRYE 5 A LITTLE CONTEXT 6 MAJOR THEMES 8 SELECTED WORKS AND IN-GALLERY DISCUSSION QUESTIONS The Prisoner 9 Picture Book 1 10 Dutch Courtyard 11 Calm before the Storm 12 The Dancer (Tänzerin) Baladine Klossowska 13 The Botanists 14 The Munich Secession and America January 24–April 12, 2009 SKETCH IT! 15 A Guide for Educators and Students BACK AT SCHOOL 15 The Munich Secession and America is organized by the Frye in GLOSSARY 16 collaboration with the Museum Villa Stuck, Munich, and is curated by Frye Foundation Scholar and Director Emerita of the Museum Villa Stuck, Jo-Anne Birnie Danzker. This self-guide was created by Deborah Sepulvida, the Frye’s manager of student and teacher programs, and teaching artist Chelsea Green. FOR EDUCATORS GETTING STARTED This guide includes a variety of materials designed to help educators and students prepare for their visit to the exhibition The Munich Secession and America, which is on view at the Frye Art Museum, January 24–April 12, 2009. Materials include resources and activities for use before, during, and after visits. The goal of this guide is to challenge students to think critically about what they see and to engage in the process of experiencing and discussing art. It is intended to facilitate students’ personal discoveries about art and is aimed at strengthening the skills that allow students to view art independently.
    [Show full text]
  • Moments in Time: Lithographs from the HWS Art Collection
    IN TIME LITHOGRAPHS FROM THE HWS ART COLLECTION PATRICIA MATHEWS KATHRYN VAUGHN ESSAYS BY: SARA GREENLEAF TIMOTHY STARR ‘08 DIANA HAYDOCK ‘09 ANNA WAGER ‘09 BARRY SAMAHA ‘10 EMILY SAROKIN ‘10 GRAPHIC DESIGN BY: ANNE WAKEMAN ‘09 PHOTOGRAPHY BY: LAUREN LONG HOBART & WILLIAM SMITH COLLEGES 2009 MOMENTS IN TIME: LITHOGRAPHS FROM THE HWS ART COLLECTION HIS EXHIBITION IS THE FIRST IN A SERIES INTENDED TO HIGHLIGHT THE HOBART AND WILLIAM SMITH COLLEGES ART COLLECTION. THE ART COLLECTION OF HOBART TAND WILLIAM SMITH COLLEGES IS FOUNDED ON THE BELIEF THAT THE STUDY AND APPRECIATION OF ORIGINAL WORKS OF ART IS AN INDISPENSABLE PART OF A LIBERAL ARTS EDUCATION. IN LIGHT OF THIS EDUCATIONAL MISSION, WE OFFERED AN INTERNSHIP FOR ONE-HALF CREDIT TO STUDENTS OF HIGH STANDING TO RESEARCH AND WRITE THE CATALOGUE ENTRIES, UNDER OUR SUPERVISION, FOR EACH OBJECT IN THE EXHIBITION. THIS GAVE STUDENTS THE OPPORTUNITY TO LEARN MUSEUM PRACTICE AS WELL AS TO ADD A PUBLICATION FOR THEIR RÉSUMÉ. FOR THIS FIRST EXHIBITION, WE HAVE CHOSEN TO HIGHLIGHT SOME OF THE MORE IMPORTANT ARTISTS IN OUR LARGE COLLECTION OF LITHOGRAPHS AS WELL AS TO HIGHLIGHT A PRINT MEDIUM THAT PLAYED AN INFLUENTIAL ROLE IN THE DEVELOPMENT AND DISSEMINATION OF MODERN ART. OUR PRINT COLLECTION IS THE RICHEST AREA OF THE HWS COLLECTION, AND THIS EXHIBITION GIVES US THE OPPORTUNITY TO HIGHLIGHT SOME OF OUR MAJOR CONTRIBUTORS. ROBERT NORTH HAS BEEN ESPECIALLY GENER- OUS. IN THIS SMALL EXHIBITION ALONE, HE HAS DONATED, AMONG OTHERS, WORKS OF THE WELL-KNOWN ARTISTS ROMARE BEARDEN, GEORGE BELLOWS OF WHICH WE HAVE TWELVE, AND THOMAS HART BENTON – THE GREAT REGIONALIST ARTIST AND TEACHER OF JACKSON POLLOCK.
