DOCSLIB.ORG

In Ein Harod,Chaim Soutine Meets Israeliart Exhibit Isshowcasingworks by the Greatpainter,Who Left Mark on Israeliartists Some of Whose Works Are on Display

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Ein Harod,Chaim Soutine Meets Israeliart Exhibit Isshowcasingworks by the Greatpainter,Who Left Mark on Israeliartists Some of Whose Works Are on Display In Ein Harod,Chaim Soutine meets Israeliart Exhibit isshowcasingworks by the greatpainter,who left mark on Israeliartists some of whose works are on display V. Ji-V Chaim Soutine,Self-Portrait,ca. 1916. IgaelTumarkin, Homage to Soutine from the seriesButchers Chaim Soutine,Girl in Blue ca. 1938-39. CollectionoftheIsrael CollectionofTelAviv Museum ofArt bequest,ofMala Silson,New York (1968-69),restored (1992). CollectionofTelAviv Museum ofArt Museum, Jerusalem,giftofEdwin and Grace Hokin Chicago “Gladioli” about four his well-known able works of art that are Soutine’s Naama Riba years paintings: work, Shapira $1ST$museums$1ST$said he would not have־$1ST$Soutine$1ST$Curator Shapira: “The Pastry Chef,”“Page on loan from major muse־ago. He lectures about Sou painting“Gladioli” tine$2ND$Soutine$2ND$and periodicallyholds Boy at Cafe Maxim” and ums$2ND$museums$2ND$abroad is extremely forgone the other works ”.$1ST$dedicated$1ST$‘ShowingSoutine paintingfrom his animal costly and complicated; shown in “Naked Soul־by Chaim Soutine fell “Soutiniana” events dedi $$1ST$power$1ST־Theinto the hands of Ya- cated$2ND$dedicated$2ND$to the artist.Tatz was is spiritual carcass series. most small institutions of “That’s the entire pow $$1ST$explained.$1ST־$1ST$kibbutz$1ST$ Soutine was considered this kind have neither the er$2ND$power$2ND$of this show,” he ex־niv Shapira,curator of the excited to hear that the kib $$1ST$wonderful$1ST־$1ST$influential$1ST$time, staff or expertiseto plained.$2ND$explained.$2ND$“Soutine is won־$1ST$organizing$1ST$experience.When to be one of the most influ־Mishkan Museum of Art at butz$2ND$kibbutz$2ND$museum was organiz $$1ST$involved.$1ST־$1ST$almost$1ST$an exhibition dedicated ential$2ND$influential$2ND$artists in deal with the in־Ein in the al Harod, north, ing$2ND$organizing$2ND$ stand in working procedures derful$2ND$wonderful$2ND$artist and showing most$2ND$almost$2ND$by accident. Shapira to Soutine;he promised to you Paris during the interwar volved.$2ND$involved.$2ND$The current show is him at the Mishkan is had been lookingfor works come for the openingand to front of his work, years. His works, some of thus centered around works spiritualexperience. $1ST$Israel$1ST$When stand in front־$1ST$millions$1ST$loaned from Jerusalem’s Is־by Soutine (1893-1943),the bring “Gladioli” with him, which have fetched mil understand you famous Jewish artistwhose Tatz also brought along you lions$2ND$millions$2ND$of dollars,are today rael$2ND$Israel$2ND$Museum, the Tel Aviv of work by Soutine,you $1ST$Israeli$1ST$somethingabout scattered among number Museum of Art and the understand something־work is the subjectof an portraitof Soutine by Is $$1ST$something$1ST־exhibition that opened last raeli$2ND$Israeli$2ND$artist Sima Slonim, of important museums, Hecht Collection in Haifa, about death and some $1ST$collectors$1ST$thing$2ND$something$2ND$about life at the־$1ST$Metropolitan$1ST$as well as from privatecol־$1ST$museum,$1ST$who met Soutine in Paris in death and about life including the Metropoli־week at the kibbutz muse entitled “Naked Soul: the 1930s. wanted to tan$2ND$Metropolitan$2ND$Museum of Art in New lectors$2ND$collectors$2ND$in Israeland abroad. same time. um,$2ND$museum,$2ND$ (“He at the same time.’ Chaim Soutine and Israeli marry her,”Shapirasaid). York,the Pompidou and Or- The Mishkan show is “They’vesaid he was $$1ST$Shapira$1ST־$1ST$particularly$1ST$Shapiracurated the Ein angeriemuseums in Paris, actuallydivided into three ‘painters’painter,”’Sha־Art.” “Gladioli” was par $1ST$Shapira:$1ST$Harod show, on through brations,and in cooperation the Tate Modern in London parts.Near the entrance is pira$2ND$Shapira$2ND$continued. “When־ticularly$2ND$particularly$2ND$importantfor Sha $$1ST$significance$1ST־$1ST$County$1ST$and the StedelijkMuseum displayof art by Chaim understood the signifi־pira:$2ND$Shapira:$2ND$His show features March 21,togetherwith Su- with the Los AngelesCoun ,$1ST$Harod$1ST$cance$2ND$significance$2ND$of that expression־$1ST$legendary$1ST$in Amsterdam. Some of his Atar,founder of the Ein Ha־photographof Soutine after ria Sadekova,chief curator ty$2ND$County$2ND$Museum of Art, legend his death,with bouquetof of the Pushkin Museum in ary$2ND$legendary$2ND$curator Yona Fischer paintingscan be found in rod$2ND$Harod$2ND$museum, who himself decided to curate an $1ST$Israel$1ST$privatecollections. was influenced by Soutine. exhibition that shows his־white gladioliplacedon his Moscow and with Batsheva organized show at the Is body. Goldman-Ida, the curator rael$2ND$Israel$2ND$Museum in Jerusalem For small museum To the leftare paintingsby influence over Israeliart. $$1ST$exhibitions$1ST־$1ST$special$1ST$There have been exhibi־$1ST$insuring$1ST$Soutine,displayedin spe־$1ST$Jewish$1ST$for specialprojectsat the featuringsome 50 works by such as the Mishkan, in־When visited the Jew“ cial$2ND$special$2ND$sterileenvironment for tions$2ND$exhibitions$2ND$that showed how he ־ish$2ND$Jewish$2ND$Museum in New York, Tel Aviv Museum of Art. Soutine,includingsome of suring$2ND$insuring$2ND$and shippingvalu the curator told me about The exhibition features just reasons of preservation.At influenced American and Jewish man by the name 18 examples of Soutine’s the entrance to thisgallery European artists. This $1ST$sculptures$1ST$show constitutes global־of Shmuel Tatz who owned oeuvre; none of them among are paintingsand sculp $1ST$recounted.$1ST$his best known. The last tures$2ND$sculptures$2ND$by artistswho were innovation for collectors־art by Soutine,”Shapirare counted.$2ND$recounted.$2ND$“I called him and time show in Israel was his contemporaries in and researchers.” $$1ST$catalog,$1ST־$1ST$exhibition$1ST$dedicated to the Belarus- Paris,among them Chana In the exhibition’s cat־said was doingan exhibi $1ST$Harod.$1ST$born artist who spent most Orloff,Jacques Lifschitz alog,$2ND$catalog,$2ND$curator Sadekova־tion$2ND$exhibition$2ND$on Soutine at Ein Ha rod.$2ND$Harod.$2ND$He said Soutine was of his lifein Paris,was more and Michel Kikoine. The describes Soutine’s life. his life.” than 50 years ago, in 1968. galleryon the lower level He was born in 1893 (or -$1ST$artists$1ST$1894) in the town of Smi־$1ST$Israel’s$1ST$ showcases 43 Israeli art־$1ST$physiotherapist$1ST$Back then,as part of Isra־Tatz, physiothera pist$2ND$physiotherapist$2ND$by profession,bought el’s$2ND$Israel’s$2ND$20th anniversarycele- ists$2ND$artists$2ND$three generationsof lavichy, outside Minsk .