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Victor Vignon Soleil Couchant Sur Le Chevet De Notre-Dame
anticSwiss 24/09/2021 21:09:53 http://www.anticswiss.com Victor Vignon Soleil Couchant sur Le Chevet de Notre-Dame IN VENDITA ANTIQUARIO Epoca: 19° secolo - 1800 Marc et Laurence Debono Stile: Saint-Ouen Altri stili +33 140108363 Lunghezza:46cm 33642881883 Altezza:33cm Prezzo:6500€ DESCRIZIONE DETTAGLIATA: Victor Vignon olio su tela Soleil Couchant sur Le Chevet de Notre-Dame circa 1880-1890. In un momento in cui la tragedia dell'incendio di Notre-Dame è di nuovo nelle notizie, vi invitiamo a scoprire questo magnifico dipinto di uno dei piccoli maestri del gruppo impressionista. Victor Vignon imparò, esibì e fece amicizia con i più grandi pittori della fine del XIX secolo. Il nostro dipinto raffigura una veduta di Parigi al tramonto con lo Chevet de Notre-Dame sullo sfondo e il Quais de Seine in primo piano. La tavolozza dei blu, i colori di un tramonto precoce con il suo rosa-arancio e questo bel cielo, sono una delizia per gli occhi. Olio su tela Veduta di Parigi, Tramonto sull'abside di Notre-Dame visto dal Quais de Seine, firmato in basso a sinistra da Victor Vignon intorno al 1880-1890. Misure senza cornice: H 12,99 pollici. - W 18,11 pollici. Misure incorniciate: H 20,47 pollici. - W 25,59 pollici. Il nostro dipinto è in ottime condizioni originali, viene offerto nella sua cornice e tela originali. La pulizia professionale è stata appena eseguita. L'abside di Notre-Dame. Lo Chevet è un semicerchio situato nella parte più orientale della cattedrale. Corrisponde all'abside dell'interno dell'edificio, circondato dalla rotonda del deambulatorio e dalle cappelle absidali. -
ALEJANDRO OTERO B. 1921, El Manteco, Venezuela D. 1990
ALEJANDRO OTERO b. 1921, El Manteco, Venezuela d. 1990, Caracas, Venezuela SELECTED EXHIBITIONS 2019 Alejandro Otero: Rhythm in Line and Space, Sicardi Ayers Bacino, Houston, TX, USA 2017 Kinesthesia: Latin American Kinetic Art, 1954–1969 - Palm Springs Art Museum, Palm Spring, CA 2016 Kazuya Sakai - Museo de Arte Moderno, Mexico City MOLAA at twenty: 1996-2016 - Museum of Latin American Art (MOLAA), Long Beach, CA 2015 Moderno: Design for Living in Brazil, Mexico, and Venezuela, 1940–1978 - The Americas Society Art Gallery, New York City, NY 2014 Impulse, Reason, Sense, Conflict. - CIFO - Cisneros Fontanals Art Foundation, Miami, FL 2013 Donald Judd+Alejandro Otero - Galería Cayón, Madrid Obra en Papel - Universidad Metropolitana, Caracas Intersections - MOLAA Museum of Latin American Art, Long Beach, CA Mixtape - MOLAA Museum of Latin American Art, Long Beach, CA Concrete Inventions. Patricia Phelp de Cisneros Collection - Museo Nacional Centro de Arte Reina Sofía, Madrid. 2012 O Espaço Ressoante Os Coloritmos De Alejandro Otero - Instituto de Arte Contemporânea (IAC), São Paulo, Brazil Constellations: Constructivism, Internationalism, and the Inter-American Avant-Garde - AMA Art Museum of the Americas, Washington, DC Caribbean: Crossroads Of The World - El Museo del Barrio, the Queens Museum of Art & The Studio Museum in Harlem, New York City, NY 2011 Arte latinoamericano 1910 - 2010 - MALBA Colección Costantini - Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires 2007 Abra Solar. Un camino hacia la luz. Centro de Arte La Estancia, Caracas, Venezuela 2006 The Rhythm of Color: Alejandro Otero and Willys de Castro: Two Modern Masters in the Patricia Phelps de Cisneros Collection - Fundación Cisneros. The Aspen Institute, Colorado Exchange of glances: Visions on Latin America. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not se^d UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiU indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this co^r for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Nimiber 9505207 E v a Gouzalès (1849— 1.883): A n examination of the artist’s style and subject matter. -
Colombian Artists in Paris, 1865-1905
