Claude Monet : Seasons and Moments by William C
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The Painting of Modern Life: Paris in the Art of Maner and His Followers / T
THE PAINTING of Copyright © 1984 by T. f. Clark All rights reserved under International and Pan-American Copyright Conventions. Published by Princeton University.Press, 41 William Street, Princeton, New Jersey 08540. Reprinted by arrangement with Alfred A. Knopf, Inc. MODERN LIFE Grateful acknowledgment is made to the following for permission to reprint previously pub- lished material: Excerpt from "Marie Lloyd" in Selected Essays by T. S. Eliot, copyright 1950 by Harcourt Brace [ovanovich, Inc.; renewed ]978 by Esme Valerie Eliot. Reprinted by permission PARISIN THE ART OF MANET AND HIS FOLLOWERS of the publisher. LIBRARY OF CONGRESS CATALOGING IN PUnUCATION DATA Revised Edition Clark, T. J. (Timothy J.) The painting of modern life: Paris in the art of Maner and his followers / T. 1- Clark. - Rev. ed. P: em. Includes bibliographica! references and index. T.1.CLARK ISBN 0-69!-00903-1 (pbk. : alk. paper) 1. Impressionism (Art)-France-Paris. 2. Painting, French- France-Paris. 3. Painting, Modern-19th century+=France-c-Paris. 4. Paris (Francej-c-In art. 5. Maner, Edouard, l832-1883--Inftuencc, I. Title. ND550.C55 1999 758'.9944361-dc21 99-29643 FIRST PRINTING OF THE REVISED EDITION, 1999 MANUFACTURED IN THE UNITED STATES OF AMERICA FIRST PRINCETON PAPERBACK PRINTING, 1986 THIRD PRINCETON PAPERBACK PRINTING, 1989 9 8 7 CHAPTER TWO OLYMPIA'S CHOICE "We shall define as prostitute only that woman who, publicly and without love, gives herself to the first comer for a pecuniary remuneration; to which formula we shall add: and has no other means of existence besides the temporary relations she entertains with a more or less large number of individuals." From which itfollows--and it seems to me the truth--that prostitute implies first venality and second absence of choice. -
16 Exhibition on Screen
Exhibition on Screen - The Impressionists – And the Man Who Made Them 2015, Run Time 97 minutes An eagerly anticipated exhibition travelling from the Musee d'Orsay Paris to the National Gallery London and on to the Philadelphia Museum of Art is the focus of the most comprehensive film ever made about the Impressionists. The exhibition brings together Impressionist art accumulated by Paul Durand-Ruel, the 19th century Parisian art collector. Degas, Manet, Monet, Pissarro, Renoir, and Sisley, are among the artists that he helped to establish through his galleries in London, New York and Paris. The exhibition, bringing together Durand-Ruel's treasures, is the focus of the film, which also interweaves the story of Impressionism and a look at highlights from Impressionist collections in several prominent American galleries. Paintings: Rosa Bonheur: Ploughing in Nevers, 1849 Constant Troyon: Oxen Ploughing, Morning Effect, 1855 Théodore Rousseau: An Avenue in the Forest of L’Isle-Adam, 1849 (Barbizon School) Jean-François Millet: The Gleaners, 1857 (Barbizon School) Jean-François Millet: The Angelus, c. 1857-1859 (Barbizon School) Charles-François Daubigny: The Grape Harvest in Burgundy, 1863 (Barbizon School) Jean-François Millet: Spring, 1868-1873 (Barbizon School) Jean-Baptiste Camille Corot: Ruins of the Château of Pierrefonds, c. 1830-1835 Théodore Rousseau: View of Mont Blanc, Seen from La Faucille, c. 1863-1867 Eugène Delecroix: Interior of a Dominican Convent in Madrid, 1831 Édouard Manet: Olympia, 1863 Pierre Auguste Renoir: The Swing, 1876 16 Alfred Sisley: Gateway to Argenteuil, 1872 Édouard Manet: Luncheon on the Grass, 1863 Edgar Degas: Ballet Rehearsal on Stage, 1874 Pierre Auguste Renoir: Ball at the Moulin de la Galette, 1876 Pierre Auguste Renoir: Portrait of Mademoiselle Legrand, 1875 Alexandre Cabanel: The Birth of Venus, 1863 Édouard Manet: The Fife Player, 1866 Édouard Manet: The Tragic Actor (Rouvière as Hamlet), 1866 Henri Fantin-Latour: A Studio in the Batingnolles, 1870 Claude Monet: The Thames below Westminster, c. -
NINETEENTH-Century EUROPEAN PAINTINGS at the STERLING
