Pierre Bonnard (French, 1867- 1947)- Paintings in Le Musée de la Fondation Bemberg,Toulouse
Pierre Bonnard (French, 3 October 1867 — 23 January 1947) was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Bonnard preferred to work from memory, using drawings as a reference, and his paintings are often characterized by a dreamlike quality. The intimate domestic scenes, for which he is perhaps best known, often include his wife Marthe de Meligny.
Bonnard has been described as the most thoroughly idiosyncratic of all the great twentieth-century painters, and the unusual vantage points of his compositions rely less on traditional modes of pictorial structure than voluptuous color, poetic allusions and visual wit. Identified as a late practitioner of Impressionism in the early 20th century, he has since been recognized for his unique use of color and his complex imagery. It's not just the colors that radiate in a Bonnard, writes Roberta Smith, there’s also the heat of mixed emotions, rubbed into smoothness, shrouded in chromatic veils and intensified by unexpected spatial conundrums and by elusive, uneasy figures.
The images are only being used for informational and educational purposes
Text & images:
Music:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical
7:17
Kevin MacLeod
Clásica | Feliz
Puedes usar esta canción en cualquiera de tus vídeos, pero debes incluir el siguiente texto en la descripción:
Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical de Kevin MacLeod está sujeta a una licencia de Creative Commons
Attribution (
Fuente:
Artista:
The Steins: Visionary collectors of the avant-garde
Paris was the pilgrimage point in the early twentieth century for people interested in seeing emerging modern art. The first stops on the tour were the Stein family's two residences: 27 rue de Fleurus and 58 rue Madame. Matisse biographer Hilary Spurling tells the tale.
Galeristes | Portrait de la Galerie de France -Studiolo
La Galerie de France a été fondée en février 1942, à Paris, pour faire connaître la Jeune Peinture indépendante, celle qui - sous l'Occupation - revendiquait l'héritage de Cézanne, des fauves et des cubistes (Bazaine, Bores, Bury, Estève, Fougeron, Gischia, Lapicque, Le Moal, Manessier, Pignon, Robin, Singier, Villon...). À la fin de 1950, Paul Martin cède sa galerie à Gildo Caputo et Myriam Prévôt. Sous leur direction, la Galerie de France soutient et s'attache de grands créateurs contemporains vivant à Paris (Alechinsky, Bergman, Brauner, Gonzalez, Hartung, Jacobsen, Magnelli, Manessier, Maryan, Music, Pignon, Poliakoff, Reinhoud, Singier, Soulages, Zao Wou-ki) avant d'exposer des peintres américains alors inconnus en France : de Kooning, Kline, Motherwell, Pollock, Reinhardt, Tobey... En 1981, la Galerie de France s'installe rue de la Verrerie dans le quartier Beaubourg sous la direction de Catherine Thieck qui, tout en continuant le travail historique de la galerie, lui adjoint de nouveaux artistes : Gilles Aillaud, Jean-Pierre Bertrand, Rebecca Horn, Jean-Pierre Pincemin, Martial Raysse, Sean Scully... Durant les années 1980 et 1990, outre des expositions sur des tendances de l'avant-garde historique (Brancusi, Domela, Naum Gabo, Meret Oppenheim, Moholy-Nagy, Yves Klein...), la Galerie de France est la première à présenter des expositions d'artistes russes et chinois.
Suivez nous sur :
© Medhi Mendas
Picasso in Paris, 1900-1907
Trailer of the exhibition Picasso in Paris, 1900-1907, on view from 18 February - 29 May 2011 at Van Gogh Museum in Amsterdam.
The exhibition traces Picasso's artistic development from his arrival in Paris until 1907, when he had grown into a leading figure of the French avant-garde.
Une avant-garde polonaise | Parcours d'exposition | Centre Pompidou
Du 24 octobre 2018 au 14 janvier 2019 : Une avant-garde polonaise
Présentation de l'exposition par Karolina Ziebinska-Lewandowska et Jarosław Suchan, commissaires : c'est de l'art qui repose sur le principe que la création, l’œuvre artistique, si elle veut être réelle, doit être en accord avec soi-même, elle est supposée être une unité aussi organique qu'une œuvre de la nature.
Wifredo Lam: Avant-Garde Afro-Cuban Painter
Embodying all the exoticism in vogue with the avant-garde circles of Paris in the 1930's and living at the crossroad of four cultural currents: Asian, African, European and American, the internationally renowned Cuban painter Wifredo Lam (1902-1982) was a precursor of a cross-cultural style of painting, infusing Western modernism with African, Caribbean, and Oceanic symbolism.