    [Show full text]
  • 1. Walter B. Douglas Rooster and Chickens, Ca. 1920 1952.038 2
    3 22 2 4 21 28 32 1 17 14 10 33 40 8 18 45 19 23 49 29 6 38 24 34 5 43 41 46 51 11 15 36 30 35 25 47 53 7 9 12 13 16 20 26 27 31 37 39 42 44 48 50 52 54 1. Walter B. Douglas 7. Hermann-David Saloman 12. Franz von Defregger 18. Adolf Heinrich Lier 24. Johann Friedrich Voltz 28. Eugéne-Louis Boudin 33. Marie Weber 38. Léon Barillot 44. Charles Soulacroix 50. Emile Van Marcke Rooster and Chickens, ca. 1920 Corrodi The Blonde Bavarian, ca. 1905 Lanscape Near Polling, 1860-70 Cattle on the Shore, ca. 1883 View of the Harbor, Le Havre, Head of a Girl in Fold Costume, Three Cows and a Calf, ca. 1890 Expectation, ca. 1890 In the Marshes, ca. 1880 1952.038 Venice, ca. 1900 1952.034 1952.107 1952.182 1885-90 1870s-1880s 1952.005 1952.158 1952.178 1952.025 1952.010 1952.187 2. Edmund Steppes 13. Ludwig Knaus 19. Friedrich Kaulbach 25. Louis Gabriel Eugéne Isabey 39. William Adolphe Bouguereau 45. Arnold Gorter 51. Nikolai Nikanorovich Dubovskoi The Time of the Cuckoo, 1907 8. Franx-Xaver Hoch Drove of Swine: Evening Effect Portrait of Hanna Ralph, n.d. The Storm, 1850 29. Wilhelm Trüber 34. Henry Raschen The Shepherdess, 1881 Autumn Sun, n.d. Seascape with Figures, 1899 1952.160 Landscape with Church Towers, 1952.085 1952.080 1952.073 Three Fir Trees at Castle Old Man, n.d. 1952.012 1952.056 1952.039 1912 Hemsbach, 1904 1952.139 3.
    [Show full text]
  • Sabine Fehlemann (Hg.): Max Slevogt. Die Berliner Jahre
    Sabine Fehlemann (Hg.): Max Slevogt. Die Berliner Jahre. Bearbeitet von Nicole Hartje, Köln: Wienand 2005, 206 S., 81 Farb-, 106 s/w-Abb., ISBN 3-87909-862-x, EUR 39,80 Rezensiert von: David Ogawa Indiana University, Bloomington The exhibition and catalog Max Slevogt: Die Berliner Jahre represents the third part of the ambitious program of the Von der Heydt-Museum to showcase masterpieces of their collections through exhibitions on the "Dreigestirns des deutschen Impressionismus," Lovis Corinth (in 1999), Max Liebermann (in 2004), and Max Slevogt. The handsomely designed catalogue is richly illustrated, with large, full-color illustrations of the eighty exhibited works accompanied by descriptive catalog entries. The catalogue is organized more or less by genre: a general survey of Slevogt's Berlin years is followed by a section on self-portraits and family portraits, a section on landscapes, and a section on theater-pieces. Each of these sections is preceded by a substantial essay; the editor also chose to include an essay on Slevogt's graphic work from this period, but evidently none of these works were shown in the exhibition. A concise but complete year-by-year biography closes the text of the catalog. Slevogt's move from Munich to Berlin in 1899 came at a decisive moment in his career. Trained in Munich, he had been operating as a "freischaffender Künstler" there since 1891. The "wachsendem Unverständnis" he encountered in the conservative art scene there became concrete in 1899 when his Danaë (1895) was withdrawn from the Munich Secession exhibition in June of that year (9).