Introduction Introduction Sterling and Francine clark art inStitute | WilliamStoWn, massachuSettS NINETEENTH-CENTURY EUROPEAN PAINTINGS diStributed by yale univerSity Press | NeW haven and london AT THE STERLING AND FRANCINE CLARK ART INSTITUTE VOLUME TWO Edited by Sarah Lees With an essay by Richard Rand and technical reports by Sandra L. Webber With contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, Zoë Samels, and Fronia E. Wissman 4 5 Nineteenth-Century European Paintings at the Sterling and Library of Congress Cataloging-in-Publication Data Francine Clark Art Institute is published with the assistance of the Getty Foundation and support from the National Sterling and Francine Clark Art Institute. Endowment for the Arts. Nineteenth-century European paintings at the Sterling and Francine Clark Art Institute / edited by Sarah Lees ; with an essay by Richard Rand and technical reports by Sandra L. Webber ; with contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Produced by the Sterling and Francine Clark Art Institute Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, 225 South Street, Williamstown, Massachusetts 01267 Zoë Samels, Fronia E. Wissman. www.clarkart.edu volumes cm Includes bibliographical references and index. Curtis R. Scott, Director of Publications ISBN 978-1-935998-09-9 (clark hardcover : alk. paper) — and Information Resources ISBN 978-0-300-17965-1 (yale hardcover : alk. -
Grade 2, Lesson 4, Monet
1 Second Grade Print Les Arceaux Fleuris, Giverny, 1913 (The Flowering Arches) By Claude Monet (1840-1926) Technique: oil on canvas Size: 36 ¾” x 36 ¼” Collection: The Phoenix Art Museum Art Style and Genre: French Impressionist-landscape OBJECTIVES: ✦The students will be introduced to the work of Claude Monet. ✦The students will be introduced to Monetʼs vital role in the development of Impressionist art style. ✦The students will describe how Impressionist artist visualize the effects of light and atmosphere on natural forms. ✦The students will describe how Monetʼs garden at Giverny inspired his work. ✦The students will analyze Monetʼs use of complementary colors to add visual interest in the landscape. ✦The students will create an outdoor garden scene that demonstrates Impressionistic technique. ABOUT THE ARTIST: Claude Monet was born in Paris, France, in 1840. He moved with his family to the port city of Le Havre in 1845. By age fifteen, he had established himself as a local caricaturist. It was during this time that he attracted the attention of French landscape artist Eugene Boudin. From Boudin, Monet was introduced to plein-air (open air) painting and the pure beauty found in nature. His aspiration to pursue a life as an artist confirmed, Monet left for Paris against his familyʼs wishes. At age twenty, Monet served in the French army and requested duty in an African regiment. Exposed to intense light and color while in North Africa, the artist once remarked that they “...contained the germ of my future researches.” In 1862, Monet convinced his father of his commitment to painting and obtained his permission to study art in Paris at the atelier (studio) of painter/teacher Charles Gleyre. -
Masterpiece: Monet Painting in His Garden, 1913 by Pierre Auguste Renoir
Masterpiece: Monet Painting in His Garden, 1913 by Pierre Auguste Renoir Pronounced: REN WAUR Keywords: Impressionism, Open Air Painting Grade: 3rd Grade Month: November Activity: “Plein Air” Pastel Painting TIME: 1 - 1.25 hours Overview of the Impressionism Art Movement: Impressionism was a style of painting that became popular over 100 years ago mainly in France. Up to this point in the art world, artists painted people and scenery in a realistic manner. A famous 1872 painting by Claude Monet named “Impression: Sunrise ” was the inspiration for the name given to this new form of painting: “Impressionism” (See painting below) by an art critic. Originally the term was meant as an insult, but Monet embraced the name. The art institutes of the day thought that the paintings looked unfinished, or childlike. Characteristics of Impressionist paintings include: visible brush strokes, open composition, light