Download File

Total Page:16

File Type:pdf, Size:1020Kb

Download File Creating a Scene to Make an Impression How Gustave Caillebotte and His Street Scenes of Haussmannian Modernity Support Impressionism Without Subscription An honors thesis submitted in partial fulfillment of the requirements for the Bachelor of Arts in Art History at the University of Notre Dame Isabel Josephine Cabezas Class of 2017 Advisor ______________________ Dennis Doordan, Professor of Art History and Architecture May 8, 2017 TABLE OF CONTENTS Introduction | 1 Transformation and Conversion | 3 Beginning Impressionism...Or Growing Out of Realism | 6 Flâneurs Admiring Paris, or New Architecture Featuring Flâneurs? | 11 Le Pont de l’Europe and Sur le Pont de l’Europe | 12 ​ ​ ​ Paris Street, Rainy Day | 17 ​ Of or For Impressionism? | 20 Techniques and Style | 21 Financial Support | 26 Conclusion | 29 Figures | 33 Bibliography | 41 With thanks to the University of Notre Dame and its Department of Art, Art History, and Design, especially Professor Dennis Doordan, Professor Nicole Woods, and the Hesburgh Libraries; Holton-Arms School; National Gallery of Art; and my friends and family, especially my mother. Cabezas 1 Creating a Scene to Make an Impression How Gustave Caillebotte and His Street Scenes of Haussmannian Modernity Support Impressionism Without Subscription Introduction 19th-century Paris witnessed a redesign of its urban fabric and a revolution in styles of painting. Under Napoleon III’s Second Empire (1852-70), Baron Georges Haussmann transformed medieval Paris into a modern metropolis in an attempt to improve municipal sanitation and transportation, enhance urban beauty, and to facilitate governmental control over the city. The impact of this extensive redesign of Paris’ urban fabric extended to quotidian activities, as well as to the fine arts. French painting, for example, became less calculated and predictable. French artists responded to Haussmann’s transformation of Paris by straying from accepted norms and the Salon jury’s approval of genre and technique.1 Impressionist painters took scenes of ordinary, contemporary life as their subject matter, to provide viewers with an impression, or sense, of the encounter, and innovatively extended the frame and plane of the narrative to include the viewer. Gustave Courbet’s mid-19th-century Realism movement — in which he depicted scenes of labor and ordinary life instead of allegories or historical scenes meant to advance political agendas, and also showed in his own gallery after Salon rejection — sowed the seeds of the Impressionism.2 This generation of French painters could not survive without its own member, Gustave Caillebotte. 1 Burstein, Jessica. "Visual Art." In The Cambridge Companion to Modernist Culture, edited by Celia Marshik, 145-7. Cambridge: Cambridge University Press, 2014. “The Paris Salon was the juried biennial exhibition run by the Academy of Fine Arts, an outgrowth of the Royal Academy of Painting and Sculpture (founded 1684). The Salon constituted national aesthetic standards...there was no charge for entry, and the public could absorb what was deemed fine art." 2 When the Salon rejected some of his paintings in 1855, Courbet persisted to display his works and set up his own gallery, The Pavilion of Realism, just outside the Exposition Universelle. ​ ​ ​ ​ Cabezas 2 Emerging just after Haussmannization, Impressionism recorded fleeting moments of an updated Paris. Citizens had an unfamiliar streetscape to learn and explore, one of wide boulevards, sewers, gas lights, parks, and uniform six-story buildings; such was the physical environment of Haussmannian modernity. Responding to the upgraded infrastructure of Haussmannization, the Impressionists used novel techniques, such as loose brushwork and a participatory point of view, to produce an avant-garde conception of the city. Paintings now depicted Parisians’ movement and exploration of new spaces, as if the viewer had participated in the moment. This method broke with the style and traditional hierarchy of subjects that the Salon favored: scenes of antiquity or historical narratives, followed by portraits, landscapes, genre scenes, and still lifes, all in the classical style. As a group of Salon-rejected artists who sought to create a cultural space for this unconventional style of art and had no obligation to a dictated taste, the Impressionists broke from the norm as they recorded Parisian interactions, views, and relationships that anyone could access and observe in the street. In this paper I will examine how Gustave Caillebotte depicted Haussmanian modernity in his paintings of Parisian streetscapes. Having begun his artistic career as an