National Gallery of Art
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Artists' Journeys IMAGE NINE: Paul Gauguin. French, 1848–1903. Noa
LESSON THREE: Artists’ Journeys 19 L E S S O N S IMAGE NINE: Paul Gauguin. French, 1848–1903. IMAGE TEN: Henri Matisse. French, Noa Noa (Fragrance) from Noa Noa. 1893–94. 1869–1954. Study for “Luxe, calme et volupté.” 7 One from a series of ten woodcuts. Woodcut on 1905. Oil on canvas, 12 ⁄8 x 16" (32.7 x endgrain boxwood, printed in color with stencils. 40.6 cm). The Museum of Modern Art, 1 Composition: 14 x 8 ⁄16" (35.5 x 20.5 cm); sheet: New York. Mrs. John Hay Whitney Bequest. 1 5 15 ⁄2 x 9 ⁄8" (39.3 x 24.4 cm). Publisher: the artist, © 2005 Succession H. Matisse, Paris/Artists Paris. Printer: Louis Ray, Paris. Edition: 25–30. Rights Society (ARS), New York The Museum of Modern Art, New York. Lillie P. Bliss Collection IMAGE ELEVEN: Henri Matisse. French, 1869–1954. IMAGE TWELVE: Vasily Kandinsky. French, born Landscape at Collioure. 1905. Oil on canvas, Russia, 1866–1944. Picture with an Archer. 1909. 1 3 7 3 15 ⁄4 x 18 ⁄8" (38.8 x 46.6 cm). The Museum of Oil on canvas, 68 ⁄8 x 57 ⁄8" (175 x 144.6 cm). Modern Art, New York. Gift and Bequest of Louise The Museum of Modern Art, New York. Gift and Reinhardt Smith. © 2005 Succession H. Matisse, Bequest of Louise Reinhardt Smith. © 2005 Artists Paris/Artists Rights Society (ARS), New York Rights Society (ARS), New York/ADAGP,Paris INTRODUCTION Late nineteenth- and early twentieth-century artists often took advantage of innovations in transportation by traveling to exotic or rural locations. -
The Library of Professor Eric G. Carlson
The Library of Professor Eric G. Carlson Part II: Rare Illustrated Books and Print Portfolios, ca. 1850-1930 405 titles, in ca. 585 physical volumes The Library of Professor Eric G. Carlson Part I: Art of France from the French Revolution to the End of the Third Republic, 1790-1940. General Reference Works and Monographs on Artists, with a special emphasis on prints and printmaking The art historian and art dealer Eric G. Carlson (1940-2016) was a noted specialist in French and American prints and drawings of the nineteenth and early twentieth centuries. A mediaevalist by training (Ph.D. Yale University), and professor at the State University of New York at Purchase from 1978 to 2006, Carlson brought a scholar's acumen to his exploration of lesser-known fields and figures of French art. His library reflects this, being exceptionally rich not just on the major artists of the era, but on the many painters and printmakers who remain to this day little known to the general public. Its coverage of the art of Romanticism, Realism, and Post-Impressionism, with very impressive concentrations on Géricault, Delacroix, Courbet, Degas and Gauguin, among others, is matched by a fascinating depth in the Symbolist and Nabi movements and the School of Pont-Aven, and the myriad Academic and Salon artists, illustrators and caricaturists who flourished between the start of the Second Empire and the end of the Third Republic. The library is unusually complete and sophisticated in the documentation and critical study of all aspects of the period, with rare exhibition and auction catalogues, and scarce early monographs, as well as the latest academic scholarship. -
Toulouse-Lautrec and Anti-Semitism in Fin-De-Siècle Paris
Toulouse-Lautrec and anti-Semitism in fin-de-siècle Paris Essay by Louis Dzialo In 1892, a salacious dime-novel hit the shelves in Paris. Victor Joze’s Reine de joie, moeurs du demi-monde (Queen of Joy, The World of Easy Virtue) tells the story of Alice Lamy, an enterprising Parisian courtesan, and her depraved relationship with a fictitious Jewish financier, Baron de Rozenfeld. Toulouse-Lautrec’s poster that advertised the novel depicts the novel’s moment of high-comedy. Prior to this scene, Baron de Rozenfeld has struck a deal to engage in an illicit relationship with Alice for a tremendous sum of money, plus a fully furnished townhouse in the fashionable Bois du Boulogne. Upon realizing what the Baron has offered her “[Alice] rises suddenly, embraces the Baron with her bare arms, and as her lips slide towards the old man’s mouth, she encounters an obstacle in the form of his large hooked Semitic nose and there she plants her kiss.”1 Though Toulouse-Lautrec’s poster advertising Reine de Joie (Figure 1) remains true to elements of this scene, it is not without the artist’s own creative embellishments. Joze describes Rozenfeld as “an aging Semitic type…an impassive figure of a man who knows his power.”2 Toulouse-Lautrec alters the Baron, depicting a “a short, overweight, sunken figure of a man who indulges in what money can buy and whose own passive body language does not suggest a consciousness of his own power.”3 His Baron is a grotesque blob of a man, his sordid character reiterated in Lautrec’s (ambiguous) suggestion that he gropes Alice’s breast with his right hand. -