Lam was the eighth son of an 80 year old, educated Cantonese immigrant and a 37 year old Cuban mulatta of Congolese and Spanish ancestry. In his hometown of Sagua La Grande, Lam learned the religion of the Orishas from his godmother, a Santeria priestess. This early contact with African traditions and the luxuriant nature of Cuba were to be defining influences in his art.
In 1916, Lam and part of his of family settled in Havana, where he quickly broke from the expectations of his parents, who wanted him to study law, to follow his dream of becoming an artist. He studied at the Academia de San Alejandro until 1923 when at the age of 21, his hometown awarded him a grant to study in Europe.
His sojourn in Spain lasted 14 years. There he discovered the old masters at the Prado Museum, and visited the Archeological Museum where he discovered correlations between western art and the so called primitive art. In 1938, Lam left civil war torn Spain for Paris. There he developed a close friendship with Picasso, who instantly recognized in him a kindred spirit -- calling him primo (cousin) - and introduced him to his friends. Lam was highly impacted by the work of Matisse, Braque, and the Surrealists, as is evident in his early paintings.
Lam's work is often full of dark themes; death, anger, and fear. This can be attributed to the death of his wife and infant son in 1931 of tuberculosis. His many paintings on the mother and child theme are a testament of the devastation he endured. This, no doubt was compounded by the wars in Europe, and the ever changing social and political turmoil in Cuba. In 1941 Lam escaped World War II in a ship headed for Martinique with 300 other threatened artists and intellectuals
Returning to Cuba after almost 20 years of self-imposed exile, Lam consciously digs deeper into his Afro-Cuban roots: luxuriant nature (lush tobacco leaves, swollen papaya fruits, tall sugarcane stalks, flowers and butterflies) and African deities fuse into hybrid figures (seldom seen in western art since Greek times) that turn into vibrant tropical creations that challenge western constructions of the primitive.
In the winter of 1945/46 Lam traveled with his new wife and Andre Breton (founder of Surrealism) to Haiti where they attended voodoo ceremonies. The strength of those rituals greatly impressed him and added a new dark impetus to his vision. His paintings became more violent in tone, the hybrid figures turned totemic. The tropical landscape gave way to somber, ambiguous spaces, and the bright neoimpressionist colors turned to earth tones, black, grays, and white. He studies African poetry, alchemy, hermetism, esoterism, Tao philosophy, Oceanic art, and Jungian psychoanalysis. These arcane worlds of opposites, of death, rebirth and metamorphosis, revitalized his own pictorial language and produce, in Lam's own words hallucinating figures with the power to surprise, - that make him unique and famous.
In the early 1950's, Lam returned to Europe and settles in Paris. He divorces his second wife and in 1964 marries for the third and final time to Lou Laurin Lam with whom he had three sons. He established a second home in Albissola Mare, a small Italian seaside town, where he installed his Totem collection, and which was to be his home for the next 20 years.
Throughout the rest of his career, Lam traveled incessantly between Europe and the Americas, sharing his extraordinary intellectual and artistic creativity with the most important figures of the Intelligentsia of the 20th century. He dedicates increasing attention to graphics and ceramics. The outstanding characteristics of his mature art are a sharp and refined draftsmanship, a violent sensuality and a highly personal version of modern primitivism.
In 1978 he suffered a massive stroke that left him confined to a wheelchair. His indomitable spirit helped him find the strength to continue working almost until his death in Paris in 1982. According to his wishes he was cremated and his ashes returned to Cuba.
THEMES: Mother and Child, Symbolic creatures, Vegetal-animal forms, Cycles of life and death, Horse-headed figures, Mask-like facial features, Lush natural environments, Spirit figures, Large hands, Large Feet, Bird-like forms, African-derived imagery, Stories from religion
cription
L'Avant garde tchèque à Paris
30. 5. 2015
Vernissage avec la participation du violoniste Petr Růžička
Si Paris Prague en 1966 a fait côtoyer les précurseurs cubistes Braque et Picasso et leurs contemporains Beneš, Čapek, Filla, Kubín, Gutfreund, l’exposition Les avant-gardes tchèques àParis, illustrera sous des airs de « Prague-Paris », l’apport des artistes d’origine tchèque arrivés en France, et exposant dès le début du siècle à Paris.