depicting the effects of the passage of time, ordinary subject matter, movement, and unusual visual angles. As a technique, impressionists used dabs of paint (often straight out of a paint tube) to recreate the impression they saw of the light and the effects the light had on color. Due to this, most Impressionistic artists painted in the “plein-air”, French for open air. The important concept for 3 rd grade lessons is the Impressionism movement was short lived but inspired other artists from all over, including America, to begin using this new technique. Each of the artists throughout the lessons brought something new and a little different to advance the Impressionistic years. (i.e. Seurat with Neo-Impressionism and Toulouse-Lautrec with Post-Impressionism). -
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. -
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. -
Claude Monet (1840-1926)
Caroline Mc Corriston Claude Monet (1840-1926) ● Monet was the leading figure of the impressionist group. ● As a teenager in Normandy he was brought to paint outdoors by the talented painter Eugéne Boudin. Boudin taught him how to use oil paints. ● Monet was constantly in financial difficulty. His paintings were rejected by the Salon and critics attacked his work. ● Monet went to Paris in 1859. He befriended the artists Cézanne and Pissarro at the Academie Suisse. (an open studio were models were supplied to draw from and artists paid a small fee).He also met Courbet and Manet who both encouraged him. ● He studied briefly in the teaching studio of the academic history painter Charles Gleyre. Here he met Renoir and Sisley and painted with them near Barbizon. ● Every evening after leaving their studies, the students went to the Cafe Guerbois, where they met other young artists like Cezanne and Degas and engaged in lively discussions on art. ● Monet liked Japanese woodblock prints and was influenced by their strong colours. He built a Japanese bridge at his home in Giverny. Monet and Impressionism ● In the late 1860s Monet and Renoir painted together along the Seine at Argenteuil and established what became known as the Impressionist style. ● Monet valued spontaneity in painting and rejected the academic Salon painters’ strict formulae for shading, geometrically balanced compositions and linear perspective. ● Monet remained true to the impressionist style but went beyond its focus on plein air painting and in the 1890s began to finish most of his work in the studio. Personal Style and Technique ● Use of pure primary colours (straight from the tube) where possible ● Avoidance of black ● Addition of unexpected touches of primary colours to shadows ● Capturing the effect of sunlight ● Loose brushstrokes Subject Matter ● Monet painted simple outdoor scenes in the city, along the coast, on the banks of the Seine and in the countryside. -
The Art Digest 1929-12-01: Vol 4 Iss 5
8 on DEC 6 1929 ger » The ART DIGEST Combined with THE Arcus of San Francisco The News --Magazine of Art “LADY WITH A GOLD CHAIN,” BY LUCAS CRANACH (1472-1553). A “German Mona Lisa.” Shown at the Van Diemen Galleries’ Cranach Exhibition. Reproduced by Courtesy of the Owner, Edouard Jonas. nil FIRST-DECEMBER 1929 TWENTY-FIVE CENTS The Art Digest, rst December, 1929 JACQUES SELIGMANN & C° 3 East 51st Street, New York PAINTINGS and WORKS of cART Ancien Palais Sagan, Rue St. Dominique PARIS 9 Rue de la Paix JOHN LEVY cALLERY “The 0 GALLERIES P. Jackson Higgs” : ; 11 EAST 54th STREET Paintings NEW YORK 5 NEW YORK 559 FIFTH AVENUE HIGH CLASS OLD MASTERS ANTIQUITIES THOMAS J. KERR HOWARD YOUNG GALLERIES formerly with DuvEEN BROTHERS IMPORTANT PAINTINGS IMPORTANT PAINTINGS Old and Modern By O_p Masters ANTIQUE Works OF ArT IIIS IIIAIAAIIIIT peppers | NEW YORK LONDON TAPESTRIES FURNITURE er 35 OLD BoND STREET 510 Mapison AvENvE (4th floor) New York | Duranp-Ruet ||| FERARGIL ||] KHRICH NEW YORK F. NEwLin Price, President GALLE RI ES 12 East Fifty-Seventh Street eee cane i Paintings PARIS 37 East Fifty-Seventh St. poe aS. 37 Avenue de Friedland NEW YORK 36 East 5 7th Street New York GRACE HORNE’S BRODERICK GALLERIES GALLERIES BUFFALO, N. Y. Stuart at Dartmouth, BOSTON Paintings Prints Yorke Ballery Throughout the season a series of Antiques Continuous Exhibitions of Paintings selected exhibitions of the best in by American and European Artists OLD ENGLISH SILVER AND CONTEMPORARY ART SHEFFIELD PLATE 2000 S St. WASHINGTON, D.C. The Art Digest, rst December, 1929 3 —_—— — Est. -