Picturing France
Picturing France Classroom Guide VISUAL ARTS PHOTOGRAPHY ORIENTATION ART APPRECIATION STUDIO Traveling around France SOCIAL STUDIES Seeing Time and Pl ace Introduction to Color CULTURE / HISTORY PARIS GEOGRAPHY PaintingStyles GOVERNMENT / CIVICS Paris by Night Private Inve stigation LITERATURELANGUAGE / CRITICISM ARTS Casual and Formal Composition Modernizing Paris SPEAKING / WRITING Department Stores FRENCH LANGUAGE Haute Couture FONTAINEBLEAU Focus and Mo vement Painters, Politics, an d Parks MUSIC / DANCENATURAL / DRAMA SCIENCE I y Fontainebleau MATH Into the Forest ATreebyAnyOther Nam e Photograph or Painting, M. Pa scal? ÎLE-DE-FRANCE A Fore st Outing Think L ike a Salon Juror Form Your Own Ava nt-Garde The Flo ating Studio AUVERGNE/ On the River FRANCHE-COMTÉ Stream of Con sciousness Cheese! Mountains of Fra nce Volcanoes in France? NORMANDY “I Cannot Pain tan Angel” Writing en Plein Air Culture Clash Do-It-Yourself Pointillist Painting BRITTANY Comparing Two Studie s Wish You W ere Here Synthétisme Creating a Moo d Celtic Culture PROVENCE Dressing the Part Regional Still Life Color and Emo tion Expressive Marks Color Collectio n Japanese Prin ts Legend o f the Château Noir The Mistral REVIEW Winds Worldwide Poster Puzzle Travelby Clue Picturing France Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON page ii This Classroom Guide is a component of the Picturing France teaching packet. © 2008 Board of Trustees of the National Gallery of Art, Washington Prepared by the Division of Education, with contributions by Robyn Asleson, Elsa Bénard, Carla Brenner, Sarah Diallo, Rachel Goldberg, Leo Kasun, Amy Lewis, Donna Mann, Marjorie McMahon, Lisa Meyerowitz, Barbara Moore, Rachel Richards, Jennifer Riddell, and Paige Simpson. -
The Chester Dale Collection January 31, 2010 - January 2, 2012
Updated Monday, May 2, 2011 | 1:38:44 PM Last updated Monday, May 2, 2011 Updated Monday, May 2, 2011 | 1:38:44 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 From Impressionism to Modernism: The Chester Dale Collection January 31, 2010 - January 2, 2012 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required(*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. File Name: 3063-001.jpg Title Title Section Raw File Name: 3063-001.jpg Henri Matisse Henri Matisse The Plumed Hat, 1919 Display Order The Plumed Hat, 1919 oil on canvas oil on canvas Overall: 47.7 x 38.1 cm (18 3/4 x 15 in.) Title Assembly The Plumed Hat Overall: 47.7 x 38.1 cm (18 3/4 x 15 in.) framed: 65.9 x 58.1 x 5.7 cm (25 15/16 x 22 7/8 x 2 1/4 in.) Title Prefix framed: 65.9 x 58.1 x 5.7 cm (25 15/16 x 22 7/8 x 2 1/4 in.) Chester Dale Collection Chester Dale -
Art Assignment #8
Art Assignment #8 Van Gogh Unit Van Gogh Reading/Reading Guide Due Friday, May 15, @4p Dear Art Class, Please read pages 39-61 of the van Gogh book and answer questions 79-139 of the reading guide. Please start this assignment right away. Try to pace yourself and answer at 15 questions per day. If you are part of Google Classroom turn in your google doc there. Please start a new Google Doc with questions and answers. Good luck! Hope everyone is doing well! Mr. Kohn VAN GOGH BOOK READING GUIDE QUESTIONS Pages 39-61 Vincent the Dog 1883-85 I am getting to be like a dog, I feel that the future will probably make me more ugly and rough, and I foresee that “a certain poverty” will be my fate, but, I shall be a painter. --Letter to Theo, December 1883 Vincent came home ready to give his parents another chance to do the right thing. If only his father would apologize for throwing him out of the house, they could all settle down to the important business of Vincent’s becoming an artist. Mr. van Gogh didn’t see it that way. He and Vincent’s mother welcomed their thirty-year-old problem child, but they were ambivalent at the prospect of having him back in the nest. After a few days Vincent wrote humorously yet bitterly to Theo, comparing himself to a stray dog. 39 Dear brother, I feel what Father and Mother think of me instinctively(I do not say intelligently). They feel the same dread of taking me in the house as they would about taking in a big rough dog. -
The Maria at Honfleur Harbor by George-Pierre Seurat
