1.
Centre Pompidou
–
It was designed in the style of high-tech architecture by the architectural team of Richard Rogers and Renzo Piano, along with Gianfranco Franchini. Because of its location, the Centre is known locally as Beaubourg and it is named after Georges Pompidou, the President of France from 1969 to 1974 who commissioned the building, and was officially opened on 31 January 1977 by President Valéry Giscard dEstaing. As of 2006, the Centre Pompidou has had over 180 million visitors since 1977 and more than 5,209,678 visitors in 2013, including 3,746,899 for the museum. The sculpture Horizontal by Alexander Calder, a mobile that is 7.6 m tall, was placed in front of the Centre Pompidou in 2012. Hoping to renew the idea of Paris as a city of culture and art. Paris also needed a large, free library, as one did not exist at this time. At first the debate concerned Les Halles, but as the settled, in 1968. A year later in 1969, the new president adopted the Beaubourg project, in the process of developing the project, the IRCAM was also housed in the complex. By the mid-1980s, the Centre Pompidou was becoming the victim of its huge and unexpected popularity, its activities. By 1992, the Centre de Création Industrielle was incorporated into the Centre Pompidou, since re-opening in 2000 after a three-year renovation, the Centre Pompidou has improved accessibility for visitors. Now they can access the escalators if they pay to enter the museum. The Centre was designed by Italian architect Renzo Piano, British architect Richard Rogers, the project was awarded to this team in an architectural design competition, the results of which were announced in 1971. It was the first time in France that international architects were allowed to participate, world-renowned architects Oscar Niemeyer, Jean Prouvé and Philip Johnson made up the jury which would select one design out of the 681 entries. National Geographic described the reaction to the design as love at second sight, an article in Le Figaro declared Paris has its own monster, just like the one in Loch Ness. The Pritzker jury said the Pompidou revolutionised museums, transforming what had once been elite monuments into popular places of social and cultural exchange, the Centre was built by GTM and completed in 1977. The building cost 993 million 1972 French francs, renovation work conducted from October 1996 to January 2000 was completed on a budget of 576 million 1999 francs. The black-painted mechanical sculptures are by Tinguely, the works by de Saint-Phalle. Video footage of the fountain appeared frequently throughout the French language telecourse, the Place Georges Pompidou in front of the museum is noted for the presence of street performers, such as mimes and jugglers
Centre Pompidou
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Centre Georges Pompidou
Centre Pompidou
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Building technology
Centre Pompidou
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Pablo Picasso 's works in the Centre
Centre Pompidou
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The
Centre Pompidou-Metz.
2.
Centre Pompidou-Metz
–
The Centre Pompidou-Metz is a museum of modern and contemporary arts located in Metz, capital of Lorraine, France. The museum is the largest temporary exhibition space outside Paris in France with 5,000 m2 divided between 3 galleries, a theatre, and an auditorium. The first piece of the monument designed by Japanese architect Shigeru Ban was laid on November 7,2006, and the building was inaugurated by French President Nicolas Sarkozy on May 12,2010. The building is remarkable for its structure, one of the largest and most complex built to date. Since its inauguration, the institution has one of the most visited cultural venues in France outside Paris. The Centre Pompidou-Metz is a large hexagon structured round a central spire reaching 77 m, the great nave covers 1,200 m2 and provides flexibility for the exhibition of large artworks, with the ceiling rising progressively from a height of 5.7 m to 18 m. The roof is the achievement of the building, a 90 m wide hexagon echoing the building’s floor map. The roof’s geometry is irregular, featuring curves and counter-curves over the entire building, the roof structure can be seen from high up during both day and night in Metz from above, aerial movie of French photographer Yann Arthus-Bertrand. The museum-surrounding garden has been thought by French landscape architect Jean de Gastine using the concepts of sustainable gardening, the museum is the cornerstone of the newly created Amphitheater District of Metz. The quarter encompasses already the Seille park designed by French landscape architect Jacques Coulon, the urban project completion is expected to take place by 2016. Swiss designer Ruedi Baur created the Metzs signage systems, the Centre