1.
Lille
–
Lille is a city in northern France, in French Flanders. On the Deûle River, near Frances border with Belgium, it is the capital of the Hauts-de-France region, archeological digs seem to show the area as inhabited by as early as 2000 BC, most notably in the modern-day quartiers of Fives, Wazemmes, and Vieux Lille. The legend of Lydéric and Phinaert puts the foundation of the city of Lille at 640, in the 8th century, the language of Old Low Franconian was spoken here, as attested by toponymic research. Lilles Dutch name is Rijsel, which comes from ter ijsel, the French equivalent has the same meaning, Lille comes from lîle. From 830 until around 910, the Vikings invaded Flanders, after the destruction caused by Norman and Magyar invasion, the eastern part of the region was ruled by various local princes. The first mention of the dates from 1066, apud Insulam. At the time, it was controlled by the County of Flanders, the County of Flanders thus extended to the left bank of the Scheldt, one of the richest and most prosperous regions of Europe. A notable local in this period was Évrard, who lived in the 9th century and participated in many of the days political, there was an important Battle of Lille in 1054. From the 12th century, the fame of the Lille cloth fair began to grow, in 1144 Saint-Sauveur parish was formed, which would give its name to the modern-day quartier Saint-Sauveur. Infante Ferdinand, Count of Flanders was imprisoned and the county fell into dispute, it would be his wife, Jeanne, Countess of Flanders and Constantinople and she was said to be well loved by the residents of Lille, who by that time numbered 10,000. He pushed the kingdoms of Flanders and Hainaut towards sedition against Jeanne in order to recover his land and she called her cousin, Louis VIII. He unmasked the imposter, whom Countess Jeanne quickly had hanged, in 1226 the King agreed to free Infante Ferdinand, Count of Flanders. Count Ferrand died in 1233, and his daughter Marie soon after, in 1235, Jeanne granted a city charter by which city governors would be chosen each All Saints Day by four commissioners chosen by the ruler. On 6 February 1236, she founded the Countesss Hospital, which one of the most beautiful buildings in Old Lille. It was in her honour that the hospital of the Regional Medical University of Lille was named Jeanne of Flanders Hospital in the 20th century, the Countess died in 1244 in the Abbey of Marquette, leaving no heirs. The rule of Flanders and Hainaut thus fell to her sister, Margaret II, Countess of Flanders, then to Margarets son, Lille fell under the rule of France from 1304 to 1369, after the Franco-Flemish War. The county of Flanders fell to the Duchy of Burgundy next, after the 1369 marriage of Margaret III, Countess of Flanders, Lille thus became one of the three capitals of said Duchy, along with Brussels and Dijon. By 1445, Lille counted some 25,000 residents, Philip the Good, Duke of Burgundy, was even more powerful than the King of France, and made Lille an administrative and financial capital
Lille
–
Grand' place, Lille city centre.
Lille
–
The 'Vieille Bourse' on the 'Grand Place'
Lille
–
1641 map of Lille (Rijssel) in
Flandria Illustrata by
Anton Sander (Sanderus)
Lille
–
Entrance to the 'Vauban Citadel' (17th century)
2.
Post-Impressionism
–
Post-Impressionism is a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists concern for the depiction of light. The movement was led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, the term Post-Impressionism was first used by art critic Roger Fry in 1906. Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition, Manet, the Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to make of Impressionism something solid and durable and he achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid-1880s and the early 1890s, Vincent van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind. Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over naturalism. Artists such as Seurat adopted a scientific approach to colour. Younger painters during the early 20th century worked in geographically disparate regions and in various categories, such as Fauvism and Cubism. Most of the artists in Frys exhibition were younger than the Impressionists, Fry later explained, For purposes of convenience, it was necessary to give these artists a name, and I chose, as being the vaguest and most non-committal, the name of Post-Impressionism. This merely stated their position in time relatively to the Impressionist movement, john Rewald limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism, From Van Gogh to Gauguin. This volume would extend the period covered to other artistic movements derived from Impressionism, though confined to the late 19th, Rewald focused on such outstanding early Post-Impressionists active in France as van Gogh, Gauguin, Seurat, and Redon. Pont-Aven School, implying more than that the artists involved had been working for a while in Pont-Aven or elsewhere in Brittany. Symbolism, a highly welcomed by vanguard critics in 1891. Rewald wrote that the term Post-Impressionism is not a precise one. Convenient, when the term is by definition limited to French visual arts derived from Impressionism since 1886, rewalds approach to historical data was narrative rather than analytic, and beyond this point he believed it would be sufficient to let the sources speak for themselves. Rival terms like Modernism or Symbolism were never as easy to handle, for they covered literature, architecture and other arts as well, Symbolism, however, is considered to be a concept which emerged a century later in France, and implied an individual approach
Post-Impressionism
–
Henri Rousseau, The Centenary of Independence, 1892,
Getty Center, Los Angeles
Post-Impressionism
Post-Impressionism
–
Poster of the 1889 Exhibition of Paintings by the
Impressionist and
Synthetist Group, at Café des Arts, known as the
The Volpini Exhibition, 1889
Post-Impressionism
–
Henri de Toulouse-Lautrec, Portrait of
Émile Bernard, 1886,
Tate Gallery London
3.
