Alphonse Osbert 1857-1939

Total Page：16

File Type：pdf, Size：1020Kb

Alphonse Osbert 1857-1939 Jesus and the Samaritan woman Oil on panel / signed lower right Dimensions : 56 x 38 cm Dimensions : 22.05 x 14.96 inch 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Alphonse Osbert 1857-1939 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Alphonse Osbert 1857-1939 Biography Alphonse Osbert was a French painter who was of the symbolist movement. After an academic teaching at the Fine Arts School in Henri Lehmann's class, where he met Georges Seurat and Edmond Aman-Jean, Alphonse Osbert began a classical career, influenced by Léon Bonnat, Fernand Cormon and also Spanish masters. He took part of the Salon of French Artists from 1880 with naturalist and post-Barbizon style paintings. The artist agreed with this aesthetic canons and didn't seem to be interested in the Salon of the Independent founded by his friend Seurat. However, after he brief stay in Spain and some studies in the Fontainebleau forest, his style began to change and knew a turning point at the end of the 1880's. At this time, he did advanced experiences on light and its effects on color. He drew closer to the independents, met Maurice Denis and above all Pierre Puvis de Chavannes. This one encouraged him to head for a more decorative painting. That is how he developped from 1887 the idealist and decorative style that characterizes his pictorial expression. His painting became more and more monumental, in the wake of Puvis de Chavanne and achieved great success among the world of art. His aesthetic canons were so close to the one recommended by Joséphin Peladan that Osbert took part of the Salons of the Rose-Croix founded by Peladan in 1892. He frequented the symbolist poet Stéphane Malarmé. The critique liked him and he was also supported by the newspaper La Plume. That helped him to become one of the main symbolist painter of his time. His style didn't change a lot after the years 1900's, but his success was already well gained. Supported by the state, he received important public orders, of whom the decoration af the large hall of Vichy's spa in 1904, two mural paintings tilted " The Source " and " The Bath " that revealed the influence of Puvis de Chavanne. Between 1911 and 1913, he worked for the setting room of the city hall of Bourg-la-Reine. Alphonse Osbert exhibited his sublime works in France and abroad. Light, allegory and reverie have a great importance in his paintings and chiaroscuro is never faraway. In his idyllic landscapes, contemplative figures stand out against the blue of the evening called "Osbert blue". Today, the Orsay Museum has in its collection 414 paintings and drawings and three pastels given by Osbert's daughter in 1992. Museums Paris, Musées D'Orsay, Petit Palais National Gallery of Art, Washington Bibliography Véronique DUMAS Le peintre symboliste Alphonse Osbert (1857-1939)C.N.R.S. Editions, Paris, 2005. Philippe JULLIAN Les Symbolistes Neuchâtel et Paris, Ides et Calendes, la Bibliothèque des arts, 1973. 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com.

Copy Link

Recommended publications

Fine Arts Paris Wednesday 7 November - Sunday 11 November 2018 Carrousel Du Louvre / Paris
Fine Arts Paris WednesdAy 7 november - sundAy 11 november 2018 CArrousel du louvre / PAris press kit n o s s e t n o m e d y u g n a t www.finearts-paris.com t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Hours Tuesday, 6 November 2018 / Preview 3 pm - 10 pm Wednesday, 7 November 2018 / 2 pm - 8 pm Thursday 8 November 2018 / noon - 10 pm Friday 9 November 2018 / noon - 8 pm Saturday 10 November 2018 / noon - 8 pm Sunday 11 November 2018 / noon - 7 pm admission: €15 (catalogue included, as long as stocks last) Half price: students under the age of 26 FINE ARTS PARIS Press oPening Main ofﬁce tuesdAy 6 november 68, Bd malesherbes, 75008 paris 2 Pm Hélène mouradian: + 33 (0)1 45 22 08 77 Social media claire Dubois and manon Girard: Art Content + 33 (0)1 45 22 61 06 Denise Hermanns contact@ﬁnearts-paris.com & Jeanette Gerritsma +31 30 2819 654 Press contacts [email protected] Agence Art & Communication 29, rue de ponthieu, 75008 paris sylvie robaglia: + 33 (0)6 72 59 57 34 [email protected] samantha Bergognon: + 33 (0)6 25 04 62 29 [email protected] charlotte corre: + 33 (0)6 36 66 06 77 [email protected] n o s s e t n o m e d y u g n a t t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris "We have chosen the Carrousel du Louvre as the venue for FINE ARTS PARIS because we want the fair to be a major event for both the fine arts and for Paris, and an important date on every collector’s calendar.