The Maria at Honfleur Harbor By George-Pierre Seurat Print Facts • Medium: Oil on canvas • Date: 1886 • Size: 20 ¾” X 25” • Location: National Gallery Prague • Period: • Style: Impressionism • Genre: Pointillism • Prounounced (ON-flue) • Seurat spent a summer painting six landscapes at Honfleur Harbor. They, for the most part, convey the idea of peaceful living that Seurat must have been experiencing during the summer vacation in which he created these pieces. In none of the paintings are waves crashing to shore nor is the wind forcefully blowing something. Another strange thing to note is that in none of the Honfleur paintings is there the easily recognizable shape of a human being. Maybe Seurat sees crowds of people as causes of stress and therefore never incorporates them into his Honfleur works. It is possible that this is the reason why there's an innate calmness to the six paintings. Artist Facts • Pronounced (sir-RAH) • Born December 2, 1859 • Seurat was born into a wealthy family in Paris, France. • Seurat died March 29, 1891 at the age of just 31. The cause of his death is unknown, but was possibly diphtheria. His one-year-old son died of the same disease two weeks later. • Seurat attended the École des Beaux-Arts in 1878 and 1879. • Chevreul, who developed the color wheel, taught Seurat that if you studied a color and then closed your eyes you would see the complementary color. This was due to retinal adjustment. He called this the halo effect. Thus, when Seurat painted he often used dots of complementary color. -
I Dream of Painting, and Then I Paint My Dream: Post-Impressionism
ART HISTORY Journey Through a Thousand Years “I Dream of Painting, and Then I Paint My Dream” Week Thirteen: Post-Impressionism Introduction to Neo-Impressionisn – Vincent Van Goh – The Starry Night – A Letter from Vincent to Theo – Paul Gaugin - Gauguin and Laval in Martinique - Paul Cézanne, Turning Road at Montgeroult - Paul Cézanne, The Basket of Apples - Edvard Munch, The Scream – How to Identify Symbolist Art - Arnold Bocklin: Self Portrait With Death - Fernand Khnopff, I Lock my Door Upon Myself Der Blaue Reiter, Artist: Wassily Kandinsky Dr. Charles Cramer and Dr. Kim Grant: "Introduction to Neo-Impressionism” smARThistory (2020) Just a dozen years after the debut of Impressionism, the art critic Félix Fénéon christened Georges Seurat as the leader of a new group of “Neo-Impressionists.” He did not mean to suggest the revival of a defunct style — Impressionism was still going strong in the mid- 1880s — but rather a significant modification of Impressionist techniques that demanded a new label. Fénéon identified greater scientific rigor as the key difference between Neo-Impressionism and its predecessor. Where the Impressionists were “arbitrary” in their techniques, the Neo- Impressionists had developed a “conscious and scientific” method through a careful study of contemporary color theorists such as Michel Chevreul and Ogden Rood. [1] A scientific method Pierre-Auguste Renoir, Bal du Moulin de la Galette, 1876, oil on canvas, 131 x 175 cm (Musée d’Orsay) This greater scientific rigor is immediately visible if we compare Seurat’s Neo- Impressionist Grande Jatte with Renoir’s Impressionist Moulin de la Galette. The subject matter is similar: an outdoor scene of people at leisure, lounging in a park by a river or dancing and drinking on a café terrace. -
The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B
THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THE EX~lPLE OF JEAN COCTEAU THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THEEXM1PLE OF JEAN COCTEAU by JOYCE ANNE FUNAMOTO, B. A., B. ED. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University June 1981 I~~STER OF ARTS (1981) McMASTER UNIVERSITY ( Roman ce Languages) Hamilton, Ontario. TITLE: The Search for New Expression in the Theatre: The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B. A. (MCMaster University) B. Ed. (University of Toronto) SUPEHVISOR: Dr. B. S, Pocknell NUMBER OF PAGES: iv, 117 SCOPE AND CONTENTS: The purpose of this paper is to examine the theatre of Jean Cocteau in its search for new expression. The first chapter presents Jean Cocteau's precursors and their parallels with his theatre, and his early fOlJmation in the theatre. The second chapter deals with his contemp- oraries in the areas of dance, music and art. Chapter three treats the plays of Jean Cocteau in the light of their sources and innovations. ii ACKNOWLEDGEMENTS My sincere thanks goes to Dr. B. S. Pocknell, whose patience, encouragement and enthusiasm will continue to provide inspiration. I would also like to express my debt to Professor N. Jeeves for his careful reading and guidance. iii TABLE OF CONTENTS Page LIST OF PHOTOGRAPHS 1 INTRODU CTION 2 CHAPTER I - COCTEAU'S PRECURSORS AND HIS EARLY 5 FORMATION IN THE THEATRE CHAPTER II - COCTEAU AND HIS CONTEMPORARIES 33 CHAPTER III - THE DEVELOPMENT OF JEAN COCTEAU'S 59 THEATRE CONCLUSION 98 APPENDIX A 103 APPENDIX B 105 APPENDIX C 107 APPENDIX D 109 APPENDIX E· III BIBLIOGRAPHY 113 iv LIST OF PHOTOGRAPHS Photo 1 - Le Dicu Bleu. -