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Colombian Artists in Paris, 1865-1905 Maya Jiménez The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2151 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COLOMBIAN ARTISTS IN PARIS, 1865-1905 by MAYA A. JIMÉNEZ A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 MAYA A. JIMÉNEZ All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor Katherine Manthorne____ _______________ _____________________________ Date Chair of Examining Committee Professor Kevin Murphy__________ ______________ _____________________________ Date Executive Officer _______Professor Judy Sund________ ______Professor Edward J. Sullivan_____ ______Professor Emerita Sally Webster_______ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Colombian Artists in Paris, 1865-1905 by Maya A. Jiménez Adviser: Professor Katherine Manthorne This dissertation brings together a group of artists not previously studied collectively, within the broader context of both Colombian and Latin American artists in Paris. Taking into account their conditions of travel, as well as the precarious political and economic situation of Colombia at the turn of the twentieth century, this investigation exposes the ways in which government, politics and religion influenced the stylistic and thematic choices made by these artists abroad. -
Auvers-Sur-Oise Village D'artistes
AUVERS-SUR-OISE VILLAGE D’ARTISTES PRESS RELEASE THE 2015 CULTURAL SEASON Press Release “In the footsteps of Van Gogh” Auvers-sur-Oise // 4 April – 20 September 2015 THE 2015 CULTURAL SEASON IN AUVERS-SUR-OISE IS DEDICATED TO VINCENT VAN GOGH In 2015 a great number of European places and institutions will be organizing a variety of exhibitions, experiences and events to commemorate the 125th anniversary of the death of Vincent van Gogh on 29th July 1890. In a short life of just 37 years the artist had no fewer than 38 different addresses in The Netherlands, Belgium, the United Kingdom and finally France. It was in France, his adoptive country, that Van Gogh in just under five years painted all the pictures that were to make him famous. It was also in France, in the village of Auvers-sur-Oise, that his doom-haunted existence came to an end. This was where he breathed his last in tragic circumstances that are destined forever to be veiled in mystery. Should it be regarded as the culmination of a yearning for the infinite, or the brutal rupture of a mythic destiny? Van Gogh carried the answer with him to his tomb… Today Auvers-sur-Oise is a veritable open-air museum where there is a kind of emotional truth that counts for more than historical fact. Auvers-sur-Oise is where one comes to meditate at the twin tombs of the Van Gogh brothers and commune with their occupants. Just a few feet away, over the cemetery wall, the communicant can see and hear the wind whistling in the fields of wheat, all the while listening to the tolling of the bells in the church immortalized by Vincent. -
Mcnay ART MUSEUM 2013 | 2015 Annual Report Visitors Enjoy a Free Family John and Peg Emley with Bill Chiego at the Margaritaville at the Day at the Mcnay
McNAY ART MUSEUM 2013 | 2015 Annual Report Visitors enjoy a free family John and Peg Emley with Bill Chiego at the Margaritaville at the day at the McNay. McNay Spring Party. Lesley Dill and René Paul Barilleaux, Chief Curator/Curator of Contemporary Art, at the Opening of Lesley Dill: Performance as Art. McNay Second Thursday band plays indie tunes on the Brown Sculpture Terrace. Visitors enjoy a free family day at the McNay. Emma and Toby Calvert at the 60th Sarah E. Harte and John Gutzler at the 60th Anniversary Celebration Anniversary Celebration Visitor enjoys field day activities during a free A local food truck serves up delicious dishes at McNay Second Suhail Arastu at the McNay Gala Hollywood Visions: Dressing the Part. family day at the McNay. Thursdays. Table of Contents Board of Trustees As of December 31, 2015 Letter from the President ................................................................................4 Tom Frost, Chairman Sarah E. Harte, President Letter from the Director ...................................................................................5 Connie McCombs McNab, Vice President Museum Highlights ...........................................................................................6 Lucille Oppenheimer Travis, Secretary Barbie O’Connor, Treasurer Notable Staff Accomplishments ...................................................................10 Toby Calvert Acquisitions ..........................................................................................................13 John W. Feik -
