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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. -
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. -
Impressionist & Modern
Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts. -
1998 Education
1998 Education JANUARY JUNE 11 Video: Alfred Steiglitz: Photographer 2–5 Workshop: Drawing for the Doubtful, Earnest Ward, artist 17 Teacher Workshop: The Art of Making Books 3 Video: Masters of Illusion 18 Gallery Talk: Arthur Dove’s Nature Abstraction, 10 Video: Cezanne: The Riddle of the Bathers Rose M. Glennon, Curator of Education 17 Video: Mondrian 25 Members Preview: O’Keeffe and Texas 21 Gallery Talk: Nature and Symbol: Impressionist and 26 Colloquium: The Making of the O’Keeffe and Texas Post-impressionism Prints from the McNay Collection, Exhibition, Sharyn Udall, Art Historian, William J. Chiego, Lyle Williams, Curator, Prints and Drawings Director, Rose M. Glennon, Curator of Education 22 Lecture and Members Preveiw: The Garden Setting: Nature Designed, Linda Hardberger, Curator of the Tobin FEBRUARY Collection of Theatre Arts 1 Video: Women in Art: O’Keeffe 24 Teacher Workshop: Arts in Education, Getty 8 Video: Georgia O’Keeffe: The Plains on Paper Education Institute 12 Gallery Talk: Arthur Dove, Georgia O’Keeffe and American Nature, Charles C. Eldredge, title? JULY 15 Video: Alfred Stieglitz: Photographer 7 Members Preview: Kent Rush Retrospective 21 Symposium: O’Keeffe in Texas 12 Gallery Talk: A Discourse on the Non-discursive, Kent Rush, artist MARCH 18 Performance: A Different Notion of Beautiful, Gemini Ink 1 Video: Women in Art: O’Keeffe 19 Performance: A Different Notion of Beautiful, Gemini Ink 8 Lunch and Lecture: A Photographic Affair: Stieglitz’s 26 Gallery Talk: Kent Rush Retrospective, Lyle Williams, Portraits -
Claude Monet : Seasons and Moments by William C
Claude Monet : seasons and moments By William C. Seitz Author Museum of Modern Art (New York, N.Y.) Date 1960 Publisher The Museum of Modern Art in collaboration with the Los Angeles County Museum: Distributed by Doubleday & Co. Exhibition URL www.moma.org/calendar/exhibitions/2842 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Museum of Modern Art, New York Seasons and Moments 64 pages, 50 illustrations (9 in color) $ 3.50 ''Mliili ^ 1* " CLAUDE MONET: Seasons and Moments LIBRARY by William C. Seitz Museumof MotfwnArt ARCHIVE Claude Monet was the purest and most characteristic master of Impressionism. The fundamental principle of his art was a new, wholly perceptual observation of the most fleeting aspects of nature — of moving clouds and water, sun and shadow, rain and snow, mist and fog, dawn and sunset. Over a period of almost seventy years, from the late 1850s to his death in 1926, Monet must have pro duced close to 3,000 paintings, the vast majority of which were landscapes, seascapes, and river scenes. As his involvement with nature became more com plete, he turned from general representations of season and light to paint more specific, momentary, and transitory effects of weather and atmosphere. Late in the seventies he began to repeat his subjects at different seasons of the year or moments of the day, and in the nineties this became a regular procedure that resulted in his well-known "series " — Haystacks, Poplars, Cathedrals, Views of the Thames, Water ERRATA Lilies, etc. -
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. -
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. -
Alsdorf Reviews the Liberation of Painting by Patricia Leighten
