DOCSLIB.ORG

Impressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Impressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art' H-Pennsylvania Locke on Thompson and Rishel and Owens and Rub, 'Impressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art' Review published on Monday, January 4, 2021 Jennifer A. Thompson, Joseph J. Rishel, Eileen Owens, Timothy Rub, eds. Impressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art. New Haven: Yale University Press, 2019. 216 pp. $35.00 (cloth), ISBN 978-0-87633-289-4. Reviewed by Nancy Locke (Pennsylvania State University) Published on H-Pennsylvania (January, 2021) Commissioned by Jeanine Mazak-Kahne (Indiana University of Pennsylvania) Printable Version: https://www.h-net.org/reviews/showpdf.php?id=55313 The collection of Impressionist and Post-Impressionist art at the Philadelphia Museum of Art stands as one of the richest in the nation. It is not surprising that the institution would want to document it in book form. The questions that arise, however, concern the form that such a book should take. Curators necessarily considered how much of the vast collection should be included, and how many works should be illustrated. If these movements are primarily French, how many non-French artists should appear? What should the balance be between painting and other art forms? And is the audience for the book primarily members of the museum-going public, scholars specializing in the artists featured, or perhaps readers discovering the art for the first time? There may be no correct answers to these questions, and I would like to stress that as I sketch the way I think Jennifer A. Thompson and her collaborators chose to structureImpressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art. Thompson’s introduction gives some idea of the decisions that had to be made. “With over two hundred paintings, drawings, and watercolors by Paul Cézanne; twenty-two paintings by [Claude] Monet; fifty paintings, sculptures, and drawings by Pierre-Auguste Renoir; 150 sculptures by Auguste Rodin; more than eighty works by Mary Cassatt; and seminal pieces by Edgar Degas, Édouard Manet, Camille Pissarro, and Henri de Toulouse-Lautrec”—not to mention noteworthy works by Vincent van Gogh, Berthe Morisot, Alfred Sisley, and more—Thompson and her colleagues faced a mammoth task (p. 9). In the end, the book focuses on ninety works in all media. Each has a full-page color reproduction, identifying information, and a catalogue entry or short essay. Instead of having sections devoted to individual artists, which might have made for weighty sections of Cézanne and Cassatt, for instance, the book orders the objects chronologically. At first this might seem odd: Cézanne’s Quartier Four, Auvers-sur-Oise has been split from the artist’s famed Mont Ste-Victoire (the 1873 painting appears on pp. 48–49, and the later ones—the Philadelphia Museum of Art holds two Mont Ste-Victoire landscapes—on pp. 188–191). The advantage in the chronological organization can be seen, however, when one turns a page or two and starts to see relationships among works that grew out of a particular moment. Monet’s Railroad Bridge, Argenteuil, 1873 (pp. 44-45), in which we see a concern with sunlight and the momentary sighting of a sailboat and a train, leads to Sisley’s Landscape (Spring at Bougival), also of 1873, with its ephemeral spring blossoms (pp. 46–47), and Citation: H-Net Reviews. Locke on Thompson and Rishel and Owens and Rub, 'Impressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art'. H-Pennsylvania. 01-04-2021. https://networks.h-net.org/node/8590/reviews/7076453/locke-thompson-and-rishel-and-owens-and-rub-impressionism-and-post Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-Pennsylvania more landscapes by Cézanne and Monet that follow. Degas’s expressive drawing and color saturation in After the Bath (Woman Drying Herself), c. 1896, can be seen as coming to fruition at the same time as richly colored figurative works like Renoir’s Girl in a Red Ruff and Cassatt’s Mother and Child (Maternal Kiss), a pastel on paper (pp. 168–173). Separate sections on the various artists would have absolutely minimized such connections. Over the years, the Philadelphia Museum of Art has developed and served as a venue for major exhibitions that have contributed considerable new knowledge to the field. The late Joseph J. Rishel, formerly Curator Emeritus of European Painting at the museum and a contributor to the book, was the force behind the landmark Cézanne (1996) that celebrated the centenary of Ambroise Vollard’s exhibition of Cézanne in Paris, and (with Katherine Sachs) the more experimentalCézanne and Beyond (2009) that examined Cézanne’s influence on artists as different as Piet Mondrian and Jasper Johns. Guest curators Juliet Wilson-Bareau and David Degener built Manet and the Sea (2003) around Manet’s The Battle of the USS “Kearsarge” and the CSS “Alabama” of 1864, a history painting in