$1ST$Soutine.$1ST$in present-day Belarus־them, influenced by Sou tine.$2ND$Soutine.$2ND$ Michel Kikoine wrote in $$1ST$immediately$1ST־his memoirs that immedi ‘A painters’painter’ ately$2ND$immediately$2ND$after he and Soutine arrived in Paris,on June Even ifhe had the option 14, 1912, they rushed to of displaying100 piecesof the Gamier opera house to see Verdi’s “Aida” being regularfamilylifewith her. likesigningthem.” Soutine” sculpture,which first three were painted $$1ST$embarked$1ST־$1ST$outbreak$1ST$Israeli artists who were is part of Tumarkin’s before 1925, when he em־performed. In late 1939,after the out $1ST$however,$1ST$influenced by Soutine,and “Butchers” series,and Yosl barked$2ND$embarked$2ND$on his famous series־Soutine settled in at La break$2ND$outbreak$2ND$of World War II,how Ruche (the “Beehive”), ever,$2ND$however,$2ND$Groth was expelled whose works are also on Bergner’s early painting featuringanimal carcasses; residence for artists in from France. show at Ein Harod, tended “Homage to Chaim Soutine” the latter do not feature in .$1ST$carcass$1ST$the current exhibition־Montparnasse, where he By this time Soutine’s to paint wild landscapes, (1950),which depicts car $1ST$individuals$1ST$cass$2ND$carcass$2ND$and watermelon. In the catalog,curator־was neighborof Chagall, health was deteriorating,portraitsof wounded indi $$1ST$relates$1ST־$1ST$untitled$1ST$Batsheva Goldman-Ida re־$1ST$animals.$1ST$Also on show is an unti־$1ST$during$1ST$viduals$2ND$individuals$2ND$and bleeding ani־Orloff and Lifschitz. He process exacerbated dur $1ST$formal$1ST$ing$2ND$during$2ND$the war years, as he mals.$2ND$animals.$2ND$ tled$2ND$untitled$2ND$work by Michal Shamir lates$2ND$relates$2ND$how Soutine painted־didn’t applyhimself to for $1ST$generation$1ST$that references Rembrandt: that series: “He purchased־mal$2ND$formal$2ND$studies,preferringto wandered from place to Among the firstgenera $1ST$introduced$1ST$tion$2ND$generation$2ND$of those influenced sculpturein the form of an entire beef carcass at־$1ST$studying$1ST$place.In 1940, he was in־devote his time to study ing$2ND$studying$2ND$on his own, inspiredby troduced$2ND$introduced$2ND$to Marie-Berthe by him were Menachem beef carcass, made of the nearby meat market $$1ST$studio,”$1ST־the Louvre’s collection. In Aurenche, former wife of Shemi, Moshe Castel and gummy candies affixed to and hung it up in his stu 1915, Lifschitz introduced German artist Max Ernst, Moshe Mokady, whose wood structure. When it dio,”$2ND$studio,”$2ND$she writes. $1ST$reflect$1ST$was created in 2008, it was “When the meat began to־$1ST$mistress$1ST$expressivelandscapes re־Soutine to the Italian-Jew- who became Soutine’s mis $1ST$candies$1ST$go bad, he sprayed it with־$1ST$managed$1ST$flect$2ND$reflect$2ND$the mark the Parisian multicolored,but the can־$1ST$Modigliani,$1ST$tress$2ND$mistress$2ND$and eventuallyman־ish artistAmedeo Modigli ani,$2ND$Modigliani,$2ND$who in turn introduced aged$2ND$managed$2ND$to get him smuggled painterlefton them. dies$2ND$candies$2ND$have aged and are now fresh blood to ‘freshen it Soutine to Pablo Picasso back into Paris,in 1943. But shades of black-brown.