Alsdorf reviews The Liberation of Painting by Patricia Leighten http://www.19thc-artworldwide.org/spring14/alsdorf-reviews-the... Patricia Leighten, The Liberation of Painting: Modernism and Anarchism in Avant-Guerre Paris Chicago: University of Chicago Press, 2013. 248 pp.; 99 b&w illustrations, 32 color illustrations; bibliography; index. $50.00 (cloth); $7.00-40.00 (e-book) ISBN #9780226471389 Modernism’s relation to politics is uncontested. The debate that endures surrounds the nature of the relationship (direct, indirect, or inverse?) and the artist’s role in shaping it, as a deliberate political actor or a medium of social- historical forces. Patricia Leighten’s new book, The Liberation of Painting: Modernism and Anarchism in Avant-Guerre Paris, is an absorbing and scholarly study that shows all of these possibilities in play, sometimes in the case of one artist’s oeuvre. Leighten zealously argues for a more politicized, historicized account of modernist painting by focusing on a group of artists with documented ties to the anarchist movement. Pitched as a corrective to the “resolutely apolitical formalist art criticism” that still serves as the foundation of histories of abstraction in both the academy and the museum, Leighten’s book demands that we attend more closely to the political passions of key modernists on a case-by-case basis, not only (or even especially) as manifest in painting, but also as conveyed in the less hallowed production of satirical prints, as well as in these artists’ personal relationships, statements, and writings (2). The result is a rich and multifaceted argument for a “politics of form” as a driving force behind the pre-war production of Kees Van Dongen, Maurice de Vlaminck, Pablo Picasso, Juan Gris, and František Kupka. -
2B77958a.Pdf
sargent, monet... and manet Elaine Kilmurray In December 2006, I went to Paris to look at a cache of over a thousand letters written to Claude Monet by fellow artists (Caillebotte, Mary Cassatt, Cézanne, Manet, Pissarro, Renoir, Rodin, Sisley), writers (Octave Mirbeau, Gustave Geffroy) and his principal dealer (Paul Durand-Ruel) that had remained in the collection of Monet’s descendents and were about to be auctioned. They had passed through generations of the Monet family and many were unreleased and/or unpublished. Those of us working on the John Singer Sargent catalogue raisonné project were particularly interested in seventeen letters from Sargent to Monet. There has always been a sense of the provisional in accounts of the relationship between the two artists, a scarcity of fixed points and an absence of detail. We wanted to see how illuminating these letters were and how helpful they might be in filling lacunae and deepening our understanding. The timing was fortuitous: we were engaged on research for Volume V of the catalogue raisonné, in which we would catalogue Sargent’s most ‘Impressionist’ paintings. At the Artcurial auction house, I spoke to Thierry Bodin, who had done initial transcriptions of all the letters for the sale catalogue to a daunting deadline. The members of the catalogue raisonné team have struggled with Sargent’s writing (especially when in French, Italian or Spanish) for decades, and it was gratifying to hear from M. Bodin that, while Octave Mirbeau’s tight, closely worked hand had given him the most trouble, Sargent’s had come a close second. -
Les Pensees De Pascal, Matisse
Les Pensees de Pascal, Henri Matisse, 1924, 2010.37, G371 Questions: 1. Look carefully and describe what you see. 2. How does Matisse’s love affair with color play out here? 3. Matisse sought to achieve simplicity and balance in his paintings. What could be aspects of simplicity and balance in this piece? 4. How does Matisse seem to play with the contrasts between interior and exterior spaces? What other contrasts come to mind? 5. Matisse famously said, “Art should be devoid of troubling or depressing matter...a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue.” How could this painting be considered therapeutic? Explain. Main Points 1. Matisse regarded simplicity, balance, and serenity as the supreme achievement and message of French art. 2. Matisse’s art is important for its abstraction, spirituality, and subjectivity. 