the Philadelphia collection in which a US Navy corvette sank the Confederate ship Alabama off the coast of Cherbourg. There have been exhibitions that brought new attention to the centrality of landscape as a genre in Impressionist and Post-Impressionist painting, such asRenoir Landscapes (2007) and Van Gogh: Up Close (2012). Rishel and Thompson were also the curators ofDiscovering the Impressionists: Paul Durand-Ruel and the New Painting (2015), which highlighted the role of the gallerist who championed Impressionist painting from a period of controversy and novelty to one of commercial success. In all these cases, the resulting exhibition catalogues were serious scholarly tools. Traditional exhibition catalogues have generally included such information as a work’s provenance (ownership history), exhibition history, and bibliography. In recent decades, catalogues have come to embrace a new model and have included more substantial essays, more comparative works (especially those not in the exhibition), and less documentary information for the objects included. A book like Impressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art could have styled itself as a handbook of the museum’s collection or a reference book for scholars. The authors chose not to include such information as provenance and exhibition history. Increasingly, larger museums are putting that kind of documentation online, where it is easily accessible by scholars and where it can be continually updated as new discoveries are made. One can hope that the Philadelphia Museum of Art will indeed make this information available online in the near future. Jennifer Thompson’s introductory essay paints a clear picture of the key patrons whose interests shaped the museum’s Impressionist collection. No figure was more important in this history than the American painter Mary Cassatt (1844–1926). She “encouraged the young Louisine Elder (later Mrs. Henry Osborne Havemeyer) to purchase a Degas pastel in 1877,” Thompson informs us, and by 1880, Cassatt’s brother Alexander, the first vice president of the Pennsylvania Railroad, was buying Degas, Monet, and Pissarro (p. 12). Not only would Alexander and his wife acquire nearly thirty Impressionist paintings, but other railroad executives like Frank Thomson would go on to travel to France and seek Mary Cassatt’s help in purchasing Monet, Degas, Pissarro, Renoir, and Sisley. Anna Riddle Scott, a cousin of the Cassatts and the widow of the former president of the Pennsylvania Railroad, also took advice from Cassatt and bought Manet’sEmilie Ambre as Carmen (c. 1879). Alexander Cassatt’s lawyer, John G. Johnson, would eventually acquire more than ten Impressionist paintings in addition to Manet’s “Kearsarge” and “Alabama”; Johnson’s extensive collection, including Citation: H-Net Reviews. Locke on Thompson and Rishel and Owens and Rub, 'Impressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art'. H-Pennsylvania. 01-04-2021. https://networks.h-net.org/node/8590/reviews/7076453/locke-thompson-and-rishel-and-owens-and-rub-impressionism-and-post Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 2 H-Pennsylvania Eugène Delacroix, Camille Corot, Jean-François Millet, and Gustave Courbet, would become the “most important group of works ever entrusted to the museum.”[1] Cassatt connections continued to bear fruit for the Philadelphia Museum of Art for decades to come. Thompson relates that museum chair Joseph Widener “oversaw the purchase of nine works from the estate of Lois Cassatt—three Monets, two Pissarros, a Renoir, a Cassatt, a Degas, and a Manet,” a purchase that “single-handedly gave Philadelphia a respectable Impressionist collection” in 1920 (p. 15). Twenty-five Cassatt prints were given to the museum by the artist’s niece and nephew in 1927, notes Thompson, and “the donation marked the beginning of the museum’s Impressionist print and drawing collection” (p. 16). Entries for individual works spotlighted in the catalogue generally include one additional illustration. Thompson and her colleagues often use these illustrations to contextualize the work in the collection. Cassatt’s A Woman and a Girl Driving of 1881, for instance, is accompanied by a period illustration of a woman driving a carriage (p. 78). A carte-de-visite photograph of Émilie Ambre as Carmen appears alongside Manet’s painting of the same (p. 68). When Monet painted his Railroad Bridge, Argenteuil in 1873, the bridge was newly rebuilt after its intentional destruction during the Franco-Prussian War to try to halt the advancement of the Prussian forces; the catalogue reproduces Jules Andrieu’s photograph of the collapsed bridge in 1870–71 (p. 44). We see a page from one of Van Gogh’s letters in which he describes, and sketches, a project of creating a modern triptych or polyptych with seven or nine canvases of Sunflowers (like the Philadelphia painting) surrounding a painting of a modern “Madonna,” his 1889 painting La Berceuse (p.
