Impressionist & Modern Art Post-War & Contemporary
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Contact presse : Musée 13 septembre Claudine Colin Communication 2018 Christelle Maureau 3 rue de Turbigo 75001 Paris Marmottan Tél : 01 42 72 60 01 / 06 45 71 58 92 10 février [email protected] Monet 2019 www.claudinecolin.com COLLECTIONS UN VOYAGE DES PRIVÉES IMPRESSIONNISTES AUX FAUVES SOMMAIRE 03 I - Avant-propos 04 II - Communiqué de presse 05 III - Parcours de l’exposition 27 IV - Un ensemble d’œuvres « inédites » réunies à Paris 31 V - Autour de l’exposition 32 VI - Commissariat 34 VII - Visuels presse 37 VIII - Le musée Marmottan Monet 39 IX - Programmation 2018-2019 40 X - Informations pratiques I AVANT-PROPOS Ils sont trente, trente passionnés, trente amateurs à avoir à la suite de Paul Marmottan offert au musée qui porte son nom, les œuvres qu’ils chérissaient pour orner les salons de l’hôtel de la rue Louis Boilly : Emile Bastien-Lepage, André Billecocq, Vicky Colombet, Simonne Dalimier, Xie Dingwei, Victorine et Eugène Donop de Monchy, Cila Dreyfus, Philippe Garel, Mme du Payrat, Maurice Fenaille, Florence Gould, Marie et Roger Hauser, Antoine Jacquand, Berthe de Korewo, Jean-Paul Léon, Henri Le Riche, Françoise Marquet-Zao, Michel Monet, Angèle de Montholon, Marc Rauffet, Annie et Denis Rouart, Thérèse et Julien Rouart, Nelly Sargent-Duhem, Madeleine Siney, Henriette Vicens-Bouguereau, Daniel Wildenstein. Ces « particuliers », artistes, descendants d’artistes, amoureux des arts ont fondé nos collections qui comptent notamment les premiers fonds mondiaux d’œuvres de Claude Monet et Berthe Morisot. Grâce à eux, la demeure de Paul Marmottan est devenue le musée ou mieux encore la maison des collectionneurs. -
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. -
RECENT ACQUISITIONS Dear Friends and Collectors
WALLY FINDLAY GALLERIES RECENT ACQUISITIONS Dear Friends and Collectors, Wally Findlay Galleries is pleased to present our most recent e-catalogue, Recent Acquisitions, featuring the newest additions to our collection. The catalogue features works by Aizpiri, Berthelsen, Brasilier, Cahoon, Calder, Cassignieul, Chagall, D’Espagnat, Jean Dufy, Gen Paul, Hambourg, Hervé, Indiana, Kluge, Leger, Le Pho, Miró, Outin, Sébire, Sipp-Green, Simbari, Simkohvitch, and Vu Cao Dam. For further information in regards to these works and the current collection, please contact the New York gallery. We look forward to hearing from you. WALLY FINDLAY GALLERIES 124 East 57th Street, New York, NY (212) 421 5390 [email protected] Aïzpiri Paul Aïzpiri (b. 1919) was born in Paris on May 14, 1919. Aïzpiri entered l’École Bulle to learn antique restoration, after his father insisted that he first learn a trade as a means of assuring his livelihood. After the course he entered the Beaux-Arts to study painting. Aïzpiri was certainly encouraged as a young painter in his early 20’s, during somber war-torn France, exhibiting amongst the painters of l’École Pont-Aven and the Nabis. He became a member of the Salon d’Automne in 1945, won Third Prize at the Salon de Moins de Trente Ans, of which he was a founding member and later showed at the Salon “Les Peintres Témoin de leur Temps”. In 1948, Aïzpiri won the Prix Corsica which allowed him to go to Marseilles. His stay there so impressed him, that he declared it was a turning point of his art. Not only did he find a whole new world to paint which was far different subjectively from any life he had known in Paris, but also a new world of color. -
Y\5$ in History
THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 A thesis submitted to the faculty of San Francisco State University A5 In partial fulfillment of The Requirements for The Degree Mi ST Master of Arts . Y\5$ In History by James Harvey Mitchell, Jr. San Francisco, California May, 2016 Copyright by James Harvey Mitchell, Jr. 2016 CERTIFICATION OF APPROVAL I certify that I have read The Gargoyles of San Francisco: Medievalist Architecture in Northern California 1900-1940 by James Harvey Mitchell, Jr., and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirements for the degree Master of Arts in History at San Francisco State University. <2 . d. rbel Rodriguez, lessor of History Philip Dreyfus Professor of History THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 James Harvey Mitchell, Jr. San Francisco, California 2016 After the fire and earthquake of 1906, the reconstruction of San Francisco initiated a profusion of neo-Gothic churches, public buildings and residential architecture. This thesis examines the development from the novel perspective of medievalism—the study of the Middle Ages as an imaginative construct in western society after their actual demise. It offers a selection of the best known neo-Gothic artifacts in the city, describes the technological innovations which distinguish them from the medievalist architecture of the nineteenth century, and shows the motivation for their creation. The significance of the California Arts and Crafts movement is explained, and profiles are offered of the two leading medievalist architects of the period, Bernard Maybeck and Julia Morgan. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
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. -
Design Commission Meeting Agenda Monday, June 19, 2017
Design Commission Meeting Agenda Monday, June 19, 2017 The Committee Meeting is scheduled to begin at 10:15 a.m. Public Meeting 12:05 p.m. Consent Items 26180: Construction of a natural gas piping station and adjacent site work, Flushing Avenue between North Elliott Place and North Portland Avenue, Brooklyn Navy Yard Industrial Park, Brooklyn. (Preliminary) (CC 33, CB 2) BNYDC 26181: Installation of electrical equipment, fencing, security booth, and turnstile enclosure to accommodate citywide ferry service, Dock 72, Market Street between 6th Street and Assembly Road, Brooklyn Navy Yard Industrial Park, Brooklyn. (Preliminary) (CC 33, CB 2) BNYDC 26182: Installation of a prototypical newsstand, 160 Madison Avenue, northwest corner of Madison Avenue and East 32nd Street, Manhattan. (Preliminary and Final) (CC 4, CB 5) DCA/DOT 26183: Installation of windows, louvers, and exhaust vent, 345 Adams Street, Brooklyn. (Preliminary and Final) (CC 33, CB 2) DCAS WITHDRAWN 26184: Conservation of Alexander Hamilton (circa 1940) by Adolph Alexander Weinman, Museum of the City of New York, Manhattan. (Preliminary) (CC 8, CB 11) DCLA 26185: Conservation of DeWitt Clinton (circa 1940) by Adolph Alexander Weinman, Museum of the City of New York, Manhattan. (Preliminary) (CC 8, CB 11) DCLA 26186: Installation of Sunbather by Ohad Meromi, Jackson Avenue at 43rd Avenue, Long Island City, Queens. (Final) (CC 26, CB 2) DCLA%/EDC/DOT 26187: Reconstruction of a plaza and adjacent site work, Queens Borough Hall, 120-55 Queens Boulevard, Kew Gardens, Queens. (Preliminary) (CC 29, CB 9) DDC 26188: Reconstruction of the East Flatbush Library, 9612 Church Avenue, Brooklyn. (Final) (CC 42, CB 17) DDC/BPL 26189: Installation of a plaque, Sheldon Avenue Bluebelt, Sweet Brook watershed, Staten Island. -
CABANEL ALEXANDRE (Francia) Nato Montpellier, 28 Settembre 1823