Academically trained painter, Caillebotte’s life provide a series of contradictions that both place him within and set him apart from the Impressionist movement. How his life straddled belonging and disengagement can account for the sub-scenes present in his street scenes that focus equally on architecture and human experience. These sub-scenes form the foundations of my case for why Caillebotte does not align with the typical Impressionist in belonging, style, and technique. Cabezas 3 Transformation and Conversion Paris underwent a major redesign during the Second Empire of Napoleon III to relieve the city from its dark, dangerous, and dirty state. Sewage systems aided in improving sanitation, and green spaces and widened boulevards allowed for better traffic flow and made walking an enjoyable activity. The intervalled installation of street lamps, due to the advent of electricity, meant that people could safely stroll during the night; artificial light made for an entirely new experience of the city. Uninterrupted, straight streets had not existed before 1852, with the exception of “ceremonial rarities like the rue de Rivoli. But under the boulevard program of Baron Haussmann, the look of this street — incredibly broad, bullet-straight, and seemingly stretching to infinity — became the pervasive hallmark of the new city.”3 By 1870, the streets of Paris were unrecognizable to anyone who lived in the city before Haussmannization (Figs. 1-3). In addition to redesigning the layout of Paris, Baron Haussmann introduced a new architectural style to unify the urban landscape. The consistent nature of these structures, that are so identifiably Parisian today, erased and replaced the charm and mystery of Medieval Paris. Commenting on how one building indistinguishably became the next, Caillebotte’s close friend and fellow Impressionist Auguste Renoir complained that they appeared “cold and lined up like soldiers at a review.”4 As uniformity replaced variety, Haussmann’s expensive apartments became a bourgeois commodity. 3 Varnedoe, Kirk. Gustave Caillebotte. New Haven: Yale University Press, 1987. 84-5. ​ ​ 4 Rubin, James H. “Renovation and Modern Viewpoints: Roads, Bridges, and City Spaces.” In Impressionism and ​ the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh, 17-37. Berkeley: ​ University of California Press, 2008. 34. Cabezas 4 Gustave Caillebotte enjoyed the comforts of a well-to-do Parisian family throughout his life. Born on August 19, 1848 to Martial Caillebotte, the head of a military textile company, and Céleste Daufresne, he spent his first 18 years in the upper-class 10th arrondissement on the rue du Faubourg-Saint-Denis, just outside of Paris’ city walls. The family also had an extensive garden property in Yerres, a southeastern suburb of Paris, that provided the opportunity for boating on a river of the same name. In 1866, the family moved to their newly built home at the corner of 77 rue de Miromesnil and 13 rue de Lisbonne, in the 8th arrondissement that Haussmann had just refurbished. Having studied classics at Lycée Louis Le Grand, Gustave Caillebotte later graduated ​ ​ with a master’s law degree in 1868 and received his law license in 1870.5 He briefly served in the Garde Nationale Mobile during the Franco-Prussian War (1870-1); two small paintings reveal this time as the start of his artistic career.6 “He joined Léon Bonnat's studio in 1872 and passed ​ ​ ​ the entrance examination for the École des Beaux-Arts on 18 March 1873, though the École’s ​ ​ records make no mention of his work there, and his attendance seems to have been short-lived.”7 The reputable guidance of Bonnat, a naturalist painter, elevated Caillebotte’s hobby to a serious undertaking, which his father supported through his willingness to construct a painting studio adjacent to the family house around 1874-5.8 The Floor Scrapers (Fig. 4), painted in 1875, ​ probably represents this fact, as “it has long been recognized that the finishing performed in The ​ 5 Berhaut, Marie. "Caillebotte, Gustave." In The Grove Dictionary of Art, edited by Jane Turner, 53-7. New York: ​ ​ St. Martin's, 2000. 54. 6 Chardeau, Gilles. “Caillebotte: A Biographical Chronology.” In Gustave Caillebotte: The Painter’s Eye, edited by ​ ​ Mary Morton and George T. M. Shackelford, 233-49. Chicago: University of Chicago Press, 2015. 234. 7 Berhaut, Caillebotte, 54. ​ ​ 8 Guegan, Stephan. “Ecce Homo.” In Gustave Caillebotte: The Painter’s Eye, edited by Mary Morton and George T. ​ ​ M. Shackelford, 99-107. Chicago: University of Chicago Press, 2015. 