Load more

Recommended publications
  • Im Pressio Nist M O Dern & Co Ntem Po Rary Art 27 January
    IMPRESSIONIST MODERN & CONTEMPORARY ART CONTEMPORARY & MODERN IMPRESSIONIST 27 JANUARY 2015 8 PM 8 2015 JANUARY 27 27 JANUARY 2015 PM 8 2015 JANUARY 27 134 IMPRESSIONIST MODERN & CONTEMPORARY ART CONTEMPORARY & MODERN IMPRESSIONIST VIEWINGS: Thu 15 Jan 5 pm - 10 pm Fri 16 Jan 11 am - 3 pm Sat 17 Jan 10 pm - 12 am IMPRESSIONISSun - Thu /T 18-22, MO JanDERN 11 am - 10 pm Fri 23 Jan 11 am - 3 pm & CONSat T24EMPORAR Jan Y 10 pm - 12 am Sun - Mon / 25 - 26 Jan 11 am - 10 pm FINE TueAR 27T JanAUCTION 11 am - 8 pm JERUSALEM, JANUARY 27, 2015, 8 PM SALE 134 PREVIEW IN JERUSALEM: Thu 15 Jan 5 pm - 10 pm Fri 16 Jan 11 am - 3 pm Sat 17 Jan 10 pm - 12 am Sun - Thu / 18-22 Jan 11 am - 10 pm Fri 23 Jan 11 am - 3 pm Sat 24 Jan 10 pm - 12 am Sun - Mon / 25 - 26 Jan 11 am - 10 pm Tue 27 Jan 11 am - 8 pm PREVIEW IN NEW YORK: Thu 15 Jan 12 pm - 5 pm Fri 16 Jan 11 am - 3 pm Sun - Thu / 18-22 Jan 12 pm - 5 pm Fri 23 Jan 11 am - 3 pm Sun - Mon / 25 - 26 Jan 12 pm - 5 pm Tue 27 Jan 11 am - 1 pm PREVIEW & AUCTION MATSART GALLERY 21 King David St., Jerusalem tel +972-2-6251049 www.matsart.net בס"ד MATSART AUCTIONEERS & APPRAISERS 21 King David St., Jerusalem 9410145 +972-2-6251049 5 Frishman St., Tel Aviv 6357815 +972-3-6810001 415 East 72 st., New York, NY 10021 +1-718-289-0889 LUCIEN KRIEF OREN MIgdAL Owner, Director Head of Department Expert Israeli Art [email protected] [email protected] StELLA COSTA ALICE MARTINOV-LEVIN Senior Director Head of Department [email protected] Modern & Contemporary Art [email protected] EVGENY KOLOSOV YEHUDIT RATZABI AuctionAdministrator AuctionAdministrator Modern & Contemporary Art [email protected] [email protected] REIZY GOODWIN MIRIAM PERKAL Logistics & Shipping Client Accounts Manager [email protected] [email protected] All lots are sold “as is” and subject to a reserve.
    [Show full text]
  • Art-Related Archival Materials in the Chicago Area
    ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: [No Value], Louise Elizabeth Hughes Title: Chaim Soutine (1893-1943) Receptions, constructions and significance General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Chaim Soutine (1893-1943): Receptions, Constructions and Significance Louise Elizabeth Hughes A dissertation submitted to the University of Bristol in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts.