AC Post-Impressionism 4C.Qxp
Post-ImpressionismPost-Impressionism Nathalia Brodskaïa Author: Nathalia Brodskaïa Layout: BASELINE CO LTD 33 Ter – 33 Bis Mac Dinh Chi St., Star Building; 6th floor District 1, Ho Chi Minh City Vietnam © Confidential Concepts, Worldwide, USA © Parkstone Press International, New York, USA © Pierre Bonnard, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris © Maurice Denis, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris © Ker Xavier Roussel, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris © Jan Verkade © Édouard Vuillard, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris All rights reserved. No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78042-802-4 Nathalia Brodskaïa POST-IMPRESSIONISM CONTENTS Introduction 7 Major Artists 23 Paul Cézanne 25 Neo-Impressionism 61 Vincent van Gogh 79 Paul Gauguin 117 Henri de Toulouse-Lautrec 159 The Nabis 179 Notes 194 Index 195 6 INTRODUCTION he term ‘Post-Impressionism’ has only one meaning: ‘after Impressionism’. Post- Impressionism is not an art movement, nor an art style; it is a brief period at the T end of the nineteenth century. Impressionism being a phenomenon unique to French painting, the idea of Post-Impressionism is also closely linked to French art. Generally, the beginning of the Post-Impressionist era dates from 1886, from the moment of the eighth and final joint Impressionist Art exhibition. -
Prints from the Age of Rodin Wall Labels
Fairfield University DigitalCommons@Fairfield Prints from the Age of Rodin - Ephemera Prints from the Age of Rodin Fall 2019 Prints from the Age of Rodin Wall Labels Fairfield University Art Museum Follow this and additional works at: https://digitalcommons.fairfield.edu/rodin-prints-ephemera This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Angelo Jank (French, active 19th century) Woman with a Parrot from the portfolio L’Estampe Moderne, 1898 Color lithograph Gift of James Reed (2017.35.823) This lithograph was one of four that appeared in the volume of L’Estampe Moderne in the case below. Pierre Bonnard (French, 1867-1947) The Loge, 1898 Color lithograph Gift from the Dr. I. J. and Sarah Markens Art Collection (2018.34.26) Bonnard’s lithograph, which takes up the same subject of spectators at the opera as Lunois’ print above, appeared as the frontispiece to Mellerio’s book. Edward J. Steichen (American, 1879-1964) Portrait of Rodin with The Thinker and The Monument to Victor Hugo, 1902 Gelatin silver print Jundt Art Museum, Gonzaga University; Gift of Iris and B. -
Picasso Versus Rusiñol
Picasso versus Rusiñol The essential asset of the Museu Picasso in Barcelona is its collection, most of which was donated to the people of Barcelona by the artist himself and those closest to him. This is the museum’s reason for existing and the legacy that we must promote and make accessible to the public. The exhibition Picasso versus Rusiñol is a further excellent example of the museum’s established way of working to reveal new sources and references in Picasso’s oeuvre. At the same time, the exhibition offers a special added value in the profound and rigorous research that this project means for the Barcelona collection. The exhibition sheds a wholly new light on the relationship between Picasso and Rusiñol, through, among other resources, a wealth of small drawings from the museum’s collection that provide fundamental insight into the visual and iconographic dialogues between the work of the two artists. The creation of new perspectives on the collection is one of the keys to sustaining the Museu Picasso in Barcelona as a living institution that continues to arouse the interest of its visitors. Jordi Hereu Mayor of Barcelona 330 The project Picasso versus Rusiñol takes a fresh look at the relationship between these two artists. This is the exhibition’s principal merit: a new approach, with a broad range of input, to a theme that has been the subject of much study and about which so much has already been written. Based on rigorous research over a period of more than two years, this exhibition reviews in depth Picasso’s relationship — first admiring and later surpassing him — with the leading figure in Barcelona’s art scene in the early twentieth century, namely Santiago Rusiñol.