Ainsi Kupka arrive dès 1896, et laisse avec l’ Etude pour les Disques de Newton en 1912, la trace de cette foisonnante expérience que fut l’abstraction dans les arts, mêlée à la science. Il sera suivi de près des riches apports d’Otto Gutfreund et d’Emil Filla au cubisme, puis d’un Adolf Hoffmeister, plus proche des dadaïstes, qui fait un premier séjour en 1922, lui faisant côtoyer Soupault et Tzara. Nous sommes heureux de vous montrer une œuvre historique de Karel Teige, réalisée sur papier en tête de la revue Devětsil, et destinée à représenter le constructivisme tchèque dans la revue Contimporanul dirrigée à l’époque par Marcel Janco. Enfin, seront présentées quelques œuvres majeures de l’histoire du surréalisme par Štyrský et Toyen, tous deux membres du groupe surréaliste et proches d’André Breton.
Artistes exposés :
Emil Filla
Otto Gutfreund
Adolf Hoffmeister
Jiří Kolář
František Kupka
Jindřich Štyrský
Karel Teige
Toyen
Commissaire de l’exposition : Jana Claverie.
Galerie Le Minotaure
Galerie Alain Le Gaillard
galerie-leminotaure.com
Modigliani_ The Complete Works
Amedeo Modigliani, (born July 12, 1884, Livorno, Italy—died January 24, 1920, Paris, France) Italian painter and sculptor whose portraits and nudes—characterized by asymmetrical compositions, elongated figures, and a simple but monumental use of line—are among the most-important portraits of the 20th century.
Modigliani was born into a Jewish family of merchants. As a child, he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life.
In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants.
In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture.
Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colours.
The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front; his paintings did not sell; and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years (1914–16). He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings.
Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighbourhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colours and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed.
In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more-tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920, and 10 days later he died of tubercular meningitis. The next day Hébuterne killed herself and their unborn child by jumping from a window.
Little known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.
Although he died in 1967, of pancreatic cancer, much of the work of Rene Magritte is still on display today, in his hometown, and around the world. Not only did he introduce a new style, he was a leader in the surrealist style. And, he brought an entirely new way of looking at art, with the paintings, as well as some of the sculptures which he created, during the course of his career.
Pan Yu Liang's Adventures in Jazz Age Paris
Among many art, music and literature lovers, particularly devotees of Modernism, the expatriate community in France during the Jazz Age represents a remarkable convergence of genius in one place and period—one of the most glorious in history. Drawn by the presence of such avant-garde figures as Joyce and Picasso, artists and writers fled the censorious cultures of their homes in China, Russia and the United States to head for the free-wheeling scene in Paris, where they made contact with rivals, collaborators, and a sophisticated audience of collectors and patrons.
The outpouring of boundary-pushing novels, paintings, ballets, music, and design was so profuse that it belies the brevity of the era (1918–1929). Among them was the fascinating and supremely talented painter Pan Yu Liang, the first woman from China selected for a scholarship at the Ecole des Beaux-Arts. This talk, based on Prof. Charles Riley's book, Free as Gods: How the Jazz Age Reinvented Modernism, will frame Liang's achievement as an artist and teacher, including her tempestuous return to teach in Nanjing and Shanghai, with stories of other notable talents in the creative community of Paris between the wars.
Francis Cadell: A collection of 184 works (HD)
In order for the LEARNFROMMASTERS project to continue its activity,
YOUR KIND SUPPORT IS REQUIRED:
PATREON:
PAYPAL:
---
Francis Cadell: A collection of 184 works (HD)
Description: Francis Cadell was born in Edinburgh, the son of Francis Cadell FRCSE, a surgeon His childhood home was at 22 Ainslie Place on Edinburgh's prestigious Moray Estate, and was educated at the Edinburgh Academy. His sister was Jean Cadell a well-known actress. From the age of 16 he studied in Paris at the Académie Julian, where he was in contact with the French avant-garde of the day. While in France, his exposure to work by the early Fauvists, and in particular Matisse, proved to be his most lasting influence. After his return to Scotland, he was a regular exhibitor in Edinburgh and Glasgow, as well as in London.
Cadell was a left-handed painter. While a student, the President of the Royal Scottish Academy tried to stop him painting with his left hand because 'No artist ever became great who did so.' Cadell swiftly replied 'Sir and did not the great Michelangelo paint with his left hand?' The President did not respond and left the room quickly. A fellow student asked Cadell how he had known that Michelangelo was left-handed. Cadell confessed 'I didn't know but nor did the president.'