[Show full text]
Brugairolles, Victor
Victor Brugairolles, Le Berger et la Mer (The Shepherd and the Sea) Ganges 1869 – 1936 Paris oil on canvas 51 1/8 by 77 1/8 inches (130 by 196 cm) signed and dated lower right: ‘V. Brugairolles. 95’ provenance: Private collection France; Sale, Coutau-Bégarie, Paris, June 4, 1999, no. 121; Piasa, Paris, June 22, 2001, no. 36; Private collection, Italy exhibited: Salon de la Société des Artistes Français, Paris, 1900, no. 204. note: Brugairolles came from the southern Languedoc region of France and went as a young man to Paris to study with the academic master Fernand Cormon (1845-1924) at the École des Beaux- Arts. He began exhibiting at the Salon in 1894, and was primarily a painter of picturesque landscapes in France and Holland notable for their luminous effects of diffused light on land and water (figs. 1a-f). Occasionally he depicted rural subjects (fig. 2), but only very rarely did he paint sensual figural subjects in fantastic colors which recalled his training with Cormon (figs. 3a-b). The present painting is truly a unique masterpiece in his career and owes a clear debt to the ethereal, arcadian and mythic subjects of the older painter Pierre Puvis de Chavannes and his younger symbolist followers like Alphonse Osbert (1857-1939), who was also a student of Cormon. The title provided for this painting at the Salon of 1900 was Le Berger et la Mer (The Shepherd and the Sea), and all educated Frenchmen would have recognized this as referring to one of the well-known fables of the popular seventeenth-century writer La Fontaine.1 It tells the tale of a prosperous shepherd who lived by the sea, but who decided to sell his flock and becoming a merchant sent his fortune off on a ship.
[Show full text]
Direct PDF Link for Archiving
Mary Slavkin Statistically Speaking: Central Exhibitors at the Salons of the Rose + Croix Nineteenth-Century Art Worldwide 14, no. 3 (Autumn 2015) Citation: Mary Slavkin, “Statistically Speaking: Central Exhibitors at the Salons of the Rose + Croix,” Nineteenth-Century Art Worldwide 14, no. 3 (Autumn 2015), http://www.19thc- artworldwide.org/autumn15/slavkin-on-central-exhibitors-at-the-salons-of-the-rose-croix. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Slavkin: Statistically Speaking: Central Exhibitors at the Salons of the Rose + Croix Nineteenth-Century Art Worldwide 14, no. 3 (Autumn 2015) Statistically Speaking: Central Exhibitors at the Salons of the Rose + Croix by Mary Slavkin The salons of the Rose + Croix were founded by the novelist, playwright, and critic Joséphin Péladan (1858–1918). The series of six exhibitions, held between 1892 and 1897, included works by hundreds of artists.[1] While some of them, like Fernand Khnopff (1858–1921), are well-known today, many others have been largely forgotten, and a few have yet to be identified. Although most exhibitors were male (female participation was officially forbidden), there were a few women among them.[2] The salons attracted artists working in different styles and featured artworks with a wide range of mystical, idealized, and literary themes and subjects—as well as a few decorative works, landscapes, and portraits. Finally, a number of works shown at the salon were by artists from the Middle Ages or the Renaissance; they had been lent by collectors sympathetic to Péladan’s initiative.[3] In scholarly accounts of the Rose + Croix salons, opinions differ dramatically as to who were the artists that set the tone for the exhibitions.