2016 – Bulletin N° 33
SAUVEGARDE DE LA VALLEE DU SAUSSERON ET DE SES ABORDS Bulletin n°33 SOMMAIRE N° 33 Le mot du Président 1 Daniel Amiot Le pas d'armes de Sandricourt2 Christiane et Michel Hénique Hérouville en Vexin : un domaine lupin pour des vies de châteaux13 Louis Descamps Auvers sur Oise. Objets mobiliers 39 Christian Olivereau Les Ateliers Boggio à AuversUn important projet culturel en cours de réalisation46 Xavier Boggio Emilio Boggio (1857-1920)57 Maxime Bugeaud Chez Jules & Léonie. Gite et chambres d'hôtes de charme à Valmondois73 Laurent de Gaulle Aux P'tits soins75 Anne Saglier Le potager communautaire de Valmondois 77 Jacques Fontana Nouvelles80 Daniel Amiot Crédit photographique AMIOT Danielp1, p 48, p 49, p 50, p 51, p 52, p 75, p 76, p 80 - BNF (GALLICA) : p 5, p 10p 70 - BUGEAUD MAXIME : p 61, p 72 - BOGGIO XAVIER : p 46, p 53, p 54, p 55, p 56, p 59 - DE GAULLE LAURENT : p 73 à 74 - DESCAMPS LOUIS : p 13 à 38- FONTANA JACQUES : p 77 à 79 - GALERIA DE ARTE NACIONAL (Caracas): p 61,p 64, p 65, p 68 - HENIQUE MICHELp 2 à 12 - INVENTAIRE ARTS GRAPHIQUES LOUVRE : p 8, p 9, p 11, p 6, p 7 - LEGOUT CLAUDE : p 80- MUSEE CAPODIMONTE (Naples) : p 41- MUSEE SENLECQ (L'Isle Adam) p 64 - NATIONAL GALLERY (Londres) : p 40 - OLIVEREAU Christian(CAOA): p 39 à 45- PALAIS ROYAL DE MADRID : p 40- SAGLIER Anne : p 76- Source DRAAC : p 59, p 60 . La SVS laisse aux auteurs l’entière responsabilité de leurs opinions. -
Destination Impressionnisme !
PARTEZ A LA DECOUVERTE DE L’ARCHIPEL DE LA VALLEE DE L’OISE : DESTINATION IMPRESSIONNISME ! Auvers-sur-Oise, Pontoise, L’Isle-Adam… bienvenue dans l'Archipel Impressionniste de la Vallée de l'Oise ! C’est ici, et nulle part ailleurs, que vous pouvez aussi bien contempler les merveilleux tableaux de ces maîtres de la lumière et de la couleur, (re)vivre l’espace d’un instant les émotions qui les ont inspirés ou encore découvrir leur lieu de vie et de création. Les visiteurs ne s’y trompent pas, ils y viennent chaque année du monde entier. Et parce que cette année plus encore, les Français auront à cœur de découvrir leur pays, zoom sur un archipel au charme indéniable où nature, histoire et patrimoine se rencontrent ! Un archipel qui se raconte Principal affluent de la Seine dont l’importance est très souvent soulignée, l’Oise a parfois tendance à être oubliée dans l’histoire de la peinture de paysage aux XIXe et XXe siècles. Elle constitue pourtant une étape essentielle dans la transition du pré-impressionnisme de Barbizon aux années historiques du mouvement qui se déploie principalement entre Paris et la côte normande. C’est là, à Auvers-sur-Oise, que Daubigny s’installe, inspiré par des paysages variés dont le caractère traditionnel semble encore préservé de la modernité. Cette transition n’est pourtant pas seulement géographique mais également artistique. Par son attrait pour la représentation des variations atmosphériques et la modernité de ses cadrages induite par sa pratique picturale à fleur d’eau, Daubigny transforme la manière de traduire le paysage sur la toile. -
Périodique Vivre En Val -D'oise Numéro Année Article Auteur