Synthetism
–
Synthetism is a term used by post-Impressionist artists like Paul Gauguin, Émile Bernard and Louis Anquetin to distinguish their work from Impressionism. Earlier, Synthetism has been connected to the term Cloisonnism, the term is derived from the French verb synthétiser. Paul Gauguin, Émile Bernard, Louis Anquetin, and others pioneered the style during the late 1880s, synthetist artists aimed to synthesize three features, The outward appearance of natural forms. The artist’s feelings about their subject, the purity of the aesthetic considerations of line, colour and form. The confusing title has been associated with impressionism. Synthetism emphasized two-dimensional flat patterns, thus differing from impressionist art, Paul Sérusier - Talisman Paul Gauguin - Vision After The Sermon, La Belle Angele, The Loss of Innocence Émile Bernard - Buckwheat Harvest Charles Laval - Going to Market Cuno Amiet - Breton Spinner
Synthetism
–
The Talisman, by
Paul Sérusier, one of the principal works of the Synthetist school
Synthetism
–
Poster of the 1889 Exhibition of Paintings by the
Impressionist and Synthetist Group, at Café des Arts, known as the
The Volpini Exhibition, 1889.
Synthetism
–
Paul Gauguin, Les Alyscamps, (1888),
Musée d'Orsay,
Paris
Synthetism
–
Paul Sérusier, The Talisman (with the forest landscape of love in Pont-Aven) 1888
4.
Cloisonnism
–
Cloisonnism is a style of post-Impressionist painting with bold and flat forms separated by dark contours. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, artists Émile Bernard, Louis Anquetin, Paul Gauguin, Paul Sérusier, and others started painting in this style in the late 19th century. The name evokes the technique of cloisonné, where wires are soldered to the body of the piece, filled with powdered glass, many of the same painters also described their works as Synthetism, a closely related movement. In The Yellow Christ, often cited as a quintessential cloisonnist work, in such works he paid little attention to classical perspective and boldly eliminated subtle gradations of color — two of the most characteristic principles of post-Renaissance painting. The cloisonnist separation of colors reflects an appreciation for discontinuity that is characteristic of Modernism, Émile Bernard chronology The Volpini Exhibition,1889 Cloisonnism at ArtFacts
Cloisonnism
–
Paul Gauguin,
The Yellow Christ (Le Christ jaune) 1889, oil on canvas
Albright-Knox Art Gallery,
Buffalo, New York
Cloisonnism
–
Émile Bernard Self-portrait with portrait of Gauguin, dedicated to Vincent van Gogh. Bernard, 1888
Cloisonnism
–
Émile Bernard, Breton Women in the Meadow, August 1888. Bernard exchanged this one with Gauguin who brought it to
Arles in autumn 1888 when he joined Van Gogh, who was fond of this style. Van Gogh painted a copy in watercolor to inform his brother Theo about it.
Cloisonnism
–
Vincent van Gogh, Breton Women and Children, November 1888 (watercolor after Bernard).
5.
Andries Bonger
–
Andries Bonger, nicknamed Dries, was Johanna van Gogh-Bongers favorite brother. Bonger was a friend of his future brother-in-law Theo van Gogh in Paris and it was through Andries that Johanna and Theo met. He also knew Vincent van Gogh who called him André in letters and he mentioned that Van Gogh was not very strong, and so this was a very melancholy circumstance. In several letters over the remainder of the year, Bonger comments on an appreciation for. Vincent van Gogh arrived in Paris in 1886 which meant that Bonger saw less of Theo, Bonger expressed his concern that Vincent van Gogh was harsh with his brother Theo, who had begun to look haggard. Theo met Bongers parents during a visit to the Netherlands about August,1886, Bonger went into the insurance business later in Amsterdam. He was a friend of Bertrand-Jean Redon, better known as Odilon Redon. His collection also included works by Van Gogh, Paul Cézanne and Émile Bernard and he is buried at Zorgvlied cemetery
Andries Bonger
–
Johan Cohen Gosschalk,
Johanna Bonger, 1905
Andries Bonger
–
Vincent van Gogh, self-portrait in 1887
6.