    [Show full text]
  • ​The Yiddish Life of Chaim Soutine (1893-1943): New Materials
    The Yiddish Life of Chaim Soutine (1893-1943): New Materials ​ Introduction and translations by Ofer Dynes ​ In geveb: A Journal of Yiddish Studies (April 2020) ​ For the online version of this article: [http://ingeveb.org/texts-and-translations/life-of-soutine] In geveb: A Journal of Yiddish Studies April (2020) The Yiddish Life of Chaim Soutine (1893-1943): ​ New Materials Ofer Dynes Most biographies of Chaim Soutine comment at some point on how impossible it is to write a biography of Chaim Soutine: “What sources do we have for writing about Soutine?” mused Michel LeBrun-Franzaroli ruefully, after decades of meticulous research following the footsteps of Soutine across France: “Leopold Zborowski, his art dealer… didn’t leave any archive, any financial account, any catalogue… Soutine himself hardly spoke, practically never wrote, and at any rate, didn’t say anything about his art.” The preface to the biographical note in Soutine’s Catalogue Raisonné conveys the same ​ sense of frustration, albeit much more succinctly: “The artist left few personal papers and 1 ​ no records.” The few letters of Soutine that have survived are prosaic in their content and laconic in their style. In 1964, Harvard University was able to purchase one of the most extensive collections of Soutine’s correspondence. The hopes were high: the collection contained 37 letters of Soutine, no less, addressed to Henri Sérouya (born Aharon Tsruya, 1895-1968), a renowned Kabbalah scholar who had claimed that Soutine’s paintings are troubling because they “are permeated with the vehemence of Jewish 2 mysticism.” One cannot help wondering: Did Soutine agree with this statement? What kind of conversations did he and Sérouya hold on the subjects of Jewish Mysticism or French Modernism, considering that Sérouya was an expert on both? Disappointingly, the letters do not provide any clues.
    [Show full text]
  • Helena Rubinstein the Adventure of Beauty
    Presse kit 20 March mahj.org — 25 August 2019 Exhibition Helena Rubinstein The Adventure of Beauty Doc Levin graphic design studio design graphic Doc Levin Helena Rubinstein, 1953 ; Paris, Archives Helena Rubinstein - L'Oréal ; c - L'Oréal Helena Rubinstein Archives 1953 ; Paris, Helena Rubinstein, Helena Rubinstein The Adventure of Beauty Exhibition 20 March – 25 August 2019 CURATORS Michèle Fitoussi, author of Helena Rubinstein. The Woman who Invented Beauty, London, Gallic Books, 2013. Dorota Sniezek, deputy curator, mahJ The first version of this exhibition was shown at the Jüdisches Museum in Vienna from October 2017 to May 2018. It was curated by Iris Meder, curator, and Danielle Spera, director of the Jüdisches Museum. EXHIBITION DESIGN Loretta Gaitis, architect-scenographer, assisted by Irène Charrat, scenographer GRAPHIC DESIGN Agnès Rousseaux and Bernard Lagacé With the support of In collaboration with PRESS CONTACTS Sandrine Adass, mahJ 01 53 01 86 67 ; 06 85 73 53 99 [email protected] Catherine Roger 06 08 51 69 06 [email protected] 2 Helena Rubinstein The Adventure of Beauty 4 The exhibition in images 5 The exhibition 8 I. Kraków 8 II. Vienna 9 III. Melbourne 10 IV. London 11 V. Paris 12 VI. New York 14 VII. Tel Aviv 15 Biographical timeline 16 Bibliography 19 The mahJ 20 Practical information 21 3 Helena Rubinstein The Adventure of Beauty Exhibition 20 March – 25 August 2019 For the first time in France, the mahJ is devoting an exhibition to Helena Rubinstein (1872- 1965). Featuring more than 300 exhibits from her famous collection – objects, garments, photographs, etchings, books, paintings, sculptures and tapestries, including works by Marc Chagall, Michel Kikoïne, Sarah Lipska, Louis Marcoussis, Elie Nadelman and Maurice Utrillo – it recounts the life and career of the woman whom Jean Cocteau dubbed “the empress of beauty.” Born into a modest Orthodox Jewish family in Kraków in 1872, Helena Rubinstein, founder of the famous cosmetics empire, reinvented beauty by adapting it to the modern world.