Pompidou-Metz also displays around 3 to 4 unique temporary exhibitions per year, which are not presented elsewhere. The museum works in collaboration with the Los Angeles County Museum of Art. The Centre Pompidou-Metz promotes the art scene in collaborating with the Regional Contemporary Art Fund of Lorraine. The Centre Pompidou-Metz edifice and surrounding Metz are sometimes used as support for the artistic production displayed during the temporary exhibitions. For example, the structure of the Centre Pompidou-Metz was used as support for a visual art project by French visual artists Simon Geilfus, Yannick Jacquet. Also, French aerial photographer Yann Arthus-Bertrand captured Metz from high up, giving a privileged views of the museum, the Centre Pompidou-Metz is located in the centre of Metz and is served by Mettis local public transport. The time from Paris East station and France international Paris-Charles de Gaulle Airport to Metz railway station is about 82 and 75 minutes, the exhibition considered the relevance of the idea of masterpiece and ran until January 17,2011
Centre Pompidou-Metz
–
Centre Pompidou-Metz
Centre Pompidou-Metz
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Dawn sky in
Metz with the Centre Pompidou-Metz in background
Centre Pompidou-Metz
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Interior view of the carpentry structure at night. On the Gallery 1's roof,
Daniel Buren, Echo of Echos, in December 2011
Centre Pompidou-Metz
–
Joan Miró, Blue I, Blue II, and Blue III, 1961, triptych in October 2010, during the exhibition Masterpieces?.
3.
Metz
–
Metz is a city in northeast France located at the confluence of the Moselle and the Seille rivers. Metz is the prefecture of the Moselle department and the seat of the parliament of the Great East region, located near the tripoint along the junction of France, Germany, and Luxembourg, the city forms a central place of the European Greater Region and the SaarLorLux euroregion. The city has been steeped in Romance culture, but has strongly influenced by Germanic culture due to its location. Because of its historical, cultural, and architectural background, Metz has been submitted on Frances UNESCO World Heritage Tentative List, Metz is home to some world-class venues including the Arsenal Concert Hall and the Centre Pompidou-Metz museum. A basin of urban ecology, Metz gained its nickname of The Green City, as it has extensive open grounds, the historic city centre is one of the largest commercial pedestrian areas in France. A historic garrison town, Metz is the heart of the Lorraine region, specialising in information technology. In ancient times, the town was known as city of Mediomatrici, after its integration into the Roman Empire, the city was called Divodurum Mediomatricum, meaning Holy Village or Holy Fortress of the Mediomatrici, then it was known as Mediomatrix. During the 5th century AD, the name evolved to Mettis, Metz has a recorded history dating back over 3,000 years. Before the conquest of Gaul by Julius Caesar in 52 BC, between the 6th and 8th centuries, the city was the residence of the Merovingian kings of Austrasia. After the Treaty of Verdun in 843, Metz became the capital of the Kingdom of Lotharingia and was integrated into the Holy Roman Empire. During the 12th century, Metz rose to the status of Republic, with the signature of the Treaty of Chambord in 1552, Metz passed to the hands of the Kings of France. Under French rule, Metz was selected as capital of the Three Bishoprics, with creation of the departments by the Estates-General of 1789, Metz was chosen as capital of the Department of Moselle. Metz remained German until the end of World War I, when it reverted to France, however, after the Battle of France during the Second World War, the city was annexed once more by the German Third Reich. In 1944, the attack on the city by the U. S, Third Army freed the city from German rule and Metz reverted one more time to France after World War II. During the 1950s, Metz was chosen to be the capital of the newly created Lorraine region, with the creation of the European Community and the later European Union, the city has become central to the Greater Region and the SaarLorLux Euroregion. Metz is located on the banks of the Moselle and the Seille rivers,43 km from the Schengen tripoint where the borders of France, Germany, and Luxembourg meet. The city was built in a place where branches of the Moselle river creates several islands. The terrain of Metz forms part of the Paris Basin and presents a plateau relief cut by river valleys presenting cuestas in the north-south direction
Metz
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The
Saint-Stephen Cathedral, view of the northern façade
Metz
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Henry II of France entering Metz in 1552, putting an end to the Republic of Metz.