Ambroise Vollard
–
Ambroise Vollard was a French art dealer who is regarded as one of the most important dealers in French contemporary art at the beginning of the twentieth century. He was also an art collector and publisher. Born in Saint-Denis, Réunion, he was raised in the French Indian Ocean colony. After his matura in La Réunion, he went to study jurisprudence in France from 1885, for a while in Montpellier, then at the École de droit in Paris, where he received his degree in 1888. There Vollard mounted his first major exhibitions, buying almost the entire output of Cézanne and this was followed by exhibitions of Manet, Gauguin and Van Gogh, for Gabriel Mourey, French correspondent of The Studio in Paris, this was simply a matter of Scylla and Charybdis. These were then was followed by a second Cézanne exhibition, the first Picasso exhibition, much has been made of his physical appearance and countenance, however, he was also a very shrewd businessman who made a fortune with the buy low, sell high mantra. Barnes, Henry Osborne Havemeyer, Gertrude Stein and her brother, having put on the first Picasso exhibition, in 1930 Vollard commissioned Picasso to produce a suite of 100 etchings which became known as the Vollard Suite. Vollard would later write biographies of Cézanne, Degas, and Renoir, in 1937 he published his autobiography, Recollections of a Picture Dealer. With war approaching, Vollard set out in July 1939 from his cottage in Le Tremblay-sur-Mauldre to travel to his mansion on the Rue Martignac, nearing the junction to Pontchartrain, on a very wet road, his chauffeur-driven Talbot skidded and then somersaulted twice. Having fractured his vertebrae, there he lay with his chauffeur until found dead, aged 73. After his death, Vollards executor was fellow dealer Martin Fabiani, due to the Nazi invasion of France, which started on 10 May 1940, Fabiani hurriedly shipped 560 paintings to the United States. Leaving on the SS Excalibur from Lisbon, Portugal, the ship was intercepted by the Royal Navy in Bermuda on 25 September 1940, designated enemy property, the paintings were stored at the National Gallery of Canada in Ottawa during World War II. Post-war, on 19 April 1949, the London prize court agreed release of the pieces to Fabiani, in gratitude, the sisters donated all of the lithographs by Rouault and Chagall, and a single painting by Gauguin to the National Gallery of Canada. The remaining works soon started appearing on the New York City commercial art gallery market, Vollards former secretary and protegé, Erich Šlomović, a young Serb with Jewish origins, had connections with Vollard, Fabiani as well as Lucien Vollard since about 1938. He had often stated his wish to create a museum of French art collected by him in Yugoslavia. Šlomović had amassed a collection of about 600 works, most of them prints or drawings, with a few important oil paintings, by a combination of exchange, gift, purchase and donation. Vollard had put him in contact with the most prominent artists of the day. Beginning of 1940, Šlomović put about 200 works in storage in a Societe Generale bank branch vault in Paris, returning home with about 450 of these works, he exhibited them in Zagreb, Croatia, in 1940
Ambroise Vollard
–
Ambroise Vollard, standing in front of Picasso's Evocación. El entierro de Casagemas
Ambroise Vollard
–
Paul Cézanne, Portrait of Ambroise Vollard, 1899.
Musée des Beaux-Arts
Ambroise Vollard
–
Pierre-Auguste Renoir, Portrait of Ambroise Vollard, 1908, 82 x 65 cm,
Courtauld Institute Galleries, London
7.
Post-Impressionist
–
Post-Impressionism is a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists concern for the depiction of light. The movement was led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, the term Post-Impressionism was first used by art critic Roger Fry in 1906. Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition, Manet, the Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to make of Impressionism something solid and durable and he achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid-1880s and the early 1890s, Vincent van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind. Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over naturalism. Artists such as Seurat adopted a scientific approach to colour. Younger painters during the early 20th century worked in geographically disparate regions and in various categories, such as Fauvism and Cubism. Most of the artists in Frys exhibition were younger than the Impressionists, Fry later explained, For purposes of convenience, it was necessary to give these artists a name, and I chose, as being the vaguest and most non-committal, the name of Post-Impressionism. This merely stated their position in time relatively to the Impressionist movement, john Rewald limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism, From Van Gogh to Gauguin. This volume would extend the period covered to other artistic movements derived from Impressionism, though confined to the late 19th, Rewald focused on such outstanding early Post-Impressionists active in France as van Gogh, Gauguin, Seurat, and Redon. Pont-Aven School, implying more than that the artists involved had been working for a while in Pont-Aven or elsewhere in Brittany. Symbolism, a highly welcomed by vanguard critics in 1891. Rewald wrote that the term Post-Impressionism is not a precise one. Convenient, when the term is by definition limited to French visual arts derived from Impressionism since 1886, rewalds approach to historical data was narrative rather than analytic, and beyond this point he believed it would be sufficient to let the sources speak for themselves. Rival terms like Modernism or Symbolism were never as easy to handle, for they covered literature, architecture and other arts as well, Symbolism, however, is considered to be a concept which emerged a century later in France, and implied an individual approach
Post-Impressionist
–
Henri Rousseau, The Centenary of Independence, 1892,
Getty Center, Los Angeles
Post-Impressionist
–
Poster of the 1889 Exhibition of Paintings by the
Impressionist and
Synthetist Group, at Café des Arts, known as the
The Volpini Exhibition, 1889
Post-Impressionist
–
Henri de Toulouse-Lautrec, Portrait of
Émile Bernard, 1886,
Tate Gallery London
Post-Impressionist
–
Camille Pissarro, Haying at Eragny, 1889, Private Collection
8.
Vincent van Gogh
–
Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
–
Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm.,
Art Institute of Chicago (F 345)
Vincent van Gogh
–
Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of
Goupil & Cie 's gallery in
The Hague.
Vincent van Gogh
–
Vincent c. 1866, approx. age 13
Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
9.
Paul Gauguin
–
Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life
Paul Gauguin
–
Aline Marie Chazal Tristán, La mère de l'artiste ("The Artist's Mother"), 1889,
Staatsgalerie Stuttgart.
Paul Gauguin
–
Gauguin, c. 1891
Paul Gauguin
–
Woman Sewing, 1880,
Ny Carlsberg Glyptotek
10.