100. Cabezas 5 Floor Scrapers is appropriate to the installation of a new parquet, not the reconditioning on an ​ existing surface.”9 The Floor Scrapers was Caillebotte’s first serious painting, indicated by its 6’ 4” x 4’ 9” size and its submission to the Salon of 1875. Caillebotte takes a Marvillian approach10 by “chronicling the changing landscape of his own urban experience,” but through his familiar method of Realist painting.11 A vacant room, the arduous handiwork of laborers, and rough shavings comprehensively signify the flux of creating an original space. The middle worker’s outstretched arms simultaneously carve the space for a new material and draw viewers into the scene that then fixes one’s eye upon the empty, shiny floorboards of the upper left. The stark reflection of the deep brown wood, in conjunction with the shining skin of the straining, shirtless workers unmistakably relates the scene as a hot and humid site of sweaty labor.
Recommended publications
  • The Impact of Medardo Rosso's Internationalism on His Legacy
    Sharon Hecker Born on a train: the impact of Medardo Rosso’s internationalism on his legacy In 1977 and 2014, the Italian Ministry of Culture (Soprintendenza Archeologia, Belle Arti e Paesaggio) declared numerous sculptures by Medardo Rosso (1858–1928) to be of national cultural interest and therefore not exportable.1 This decree is based on the premise of Rosso’s ties to Italy, his country of birth and death, as well as on the Ministry’s belief in his relevance for Italian art, culture and history. However, Rosso’s national identity has never been secure. Today’s claims for his ‘belonging’ to Italy are complicated by his international career choices, including his emigration to Paris and naturalization as a French citizen, his declared identity as an internationalist, and his art, which defies (national) categorization.2 Italy’s legal and political notifica (literally meaning ‘notification’ or national ‘designation’), as it is termed, of Rosso’s works represents a revisionist effort to settle and claim his loyalties. Such attempts rewrite the narrative of art history, and by framing Rosso according to exclusively Italian criteria, limit the kinds of questions asked about his work. They also shed light on Italy’s complex mediations between laying claim to an emerging modernism and to a national art. This essay assesses the long-term effects of Rosso’s transnational travel upon his national reputation and legacy. I contend that Rosso, by his own design, presented himself as an outsider who did not belong to national schools and nationally defined movements of his time. This was a major factor that contributed to his modernity.
    [Show full text]
  • Impressionist Adventures
    impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios.
    [Show full text]
  • Monet and American Impressionism
    Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies.
    [Show full text]
  • Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
    Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities.
    [Show full text]
  • GIUSEPPE DE NITTIS – MY ITALY 8 Eight Works by Giuseppe De Nittis (1846 - 1884)
    GIUSEPPE DE NITTIS – MY ITALY 8 Eight Works by Giuseppe De Nittis (1846 - 1884) Giuseppe De Nittis is one of the most important suing Paris Commune, so almost three years passed benign, rather than threatening, volcanic plume, is Italian painters of the nineteenth century. He took before he could return to the French capital. This certainly datable to 1871-2. In terms of handling, up his studies at the Istituto di Belle Arti in Naples enforced sojourn was nonetheless to be of critical it is a fine and characteristic example of the work but early on abandoned the academic tradition of importance to his development as a landscape art- De Nittis produced in this twelve-month period of his training. He came into contact with the group of ist. He was to produce what are almost certainly his intense artistic experimentation. The modeling of young Florentine painters known as the ‘Macchiai- most powerful and modern works in his Apulian the foreground in broad strokes of rapidly applied, oli’.1 Following their example, he began to practice home town of Barletta, in Naples and in Portici, a free-flowing paint is also entirely characteristic of plein-air painting. He moved to Paris in 1868 and village at the foot of Vesuvius. These works were his style. quickly made his name in artistic circles. In 1874, small in format and almost all were on panel. They A painting now in the collection of the India- he participated in the Impressionists’ first group show him working highly methodically towards a napolis Museum of Art titled La Strada di Brindisi exhibition staged in the studio of the photographer formal and chromatic synthesis of his techniques [The Road to Brindisi] (Fig.