    [Show full text]
  • МИШЕЛЬ КИКОИН И РЕЗЕКНЕ Michel Kikoine and Rezekne
    II STARPTAUTISKĀ ZINĀTNISKI PRAKTISKĀ KONFERENCE „MĀKSLA UN MŪZIKA KULTŪRAS DISKURSĀ” МИШЕЛЬ КИКОИН И РЕЗЕКНЕ Michel Kikoine and Rezekne Александр Лисов (Alexander Lisov) Витебский государственный университет, Витебск, Беларусь, e-mail: [email protected] Abstract. Michel (Mikhaпl) Kikoпne (1892-1968) is one of the artists of the School of Paris, the school, represented by the great number of names of Jewish emigration from Russia. The creative manner of Kikoпne formed in Paris under the influence of P. Cezanne’s and P. Bonnard’s painting. Kikoпne is most often mentioned (in the past and actually) as one of the famous Parisian trio of artists issued from Vilna school of drawing and painting of I. P. Trutnev: Ch. Soutine, P. Krйmиgne, M. Kikoпne. Krйmиgne and Kikoпne for many years rested in the shadow of the creativity of Soutine, and only in the last decade, the interest to them, referred to the second row of the famous representatives of the School of Paris, has increased significantly. Early biographies of all members of this trio reveal a great deal of similarities and notable parallels. In reference biographical articles of European publications they often called “Litvak”, call them the “French painters of the Lithuanian origin” (more correctly, “Litvak-born French painters”). “Litvak”, as it is well known, is the name of a territorial and linguistic subgroup of Ashkenazi Jews widespread on the territory of the provinces of the Russian Empire, actually parts of modern Lithuania, Latvia and Belarus. The information about the birth of M. Kikoпne in various publications is quite confused and contains a lot of contradictions.
    [Show full text]
  • South of France Beach Scene
    South of France beach scene Lucien Adrion REF: 2056 Height: 43.5 cm (17.1") Width: 56 cm (22") Sold Adrion left his native town of Strasbourg in 1907 and moved to Paris to work as a draftsman to the fashion industry. He travelled to London, Munich and Frankfurt. When he visited Germany the outbreak of the First World War meant he was demobilised in Berlin. Here Adrion studied at the studio of Hermann Struck (1876- 1944), a well-known artist in etchings and engravings who was also the master of artists such as Marc Chagall (1887-1985) and Lesser Ury (1861-1931). Adrion remained in Berlin until after the end of the First World War, and returned to Strasbourg in 1919. His signed lithographs were a success and monetarily fuelled his travels back to Paris. Georges Chéron an art dealer who also represented artists like Amadeo Modigliani and Foujita, staged a One-man Show of Adrion's work in February 1921 and represented him henceforth. In the neighbourhood of Montparnasse, Adrion associated with young Eastern European painters such as Chaime Soutine (1893-1943), Pinchus Krémegne (1890-1981) and Michel Kikoine (1892-1968) who were to comprise the École de Paris Group. The artist was greatly appreciated for his crowded street scenes around Paris. For example, the critic Galtier-Boissiére, (1891-1966) wrote, "Il a le sens du mouvement des foules, du mouvement de la vie." (He has a feeling for the movement of crowds, the movement of life.) There is a distinct shift in Adrion's later style, when bored with his life in Paris he left his agent Chéron for Normandy and focused on painting landscapes.
    [Show full text]
  • Impressionist Modern & Contemporary Art 30 June
    131 & CONTEMPORARY ART 30 JUNE 2014 8PMIMPRESSIONIST MODERN IMPRESSIONIST, MODERN & CONTEMPORARY FINE ART AUCTION JERUSALEM, JUNE 30, 2014, 8 PM SALE 131 VIEWINGS: Thu 12 June 5 pm - 10 pm Fri 13 June 11 am - 3 pm Sat 14 June 10 pm - 12 am Sun - Thu / 15-19 June 11 am - 10 pm Fri 20 June 11 am - 3 pm Sat 21 June 10 pm - 12 am Sun - Tue / 22 - 26 June 11 am - 10 pm Fri 27 June 11 am - 3 pm Sat 28 June 10 pm - 12 am Sun 29 June 11 am - 10 pm Mon 30 June 11 am - 8 pm PREVIEW & AUCTION MATSART GALLERY 21 King David St., Jerusalem tel +972-2-6251049 www.matsart.net בס"ד MATSART AUCTIONEERS & APPRAISERS 21 King David St., Jerusalem 9410145 +972-2-6251049 15 Frishman St., Tel Aviv 6357815 +972-3-6810001 FINE ART DEPARTMENT LUCIEN KRIEF owner ALICE MARTINOV-LEVIN Ecole de Paris Auction Administrator [email protected] Modern & Contemporary Art +972-505-702226 [email protected] OREN MIGDAL EVGENY KOLOSOV Israeli Art Assistant to Auction Administrator [email protected] [email protected] +972-545-407994 STELLA COSTA YEHUDIT RATZABI Client Accounts Client Services [email protected] [email protected] MIRIAM PERKAL REIZY GOODWIN Client Accounts Logistics and Shipping [email protected] [email protected] All lots are sold “as is” and subject to a reserve. Please review the conditions as they appear in the rear of the catalog or contact us with any questions you may have. Please note that some of the works are located abroad where additional import charges may apply.