[Show full text]
Exposition Temporaire
Exposition temporaire Dossier pour les enseignants Service éducatif Musée des beaux-arts de Quimper Alexandre Séon, la Beauté idéale Sommaire Introduction p.3 1/ Le symbolisme, qualification et géographie Un mouvement protéiforme et complexe p.5 Un mouvement pluridisciplinaire p.6 Un mouvement pictural divers p.6 Quelques figures tutélaires en France p.7 Un mouvement international p.8 2/ L’esthétique symboliste Prioritairement idéiste et synthétique p.9 Des esthétiques annonciatrices ou périphériques p.10 3/ Le symbolisme, entre idéalisme et mysticisme p.13 4/ Alexandre Séon, un parcours dans l’univers du symbolisme Biographie p.15 L’ambition décorative p.22 La Beauté idéale p.24 Les préoccupations sociales p.25 Bréhat P.26 5/ Bibliographie p.27 12/ Propositions pédagogiques (1er et 2nd degré) p.28 13/ Informations pratiques p.34 2 Alexandre Séon (1855-1917) Introduction Exposition co-organisée avec le Musée d’art et d’archéologie de Valence Grâce aux prêts des musées de Lyon, Brest, Carcassonne, Saint-Etienne, du Petit Palais et du musée d’Orsay, ainsi que de nombreuses collections privées, l’exposition, la première depuis 1901, permet de redécouvrir un des grands créateurs de la mouvance symboliste. Le parcours privilégie une approche chronologique autant que thématique. Plusieurs esquisses peintes et un ensemble de dessins rappellent l’importance de la proximité de l’artiste avec Puvis de Chavannes mais aussi Seurat. Les travaux ou projets, notamment pour les mairies de Saint-Maur, de Courbevoie et de Montreuil et des décors privés (Château de l’Orfrasière), sont ainsi illustrés par des œuvres en grande partie inédites.
[Show full text]
Alexandre Séon
Alexandre Séon 1855-1917, peintre. Alexandre Séon est né à Chazelles-sur-Lyon en 1855. Il est issu d'une famille de commerçants, Ses parents tenaient, rue de la Bascule, un commerce de draperies prospère. Il bénéficie d'une enfance paisible et d'une culture chazelloise qui, avec son histoire et ses légendes, lui donne le goût du merveilleux au milieu d’une campagne aux paysages variés entourant une petite ville très active. Il dessine très tôt tout ce qu’il voit : animaux, meubles, personnes. Ce serait un maçon du voisinage, le père France, un vieux farlot épris de peinture qui lui en aurait donné le gout. Il excelle vite dans les natures mortes. Il descend tout jeune à Lyon comme élève à l’École des Beaux-Arts de Lyon. Da présence dans cet établissement ne laisse pas beaucoup de souvenirs. Il s’inscrit ensuite à l'Académie des beaux-arts de Lyon et pratique les arts décoratifs et le dessin d'ornement pour l'industrie textile lyonnaise. En 1877, il quitte Lyon pour s’installer à Paris, 81 rue de l’Abbé Groult dans le 15ème. Il s’inscrit à l’École des Beaux-Arts de la ville et a pour professeur Henri Lehmann, élève d'Ingres. Il côtoie Alphonse Osbert, Ernest Laurent, Edmond Aman-Jean et surtout Georges Seurat, l’impressionniste, qui deviendra son ami. Il expose à partir de 1879 dans les divers Salons et devient une figure marquante du symbolisme même s’il peut être influencé un moment par le style néo-impressionniste et pointilliste de Seurat.
[Show full text]
Oral History Interview with Robert Pincus- Witten, 2016 March 23-24
Oral history interview with Robert Pincus- Witten, 2016 March 23-24 Funding for this interview was provided by the Lichtenberg Family Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Francis Naumann on 2016 March 23 and 24. The interview took place in New York. NY at Pincus-Witten's home, and was conducted by Francis Naumann for the Archives of American Art, Smithsonian Institution. Robert Pincus-Witten and Francis Naumann have reviewed the transcript. Robert Pincus-Witten has heavily edited the transcript. His corrections and emendations appear below in brackets with initials. In addition, this transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview FRANCIS NAUMANN: Speaking is Francis M. Naumann, and I'm interviewing Robert Pincus-Witten at his apartment in New York City, on March 23, 2016, for the Archives of American Art [Smithsonian Institution]. Are you ready? ROBERT PINCUS-WITTEN: I'm ready. Thank you, Francis. FRANCIS NAUMANN: Anyway, when did your interest in the arts begin? Was it in childhood? ROBERT PINCUS-WITTEN: Yes. It was a [childhood –RPW] fascination. I remember, even as a child, I would cut out the reproductions of the art page from the New York Times every week. I would save reproductions in art magazines. I came from a [strongly –RPW] artistic family.