Cadell spent much of his adult life in Scotland and had little direct contact with many of the new ideas that were being developed abroad. He therefore tended to use subjects and environments that were close at hand – landscapes, fashionable Edinburgh New Town house interiors, still life and figures in both oil and watercolour. He is particularly noted for his portraits of glamorous women whom he painted in a loose, impressionistic manner, depicting his subject with vibrant waves of colour. He enjoyed the landscape of Iona enormously, which he first visited in 1912 and features prominently in his work. During the 1920s he spent several summers with Samuel Peploe, another Scottish Colourist, on painting trips to Iona, and was also friends with the Scottish architect Reginald Fairlie.
During World War I he served in the 9th Argyll and Sutherland Highlanders and the 9th Royal Scots regiments.
He lived at 6 and 22 Ainslie Place, Edinburgh from 1920-1932. During this time he befriended Reginald Fairlie who lived at 7 Ainslie Place and they remained friends thereafter. He then lived at 30 Regent Terrace from 1932-1935 where he found it more and more difficult to sell his paintings because of the economic climate. He finally moved to 4 Warriston Crescent where he died in poverty on 6 December 1937. Two of his paintings were offered for over £500,000 in 2009.
Cadell's Estate is represented by Portland Gallery, London.
---
SUBSCRIBE: youtube.com/c/LearnFromMasters?sub_confirmation=1
Facebook:
Instagram:
Contact: LearnFromMasters01@gmail.com
LIST OF ARTISTS already posted on LearnFromMasters:
---
Thank you so much for your support!
#LearnFromMasters #ScottishPainter #FrancisCadell #OnlineArtGallery #CollectionOfPaintings #ArtHistory #TASCHEN
Masterworks of French Impressionism at Telfair Museums
Monet to Matisse: Masterworks of French Impressionism from the Dixon Gallery and Gardens boasts significant works of art by the most dynamic artists to work in late 19th- and early 20th-century France, including Claude Monet, Mary Cassatt, Edgar Degas, Pierre-Auguste Renoir, Paul Gauguin, and Henri Matisse. From plein air landscapes to scenes of modern life in Paris, the 30 paintings in the exhibition illustrate the radical innovations launched by artists we know today as Impressionists and Post-Impressionists.
Beginning in 1853, the city of Paris underwent a dramatic modernization as Georges Haussmann’s urban plan transformed the French capital from a chaotic web of medieval streets to a more orderly system of wide, tree-lined boulevards, bustling with energy in its many cafes and parks. As keen observers of the changes taking place around them, a group of artists began to move away from more traditional forms of art rooted in history and religion, dedicating themselves instead to “the painting of modern life” and to creating their work en plein air, or directly on location, to give a quick impression of a particular moment in nature. Ultimately, this group would become known as the Impressionists. They organized eight independent exhibitions between 1874 and 1886, where they continued to promote the practice of painting directly from nature and recording modern life as a means of conveying truth in art. In doing so, they changed the course of art history, revolutionizing the way art was viewed in Paris, and eventually around the world.
In the years that followed the landmark Impressionist exhibitions, a wave of younger painters pushed the basic tenets of the movement into uncharted reaches of formal innovation. Daring figures such as Pierre Bonnard, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and eventually Henri Matisse found in Impressionism’s independence a license for their own experimentation. These avant-garde painters would come to be known as Post-Impressionists, as they embraced new subjects, invented new pictorial structures, and applied color theory in utterly unexpected ways. These remarkable painters in turn set the course of Western art in new directions and laid the groundwork for generations of artists to come, including those who are working today.
This exhibition is organized by the Dixon Gallery and Gardens, Memphis, and curated by Julie Pierotti. The presentation of this exhibition at Telfair Museums is curated by Courtney McNeil, Chief Curator and Deputy Director for Curatorial Affairs.
L'Avant-garde tchèque à Paris
30. 5. 2015
Vernissage avec la participation du violoniste Petr Růžička
Si Paris Prague en 1966 a fait côtoyer les précurseurs cubistes Braque et Picasso et leurs contemporains Beneš, Čapek, Filla, Kubín, Gutfreund, l’exposition Les avant-gardes tchèques àParis, illustrera sous des airs de « Prague-Paris », l’apport des artistes d’origine tchèque arrivés en France, et exposant dès le début du siècle à Paris.