Art movements
–
Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde. According to theories associated with modernism and the concept of postmodernism, the period of time called modern art is posited to have changed approximately halfway through the 20th century and art made afterward is generally called contemporary art. Postmodernism in visual art begins and functions as a parallel to late modernism, the postmodern period began during late modernism, and according to some theorists postmodernism ended in the 21st century. During the period of time corresponding to modern art each movement was often considered a new avant-garde. Also during the period of time referred to as modern art movement was seen corresponding to a somewhat grandiose rethinking of all that came before it. Generally there was a commonality of visual style linking the works, postmodernist theorists posit that the idea of art movements are no longer as applicable, or no longer as discernible, as the notion of art movements had been before the postmodern era. There are many theorists however who doubt as to whether or not such an era was actually a fact, the term refers to tendencies in visual art, novel ideas and architecture, and sometimes literature. In music it is common to speak about genres and styles instead. See also cultural movement, a term with a broader connotation, as the names of many art movements use the -ism suffix, they are sometimes referred to as isms. 20th-century Western painting Art periods List of art movements Post-expressionism Western art history the-artists. org Art movements since 1900, 20th-Century Art Compiled by Dr. Witcombe, Sweet Briar College, Virginia. WebMuseum, Paris Themes index and detailed glossary of art periods
Art movements
–
History of art
Art movements
–
Jacques-Louis David,
The Coronation of Napoleon, (1806),
Musée du Louvre,
History painting
Art movements
–
Eugène Delacroix,
Liberty Leading the People 1830,
Romanticism
Art movements
–
Thomas Cole, The Course of Empire: The Savage State 1836,
Hudson River School
11.
Modern art
–
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine
Modern art
–
Pablo Picasso, Dejeuner sur l'Herbe
Modern art
–
Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892
Modern art
–
Vincent van Gogh, Country road in Provence by Night, 1889, May 1890,
Kröller-Müller Museum
Modern art
–
Paul Cézanne,
The Large Bathers, 1898–1905
12.
Henri de Toulouse-Lautrec
–
Toulouse-Lautrec is among the best-known painters of the Post-Impressionist period, with Cézanne, Van Gogh and Gauguin. In a 2005 auction at Christies auction house, La Blanchisseuse, his painting of a young laundress, sold for US$22.4 million. The last part of his name means he was a member of an aristocratic family and his younger brother was born in 1867, but died the following year. After the death of his brother, Henris parents separated and a nanny ended up taking care of him, at the age of eight, Henri went to live with his mother in Paris where he drew sketches and caricatures in his exercise workbooks. The family quickly realised that Henris talents lay in drawing and painting, a friend of his father, René Princeteau, visited sometimes to give informal lessons. Some of Henris early paintings are of horses, a speciality of Princeteau, in 1875, Toulouse-Lautrec returned to Albi because his mother had concerns about his health. He took thermal baths at Amélie-les-Bains and his mother consulted doctors in the hope of finding a way to improve her sons growth, Toulouse-Lautrecs parents, the Comte and Comtesse, were first cousins, and he suffered from congenital health conditions sometimes attributed to a family history of inbreeding. At age 13, Toulouse-Lautrec fractured his right femur, at age 14, he fractured his left. The breaks did not heal properly, modern physicians attribute this to an unknown genetic disorder, possibly pycnodysostosis, or a variant disorder along the lines of osteopetrosis, achondroplasia, or osteogenesis imperfecta. Rickets aggravated by praecox virilism has also been suggested, afterwards, his legs ceased to grow, so that as an adult he was extremely short. He developed an adult-sized torso, while retaining his child-sized legs, additionally, he is reported to have had hypertrophied genitals. Physically unable to participate in many activities enjoyed by males his age and he became an important Post-Impressionist painter, art nouveau illustrator, and lithographer, and, through his works, recorded many details of the late-19th-century bohemian lifestyle in Paris. Toulouse-Lautrec contributed a number of illustrations to the magazine Le Rire during the mid-1890s, after initially failing college entrance exams, he passed his second attempt and completed his studies. Toulouse-Lautrecs mother had high ambitions and, with the aim of her son becoming a fashionable and respected painter and he was drawn to Montmartre, the area of Paris famous for its bohemian lifestyle and the haunt of artists, writers, and philosophers. Studying with Bonnat placed Toulouse-Lautrec in the heart of Montmartre, an area he rarely left over the next 20 years. After Bonnat took a new job, Toulouse-Lautrec moved to the studio of Fernand Cormon in 1882 and studied for a five years. At this time he met Émile Bernard and Vincent van Gogh, Cormon, whose instruction was more relaxed than Bonnats, allowed his pupils to roam Paris, looking for subjects to paint. During this period, Toulouse-Lautrec had his first encounter with a prostitute, which led him to paint his first painting of a prostitute in Montmartre, a woman rumoured to be Marie-Charlet
Henri de Toulouse-Lautrec
–
Henri de Toulouse-Lautrec
Henri de Toulouse-Lautrec
–
La Toilette (fr), oil on board, 1896
Henri de Toulouse-Lautrec
–
Woman at the Tub from the Portfolio Elles (Femme au Tub) (1896)
Henri de Toulouse-Lautrec
–
Toulouse-Lautrec's grave in
Verdelais
13.