[Show full text]
DOCENT/EDUCATOR RESOURCE GUIDE Gallery Map
PARIS 1900 DOCENT/EDUCATOR RESOURCE GUIDE Gallery Map NORTH EAST WEST SOUTH Paris 1900 Dates: December 20 – March 2, 2008 Organizer: Oklahoma City Museum of Art Source: Loans from Private Collections and Museums Objective: To explore important aspects of the art nouveau movement, while delving into other artistic and technological innovations that caused Paris to emerge as the center of artistic creativity. Exhibition Structure: All of the works in this exhibit are categorized into the following themes. 1. The Belle Époque 2. Symbolism and Synthetism in Fin de Siècle Art 3. Japanese Prints and Fin de Siècle Art 4. Art Pottery 5. The Fin de Siècle Print Culture 6. Graphic Works Charles Guilloux (French, 1866-1946). Notre Dame vue des Quais, 1894. Oil on board. Russell Collection, Amsterdam Introduction: Paris 1900 The achievements of nineteenth-century France were considerable. Revolutions had destabilized governments but the major players were still the Legitimists, the Bourgeois, the Bonapartists, the Aristocrats, the Liberals and Democrats. A long period of peace and prosperity followed the Franco-Prussian War of 1870- 1. The centenary of the French Revolution was celebrated with the 1989 Paris Exposition Universelle, and the Eiffel Tower, then the tallest structure in the world, was erected for the Exposition. Some of the major nineteenth-century art movements had taken place in France. The 1900 Exposition Universelle celebrated the arrival of the new century and Paris as the capital of the arts. The art that would represent the twentieth-century appeared to be predictable and certain. The origins of art nouveau, with its sinuous, rhythmical lines and patterns, were seen as aristocratic.
[Show full text]
Joséphin Péladan
A quintessential aspect of aesthetic modernism in the nineteenth century is that it produced not only a body of artworks and a profusion of –isms, but also a body of institutions and a template of practices that, unlike the art itself, were accepted almost without protest by the European and American art public.1 As early as 01/10 the late nineteenth century, the field of exhibition-making also had isolated examples of figures similar to the independent curator of contemporary art – although, of course, without the institutional support that is usual today.2 One such “proto-curatorial” figure was Joséphin Péladan, who among other things was the founder and director of the Catholic Rosicrucian Beti Žerovc Order of the Temple and the Grail (L’Ordre de la Rose-Croix Catholique du Temple et du Graal) in Paris. In the 1890s, Péladan organized large Joséphin group exhibitions as the order’s main public events, in which he presented artists who had Péladan: A been selected in accordance with his very particular conceptions of art. Viewed from Proto-Curator? today’s perspective, he was a typical independent curator who, at every level and wherever present, defended his “particular position” in art, communicating it through his public image and lifestyle as well.3 ÊÊÊÊÊÊÊÊÊÊToday, Péladan is not well known for his curatorial work, not because he was so far ahead of his time that, say, his contemporaries did not understand him, but rather because, when it came to positioning himself successfully in art with an enduring place in history, he made several “mistakes.” Among other things, despite Péladan’s hard work and the genuinely large influence he enjoyed in his day, he did not do enough, and above all was not sufficiently c convincing, to ensure that he would be “right” in v o r art history.
[Show full text]
The Occult Art of L'ordre De La Rose+Croix Du Temple Et Du Graal
The Occult Art of L’ordre de la Rose+Croix du Temple et du Graal Sâr Joséphin Péladan’s R+C Salons, 1892–1897 Edmund B. Lingan rench novelist, playwright, and occultist, Joséphin Péladan (1858–1918), was a champion of the international wave of symbolism that emerged in FEurope during the 1880s. Péladan believed that art had the potential to link humans with the divine, and he professed that all true art was essentially religious in nature. In 1892, Péladan established a fraternal Rosicrucian order: L’Ordre de la Rose+Croix du Temple et du Graal (R+C). Claiming the title Sâr Joséphin Péladan, he served as leader of the R+C from 1892–1897. It was in affiliation with the R+C that Péladan curated five interdisciplinary salons between 1892 and 1897. The R+C Salons presented the work of artists from various nations, including France, Belgium, Spain, the U.S., Java, Italy, Germany, and Switzerland. Many contemporary critics and artists have come to think of the R+C Salons as seminal events in the development of abstract and modern art. The Solomon R. Gug- genheim Museum in New York City acknowledged the significance of Péladan’s salons with an exhibit titled Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897, which ran from June 30 to October 4, 2017.1 This exhibition included a wide selection of works that were exhibited in the five R+C Salons that Péladan curated. Viewing the Mystical Symbolism exhibit revealed that no particular artistic style was used to create a sense of aesthetic unity.