CABANEL ALEXANDRE (Francia) Nato Montpellier, 28 settembre 1823. Morto a Parigi, 23 gennaio 1889. Allievo di François-Édouard Picot all'École des Beaux-Arts, ottenne il secondo Prix de Rome nel 1845, passando così cinque anni a Villa Medici a Roma. Ottenne grande fama con la Nascita di Venere, acquistata da Napoleone III nel 1863. Lo stesso anno fu nominato professore all'École des Beaux-Arts e membro dell'Académie des Beaux-Arts. Membro di giuria per 17 volte dal 1868 al 1888 del Salon, ne ricevette la medaglia d'onore nel 1865, 1867 e 1878. Fu pittore di storia, di genere e ritrattista: conteso dai collezionisti d'Europa e d'America, richiesto come ritrattista, fu nemico del Naturalismo e dell'Impressionismo, e fu attaccato da Émile Zola e da tutti coloro che difendevano la necessità di un'arte meno soave e più realista. Il collega Edouard Manet lo disprezzava. La tela Nascita di Venere gli valse grande notorietà e numerose committenze. Durante l’Ottocento al tema del nudo sdraiato si dedicarono pittori affermati come Renoir e Courbet, Ingres e Gauguin e Van Gogh. Molto ricercato come ritrattista, ebbe moltissimi allievi, fra cui alcuni raggiunsero la notorietà. FILATELIA BENIN Anno 2003, CENTRO AFRICANA REP. Anno 2014 (BF 752), GUINEA BISSAU Anno 2013 (5216), MALI Anno 2011, SPAGNA Anno 2013 Busta Postale. SAO TOME’ 2000 SPAGNA BUSTE POSTALI CABOT FRANCISCO SANS (Spagna) Nato il 9 aprile 1828 a Girona. Morto il 5 Maggio 1881 a Madrid.- Pittore catalano diresse il Museo del Prado dal 1873 al 1881 Figlio di un navigatore della Royal Navy spagnola, frequentò la Escola de la Llotja (1850-1855), dove, all’inizio, seguì corsi di oreficeria (per volon- tà della sua famiglia), ma li interruppe per dedicarsi alla pittura. -
2019 Lewallen Galleries
$15US ISBN 978-1-7336075-9-9 Esphyr Slobodkina (1908-2002) Born:1908, Chelyabinsk, Siberia Died: 2002, Glen Head, New York EDUCATION British Art Center, New York, NY; 1944, Mortimer Brandt 1928 National Academy of Design, New York City, NY Gallery, New York, NY; 1942, Fine Arts Galleries, New York, NY; 1940 and 1938, American Fine Arts Galleries, New York, NY; Esphyr Slobodkina SELECTED SOLO EXHIBITIONS 1937, Squibb Galleries, New York, NY) 2019-20 Esphyr Slobodkina: Six Decades of Groundbreaking Painting, 1992 Fables, Fantasies, and Everyday Things: Children’s Books Collage, and Sculpture, LewAllen Galleries, Santa Fe, NM by Artists (1930-1945), Whitney Museum of American Art, SIX DECADES OF GROUNDBREAKING PAINTING, 2009 Rediscovering Slobodkina: A Pioneer of Abstraction, New York, NY Heckscher Museum of Art, Huntington, NY 1989 The Patricia and Phillip Frost Collection: American Abstraction COLLAGE AND SCULPTURE (traveling exhibition) National Museum of American Art, Washington, DC 2004 Kraushaar Galleries, New York, NY; also 2002 1930-45 National Museum of American Art, Washington, DC 2003 Esphyr Slobodkina: Abstractions, Hillwood Art Museum, 1983-84 Abstract Painting and Sculpture in America, 1927-1944, Long Island University, C.W. Post, Brookville, NY Museum of Art, Carnegie Institute, Pittsburgh, PA 1997 Thinking in the Abstract: The Paintings and Sculpture of (traveling exhibition) Esphyr Slobodkina, Heckscher Museum of Art, 1975 Federation of Modern Painters and Sculptors, Union Carbide Huntington, NY Exhibition Hall, New York, -
Cézanne Portraits
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction: The Reading of the Model JOHN ELDERFIELD La lecture du modèle, et sa réalization, est quelquefois très lent à venir pour l’artiste. Cézanne to Charles Camoin, 9 December 19041 Paul Cézanne was born in Aix-en-Provence on 19 January 1839, and died there aged sixty-seven on 23 October 1906. He made almost 1,000 paintings, of which around 160 are portraits.2 This publication accompanies the only exhibition exclusively devoted to these works since 1910, when Ambroise Vollard, who had been the artist’s dealer, showed twenty-four ‘Figures de Cézanne’. The present, much larger selection was chosen with the aims of providing a guide to the range and development of Cézanne’s portraits, the methods of their making, and the choice of their sitters. Also, more broadly, it is intended to raise the question of what the practice of portraiture meant for Cézanne when he was painting – or, as he said, reading and ‘realising’ – the model. Old Rules When Cézanne began painting portraits in the early 1860s, portraiture in France had long been acknowledged as a genre second in importance only to paintings of historical and mythological subjects. It was growing in popularity, and it would continue to do so during the period of Cézanne’s career: in the late 1880s, a National Portrait Gallery would be proposed for Paris, as well as a special gallery for portraits in the Louvre.3 It was during the 1860s and 1870s, however, that many ambitious painters found themselves enquiring what a portrait should aim to do. -