Ainsi Kupka arrive dès 1896, et laisse avec l’ Etude pour les Disques de Newton en 1912, la trace de cette foisonnante expérience que fut l’abstraction dans les arts, mêlée à la science. Il sera suivi de près des riches apports d’Otto Gutfreund et d’Emil Filla au cubisme, puis d’un Adolf Hoffmeister, plus proche des dadaïstes, qui fait un premier séjour en 1922, lui faisant côtoyer Soupault et Tzara. Nous sommes heureux de vous montrer une œuvre historique de Karel Teige, réalisée sur papier en tête de la revue Devětsil, et destinée à représenter le constructivisme tchèque dans la revue Contimporanul dirrigée à l’époque par Marcel Janco. Enfin, seront présentées quelques œuvres majeures de l’histoire du surréalisme par Štyrský et Toyen, tous deux membres du groupe surréaliste et proches d’André Breton.
Artistes exposés :
Emil Filla
Otto Gutfreund
Adolf Hoffmeister
Jiří Kolář
František Kupka
Jindřich Štyrský
Karel Teige
Toyen
Commissaire de l’exposition : Jana Claverie.
Galerie Le Minotaure
Galerie Alain Le Gaillard
galerie-leminotaure.com
New exhibition of French art dealer Vollard's collection
1. Wide of new exhibit at the Metropolitan Museum of Art, Cezanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde
2. Wide pan of interior of galleries of new exhibit
3. Pan up on The Battle of Love, by Paul Cezanne, painted in 1880
4. Zoom in on painting of Ambroise Vollard, art collector by Pablo Picasso, painted in 1910
5. Close of text next to Picasso painting
6. SOUNDBITE: (English) Rebecca Rabinow, Associate Curator, Metropolitan Museum of Art:
Ambroise Vollard had one of the most important impacts on the development of modern art of any other person, really. It was through him that in 1895 the world discovered Cezanne. His works hadn't been seen for over twenty years and it was there that Monet, Pisarro, Degas, Manet, Matisse, all became interested in the work of Cezanne. And the same can be said of (artist Paul) Gauguin. He also exhibited Van Gogh at a time when no one else was interested in that artist. He gave Matisse his first solo exhibition in Paris in 1904, Picasso his first solo exhibition in Paris in 1901. So for a time, from about 1894 to the first World War it was at Vollard's gallery in Paris where one came to see the latest French art.
7. Wide pan of gallery interior
8. People looking at 'The Two Saltimbanques' (Harlequin and His Companion), by Pablo Picasso, 1901
9. Close up of 'The Two Saltimbanques' (Harlequin and His Companion), by Pablo Picasso
10. Wide of woman looking at Where Do We Come From? What Are We? Where Are We Going? by Paul Gauguin
11. Pan of Where Do We Come From? What Are We? Where Are We Going? by Paul Gauguin
12. Close of Where Do We Come From? What Are We? Where Are We Going? by Paul Gauguin
13. Zoom in on Dr Felix Rey, by Vincent Van Gogh
14. Painting Dr Felix Rey, by Vincent Van Gogh
15. SOUNDBITE: (English) Rebecca Rabinow, Associate Curator, Metropolitan Museum of Art:
At the end of 1889 Van Gogh mutilated his ear and was sent to the hospital and it was there that he was treated by a young doctor, Doctor Felix Rey, who you see in the painting behind me. In thanks, Van Gogh painted a portrait of Doctor Rey, which the doctor gave his mother who made her opinion of it known by using it to fix a hole in her chicken coop, and it was there where Vollard actually tracked it down so it went from the chicken coop in the south of France to his gallery in Paris and then off to one of the most prestigious collections of modern art in Russia.
16. Close of Fishing in Spring, the Pont de Clichy by Van Gogh, part of a triptych
17. Wide of man looking at paintings
18. Zoom in on Three Bathers by Paul Cezanne
19. Zoom in on Bathers by Paul Cezanne (++pull focus on final shot++)
LEAD IN:
A new exhibit at the Metropolitan Museum of Art in New York celebrates the acquisitions of a pioneering art collector.
Ambroise Vollard was an art dealer and patron who played a key role in promoting and shaping the careers of many leading artists during the late 19th and early 20th centuries.
STORYLINE:
The Metropolitan Museum of Art in New York, is holding the first comprehensive exhibition devoted to the collection of pioneer art dealer Ambroise Vollard, who lived from 1866-1939.