    [Show full text]
  • Camille on Her Deathbed
    ART AND IMAGES IN PSYCHIATRY SECTION EDITOR: JAMES C. HARRIS, MD Camille on Her Deathbed AMILLE-LEONIE DONCIEUX Monet (1847- Many years after Camille’s passing, Monet spoke with 1879) died at 32 years of age after a pro- his friend Georges Clemenceau, the former French prime tracted illness, most likely metastatic cer- minister, about her death: vical cancer.1 She had been the inspiration and model for her husband, Claude Mo- I found myself staring at the tragic countenance, automatically trying to identify the sequence, the proportion of light and shade Cnet (1840-1926). In 1866, despite his youth, Monet’s in the colors that death had imposed on the immobile face. painting of Camille (Woman in Green Dress) was ac- Shades of blue, yellow, gray...Even before the thought oc- cepted and acclaimed at the annual Paris Salon, the con- curred to memorize the face that meant so much to me, my first servative arbiter of subject matter and style in painting.2 involuntary reflex was to tremble at the shock of the colors. In In the ensuing 12 years, Camille, either alone or with her spite of myself, my reflexes drew me into the unconscious op- son, was the primary model for his paintings. eration that is the daily order of my life. Pity me, my friend.4 Their relationship began when she was just 19 years of age and he was 25. She was said to be attractive and in- These comments were made 40 years after Camille’s telligent with beautiful eyes. During their life together she death.
    [Show full text]
  • 1 Figures of Ubicomp: Conceptualizing And
    FIGURES OF UBICOMP: CONCEPTUALIZING AND COMPOSING ACTIONABLE MEDIA By JOHN TINNELL A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 John Tinnell 2 To Hutton 3 ACKNOWLEDGMENTS I would like thank all of the amazing people in the English Department at the University of Florida, especially Greg Ulmer and Sid Dobrin. Greg’s work models everything I hope to achieve in my own. While I try to not follow his footsteps too obviously, I will always be seeking to further the insights and projects that his books so originally present. For me, Greg is among the masters that his motto gestures toward. Sid, perhaps more than anyone else, helped me come of age as a professional. Because of his constant encouragement and pinpoint advice, I felt as though I had made the transition from graduate student to Assistant Professor before I even started my dissertation. It would have been inconceivable for me to complete this project in under a year without that level of confidence and support. The other two members of my committee, Laurie Gries and Jack Stenner, provided me with vital feedback. Laurie’s capacity to respond to her students’ writing is unparalleled; she saw incongruencies in my writing to which I would otherwise still be blind. Jack voiced criticisms that I did not want to hear, which are the most important to hear. I thank my parents, emphatically, for their support and for doing what they are passionate about and always encouraging me to do the same.