Atelier Cormon
–
Fernand Cormon was a French painter born in Paris. He became a pupil of Alexandre Cabanel, Eugène Fromentin, and Jean-François Portaels and his father was the playwright Eugène Cormon. His mother was Charlotte Furais, the actress, the Musée dOrsay has his Cain flying before Jehovahs Curse, and for the Mairie of the fourth arrondissement of Paris he executed in grisaille a series of panels, Birth, Death, Marriage, War, etc. A Chiefs Funeral, and a series of paintings for the Museum of natural history in Paris with themes from the Stone Age. He was appointed to the Legion of Honor in 1880, subsequently he also devoted himself to portraiture. Among his students with whom he was unsuccessful on this point were, for instance, Henri de Toulouse-Lautrec, Louis Anquetin, Eugène Boch, Paul Tampier, Émile Bernard, other students included Alphonse Osbert, Marius Borgeaud, and Theodor Pallady. This article incorporates text from a now in the public domain, Chisholm, Hugh. Atelier Cormon ~1885 (note e. g. Toulouse-Lautrec, Tampier, Anquetin, last row, second after sculpture, É. Bernard
Atelier Cormon
–
Fernand Cormon.
Atelier Cormon
–
Murder in the
Seraglio, (1874)
Atelier Cormon
–
Cain flying before Jehovah's Curse (1880)
Atelier Cormon
–
A
Forge (1894)
14.
Impressionism
–
Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
Impressionism
–
Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionism
–
Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
–
Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
15.
Pointillism
–
Pointillism /ˈpɔɪntᵻlɪzəm/ is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism, the term Pointillism was coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. The movement Seurat began with this technique is known as Neo-Impressionism, the Divisionists, too, used a similar technique of patterns to form images, though with larger cube-like brushstrokes. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a range of tones. It is related to Divisionism, a technical variant of the method. Divisionism is concerned with theory, whereas pointillism is more focused on the specific style of brushwork used to apply the paint. It is a technique with few serious practitioners today, and is seen in the works of Seurat, Signac. However, see also Andy Warhols early works, and Pop Art, the practice of Pointillism is in sharp contrast to the traditional methods of blending pigments on a palette. Pointillism is analogous to the four-color CMYK printing process used by some printers and large presses that place dots of Cyan, Magenta, Yellow. Televisions and computer monitors use a technique to represent image colors using Red, Green. If red, blue, and green light are mixed, the result is something close to white light, painting is inherently subtractive, but Pointillist colors often seem brighter than typical mixed subtractive colors. This may be partly because subtractive mixing of the pigments is avoided, the painting technique used for Pointillist color mixing is at the expense of the traditional brushwork used to delineate texture. The majority of Pointillism is done in oil paint, anything may be used in its place, but oils are preferred for their thickness and tendency not to run or bleed. Pointillism also refers to a style of 20th-century music composition, different musical notes are made in seclusion, rather than in a linear sequence, giving a sound texture similar to the painting version of Pointillism. This type of music is known as punctualism or klangfarbenmelodie
Pointillism
–
Detail from
Seurat 's La Parade de Cirque (1889), showing the contrasting dots of paint used in Pointillism
Pointillism
–
Paul Signac, Femmes au Puits, 1892, showing a detail with constituent colors.
Musée d'Orsay, Paris
Pointillism
–
Henri-Edmond Cross, L'air du soir, c.1893,
Musée d'Orsay
Pointillism
–
Vincent van Gogh, Self Portrait, 1887, using pointillist technique.
16.
Louis Anquetin
–
Louis Anquetin was a French painter. Anquetin was born in Étrépagny, France, and educated at the Lycée Pierre Corneille in Rouen, in 1882 he came to Paris and began studying art at Léon Bonnats studio, where he met Henri de Toulouse-Lautrec. The two artists later moved to the studio of Fernand Cormon, where they befriended Émile Bernard, around 1887, Anquetin and Bernard developed a painting style that used flat regions of color and thick, black contour outlines. This style, named cloisonnism by critic Edouard Dujardin, was inspired by both stained glass and Japanese ukiyo-e. One example of this can be seen in Avenue de Clichy, Five O’Clock in the Evening and he eventually fell from the publics eye after abandoning the modern movements, opting instead to study the methods of the Old Masters. Thus, Anquetins works following the mid-1890s, such as Rinaldo and Armida, were especially Rubensian, in 1907 he met Jacques Maroger, a young artist who shared his interest, with whom he collaborated. Later in life, Anquetin wrote a book on Rubens, which was published in 1924, the Avenue de Clichy at Five oclock,1887, Pastels, two versions. Portrait of the mother,1888, Drawing and watercolor. H,51 cm × L,37 cm Museum - Vincent van Gogh the birth of cloisonnism, rijksmuseum n°79 au catalogue-1981, an early cloisonnist portrait
Louis Anquetin
–
Autoportrait à la pipe, self-portrait, 1892
Louis Anquetin
–
Reading Woman, 1890, pastel on paper
Louis Anquetin
–
Woman at the Champs-Élysées by Night, c. 1889–93
Louis Anquetin
–
L'Avenue de Clichy, cinq heures du soir, 1887
17.