Load more

Recommended publications
  • Oral History Interview with Frederick A. Sweet, 1976 February 13-14
    Oral history interview with Frederick A. Sweet, 1976 February 13-14 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Frederick Sweet on February 13 & 14, 1976. The interview took place in Sargentville, Maine, and was conducted by Robert Brown for the Archives of American Art, Smithsonian Institution. Interview February 13, 1976. ROBERT BROWN: Could you begin, perhaps, by just sketching out a bit of your childhood, and we can pick up from there. FREDERICK SWEET: I spent most of my early childhood in this house. My father, a doctor and tenth generation Rhode Islander, went out to Bisbee, Arizona, a wild-west copper-mining town, as the chief surgeon under the aegis of the Company. My mother always came East at pregnancy and was in New York visiting relatives when my father died very suddenly of cerebral hemorrhage. My mother was seven months pregnant with me. Since I was to be a summer baby, she ended up by coming to this house and being a cook and being a cook and a nurse with her there. The local doctor came and said nothing was going to happen for quite a long time and went off in his horse and buggy. I was promptly delivered by the cook and a nurse.
    [Show full text]
  • 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.
    [Show full text]
  • James G. Lydon Duquesne University Pittsburgh, Pennsylvania
    168 BOOK REVIEWS APRIL and was a major trader in opium smuggled in from the Near East and India. Though some historians have suggested that drug smuggling re- flected racist attitudes, the author concludes rather that it fitted the moral standards of the day. Defense of opium smuggling was defense of free-trade principles. Despite the corruption of government officials which itoccasioned, the Chinese did not have the same antipathy for American traders as they directed toward the British who fought two wars to continue the trade. What Britain attained by war, America gained by diplomacy, without creating hatreds. While they treated Chinese law casually, Americans greatly respected Chinese merchants for their honesty and high ethical standards. Though the outlines of American contacts withAsia have been thoroughly sketched by others, Goldstein makes an important contribution inrelating the social issues connected with the trade to questions of cultural exchange and racist relationships. Some minor carping: the author might have concentrated a bit more attention on the importance of Chinese styles to eighteenth- century Europeans, the era of "Chinoiserie." That Asian culture was in the mode undoubtedly encouraged American interest in the China trade. The archaic spelling used for St. Eustatius (St. Eustacia) was bothersome. Is it George Chinery (illustration opposite p. 36) or George Chinnery (p. 38) ? References to American war vessels as USF Congress and USF Vincennes are confusing. Does the "F" sig- nify frigate ? Ifso, it is a new usage since frigates were ship-rigged ; thus USS serves. Allin all,however, this small study is very well done ;it is well written, very well researched, very nicely and profusely illustrated, very neatly packaged and published.
    [Show full text]
  • 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.
    [Show full text]
  • Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2016 The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the American Art and Architecture Commons, Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation Cresseveur, Jessica, "The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt." (2016). Electronic Theses and Dissertations. Paper 2409. https://doi.org/10.18297/etd/2409 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUEER CHILD AND HAUT BOURGEOIS DOMESTICITY: BERTHE MORISOT AND MARY CASSATT By Jessica Cresseveur B.A., University of Louisville, 2000 M.A., University College London, 2003 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Comparative Humanities University
    [Show full text]
  • 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.