Périodique Vivre en Val -d'Oise Numéro Année article Auteur N° 1 Avril 1990 Mon oncle Paul Gachet Roger Golbéry N° 1 Avril 1990 Argenteuil : l'industrie à la rencontre de Monet Eric Deroche N° 1 Avril 1990 Les cent boulangers de Gonesse Jean-Pierre Blazy N° 1 Avril 1990 A Pontoise le plus ancien Carmel de France Philippe Ferry N° 1 Avril 1990 L'histoire tumultueuse des eaux d'Enghien Michel Rival Les peintures murales de l'église Notre-Dame de N° 1 Avril 1990 Vétheuil N° 1 Avril 1990 François Mauriac à Vémars Jacqueline Meillon N° 1 Avril 1990 L'atelier de Daubigny Marie-Paule Défossez N° 1 Avril 1990 Les pigeonniers du Val-d'Oise M.F. Terry-Maisonneuve N°2 Juin 1990 L'art de Vincent van Gogh à Auvers-sur-Oise Françoise Py N°2 Juin 1990 Roissy-en-France veut rester un village Jacqueline Meillon N°2 Juin 1990 Les artisans d'art du Val-d'Oise Charlotte Vairmont N°2 Juin 1990 Saint-Ouen-l'Aumône : une ville en couleurs M.F. Terry-Maisonneuve N°2 Juin 1990 Les moulins de Sannois Jacques Delaplace N°2 Juin 1990 Cergy : l'enfant et la musique Marion Rivage N°2 Juin 1990 Théâtre 95, ambassadeur du Val-d'Oise Catherine Haegeman N°2 Juin 1990 Un tableau de Pissarro change de nom Alain Mothe N°2 Juin 1990 Le 35e anniversaire du Musée de Guiry N°3 Sept. 1990 Flâner à Royaumont Claude-Jacques Damné N°3 Sept. 1990 L'automne des abbayes N°3 Sept. -
Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival
Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival Susan J. Gustavison A Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master Arts at Concordia University Montréal, Québec, Canada July 1989 © Susan J. Gustavison, 1989 CONCORDIA UNIVERSITY Division of Graduate Studies This is to certify that the thesis prepared By: Susan J. Gustavison Entitled: Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of this University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee, October 11, 1989 Robert J. Wickenden (1861 - 1931) and the Late Nineteenth-Century Print Revival Page ii A thesis by Susan J. Gustavison, July, 1989, Concordia University, Montréal – transcribed by Ken Watson, 1998 ABSTRACT Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival Susan J. Gustavison Despite an extensive exhibition history, favourable critical reception, the respect of his peers in the art establishment, and fruitful relationships with collectors such as Charles Lang Freer, James E. Scripps and Sir William Van Horne, Robert J. Wickenden (1861-1931) has remained a minor artist unclaimed by any of the national histories (British, Canadian or American) to which he has been linked in biographical entries. Robert Wickenden was a paradigm of a minor late nineteenth-century artist. His activity as a printmaker and painter of portraits and landscape was supplemented, and at times supported by his role as a collector, dealer and historian in the late nineteenth-century print revival. -
T T-\Yf-T Dissertation U I V L L Information Service University Microfilms Intemational a Bell & Howell Information Company 300 N
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Les Impressionistes
IR Impressionnistes-NUM.qxd 18/11/15 12:48 Page 1 idées reçues Les Impressionnistes IR Impressionnistes-NUM.qxd 18/11/15 12:48 Page 2 IR Impressionnistes-NUM.qxd 18/11/15 12:48 Page 3 idées reçues Les Impressionnistes Dominique Lobstein Arts & Culture EDITIONS IR Impressionnistes-NUM.qxd 18/11/15 12:48 Page 4 Dominique Lobstein Dominique Lobstein est chargé d’études documentaires au musée d’Orsay. Du même auteur – Dictionnaire des Indépendants, Dijon, L’Échelle de Jacob, 2003 – Les Salons au XIXe siècle. Paris, capitale des arts, Paris, La Martinière, 2006 IR Impressionnistes-NUM.qxd 18/11/15 12:48 Page 5 IMPRESSIONNISTE – Le terme, n’en déplaise à certains dictionnaires, ne fut pas créé « en 1874, par dérision d’après le titre d’un tableau de Monet, Impression, soleil levant (L’Ar t du XIXe siècle, Paris, Larousse, 1993, p. 380), l’auteur du texte incriminé s’étant limité, lorsqu’il évoque cette peinture, à la déclinaison « impressionné, impressionnante ». Le terme appa- raît dans le même texte, à deux reprises. Plus tôt, sans s’appli- quer à une œuvre déterminée, le mot figure dans l’alinéa : « D’abord sa [celle du père Vincent, personnage inventé pour représenter la tradition classique, qui accompagne le critique dans sa visite] folie fut assez douce. Se mettant au point de vue des impressionnistes, il abondait dans leur sens. » Il réap- paraît vers la fin du commentaire, le père Vincent, devenu fou, exerçant son avis critique sur un gardien de l’exposition : « Est-il assez mauvais ? fit-il en haussant les épaules.