Brittany
–
Brittany is a cultural region in the north-west of France. Brittany has also referred to as Less, Lesser or Little Britain. It is bordered by the English Channel to the north, the Celtic Sea and the Atlantic Ocean to the west, and its land area is 34,023 km². Since reorganisation in 1956, the administrative region of Brittany comprises only four of the five Breton departments. The remaining area of old Brittany, the Loire-Atlantique department around Nantes, at the 2010 census, the population of historic Brittany was estimated to be 4,475,295. Of these, 71% lived in the region of Brittany, while 29% lived in the Loire-Atlantique department, in 2012, the largest metropolitan areas were Nantes, Rennes, and Brest. Brittany is the homeland of the Breton people and is recognised by the Celtic League as one of the six Celtic nations. A nationalist movement seeks greater autonomy within the French Republic, the word Brittany, along with its French, Breton and Gallo equivalents Bretagne, Breizh and Bertaèyn, derive from the Latin Britannia, which means Britons land. This word had been used by the Romans since the 1st century to refer to Great Britain and this word derives from a Greek word, Πρεττανικη or Βρεττανίαι, used by Pytheas, an explorer from Massalia who visited the British Islands around 320 BC. This term probably comes from a Gallic word, aremorica, which close to the sea. Another name, Letauia, was used until the 12th century and it possibly means wide and flat or to expand and it gave the Welsh name for Brittany, Llydaw. Later, authors like Geoffrey of Monmouth used the terms Britannia minor, breton-speaking people may pronounce the word Breizh in two different ways, according to their region of origin. Breton can be divided into two dialects, the KLT and the dialect of Vannes. KLT speakers pronounce it and would write it Breiz, while the Vannetais speakers pronounce it, the official spelling is a compromise between both variants, with a z and an h together. In 1941, efforts to unify the dialects led to the creation of the so-called Breton zh, on its side, Gallo language has never had a widely accepted writing system and several ones coexist. For instance, the name of the region in that language can be written Bertaèyn in ELG script, or Bertègn in MOGA, Brittany has been inhabited by humans since the Lower Paleolithic. This population was scarce and very similar to the other Neanderthals found in the whole of Western Europe and their only original feature was a distinct culture, called Colombanian. One of the oldest hearths in the world has found in Plouhinec
Brittany
–
The
Carnac stones.
Brittany
Brittany
–
The five Gallic tribes of Brittany.
Brittany
–
The temple of Mars in
Corseul.
18.
Pont-Aven
–
Pont-Aven is a commune in the Finistère department of Brittany in northwestern France. Inhabitants of Pont-Aven are called in French Pontavenistes, Pont-Aven is mentioned among the towns which took part in the Breton anti-tax Rebellion of the Red Bonnets against Louis XIV of France in 1675. Pont-Aven is mainly known because of the group of artists who flocked round Émile Bernard and Paul Gauguin, and they were collectively known as Pont-Aven School. Pont Aven School of Contemporary Art is a fine arts program located in the historic artists colony of Pont-Aven. The student body is made up of university or art college honors students or post-baccalaureate art majors seeking further study. The Musée des Beaux Arts de Pont-Aven houses a reconstruction of Pont-Aven at the end of the 19th century as well as a permanent collection dedicated to the Pont-Aven School. Pont Aven still attracts artists and art lovers with many galleries in addition to the towns public gallery. The Aven River runs through Pont-Aven, the river has relatively favourable water quality, with pH levels slightly alkaline at about 8.5 and electrical conductivity of 19 micro Siemens per centimeter. The town is at the interface of the estuary and the freshwater river. Before Pont-Aven attracted Gauguin and other artists it was a centre for milling with the river Aven being divided above the town to provide a mill race which powers a series of water mills. Whilst several of these retain their wheels only the last, the Moulin Poulguin, is capable of operating. The mill is now a restaurant and you can see the machinery inside, just outside the town are the beech woods of the Bois dAmour, a source of inspiration for many artists. The town is close to Domaine de Kerlann Holiday Park on the road to the commune of Nevez. To the northwest of the town, in the community of Nizon. The Brittany Ferries flagship is named after the town, les Galettes de Pont-Aven is a 1975 drama on the life of a middle-aged aspirant painter who settles in the town
Pont-Aven
–
Watermill in Pont-Aven, by
Paul Gauguin, 1894
Pont-Aven
–
Waterway at Pont-Aven
19.