    [Show full text]
  • Call for Papers/ Publication
    Call for papers/ publication When New York looks Scientific Committee: Claire Bernardi, Chief Curator - at the School of Paris (1930-1950) Paintings, Musée d’Orsay; Béatrice Joyeux-Prunel, Professor of Reception, rereadings, Digital Humanities at the University of Geneva; and appropriations Scarlett Reliquet, Cultural Programme Officer at the Musée d’Orsay and Online Conference the Musée de l’Orangerie; Monday, November 29, 2021 / Tuesday, November 30, 2021 Pierre Wat, Professor at the University Paris I Panthéon-Sorbonne. On the occasion of the exhibition Chaïm Soutine/Willem de Kooning, painting embodied Musée de l’Orangerie, Paris, September 15, 2021 - January 10, 2022 The dialogue that the Musée de A new generation of historians has Unlike Surrealism, whose l’Orangerie has chosen to establish globalized its sources and questioned contributions to the American art scene between the School of Paris painter the binary model that constitutes the have been widely documented Chaïm Soutine (1893–1943) and center/periphery alternative. They have (Paris-New York, Surrealism in Exile), the American Abstract Expressionist relied less on monographic and focused we do not currently have an inventory of Willem de Kooning (1904-1997), affords approaches, and have decentered their the contributions of European figurative researchers the opportunity to explore purpose. These works show, as far as art, as united, albeit artificially, under the impact on the then-nascent our subject is concerned, that the New the banner of the “School of Paris” to American Abstract Expressionism York School did not “triumph” before American Abstract Expressionism. The movement by the art produced by the mid-1960s, and that its “autonomy” contributions to this colloquium will help European artists living in Paris during must be put into perspective.
    [Show full text]
  • Chaim Soutine Free
    FREE CHAIM SOUTINE PDF Klaus H Carl | 200 pages | 31 Jul 2015 | Parkstone Press Ltd | 9781783101238 | English | London, United Kingdom Chaim Soutine - artworks - painting Soutine made a major contribution to the expressionist movement while living in Paris. Inspired by classic painting in the European tradition, exemplified by the works of RembrandtChardin and CourbetSoutine developed an individual style more concerned with shape, color, and texture over representation, which Chaim Soutine as a bridge between more traditional approaches and the developing form of Abstract Expressionism. He was the tenth of eleven children. He soon developed a highly personal vision and painting technique. For a time, he Chaim Soutine his friends lived at Chaim Soutine Ruchea residence for struggling artists in Montparnasse where he became friends with Amedeo Modigliani — Zborowski supported Soutine through World War I, taking the struggling artist with him to Nice to escape the possible German invasion of Paris. After the war Paul Guillaume, a highly influential art dealer, began to champion Soutine's work. In Chaim Soutine, in Chaim Soutine showing arranged by Guillaume, the prominent American collector Albert C. Barnes —bought 60 of Soutine's paintings on the spot. Soutine, who had been virtually penniless in his years in Paris, immediately took the money, ran into the street, hailed a Paris taxi, and ordered the driver to take Chaim Soutine to Nice, on the French Riviera, more than Chaim Soutine away. Soutine once horrified his neighbours by keeping an animal carcass in his studio so that he could paint it Carcass of Beef. The stench drove them to send for the police, whom Soutine promptly lectured on the relative Chaim Soutine of art Chaim Soutine hygiene.