    [Show full text]
  • Thementexte Max Slevogt Eine Retrospektive Zum 150. Geburtstag
    thementexte max slevogt eine retrospektive zum 150. geburtstag max slevogt. eine retrospektive max slevogt. a retrospective Der 150. Geburtstag von Max Slevogt ist ein guter Grund, die eigenen Bestände in den Mittelpunkt einer Retrospektive zu stellen – im doppelten Sinn einer Erinnerungs- und Überblicksausstellung zugleich. Das Landesmuseum Hannover bewahrt heute 28 Gemälde Slevogts, von denen 19 aus der »Sammlung Wrede« stammen. Im Kupferstichkabinett der Landesgalerie werden dazu 23 Handzeichnungen und ein Skizzenbuch, 85 Einzelblattdrucke, 19 Mappen und 22 illustrierte Bücher bewahrt. Auf dieser Basis gibt die Ausstellung einen Überblick über Lebensstationen und Themengebiete. Sämtliche druckgrafische Exponate stammen aus dem Besitz der Landesgalerie. Deren Gemälde, dazu gehören auch die vier im Zweiten Weltkrieg verschmorten »Brandbilder«, sind um Leihgaben aus der Nationalgalerie Berlin, der Kunsthalle Bremen, der Gemäldegalerie Neue Meister Dresden, dem Städel Museum Frankfurt, der Hamburger Kunsthalle, dem Landesmuseum Mainz, dem Westfälischen Landesmuseum Münster, dem Saarlandmuseum Saarbücken, der Stuttgarter Staatsgalerie sowie aus Privatbesitz ergänzt. Max Slevogt’s 150th anniversary is a good reason for placing the museum’s own collections at the core of this retrospective – which serve both as a commemoration and as an overview of his works. The Landesmuseum Hannover now holds 28 paintings by Slevogt, 19 of which come from the ›Wrede Collection‹ – including 13 purchased directly from the artist before 1915. 23 hand drawings and a sketch book, 85 single sheet prints, 19 folders and 22 illustrated books are kept in the State Gallery’s collection of prints and drawings. Mainly the exhibition attempts an overview that is arranged chronologically, but also points at certain subject areas that the artists kept returning to for decades.
    [Show full text]
  • Frye Art Museum 2014 Annual Report
    Frye Art Museum 2014 Annual Report CONTENTS LETTER FROM THE PRESIDENT AND DIRECTOR 3 STEWARDSHIP Collections and Acquisitions and Gifts of Art to the Museum 4 Artworks on Loan 12 EXHIBITIONS Exhibitions 14 Lenders 18 Publications 19 Selected Reviews 20 ARTS ENGAGEMENT PROGRAMS Youth 24 Educators 26 Lifelong Learners 26 Events 28 Community Partners 29 SUPPORT Foundations, Funding Agencies, Corporations, Media Sponsors, In- Kind Contributors, and Individual Donors 30 Sustained Support 32 Membership 35 Volunteers 40 STAFF 42 Cover: Franz von Stuck. Lucifer (detail), 1890. Oil on canvas. 63 3/8 x 60 1/16 in. The National Gallery for Foreign Art, Sofi a, Bulgaria. FRYE ART MUSEUM 2014 ANNUAL REPORT 1 MISSION STATEMENT The Frye Art Museum is a living legacy of visionary patronage and civic responsibility, committed to Photos: John Ulman and Assaye Abunie artistic inquiry and a rich visitor experience. A catalyst for our engagement with contemporary art and artists is the Founding Collection of Charles and Emma Frye, access to which shall always be free. 2 FRYE ART MUSEUM 2014 ANNUAL REPORT LETTER FROM THE PRESIDENT AND DIRECTOR 2014 was a wonderful year for the Frye. Support for the Museum has Art, New York, and the Museum of Fine Arts, Boston. We are indebted to never been greater, broader, or deeper. Our ongoing commitment to serve these museums, and other important private and public lenders, for their our diverse communities was received with remarkable enthusiasm and generous loans. curiosity. As attendance in our galleries soared to new heights, we also reached thousands of virtual visitors in dozens of countries around the We were pleased to be selected by the Andy Warhol Foundation for the world through our website and on social media.
    [Show full text]
  • Wall Texts Introduction No Two Other Styles Were As Intensely And
    Wall Texts Introduction No two other styles were as intensely and unsparingly contrasted with one another in their time as Impressionism and Expressionism. Impressionism is inextricably linked with France and with artists such as Claude Monet, Edgar Degas, and Auguste Renoir. The German Impressionism of Max Liebermann, Lovis Corinth, and Max Slevogt developed in the 1890s as a response to the movement in France. A fierce backlash followed shortly thereafter with the advent of Expressionism, spearheaded by painters such as Ernst Ludwig Kirchner, Erich Heckel, Emil Nolde, and Franz Marc in Germany. The simultaneous emergence of these two styles provided critics and theorists with an ideal basis to compare the seemingly antithetical cultures of France and Germany. It was gallery owner Herwarth Walden who first spoke of a ‘turning point’ in the transition from Im(pressionism) to Ex(pressionism). Despite the stark distinction that would later be drawn between the two styles, Impressionism and early Expressionism share surprisingly many characteristics. Both movements take an anti-academic stance, hold painting en plein air in high regard, portray immediate experiences of light and colour, and focus on the material details of the artists’ surroundings. In addition, subjectivity and the individual character of each artist’s brushwork were highly prized among exponents of both artistic movements. The Nationalgalerie is closely tied to the history of artists working in both styles. Through its director, Hugo von Tschudi, the Nationalgalerie was the first museum in the world to acquire Impressionist paintings, beginning in 1896 even before the Paris museums. Tschudi’s successor, Ludwig Justi, on the other hand, amassed a spectacular collection of Expressionist works after 1918 for the new wing of the Nationalgalerie, at the former crown prince’s palace on Unter den Linden.