    [Show full text]
  • Crystal Thomas Art History Paper Impressionism Through the Eyes Of
    Crystal Thomas Art History Paper Impressionism through the eyes of Edouard Manet and Claude Monet Impressionism is a movement that had a major impact in France during the late nineteenth and early twentieth centuries. There is no exact date for the beginning of this movement. Louis Leroy, an art critic, gave this period its name when he went to an independent exhibition and came across Claude Monet's Sunrise. He said it looked impressionistic, meaning not finished. Impressionists liked to be called Independents. During this time, being called an Impressionist was not a good thing. Impressionistic works were not accepted in the world of art at this time, and art critics were referring to these painters as being lazy. Most of the public did not support Impressionism. People wondered why the artists were not finishing their brush strokes and they did not like the colors being used. Among some of the Impressionist painters are Claude Monet, Edouard Manet, Edgar Degas, Pierre Auguste Renoir, Paul Cezanne, and Camille Pisarro. Characteristics of this movement include noticeable brush strokes that are not blended together, applying the paint in a thick, impasto style, and mixing the colors right on the canvas. Some Impressionists like to take an optical approach to painting and place the hues right next to each other on the canvas. This allows the eyes to do the mixing. Optical color mixing makes paintings look lighter than if the colors were mixed, and gives the paintings the effect of being in motion. Impressionists were interested in painting the everyday world around them.
    [Show full text]
  • Edgar Degas: a Strange New Beauty, Cited on P
    Degas A Strange New Beauty Jodi Hauptman With essays by Carol Armstrong, Jonas Beyer, Kathryn Brown, Karl Buchberg and Laura Neufeld, Hollis Clayson, Jill DeVonyar, Samantha Friedman, Richard Kendall, Stephanie O’Rourke, Raisa Rexer, and Kimberly Schenck The Museum of Modern Art, New York Contents Published in conjunction with the exhibition Copyright credits for certain illustrations are 6 Foreword Edgar Degas: A Strange New Beauty, cited on p. 239. All rights reserved at The Museum of Modern Art, New York, 7 Acknowledgments March 26–July 24, 2016, Library of Congress Control Number: organized by Jodi Hauptman, Senior Curator, 2015960601 Department of Drawings and Prints, with ISBN: 978-1-63345-005-9 12 Introduction Richard Kendall Jodi Hauptman Published by The Museum of Modern Art Lead sponsor of the exhibition is 11 West 53 Street 20 An Anarchist in Art: Degas and the Monotype The Philip and Janice Levin Foundation. New York, New York 10019 www.moma.org Richard Kendall Major support is provided by the Robert Lehman Foundation and by Distributed in the United States and Canada 36 Degas in the Dark Sue and Edgar Wachenheim III. by ARTBOOK | D.A.P., New York 155 Sixth Avenue, 2nd floor, New York, NY Carol Armstrong Generous funding is provided by 10013 Dian Woodner. www.artbook.com 46 Indelible Ink: Degas’s Methods and Materials This exhibition is supported by an indemnity Distributed outside the United States and Karl Buchberg and Laura Neufeld from the Federal Council on the Arts and the Canada by Thames & Hudson ltd Humanities. 181A High Holborn, London WC1V 7QX 54 Plates www.thamesandhudson.com Additional support is provided by the MoMA Annual Exhibition Fund.
    [Show full text]
  • Realism Impressionism Post Impressionism Week Five Background/Context the École Des Beaux-Arts
    Realism Impressionism Post Impressionism week five Background/context The École des Beaux-Arts • The École des Beaux-Arts (est. 1648) was a government controlled art school originally meant to guarantee a pool of artists available to decorate the palaces of Louis XIV Artistic training at The École des Beaux-Arts • Students at the École des Beaux Arts were required to pass exams which proved they could imitate classical art. • An École education had three essential parts: learning to copy engravings of Classical art, drawing from casts of Classical statues and finally drawing from the nude model The Academy, Académie des Beaux-Arts • The École des Beaux-Arts was an adjunct to the French Académie des beaux-arts • The Academy held a virtual monopoly on artistic styles and tastes until the late 1800s • The Academy favored classical subjects painted in a highly polished classical style • Academic art was at its most influential phase during the periods of Neoclassicism and Romanticism • The Academy ranked subject matter in order of importance -History and classical subjects were the most important types of painting -Landscape was near the bottom -Still life and genre painting were unworthy subjects for art The Salons • The Salons were annual art shows sponsored by the Academy • If an artist was to have any success or recognition, it was essential achieve success in the Salons Realism What is Realism? Courbet rebelled against the strictures of the Academy, exhibiting in his own shows. Other groups of painters followed his example and began to rebel against the Academy as well. • Subjects attempt to make the ordinary into something beautiful • Subjects often include peasants and workers • Subjects attempt to show the undisguised truth of life • Realism deliberately violates the standards of the Academy.
