Bibliographie Eugène Boudin
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Perspectives on the Académie
PERSPECTIVES ON THE ACADÉMIE LA LETTRE DE L’ACADÉMIE NUMBER 91 1 | | 2 Editorial | As we were editing this special issue of the Lettre de l’Académie des Beaux-Arts presenting our Compagnie’s activities and heritage, the Wednesday 15 January 2020 election of Catherine Meurisse to the Painting section further broadened the spectrum of disciplines it embraces. This young artist, elected at the age of 39, became the youngest member not only of our Académie but of the entire Institut de France. With her, we welcome comics – often referred to as the Ninth Art – as well the art of press cartooning. Sixty years thus separate Catherine Meurisse from our beloved oldest member, Pierre-Yves Trémois. This election is yet another demonstration the extraordinary diversity of aesthetics and means of expression found within each section of the Académie de Beaux-Arts. Catherine Meurisse, an artist whose path has been rich and open to life, but also tragic, knows that she will join women and men committed to supporting creation and defending our artistic heritage. As you will see in the following pages, our Compagnie makes full use of the means available to encourage the emergence of new talent while affording an ever wider public access to the magnificent works and sites in its care. And to salute the election of our young colleague, a future issue of the Lettre de l’Académie will be devoted to the teeming world of comics. Need one still say that it is an art in its own right, with its techniques and codes, its major trends and collectors and a considerable public: an art that has been shown in major exhibitions at the Centre Pompidou and elsewhere? It would be as ridiculous as wanting to engage in a defence and illustration of cinema. -
Ortraits: Home and Family P
MONET’S GARDEN ~ MASTERPIECES FROM MUSÉE MARMOTTAN ortraits: Home and Family P Camille, and Monet’s early bohemian years Monet’s personal life was in many ways a small social revolution in its own right: his free approach to the transformation of Western painting as we know it was similarly applied to his private life, despite opposition from his own family and society at large, still rooted in a deeply old-fashioned moral code. His first companion, who became his first wife in 1870, was also his model: Camille Doncieux was a young woman of good family who posed for Monet’s first Salon success, the Woman in a Green Dress (1866, Bremen, Kunsthalle). Painter’s models often became their mis- tresses, but it was much rarer for the children of such ‘illicit’ liaisons to be recognised by their fathers. Yet Monet did just that after the birth of his first child, Jean, in 1867, registering the boy as his legitimate son and recording his intention to marry Camille, despite his family’s opposition (to the extent of cutting off his allowances and forcing him to return to live in Le Havre, the town of his youth). Still, the young painter continued to travel widely, frequently returning to Bougival to join his wife and son, who were now living in secret, in desperate poverty – a situation he often described in despairing tones, in letters to his friends and collectors. Monet was passionately attached to the idea of family life. Letters to his friend, the painter Bazille (Jean’s godfather) speak of mother and child in tones of deep affection: ‘I am very happy, very delighted. -
Impact Case Study (Ref3b) Institution: the University of Edinburgh
Impact case study (REF3b) Institution: The University of Edinburgh Unit of Assessment: 34 Art and Design: History Practice and Theory Title of case study: Rethinking Monet: developing the concept for the most popular art exhibition ever held at Paris’s Grand Palais 1. Summary of the impact This project, which challenged both preconceptions about a renowned artist and also the character of a retrospective, resulted in the most visited art exhibition ever staged at the Grand Palais in Paris (913,064 visitors). At the request of the Musée d'Orsay and Réunion des Musées Nationaux, Professor Richard Thomson led the team organising Monet, 1840-1926. This was the first major retrospective of the work of Monet in Paris since 1980 and provided a model for mounting retrospectives. Building on research into the wider socio-historical impact of art, and its ability to stimulate debate, the radical display of Monet's paintings has made their scholarly interpretation more publicly accessible and is recorded in an exhibition catalogue that sold 83,000 copies. 2. Underpinning research Due, in part, to Claude Monet’s productivity, most surveys of his work have been presented in chronological order. While this has furthered appreciation of the artist’s output, it has done little to engage the viewing public with subtle continuities across Monet’s oeuvre, particularly those that are not so much technical as conceptual (for example, his sense of introspection and nostalgia). On becoming President-Director of the Musée d’Orsay in March 2008, Guy Cogeval wanted to reignite public interest in the world's most famous Impressionist by encouraging visitors to view the fruits of the artist's sixty-year career in a fresh light. -
ÉBLOUISSANTS REFLETS 100 Chefs-D’Œuvre Impressionnistes