[Show full text]
Alphonse Osbert 1857-1939
Alphonse Osbert 1857-1939 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Alphonse Osbert 1857-1939 Biographie Peintre français, Alphonse Osbert fait partie du mouvement des symbolistes. Après une formation académique à l'école des Beaux-Arts auprès d'Henri Lehmann, où il est le condisciple de Georges Seurat et d'Edmond Aman-Jean, Alphonse Osbert entame une carrière classique, influencée par les peintres Léon Bonnat, Fernand Cormon et les maîtres espagnols. Il participe au Salon dès 1880 avec des toiles au style naturaliste et post-Barbizon. L'artiste adhère à cette esthétique et ne semble pas intéressé par le Salon des indépendants que fonde son ami Seurat. Pourtant, après un voyage en Espagne et des études dans la forêt de Fontainebleau, son style commence à évoluer pour connaître un tournant à la fin des années 1880. A cette période, il mène des expériences plus poussées sur la lumière et ses effets sur la couleur. Il se rapproche des indépendants, fait la rencontre de Maurice Denis et surtout de Pierre Puvis de Chavannes. Ce dernier l'incite à s'orienter vers une peinture plus décorative. C'est ainsi qu'il développe à partir de 1887 le style idéaliste et décoratif qui caractérise son expression picturale. Sa peinture devient de plus en plus monumentale, dans le sillage de son maître, et connaît un succès grandissant dans le monde de l'art. Son esthétique étant devenue proche de celle prônée par Joséphin Peladan, Osbert participe aux Salons de la Rose-Croix que ce dernier organise à partir de 1892.
[Show full text]
Alphonse Osbert 1857-1939
Alphonse Osbert 1857-1939 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Alphonse Osbert 1857-1939 Biography Alphonse Osbert was a French painter who was of the symbolist movement. After an academic teaching at the Fine Arts School in Henri Lehmann's class, where he met Georges Seurat and Edmond Aman-Jean, Alphonse Osbert began a classical career, influenced by Léon Bonnat, Fernand Cormon and also Spanish masters. He took part of the Salon of French Artists from 1880 with naturalist and post-Barbizon style paintings. The artist agreed with this aesthetic canons and didn't seem to be interested in the Salon of the Independent founded by his friend Seurat. However, after he brief stay in Spain and some studies in the Fontainebleau forest, his style began to change and knew a turning point at the end of the 1880's. At this time, he did advanced experiences on light and its effects on color. He drew closer to the independents, met Maurice Denis and above all Pierre Puvis de Chavannes. This one encouraged him to head for a more decorative painting. That is how he developped from 1887 the idealist and decorative style that characterizes his pictorial expression. His painting became more and more monumental, in the wake of Puvis de Chavanne and achieved great success among the world of art. His aesthetic canons were so close to the one recommended by Joséphin Peladan that Osbert took part of the Salons of the Rose-Croix founded by Peladan in 1892.
[Show full text]
Abstracts for the Annual SECAC Meeting in Sarasota, Florida October 8Th-11Th, 2014
Abstracts for the Annual SECAC Meeting in Sarasota, Florida October 8th-11th, 2014 Conference Chair, Jeff Schwartz, Ringling College of Art and Design J. Bradley Adams, Berry College A Priori A Priori is a 20 X 20 presentation that functions as a discrete work. It starts with a proposition that expands into a sequence of incarnations realized in the form of drawings, paintings, photographs, prints, and installations. Said sequences are informed simultaneously by the capricious and the predictable, chance and the formulated, the generative coupled with the predetermined. The images that comprise a priori utilize abstraction while falling under the rubric of gardens. What is represented, rather than a mimetic translation of place, is the story that unfolds through a series of suppositions, a priori. Ann Albritton, Ringling College of Art + Design Modernism into Contemporary: Sonia Delaunay's Influence on Clothes and Art Sonia Delaunay’s body of work fits the modernist paradigm in which she and Robert Delaunay were participants, and, in addition, foreshadowed art of the late 20th and 21st centuries in a mix of painting, fashion, and design. But Sonia Delaunay’s work with fashion and textile design caused this artist to be overlooked for much of the 20th century. She often spoke about art and life being intertwined and related this to her Russian/Ukrainian background. Beginning in 1909, and throughout her long career, Sonia Delaunay moved back and forth between arts and crafts. Partly because of this, and of the need to support the family with fabric and clothing design, until the feminist and postmodern periods of art history and even into the 21st century, she was relegated to the periphery.
[Show full text]