    [Show full text]
  • Objectified Through an Implied Male Gaze
    Lehigh Preserve Institutional Repository “Dear Louie:” Louisine Waldron Elder Havemeyer, Impressionist Art Collector and Woman Suffrage Activist Ganus, Linda Carol 2017 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. “Dear Louie:” Louisine Waldron Elder Havemeyer, Impressionist Art Collector and Woman Suffrage Activist by Linda C. Ganus A Thesis Presented to the Graduate and Research Committee of Lehigh University in Candidacy for the Degree of Master of Arts In the Department of History Lehigh University August 4, 2017 © 2017 Copyright Linda C. Ganus ii Thesis is accepted and approved in partial fulfillment of the requirements for the Master of (Arts/Sciences) in (Department/Program). “Dear Louie:” Louisine Waldron Elder Havemeyer, Impressionist Art Collector and Woman Suffrage Activist Linda Ganus Date Approved Dr. John Pettegrew Dr. Roger Simon iii ACKNOWLEDGMENTS I would first like to thank my thesis advisor, Dr. John Pettegrew, Chair of the History Department at Lehigh University. In addition to being a formidable researcher and scholar, Prof. Pettegrew is also an unusually empathetic teacher and mentor; tireless, positive, encouraging, and always challenging his students to strive for the next level of excellence in their critical thinking and writing. The seeds for this project were sown in Prof. Pettegrew’s Intellectual U.S. History class, one of the most influential classes I have had the pleasure to take at Lehigh. I am also extremely grateful to Dr.
    [Show full text]
  • Press Release (PDF)
    Two Chairs, located in an “old-school” apartment in Yorkville, in Manhattan, positions two cultural producers in dialogue via their production. mice: Haim Steinbach and Julia Weist April 4th –May 9th 2014 Appropriation and ready-made are terms that this small exhibition deliberately avoids. What is presented here is a layering of intentions that stress the confines of art production and art history prompting other ways of presenting and thinking about a work of art. In dialogue with each other, these two works by Steinbach and Weist inform thought surrounding audience and reception, interpretation and misinterpretation. Haunting this project is Michel de Certeau’s 1974 work The Practice of Everyday Life; a contribution to the field of Cultural Studies in relation to the everyday that focuses attention from producer onto consumer, reader and audience. De Certeau recalls an experience visiting a particular regional museum in Vermont; he imagines past users and past communities through the museum’s intricate fabrication of a lived reality revealed in the arrangement of objects on display, in that moment crystallizing his thinking about proverbs and popular language; like objects, meaning in language is contingent not only on context and history but also on the “marks” left by use.: “Was it fate? I remember the marvelous Shelburne Museumi in Vermont where, in thirty-five houses of a reconstructed village, all the signs, tools, and products of nineteenth-century everyday life teem; everything, from cooking utensils and pharmaceutical goods to weaving instruments, toilet articles, and children’s toys can be found in profusion. The display includes innumerable familiar objects, polished, deformed, or made more beautiful by long use; everywhere there are as well the marks of the active hands and laboring or patient bodies for which these things composed the daily circuits, the fascinating presence of absences whose traces were everywhere.
    [Show full text]
  • Babylon/Islip Sample
    Table of Contents Acknowledgments . vi Factors Applicable to Usage . viii Introduction . ix Maps of Long Island Estate Areas . xi Surname Entries A – Z . 1 Appendices: Architects . 305 Civic Activists . 311 Estate Names . 314 Golf Courses on Former South Shore Estates . 320 Landscape Architects . 321 Maiden Names . 323 Occupations . 337 Rehabilitative Secondary Uses of Surviving Estate Houses . 348 Statesmen and Diplomats Who Resided on Long Island's South Shore . 350 Village Locations of Estates . 352 America's First Age of Fortune: A Selected Bibliography . 359 Selected Bibliographic References to Individual South Shore Estate Owners . 366 Biographical Sources Consulted . 387 Maps Consulted for Estate Locations . 388 Illustration Credits . 389 I n t r o d u c t i o n Previously studded with estates and grand hotels, the quiet, year-round villages in the Towns of Babylon and Islip today suggest little of the past and the seasonal frenzy of social activity that was the “Hidden Gold Coast” on the South Shore of Long Island. To many who pick up this volume, the concept of an estate area, a “Gold Coast,” in this section of the South Shore of Long Island will be a new concept. In truth it is an old reality; preceding the development of Long Island’s North Shore Gold Coast by some forty years. Spending the Spring and Autumn months in this area of western Suffolk County on the land that slopes down to the Great South Bay with the Atlantic Ocean visible on the horizon beyond Fire Island was such a social phenomenon that the Brooklyn Daily Eagle and local newspapers announced the rental intentions and seasonal arrivals of families.