The collection includes works by C�zanne, Degas, Gauguin, Van Gogh, Manet, Matisse, Monet, Picasso, Redon and Renoir, amongst others.
Ambroise Vollard who lived at the time of many great turn of the century artists, was patron to some of the world's greatest artists.
Rebecca Rabinow, an associate curator at the Metropolitan Museum of Art, says that Vollard had a tremendous impact on the development of modern art.
Rabinow says that it was Vollard who re-introduced Paul Cezanne to the world in 1895.
At that time Cezanne's works had not been seen for over twenty years.
You can license this story through AP Archive:
Find out more about AP Archive:
Gallery Talk: Ungno Lee's Art World
July 18, 2018 - In celebration of the 60th anniversary of artist Lee Ungno's arrival in Paris, the Korea Society welcomes you to enjoy the art exhibition of the Korean-born French artist who combined the abstract tendencies of the Art Informel movement with traditional forms of Korean art. Robert C. Morgan discusses Lee's work and the artist's influence on Asian contemporary art.
Lee Ungno (1904-1989) was among the most influential Asian contemporary painters of the twentieth century. Driven by a yearning for peace and unity amidst times of tumultuous violence, Lee conceived a contemporary form of art unique to Korean culture and history. As a member of the Parisian avant-garde, Lee introduced modern abstract art practices to the traditional forms of Korean art, creating a new style of contemporary painting tempered with Eastern ideologies. Deeply impassioned by the social movements of democratization in 1980s Korea, Lee’s “People” series aspired to illustrate the movement of the masses and their united march towards peace. His works from 1980 to his death in 1989 emphasize this recurring theme, with the image of crowds becoming a symbol of the rise of Korean people and democracy.
For more information, please visit the links below:
Elisabeth Chojnacka (harpsichord) l'Avant-garde du passé
Elisabeth Chojnacka harpsichord Anthony Sidey (from the private collection of Mr et Mrs Bryan Edmond)
Recorded October 1981 in Salle Adyar, Paris, France
Released 1982 by Erato 71480, Éditions Costallat
Recorded By Yolanta Skura
Front painting: G. Arcimboldo - l'ete - Paris, Louvre
Picture by Lauros-Giraudon, Model Jacques Vatoux
Picture of Elisabeth Chojnacka D. Souse, Paris
Sleeve Notes Pierre-Paul Lacas
Sleeve Notes English translation John Underwood
Face 1
00:00 Giovanni PICCHI (debut XVIIe s.) Ballo alla polacca
02:58 Johann Jacob FROBERGER (1616-1667) Tombeau fait a Paris sur la mort de Monsieur Blancheroche ; lequel se joue fort lentement a la discretion sans observer aucune mesure.
07:04 Michelangelo ROSSI (? 1601-2 - 1656) Toccata settima
12:57 Hugh ASTON (v. 1485-? 1558) Hornepype
16:41 Jean de MACQUE (v. 1550-1614) Seconda Stravaganza
19:27 Louis COUPERIN (1626-1661) Pavane
25:37 Azzolino Bernadino DELLA CIAJA (1671-1755) Toccata
Face 2
29:40 ANONYME (XVle s.) Upon La Mi Re
36:50 Carlo GESUALDO, prince de Venosa (v. 1560-1613) Canzone francese del Principe
40:46 Johann Jacob FROBERGER (1616-1667) Lamentation faite sur la mort tres douleureuse de Sa Majeste Imperiale Ferdinand le troisieme; se joue lentement avec discretion. An 1657.
44:34 John BULL (v. 1562-1628) Ut re mi fa sol la
49:43 Jean de MACQUE (v. 1550-1614) Prima Stravaganza
52:19 Giovanni PICCHI (debut XV lIe s.) Passamezzo
ELISABETH CHOJNACKA
The world of music has been enriched in every period by the inspiration given to composers by the talents and personalities of great artists. Elisabeth Chojnacka is one of the great players whose artistry provides inspiration for the composers of our own day. Many
distinguished composers have written works for her or dedicated
them to her. Yannis Xenakis, Marius Constant, Maurice Ohana and
Cristobal Halffter, to mention only the best-known, have all realised
with her or because of her' 'how far the old instrument is from having lost any of its amazing magic, as an American critic put it after a concert she gave in Chicago.