Poplars and Willows: Trees for Society and the Environment / Edited by J.G
Poplars and Willows Trees for Society and the Environment This volume is respectfully dedicated to the memory of Victor Steenackers. Vic, as he was known to his friends, was born in Weelde, Belgium, in 1928. His life was devoted to his family – his wife, Joanna, his 9 children and his 23 grandchildren. His career was devoted to the study and improve- ment of poplars, particularly through poplar breeding. As Director of the Poplar Research Institute at Geraardsbergen, Belgium, he pursued a lifelong scientific interest in poplars and encouraged others to share his passion. As a member of the Executive Committee of the International Poplar Commission for many years, and as its Chair from 1988 to 2000, he was a much-loved mentor and powerful advocate, spreading scientific knowledge of poplars and willows worldwide throughout the many member countries of the IPC. This book is in many ways part of the legacy of Vic Steenackers, many of its contributing authors having learned from his guidance and dedication. Vic Steenackers passed away at Aalst, Belgium, in August 2010, but his work is carried on by others, including mem- bers of his family. Poplars and Willows Trees for Society and the Environment Edited by J.G. Isebrands Environmental Forestry Consultants LLC, New London, Wisconsin, USA and J. Richardson Poplar Council of Canada, Ottawa, Ontario, Canada Published by The Food and Agriculture Organization of the United Nations and CABI CABI is a trading name of CAB International CABI CABI Nosworthy Way 38 Chauncey Street Wallingford Suite 1002 Oxfordshire OX10 8DE Boston, MA 02111 UK USA Tel: +44 (0)1491 832111 Tel: +1 800 552 3083 (toll free) Fax: +44 (0)1491 833508 Tel: +1 (0)617 395 4051 E-mail: [email protected] E-mail: [email protected] Website: www.cabi.org © FAO, 2014 FAO encourages the use, reproduction and dissemination of material in this information product. -
American Art New York | November 19, 2019
American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www. -
Fauvism and Expressionism
Level 3 NCEA Art History Fauvism and Expressionism Workbook Pages Fauvism and Expressionism What this is: Acknowledgements These pages are part of a framework for students studying This workbook was made possible: NCEA Level 3 Art History. It is by no means a definitive • by the suggestions of Art History students at Christchurch document, but a work in progress that is intended to sit Girls’ High School, alongside internet resources and all the other things we • in consultation with Diane Dacre normally do in class. • using the layout and printing skills of Chris Brodrick of Unfortunately, illustrations have had to be taken out in Verve Digital, Christchurch order to ensure that copyright is not infringed. Students could download and print their own images by doing a Google image search. While every attempt has been made to reference sources, many of the resources used in this workbook were assembled How to use it: as teaching notes and their original source has been difficult to All tasks and information are geared to the three external find. Should you become aware of any unacknowledged source, Achievement Standards. I have found that repeated use of the please contact me and I will happily rectify the situation. charts reinforces the skills required for the external standards Sylvia Dixon and gives students confidence in using the language. [email protected] It is up to you how you use what is here. You can print pages off as they are, or use the format idea and the templates to create your own pages. More information: You will find pages on: If you find this useful, you might be interested in the full • the Blaue Reiter workbook.