    [Show full text]
  • Lovis Corinth, Portrait of Dr Ferdinand Mainzer, with Dr Camilla Smith, University of Birmingham
    Lovis Corinth, Portrait of Dr Ferdinand Mainzer, with Dr Camilla Smith, University of Birmingham Lovis Corinth, Portrait of Dr Ferdinand Mainzer, (1899), oil on canvas, 75cm by 58cm. Allocated jointly to the National Gallery, London, and the Henry Barber Trust under the Acceptance in Lieu scheme. 1 Transcript Hello and welcome to this week’s Tuesday Talk, part of a series of podcasts given by staff and students at the Barber Institute of Fine Arts and at the University of Birmingham. I’m Dr Camilla Smith, a Lecturer in Art History, and I’ll be talking today about an exciting new painting to enter the Barber Institute’s collection – a portrait by Lovis Corinth of Dr Ferdinand Mainzer, of 1899, a joint acquisition with the National Gallery. ***** We encounter a confident, dark-haired young man, seated on a red chair, set against a neutral- coloured background. We focus solely on this intriguing sitter – there are no background details that vie for our attention. The sitter is well dressed in a high-collared white shirt with necktie, a dark- coloured waistcoat and suit jacket. He appears learned, yet affable; eyeglasses sit neatly on his nose. A prominent moustache and dark eyebrows frame his face. In this ¾-length portrait, the painting ends just below the sitter’s jacket breast pocket and his right arm. The thumb of his right hand appears to rest – somewhat formally – on the lapel of his jacket. But this painting’s execution is far from conventional. The neutral-coloured background gives way to an animated field of broad brush marks, echoed by the vigorous brushstrokes of the sitter’s black jacket.
    [Show full text]
  • Impressionism 1 Impressionism
    Impressionism 1 Impressionism Impressionism was a 19th-century art movement that began as a loose association of Paris-based artists whose independent exhibitions brought them to prominence in the 1870s and 1880s. The name of the movement is derived from the title of a Claude Monet work, Impression, Sunrise (Impression, soleil levant), which provoked the critic Louis Leroy to coin the term in a satiric review published in Le Charivari. Characteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes, open composition, emphasis on the accurate Claude Monet, Impression, soleil levant depiction of light in its changing qualities (often accentuating the (Impression, Sunrise), 1872, oil on canvas, Musée effects of the passage of time), ordinary subject matter, the inclusion of Marmottan movement as a crucial element of human perception and experience, and unusual visual angles. The emergence of Impressionism in the visual arts was soon followed by analogous movements in other media which became known as Impressionist music and Impressionist literature. Impressionism also describes art created in this style, but outside of the late 19th century time period. Overview Radicals in their time, early Impressionists broke the rules of academic painting. They began by giving colours and shades freely brushed, primacy over line, drawing inspiration from the work of painters such as Eugène Delacroix. They also took the act of painting out of the studio and into the modern world. Previously, still lifes and portraits as well as landscapes had usually been painted indoors.[1] The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air.
    [Show full text]
  • Modern Paintings of the Prodigal Son: Depictions by James Tissot, Max Slevogt, Giorgio De Chirico, Aaron Douglas, and Max Beckmann, 1882-1949
    Modern Paintings of the Prodigal Son: Depictions by James Tissot, Max Slevogt, Giorgio de Chirico, Aaron Douglas, and Max Beckmann, 1882-1949 A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in Art History of the College of Design, Architecture, Art, and Planning by David S. Berger B.A. Bard College May 1982 Maryland Institute College of Art Post-Bac. Certificate, May 2005 Committee Chair: Theresa Leininger-Miller, Ph.D ABSTRACT The parable of the Prodigal Son (Luke: 15:11-32) conveys the Christian message of acceptance of sinners who have returned to righteous ways. The theme has been very popular in the history of art since the thirteenth century with scores of artists giving their interpretations. From the 1880s through the 1940s, representations became more modern and secular. Their was a greater emphasis on modern manners, psychology, the perception of time, and individuality. I analyze these factors in case studies of five artists of the period through formal analysis of their works and by exploration of social, historical, and philosophical aspects. I also examine relevant biographical information and iconography. The first chapter concerns two serial works by James Tissot and Max Slevogt. This serial nature of paintings of the parable was apparently new for the 1880s. In these narratives, Tissot explored modern manners in a near-photographic style of four canvases while Slevogt conceived a psychological portrait about extreme depravation in a triptych. In the second chapter, I argue that Giorgio de Chirico attempted to transcend time by the reanimation of the mannequin and statue, objects integral to his metaphysical art.