    [Show full text]
  • La Plage SOLD REF:- 198353 Artist: LUCIEN ADRION
    La Plage SOLD REF:- 198353 Artist: LUCIEN ADRION Height: 85.09 cm (33 1/2") Width: 104.648 cm (41 1/4") Framed Height: 111.76 cm (44") Framed Width: 131.572 cm (51 3/4") 1 https://johnbennettfinepaintings.com/la-plage 24/09/2021 Short Description Lucien Adrion was a French painter of beach scenes and streets in Paris animated with figures and produced in a post- Impressionist style. He was born in Strasbourg in 1889 and his first employment was in that city where he worked as a technical draughtsman. He left there in 1907, going to Paris and securing a job drawing fashion plates but remained only briefly in that position, having made the decision to concentrate on becoming a painter. He took up an itinerant lifestyle, travelling from place to place and producing drawings, studies and sketches of the places that he stayed. London and the south of England, Frankfurt and Munich were all visited but he was caught up in the latter by the outbreak of the Great War and had to leave Germany. When the war was over, he returned to Berlin to study engraving under Chagall’s former teacher, Hermann Struck. In 1919, he went back to Strasbourg, remaining there briefly to work on a series of small lithographs, the sale of which enabled him to raise sufficient funds go to Paris where he staged his first one-man show of oil paintings at La Galérie Chéron in 1921. He had found a studio in Montparnasse and became part of a circle of young Eastern European artists which included Pinchus Krémegne, Chaim Soutine and Michel Kikoine who were part of the non-French section of l’École de Paris.
    [Show full text]
  • Israeli & International Fine Art Auction 20 Dec 2015 7:30 Pm
    139 ISRAELI & INTERNATIONAL FINE ART AUCTION 20 DEC 2015 7:30 PM ISRAELI & INTERNATIONAL FINE ART AUCTION TEL AVIV, DECEMBER 20, 2015, 7:30 PM SALE 139 PREVIEW IN TEL AVIV Thu 10 December 5 pm - 9 pm Fri 11 December 10 am - 2 pm Sun-Thu /13-17 December 10 am - 6 pm Fri 18 December 10 am - 2 pm Sat 19 December 8 pm - 11 pm Sun. 20 December 10 am - 8 pm PREVIEW IN NEW YORK BY APPOINTMENT PREVIEW & AUCTION MATSART GALLERY 15 Frishman St., Tel Aviv tel +972-3-6810001 www.matsart.net בס"ד MATSART AUCTIONEERS & APPRAISERS 21 King David St., Jerusalem 9410145 +972-2-6251049 15 Frishman St., Tel Aviv 6357815 +972-3-6810001 415 East 72 St., New York, NY 10021 +1-718-289-0889 Lucien Krief Owner, Director, Expert MODERN & [email protected] CONTEMPORARY ISRAELI FINE ART DEPARTMENT FINE ART DEPARTMENT Stella Costa Alice Martinov Levin Oren Migdal Senior Director Head of Department Head of Department [email protected] [email protected] Tel Aviv Branch Manager [email protected] Evgeny Kolosov Masha Zakharova Yehudit Ratzabi Assistant Director Auction Administrator Auction Administrator [email protected] [email protected] [email protected] CLIENT SERVICES Miriam Perkal Reizy Goodwin Yoel Noorani Client Accounts Logistics & Shipping Client Services [email protected] Manager Tel Aviv Branch [email protected] [email protected] All lots are sold “as is” and subject to a reserve. Please review the conditions as they appear in the rear of the catalogue or contact us with any questions you may have. Please note that some of the works are located abroad where additional import charges may apply.
    [Show full text]