ÉBLOUISSANTS REFLETS 100 chefs-d’œuvre impressionnistes MUSÉE DES BEAUX-ARTS DE ROUEN Dossier pédagogique Dossier réalisé par le service des publics et le se rvice éducatif des musées de la ville de Rouen 1 1ère de couverture : Claude Monet, En Norvégienne ou La Barque à Giverny , 1887 Paris, musée d’Orsay © Rmn-Grand Palais / Hervé Lewandowski 2 SOMMAIRE INTRODUCTION : L’IMPRESSSIONNISME………………………………………………….p.4 PRÉSENTATION ET PARCOURS DE L’EXPOSITION…………….…………………….…p.4 Éblouissants reflets : présentation de l’exposition Le peintre, ce Narcisse Le voyage aux Pays-Bas de Claude Monet L’armada des peintres Les ponts Une vision nouvelle : la photographie Canotages Le bateau-atelier et Vétheuil Photographes paysagistes contemporains de l’impressionnisme naissant Les vues stéréoscopiques Arbres au bord de l’eau Rouen et son école Les néo-impressionnistes Le mouvement pictorialiste Monet et l’horizon RESSOURCES DOCUMENTAIRES……………………………………………….……………p.13 Quelques biographies Glossaires Repères chronologiques PISTES PÉDAGOGIQUES…………………………………………………………………….….p. 25 ORIENTATIONS BIBLIOGRAPHIQUES…………………………………………………….p. 31 POUR ALLER PLUS LOIN………………………………………………………………………..p. 33 Parcours « reflets » dans les collections permanentes Chefs-d’œuvre impressionnistes dans les collections permanentes VISITER L’EXPOSITION AVEC SA CLASSE………………………………………………..p. 34 AUTRES EXPOSITIONS DANS LE CADRE DU FESTIVAL NORMANDIE IMPRESSIONNISTE …………….p. 35 Caen Giverny Le Havre 3 INTRODUCTION L’impressionnisme Composé d’artistes refusant le système officiel du Salon, le groupe impressionniste naît historiquement en 1874, date de leur première exposition commune. À cette occasion, parmi les œuvres de Degas, Renoir, Pissarro, Sisley, est présenté le tableau de Monet Impression, soleil levant (1872) à l’origine du nom donné au mouvement. Les impressionnistes organisent huit expositions communes. La dernière a lieu en 1886. -
Claude Monet, 1840–1926
Katie Hornstein and Caty Telfair exhibition review of Claude Monet, 1840–1926 Nineteenth-Century Art Worldwide 10, no. 1 (Spring 2011) Citation: Katie Hornstein and Caty Telfair, exhibition review of “Claude Monet, 1840–1926,” Nineteenth-Century Art Worldwide 10, no. 1 (Spring 2011), http://www.19thc- artworldwide.org/spring11/claude-monet-18401926. 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. Telfair: Claude Monet, 1840–1926 Nineteenth-Century Art Worldwide 10, no. 1 (Spring 2011) Claude Monet, 1840–1926 Galeries Nationales, Grand Palais, Paris September 22, 2010 – January 24, 2011 Catalogue : Claude Monet, 1840–1926. With contributions by Guy Cogeval, John House, Laurence Madeline, Sylvie Patin, Sylvie Patry, Anne Roquebert, and Richard Thomson. Paris: Réunion des Musées Nationaux, 2010. 385 pages; 2T73 color illustrations; 31 black & white illustrations; chronology; list of exhibited works; bibliography; index. Available in French and English editions. € 50. ISBN: 978 2 7118 5761 6 According to Guy Cogeval, the head of the Musée d'Orsay and head curator of the retrospective exhibition Claude Monet, 1840–1926 at the Grand Palais, Claude Monet has suffered from neglect in his native France. "This is an overwhelming collection of masterpieces. It will revive interest in Monet," he told Radio France.[1] The idea that Monet needs rescuing from cultural oblivion may seem ridiculous to anyone in England and the United States, where scholarship and museum exhibitions on the artist have flourished since the 1980s, but Cogeval's mission to restore interest in Monet comes out of a specifically French context. -
Claude Monet (1840 – 1926)
communiqué Claude Monet (1840 – 1926) 22 septembre 2010 – 24 janvier 2011 Galeries nationales, Grand Palais entrée Champs-Elysées www.monet2010.com #expomonet Cette exposition est organisée par la Réunion des musées nationaux et le musée d’Orsay, Paris. Elle est placée sous le haut patronage de Monsieur Nicolas Sarkozy, Président de la République française. Cette exposition est réalisée grâce au mécénat exclusif de Natixis. Pendant plus de soixante ans, Claude Monet a peint sans relâche, élaborant une œuvre qui incarne l’expression la plus pure de l’impressionnisme, pour constituer au début du XX e siècle un des fondements de l’art moderne. C’est l’ensemble de ce parcours riche et fécond que l’exposition des Galeries nationales réinterroge. Cette exposition monographique est la plus importante manifestation dédiée à l'artiste depuis près de trente ans, lorsque s'était tenue aux Galeries nationales en 1980 une rétrospective en forme d'hommage. Depuis, les recherches sur l'artiste se sont multipliées et ont mis en lumière des aspects moins connus de son œuvre. Orchestrée selon des grands axes thématiques et chronologiques, l'exposition retrace la carrière de Monet, des débuts des années 1860 jusqu'aux ultimes tableaux liés au cycle des Nymphéas du musée de l'Orangerie. Le jeune artiste choisit des sujets assez traditionnels, forêt et plage. Dans la Normandie de son enfance où Boudin puis Jongkind l’avaient initié à la peinture de plein air, il exécute des marines mais aussi des « effets de neige ». Puis à Paris et en banlieue, avec un accent particulier porté sur Argenteuil, dans les années 1870, ses paysages lumineux et colorés des bords de Seine reflètent le plein épanouissement de l’impressionnisme.