Elisabeth Chojnacka was born in Warsaw and obtained her M.A.
degree from the Music High School there. In 1962 she came to Paris (where she sti11lives) to study the baroque repertoire with Aimee van de Wie1e. In 1968 she won the first prize for harpsichord in the Warsaw International Music Competition.
Her repertoire centres upon contemporary music but also includes
baroque and classical work. She has been a guest artist at all the great festivals of contemporary music, and is also keen to bring the music of today to the attention of a wider public. Engagements with such great orchestras as the Cleveland Orchestra, the Orchestre de Paris,
the Warsaw Philharmonic and the Suisse Romande have enabled her to do this. Thanks to this wonderful artist, the renewal of the contemporary repertoire, in particular that of the harpsichord, is assured for many decades to come.
Manus x Machina: Fashion in an Age of Technology—Gallery Views
Gallery views of The Costume Institute's spring 2016 exhibition, Manus x Machina: Fashion in an Age of Technology, narrated by exhibition curator Andrew Bolton.
The Costume Institute's spring 2016 exhibition, presented in the Museum's Robert Lehman Wing, explores how fashion designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear.
#ManusxMachina
Video Footage
Excerpt from ONE LOOK (2015), presented by VisionaireFILM, directed by Stylianos Pangalos, produced by Cecilia Dean and James Kaliardos
Excerpt from Making of the CHANEL Fall-Winter 2015/16 Haute Couture Collection, © CHANEL
Excerpt from A new design by Iris Van Herpen, © Centraal Museum Utrecht/Wendy van Wilgenburg. Special thanks to Iris van Herpen and Materialise.
Production Credits
Director: Christopher Noey
Producer: Kate Farrell
Video Editor: Stephanie Wuertz
Jib and Camera Operator: Kelly Richardson
Lighting Designer: Ned Hallick
Gaffers: Foster McLaughlin
Production Coordinator: Lisa Rifkind
Production Assistants: Dia Felix, Sarah Cowan
© 2016 The Metropolitan Museum of Art
Being Modern: MoMA in Paris
Until March 5th, discover in our galleries some of the most significant artworks of the XX century. Join us and wander between the avant-garde sculptures of Brancusi, Duchamp and Calder, Warhol and Lichtenstein pop-art canvases and enjoy a peaceful moment in the Janet Cardiff installation.
Picasso Posse: Americans in Paris
Check out Curator Michael Taylor discussing the Americans in Paris gallery - focusing on Gertrude Stein, Bricktop, and Aaron Douglas.
Picasso and the Avant-Garde in Paris - now through May 2, 2010
For more info, visit:
Russian avant-garde in painting. Artist Yulia Erokhina.
First solo exhibition artist Yulia Erokhina in art gallery Petushki city Vladimir region Russia Federation
L'Avant-garde tchèque à Paris
30. 5. 2015
Vernissage avec la participation du violoniste Petr Růžička
Si Paris Prague en 1966 a fait côtoyer les précurseurs cubistes Braque et Picasso et leurs contemporains Beneš, Čapek, Filla, Kubín, Gutfreund, l’exposition Les avant-gardes tchèques àParis, illustrera sous des airs de « Prague-Paris », l’apport des artistes d’origine tchèque arrivés en France, et exposant dès le début du siècle à Paris.
Ainsi Kupka arrive dès 1896, et laisse avec l’ Etude pour les Disques de Newton en 1912, la trace de cette foisonnante expérience que fut l’abstraction dans les arts, mêlée à la science. Il sera suivi de près des riches apports d’Otto Gutfreund et d’Emil Filla au cubisme, puis d’un Adolf Hoffmeister, plus proche des dadaïstes, qui fait un premier séjour en 1922, lui faisant côtoyer Soupault et Tzara. Nous sommes heureux de vous montrer une œuvre historique de Karel Teige, réalisée sur papier en tête de la revue Devětsil, et destinée à représenter le constructivisme tchèque dans la revue Contimporanul dirrigée à l’époque par Marcel Janco. Enfin, seront présentées quelques œuvres majeures de l’histoire du surréalisme par Štyrský et Toyen, tous deux membres du groupe surréaliste et proches d’André Breton.
Artistes exposés :
Emil Filla
Otto Gutfreund
Adolf Hoffmeister
Jiří Kolář
František Kupka
Jindřich Štyrský
Karel Teige
Toyen
Commissaire de l’exposition : Jana Claverie.
Galerie Le Minotaure
Galerie Alain Le Gaillard
galerie-leminotaure.com