Arles
–
Arles is a city and commune in the south of France, in the Bouches-du-Rhône department, of which it is a subprefecture, in the former province of Provence. A large part of the Camargue is located on the territory of the commune, the city has a long history, and was of considerable importance in the Roman province of Gallia Narbonensis. The Roman and Romanesque Monuments of Arles were listed as UNESCO World Heritage Sites in 1981, the Dutch post-Impressionist painter Vincent van Gogh lived in Arles from 1888 to 1889 and produced over 300 paintings and drawings during his time there. An international photography festival has held in the city since 1970. The river Rhône forks into two branches just upstream of Arles, forming the Camargue delta and its area is 758.93 km2, which is more than seven times the area of Paris. Arles has a Mediterranean climate with an annual temperature of 14.6 °C. The summers are warm and moderately dry, with averages between 22 °C and 24 °C, and mild winters with a mean temperature of about 7 °C. The city is constantly, but especially in the months, subject to the influence of the mistral. Rainfall is fairly evenly distributed from September to May, with the summer drought being less marked than in other Mediterranean areas, the Ligurians were in this area from about 800 BC. Later, Celtic influences have been discovered, the city became an important Phoenician trading port, before being taken by the Romans. The Romans took the town in 123 BC and expanded it into an important city, however, it struggled to escape the shadow of Massalia further along the coast. Its chance came when it sided with Julius Caesar against Pompey, Massalia backed Pompey, when Caesar emerged victorious, Massalia was stripped of its possessions, which were transferred to Arelate as a reward. The town was established as a colony for veterans of the Roman legion Legio VI Ferrata. Its full title as a colony was Colonia Iulia Paterna Arelatensium Sextanorum, Arelate was a city of considerable importance in the province of Gallia Narbonensis. It covered an area of some 99 acres and possessed a number of monuments, including an amphitheatre, triumphal arch, Roman circus, theatre, ancient Arles was closer to the sea than it is now and served as a major port. It also had the southernmost bridge on the Rhône, very unusually, the Roman bridge was not fixed but consisted of a pontoon-style bridge of boats, with towers and drawbridges at each end. The boats were secured in place by anchors and were tethered to twin towers built just upstream of the bridge and this unusual design was a way of coping with the rivers frequent violent floods, which would have made short work of a conventional bridge. Nothing remains of the Roman bridge, which has replaced by a more modern bridge near the same spot
Arles
–
Left bank of the Rhône in Arles
Arles
–
Arles Amphitheatre, a Roman arena.
Arles
–
Passageway in Roman arena
Arles
–
Church of St. Trophime and its cloister.
20.
Vision After the Sermon
–
Vision after the Sermon is an oil painting by French artist Paul Gauguin, completed in 1888. It is now in the National Gallery of Scotland, Edinburgh and it depicts a scene from the Bible in which Jacob wrestles an angel. It depicts this indirectly, through a vision that the women depicted see after a sermon in church and it was painted in Pont-Aven, Brittany, France. The use of color, shape, and line in Vision After the Sermon is appreciated for its bold manner of handling paint, finding inspiration in Japanese woodblock prints from Hiroshige and Hokusai, which he owned, Gauguin developed the idea of non-naturalistic landscapes. He applies large areas of color to the composition. The brown trunk, black garments, white hats and red field are painted with minimal color shading, Gauguin is showing it is possible to move away from naturalism towards a more abstracted, even symbolic, manner of painting. While formal elements of Gauguins paintings reflect the influence of Japanese prints, his choice of subject matter, Gauguin structures the painting by placing a tree trunk diagonally through its center. By sectioning the image this way, he creates a separation between the Breton women and their vision of an angel wrestling with Jacob. This compositional decision is developed to frame the subjects of the painting. The curve of the trunk follows the line of the head of the center-most figure, the branches and leaves shoot out directly toward the upper right corner of the painting to form a second frame around the angel and Jacob. The overall perspective of painting is purposely skewed but effectively accomplished by his clustering of people in diminished sizes along its left edge. “Further, it was Emile Bernard who pointed out the influence of Japanese prints on Gauguin’s work. This seems self-evident when one compares Gauguin’s Vision after the Sermon to Vincent van Gogh’s Trees, in citing Hokusai’s Sumo wrestlers in The Manga, however, Bernard was being more specific. He designated them as the source of Gauguin’s struggling angel and Jacob”, one can see their features, in the faces, of the women that are closer to the viewer. The tale of Jacob wrestling an angel is from Genesis 32, Gauguin is making use of Brenton themes while at the same time leaning towards abstraction. The women, one of whom clasps her hands in prayer, are wearing a variety of white hats, several colors stand out above the rest, including the reds, black, and white, and contribute to the visual energy of the scene. The color most likely to catch the viewers attention first in this painting would be red, fred S. Kleiner, Christin J. Mamiya, Richard G. Tansey. Fort Worth, Harcourt College Publishers,2001, Chapter 28, Primitivism and the ‘Modern’, in Charles Harrison, Francis Frascina and Gill Perry, Primitivism, Cubism, Abstraction, The Early Twentieth Century
Vision After the Sermon
–
Vision after the Sermon
21.