    [Show full text]
  • Ambroise Vollard, Le Cubisme, Par PC
    Langue Vivante Régionale Activité : 45 minutes, artistique et culturelle Thème : kan i rès la kaz, i gingn pi sortir Objectifs : découvrir une personnalité de la Réunion, Ambroise Vollard découvrir un artiste qu’il a mis en lumière : Pablo Picasso et le mouvement cubiste réaliser un portrait cubiste en suivant des étapes Henri Louis Ambroise Vollard Ambroise Vollard est un marchand d'art, 1galeriste, éditeur et écrivain français né à Saint-Denis de La Réunion le 3 juillet 1866 et mort à Versailles le 22 juillet 1939. Il révéla des peintres comme : Paul Cézanne, Paul Gauguin, Vincent Van Gogh, Henri Matisse, Pablo Picasso. 2Avant-gardiste en matière d'art moderne, il se lia d'amitié avec les plus grands peintres de la fin du XIXe siècle (19ème siècle) et du début du XXe siècle (20ème siècle). Fils de notaire, le jeune Ambroise quitte la Réunion pour poursuivre des études à Montpellier, mais c'est à Paris qu'il fera finalement des études de droit. Il y développe une passion pour la peinture qui l'amène à ouvrir sa galerie d'art dès 1890. Il ouvre sa première galerie parisienne en 1893. Vollard expose par la suite de nombreux artistes majeurs comme Gauguin ou Matisse, ce dernier en 1904. Il en fréquente beaucoup d'autres, notamment Paul Cézanne ou Auguste Renoir, qui peindront son portrait. En 1898, Pierre Bonnard, Ker-Xavier Roussel et Édouard Vuillard exécutent à sa demande des 3lithographies en couleur. Vollard se lance dès 1889 dans l'édition et publie de nombreux poètes dans des recueils illustrés. C'est chez lui qu'a lieu en juin 1901 la première exposition de Pablo Picasso, jeune peintre espagnol alors récemment installé à Paris (et qui peindra également son portrait).
    [Show full text]
  • Brief Report on Technology and Condition
    Brief Report on Technology and Condition Camille Pissarro (1830-1903) L‘Hermitag near Pontoise (L‘Hermitage à Pontoise) 1867 signed and dated bottom right: “C. Pissarro. 1867” Oil on canvas h 91.0 cm x b 150.5 cm WRM 3119 Camille Pissarro – L’Hermitage near Pontoise Brief Report on Technology and Condition Brief Report Pissarro’s large-scale painting L’Hermitage near The reason why Pissarro rejected this first motif is Pontoise is among his early masterpieces and be- unclear, and may be linked to his financial situation longs to a group of pictures intended for the Paris at the time. Without adding a separating layer, he Salon exhibition of 1868. It cannot be ascertained very carefully overpainted the first motif with the with certainty, however, whether this painting was scene we see today. It is impossible to say how much in fact exhibited there [Tinterow/Loyrette 1994, time elapsed between the first painting and the p. 446; Pissarro/Durand-Ruel Snollaerts 2005, Vol. II, present one. It is striking, though, that very few ear- no. 119, p. 111]. In about 1930 the picture was pur- ly shrinkage cracks developed, and these, together chased by Ambroise Vollard from Pissarro’s son, with occasional unpainted areas in the new picture, Georges Manzana-Pissarro, and it is perhaps in provide valuable evidence regarding the coloration connexion with this purchase that the lining of the of the rejected composition: the dominant tones stable, twill-weave canvas is to be understood. Even were a bright pale blue in the sky, green, dull yellow- with the unaided eye, and strikingly so under rak- ish-green and ochre in the foreground and blackish- ing light, it is evident that the robust canvas had grey along the horizon (figs.
    [Show full text]
  • The National Gallery Immunity from Seizure
    Immunity from Seizure THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Delacroix and the Rise of Modern Art 17 Feb 2016 - 22 May 2016 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Delacroix and the Rise of Modern Art 17 Feb 2016 - 22 May 2016 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Delacroix and the Rise of Modern Art. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Delacroix and the Rise of Modern Art 17 Feb 2016 - 22 May 2016 Protection under the Act is sought for the objects listed below: Eugène Delacroix (1798 - 1863) © The Art Institute of Chicago,
    [Show full text]