    [Show full text]
  • Extrait Du Catalogue
    Extrait du catalogue Tarif Public 24/09/2021 www.revendeurs.rmngp.fr Document non contractuel Réunion des musées nationaux et du Grand Palais des Champs-Élysées 254-256, rue de Bercy - 75577 Paris cedex 12 - France Tel : +33 (0)1 40 13 48 00 - Fax : +33 (0)1 40 13 44 00 Etablissement public industriel et commercial - APE 9102Z - RCS Paris B692 041 585 - SIRET 69204158500583 - TVA FR11692041585 Sommaire Collections » Louvre, Gangzai Design ... 1 Collections » Louvre, Joconde Céladon ... 2 Collections » Louvre, Liberté guidant le peuple ... 3 Collections » Orsay, Le Parlement ... 6 Collections » Orsay, Les Nymphéas ... 7 Collections » Picasso, Dora Maar ... 7 Collections » Versailles, Dames de la Cour ... 8 Collections » Versailles, Gravure de mode ... 9 Collections » Versailles, Napoléon ... 9 Jeunesse » Arts Plastiques ... 11 Jeunesse » Planches de stickers ... 12 Jeunesse » Jeux & Puzzles ... 12 Jeunesse » Un moment de lecture... ... 12 Cadeaux » Alimentaire ... 15 Cadeaux » Plateaux & Dessous de verre ... 15 Textiles » Pochettes ... 15 Affiches » Affiche 50 x 70 cm ... 16 Affiches » Affiche hors format ... 17 Affiches » Image Luxe 30 x 40 cm ... 17 Affiches » Reproduction 24 x 30 cm à fond perdu ... 18 Carterie » Carte postale 10,5 x 15 cm ... 19 Carterie » Carte postale 10,5 x 15 cm sous Marie-Louise 20 x 25 cm ... 54 Carterie » Carte postale 10,5 x 15 cm sur papier de création arts graphiques (Inuit blanc glacier 400 g) ... 54 Carterie » Carte postale 13,5 x 13,5 cm ... 60 Carterie » Carte postale 13,5 x 13,5 cm sur papier de création arts graphiques (Inuit blanc glacier 400 g) ... 66 Carterie » Carte postale 14 x 20 cm sur papier de création arts graphiques (Inuit blanc glacier 400 g) ..
    [Show full text]
  • A+Guide+In+General+Culture+For+The
    Before starting… a few short definitions What is an artistic movement? Each artistic movement corresponds to a precise historic period. Literature or fine arts more particularly belong to the history in which artists find their inspiration and who themselves influence history. A movement can propose: A new vision of art A new aesthetics A vision of society which is questioned through art An artistic movement is not restricted to a region or a country but it can spread from a continent to the whole world. The borders between movements are often blurred: they follow or oppose each other, sometimes they overlap. An artistic movement can be initiated by one or several artists who can produce a manifesto about it or by a critic, a journalist or a historian who writes a definition which sets it apart from other contemporary works. School or movement? A school is a voluntary gathering of artists and authors who share the same ideas and the same aesthetic project. A movement is an ideological community with a wider geographical range which is established a posteriori, usually by an art critic. What is art? It is difficult to define art. Here are some guidelines for reflection. How does a work become “a work of art?” Are there special criteria? A work reaches the status of “work of art” through a consensus and recognition by the institutions. “The authentic work of art is the one which is recognized as such and for which its creator deserves to be recognized as an artist. Thus, they are both recognized by public opinion which is itself orientated by experts’ judgment, a legitimate instance of legitimation” Pierre Bourdieu wrote.
    [Show full text]