    [Show full text]
  • As Ill Ustrat Or S
    /: MoMAExh_0047_MasterChecklist ------------- ( ) I MODERN PAINTERS AND SCULPTORS AS ILL U S T RAT OR S BY MONROE WHEELER THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY SIMON AND SCHUSTER, NEW YORK CHECK-LIST 1 The following list comprises the catalog of the exhibition held at the Museum of Modern Art from April 7 to September 2, 1936, upon which this book is based. A star (*) before an item indicates that it is illustrated. A dagger (f) indicates works published since the exhibition which have been added in this I revis~d edition. Further biographical notes ,on many of the artists may be found in other catalogs published by the Museum of Modern Art, New York. NATAN ISAYEVICH ALTMAN I Painter. Born Vinnitza, Russia, ,88g. Lived in Moscow in '930. Aseev: Krasnosheika (Red-neck). Giz. Leningrad. J929. Drawings. V. ANNENKOV Painter. Russian contemporary. *Block: Dvenad tzat (The Twelve). Alkonost. Petersburg. 1918. Drawings. Ill. p. 88. Chukovskii: t-.101Do Dyr (\IVashTilt It Hurts). Giz. Leningrad. 1930. Drawings. PEGGY BACON MoMAExh_0047_MasterChecklist Graphic artist, illustrator, writer. Born Ridgefield, Ccnn., 1895. Lives in New York. Untermeyer and Mannes: New Songs for New Voices. Harcourt, Brace. New York. 1928. Drawings. Bacon: Cat Calls. McBride. New York. 1935. Drawings. ERNST BARLACH Sculptor. Born Wedel near Hamburg, Germany, 1870. Died Giistrow, north Prussia, 1939· Barlach: Der Arme Vetter. P. Cassircr. Berlin. 1919. Lithographs. "Goethe: Walpurgisnacht. P. Cassirer. Berlin. 1923. Woodcuts. Ill. p. 79. Goethe: Gedichte. P. Cassirer. Berlin. 1924. Lithographs. Schiller: An die Freude. P. Cassirer. Berlin. Ig27. Woodcuts. ANDRE BEA UDIN Painter. Born Meneey (Seinc-et-Mame), France, I895' Studied, Ecole des Arts Decoto- tifs, until 19'5.
    [Show full text]
  • Large-Scale Classification of Fine-Art Paintings: Learning the Right
    Large-scale Classification of Fine-Art Paintings: Learning The Right Metric on The Right Feature Babak Saleh, Ahmed Elgammal Department of Computer Science Rutgers University, NJ, USA fbabaks,[email protected] Abstract. In the past few years, the number of fine-art collections that are dig- itized and publicly available has been growing rapidly. With the availability of such large collections of digitized artworks comes the need to develop multime- dia systems to archive and retrieve this pool of data. Measuring the visual similar- ity between artistic items is an essential step for such multimedia systems, which can benefit more high-level multimedia tasks. In order to model this similarity between paintings, we should extract the appropriate visual features for paintings and find out the best approach to learn the similarity metric based on these fea- tures. We investigate a comprehensive list of visual features and metric learning approaches to learn an optimized similarity measure between paintings. We de- velop a machine that is able to make aesthetic-related semantic-level judgments, such as predicting a painting’s style, genre, and artist, as well as providing simi- larity measures optimized based on the knowledge available in the domain of art historical interpretation. Our experiments show the value of using this similarity measure for the aforementioned prediction tasks. 1 Introduction arXiv:1505.00855v1 [cs.CV] 5 May 2015 In the past few years, the number of fine-art collections that are digitized and publicly available has been growing rapidly. Such collections span classical 1 and modern and contemporary artworks 2.
    [Show full text]