3. He recognized the importance of still-lifes in his own development. He copied paintings by Chardin and de Heem (1893) early on and reinterpreted de Heem in 1915. 4. He was searching for “what I believed to be exceptional in myself with means (colors) richer than in linear drawing, with which I brought forth what moved me in nature, through the empathy I created between the objects that surrounded me, around which I revolved and into which I succeeded in pouring my feelings of tenderness without risking to suffer from doing so as in life.” 5. Objects were not symbols or metaphors, literary references, not even important for their function. 6. Many of Matisse’s paintings include a window, allowing for depiction of both the interior of a room and the view of the exterior. -
5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected]
Kees van Dongen (Dutch/French, 1877-1968) Cavaliers dans les bois c.1906 oil on canvas 41 x 33 cm (16⅛ x 13 in.) signed 'van Dongen’ (lower left) Provenance: Madame Boris Kniaseff Knoedler & Co, New York (acquired from the above on 30 July 1953) (stock no. A 5405) J.H. Griffin (acquired from the above on 4 November 1953) Sale: Galerie Charpentier Paris, 9 December 1959, no. 27 (illustrated pl. X, titled Les Cavaliers au Bois de Boulogne) Private collection, France Private collection, France (bequeathed by the above) Thence by descent Notes: This work will be included in the forthcoming Van Dongen Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Following his successful debut with Galerie Vollard in 1904 and participation at the Salon d’Automne the year after, it was only natural that van Dongen’s career continued to progress rapidly throughout 1906. Already acquainted with Andre Derain and Maurice de Vlaminck, van Dongen also held a studio with neighbour, Pablo Picasso (fig. 1 - a cavalier by van Dongen hangs to the left of Picasso) at Le Bateau-Lavoir, a popular rendez-vous for creatives in the heart of Montmartre. It was during this period that van Dongen delved further into Fauvism from Pointillism and developed a personal style which differentiated him from his peers. The present work demonstrates van Dongen’s signature use of bright Fauve colours with earthy undertones. Although the blurred edges release the subjects from the restrains of realism, the route to total abstraction is diverted by the use of a few, block colours to help distinguish one subject from another. -
Catalogo N. 255
CATALOGO N. 255 LIBRI ILLUSTRATI DA ARTISTI MODERNI ITALIANI E STRANIERI ARte - edizioni di lusso - libri sull’incisione CATALOGHI MOSTRE - LIBRI DI VARIO GENERE CON 79 ILLUSTRAZIONI LIBRERIA ANTIQUARIA PRANDI S.N.C. DI DINO E PAOLO PRANDI REGGIO EMILIA 2017 1 Contemporaneamente a questo catalogo libri abbiamo diffuso il nostro sessantaquatresimo catalogo annuale dedicato alla grafica: CATALOGO N. 256 INCISIONI ORIGINALI ITALIANE E STRANIERE dell’800 e moderne ACQUERELLI E DISEGNI con uno scritto inedito di Marco Fiori Con tavole fuori testo comprendenti numerose riproduzioni a colori e in nero Il catalogo, in considerazione del suo altissimo costo è inviato gratuitamente ai nostri abituali Clienti acquirenti di opere di grafica. A tutti gli altri che ne faranno richiesta verrà inviato dietro versamento anticipato di € 16,00 sul nostro c/c postale n.160424 (o a mezzo francobolli, assegno bancario o postale), oppure in contrassegno postale a € 20,00 (€ 16,00 più spese postali). Il costo del Catalogo è rimborsabile in caso d’acquisto. 2 Indice per argomenti EDIZIONI FORMIGGINI (i numeri si riferiscono alle schede delle opere) Balzac Honoré De 31 Bini Carlo 66 Eroda 356, 357 Petronio Arbitro 636 EDIZIONI MARDERSTEIG ANASTATICHE Epitteto 354 Brofferrio Angelo 91 Eraclito 355 Manzoni Alessandro 511 Garzo Dall’Incisa Ser 395 ó Mucci Velso 575 Machiavelli Nicol 499 Mardersteig Giovanni 518 Smith John Captain 732 Petrarca Francesco - Fabre Jean-Henri 635 Zonca Vittorio 819 EDIZIONI ORIGINALI AUTOGRAFATI Bartolini Luigi 36, 37, 38, 40, 41, 42