Edgar Degas French, 1834–1917 Woman Arranging Her Hair Ca
Edgar Degas French, 1834–1917 Woman Arranging her Hair ca. 1892, cast 1924 Bronze McNay Art Museum, Mary and Sylvan Lang Collection, 1975.61 In this bronze sculpture, Edgar Degas presents a nude woman, her body leaned forward and face obscured as she styles her hair. The composition of the figure is similar to those found in his paintings of women bathing. The artist displays a greater interest in the curves of the body and actions of the model than in capturing her personality or identity. More so than his posed representations of dancers, the nude served throughout Degas’ life as a subject for exploring new ideas and styles. French Moderns McNay labels_separate format.indd 1 2/27/2017 11:18:51 AM Fernand Léger French, 1881–1955 The Orange Vase 1946 Oil on canvas McNay Art Museum, Gift of Mary and Sylvan Lang, 1972.43 Using bold colors and strong black outlines, Fernand Léger includes in this still life an orange vase and an abstracted bowl of fruit. A leaf floats between the two, but all other elements, including the background, are abstracted beyond recognition. Léger created the painting later in his life when his interests shifted toward more figurative and simplified forms. He abandoned Cubism as well as Tubism, his iconic style that explored cylindrical forms and mechanization, though strong shapes and a similar color palette remained. French Moderns McNay labels_separate format.indd 2 2/27/2017 11:18:51 AM Pablo Picasso Spanish, 1881–1973 Reclining Woman 1932 Oil on canvas McNay Art Museum, Jeanne and Irving Mathews Collection, 2011.181 The languid and curvaceous form of a nude woman painted in soft purples and greens dominates this canvas. -
1 Frederick Frieseke Cited in Clara T. Macchesney
FREDERICK CARL FRIESEKE (1874-1939) Summer Afternoon Oil on canvas 26 x 32 inches Signed lower left Provenance Esther Rosenbaum, New York, 1951-2005 It is sunshine, flowers in sunshine, girls in sunshine, the nude in sunshine, which I have been principally interested in for eight years….1 One should never forget that seeing and producing an effect of nature is not a matter of intellect, but of feeling.2 Frederick Carl Frieseke was perhaps the most internationally celebrated Impressionist of his time. He was born in Owosso, Michigan in 1874 and went to Chicago to study at the Art Institute of Chicago and then to New York for lessons at the Art Students League. It was not before long that he followed the expatriate trail to France and enrolled at the Académie Julian under Jean-Paul Laurens and Benjamin Constant. In Paris, he met Whistler, whose color harmonies the young artist quickly absorbed. Frieseke’s career was graced with countless honors. He won a Gold medal at the Pennsylvania Academy in 1913, a Gold medal in Munich in 1904, a Silver medal at the Corcoran Gallery in 1935, the Grand Prize at the Pan-Pacific Exposition in San Francisco in 1915, two Gold medals at the Art Institute of Chicago in 1920, and a Gold medal at the Philadelphia Art Club in 1922. Frieseke won notice in Italy as his work, Autumn was acquired by the Museo de Arte Moderna in Venice, and a 1 Frederick Frieseke cited in Clara T. MacChesney, “Frieseke Tells Some of the Secrets of his Art” New York Times, June 7, 1914, cited in Gerdts, William H., American Impressionism, New York: Artabras, 1984) 264.