Watercolor
–
Watercolor or watercolour, also aquarelle, a diminutive of the Latin for water, is a painting method in which the paints are made of pigments suspended in a water-based solution. Watercolor refers to both the medium and the resulting artwork, the traditional and most common support—material to which the paint is applied—for watercolor paintings is paper. Other supports include papyrus, bark papers, plastics, vellum, leather, fabric, wood, Watercolor paper is often made entirely or partially with cotton, which gives a good texture and minimizes distortion when wet. Watercolors are usually translucent, and appear luminous because the pigments are laid down in a form with few fillers obscuring the pigment colors. Watercolors can also be made opaque by adding Chinese white, in East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean and Japanese painting it has been the dominant medium, india, Ethiopia and other countries have long watercolor painting traditions as well. Fingerpainting with watercolor paints originated in mainland China, however, its continuous history as an art medium begins with the Renaissance. The German Northern Renaissance artist Albrecht Dürer, who painted several fine botanical, wildlife, an important school of watercolor painting in Germany was led by Hans Bol as part of the Dürer Renaissance. Despite this early start, watercolors were used by Baroque easel painters only for sketches, copies or cartoons. Notable early practitioners of watercolor painting were Van Dyck, Claude Lorrain, Giovanni Benedetto Castiglione, however, botanical illustration and wildlife illustration perhaps form the oldest and most important traditions in watercolor painting. Botanical illustrations became popular during the Renaissance, both as hand-tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Wildlife illustration reached its peak in the 19th century with such as John James Audubon. Several factors contributed to the spread of watercolor painting during the 18th century, Watercolor artists were commonly brought with the geological or archaeological expeditions, funded by the Society of Dilettanti, to document discoveries in the Mediterranean, Asia, and the New World. This example popularized watercolors as a form of personal tourist journal, the confluence of these cultural, engineering, scientific, tourist, and amateur interests culminated in the celebration and promotion of watercolor as a distinctly English national art. William Blake published several books of hand-tinted engraved poetry, provided illustrations to Dantes Inferno, from the late 18th century through the 19th century, the market for printed books and domestic art contributed substantially to the growth of the medium. Satirical broadsides by Thomas Rowlandson, many published by Rudolph Ackermann, were extremely popular. Among the important and highly talented contemporaries of Turner and Girtin, were John Varley, John Sell Cotman, Anthony Copley Fielding, Samuel Palmer, William Havell, the Swiss painter Louis Ducros was also widely known for his large format, romantic paintings in watercolor. These societies provided annual exhibitions and buyer referrals for many artists, in particular, the graceful, lapidary, and atmospheric watercolors by Richard Parkes Bonington created an international fad for watercolor painting, especially in England and France in the 1820s
Watercolor
–
An artist working on a watercolor using a round brush
Watercolor
–
Albrecht Dürer,
Young Hare, 1502, watercolor and
body color,
Albertina, Vienna
Watercolor
–
Thomas Girtin,
Jedburgh Abbey from the River, 1798–99, watercolor on paper
Watercolor
–
An unfinished watercolor by
William Berryman, created between 1808 and 1816, using watercolor, ink, and pencil. The use of partial pigmentation draws attention to the central subject.
22.
Theo van Gogh (art dealer)
–
Theodorus Theo van Gogh was a Dutch art dealer. He was the brother of Vincent van Gogh, and Theos unfailing financial and emotional support allowed his brother to devote himself entirely to painting. Theo died at the age of 33, six months after his brother died at the age of 37, Theodorus Theo van Gogh was born on 1 May 1857 in the village Groot-Zundert in the province of North Brabant, Netherlands. He was the son of Theodorus van Gogh and Anna Cornelia Carbentus and his elder brother was Vincent van Gogh, who later became a famous painter. Theo worked for years at the Dutch office of the Parisian art dealers Goupil & Cie in The Hague. Theo joined the Brussels office on 1 January 1873 as their youngest employee, after Theo was transferred to the London office, he moved to the office in The Hague, where he developed into a successful art dealer. By 1884, he was transferred to the Paris main office, starting in the winter of 1880–1881, he sent painting materials as well as monthly financial support to his brother and painter Vincent van Gogh, who was living back in the Netherlands. In Paris, Theo met Andries Bonger and his sister Johanna and he married Johanna in Amsterdam on 17 April 1889 and they moved to Paris. Their son Vincent Willem was born in Paris on 31 January 1890, on 8 June, the family visited Vincent, who was living near Paris in Auvers-sur-Oise. Vincent died in July 1890 at age 37, Theo suffered from dementia paralytica, an infection of the brain, and his health declined rapidly after Vincents death. Weak and unable to come to terms with Vincents absence, he died six months later at age 33 in Den Dolder, Theo admired his elder brother Vincent for his whole life. But communicating with him proved to be difficult, even before Vincent opted to follow his artistic vocation, the communication between both brothers suffered from diverging definitions of standards, and it was evidently Theo who kept on writing letters. Therefore, mostly Vincents answers survived and few of Theos, Theo was often concerned about Vincents mental condition and he was amongst the few who understood his brother. It is known that Theo helped Vincent to maintain his artist lifestyle by giving him money and he also helped Vincent pursue his life as an artist through his unwavering emotional support and love. The majority of Theo’s letters and communications with Vincent are filled with praise, Vincent would send Theo sketches and ideas for paintings, along with accounts of his day to day experiences, to the delight and eager attention of Theo. Theo was instrumental in the popularity of Impressionist artists such as Claude Monet and Edgar Degas by persuading his employers, Goupil & Cie, to exhibit and buy their works. In 1886, Theo invited Vincent to come and live with him in Paris, the two brothers maintained an intensive correspondence, with Theo often encouraging his depressed brother. Theo was one of the few people who Vincent could talk to, over three-quarters of the more than 800 letters Vincent wrote during his life were to Theo, including his first and his last letters
Theo van Gogh (art dealer)
–
Theo van Gogh in 1878
Theo van Gogh (art dealer)
–
Theo van Gogh in 1888
Theo van Gogh (art dealer)
–
This 1887 portrait by
Vincent van Gogh, long thought to be a self-portrait, was reassessed in 2011 to be one of his brother Theo van Gogh.
Theo van Gogh (art dealer)
–
Vincent and Theo van Gogh's graves at the cemetery of
Auvers-sur-Oise
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