Metz
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Dawn sky in Metz
Metz
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Paul Verlaine by
Edmond Aman-Jean, 1892, oil on canvas,
Golden Courtyard museums — Paul Verlaine, Ode to Metz, Invectives, 1896
4.
Art museum
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An art museum or art gallery is a building or space for the exhibition of art, usually visual art. Museums can be public or private, but what distinguishes a museum is the ownership of a collection, the term is used for both public galleries, which are non-profit or publicly owned museums that display selected collections of art. On the other hand, private galleries refers to the commercial enterprises for the sale of art, however, both types of gallery may host traveling exhibits or temporary exhibitions including art borrowed from elsewhere. In broad terms, in North American usage, the word gallery alone often implies a private gallery, the term contemporary art gallery refers usually to a privately owned for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages. Contemporary art galleries are open to the general public without charge, however. They usually profit by taking a portion of art sales, from 25% to 50% is typical, there are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, curators often create group shows that say something about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent artists exclusively, giving them the opportunity to show regularly, a gallerys definition can also include the artist cooperative or artist-run space, which often operates as a space with a more democratic mission and selection process. A vanity gallery is an art gallery that charges fees from artists in order to show their work, the shows are not legitimately curated and will frequently or usually include as many artists as possible. Most art professionals are able to identify them on an artists resume, University art museums and galleries constitute collections of art that are developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in both the West and East, making it a global practice, although largely overlooked, there are over 700 university art museums in America alone. This number, in comparison to other kinds of art museums, throughout history, large and expensive works of art have generally been commissioned by religious institutions and monarchs and been displayed in temples, churches, and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as a form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects often donated their collections to temples and it is unclear how easy it was in practice for the public to view these items. At the Palace of Versailles, entrance was restricted to wearing the proper apparel – the appropriate accessories could be hired from shops outside
Art museum
–
The Louvre in
Paris,
France, is one of the world's largest museums and
the most visited art museum in the world.
Art museum
–
The Gallery of
Cornelis van der Geest,
Willem van Haecht, 1628. A private picture gallery as an early precursor of the modern museum.
Art museum
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University of Tartu Art Museum is the oldest museum in
Estonia.
Art museum
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The art collection at the
Palace of Versailles in
France was periodically open for 'respectable' public viewing.
5.
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
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Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892
Modern art
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Vincent van Gogh, Country road in Provence by Night, 1889, May 1890,
Kröller-Müller Museum
Modern art
–
Paul Cézanne,
The Large Bathers, 1898–1905
6.
4th arrondissement of Paris
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The 4th arrondissement of Paris is one of the 20 arrondissements of the capital city of France. The 4th arrondissement contains the Renaissance-era Paris City Hall, the eastern parts of the Île de la Cité as well as the Île Saint-Louis are also included within the 4th arrondissement. The 4th arrondissement is known for its streets, cafés. It is desirable for those insisting on old buildings and multi-cultural exposure, with a land area of 1.601 km2, the 4th arrondissement is the third smallest arrondissement in the city. The peak of population of the 4th arrondissement actually occurred before 1861, in 1999, the population was 30,675, while the arrondissement hosted 41,424 jobs. ¹The peak of population actually occurred before 1861, but the arrondissement was created in 1860, the Île de la Cité has been inhabited since the 1st century BC, when it was occupied by the Parisii tribe of the Gauls. The Right Bank was first settled in the early Middle Ages, since the end of the 19th century, le Marais has been populated by a significant Jewish population, the Rue des Rosiers being at the heart of its community, with a handful of kosher restaurants. Since the 1990s, gay culture has made an impact on the arrondissement, opening a number of bars and cafés in the area by the town hall
4th arrondissement of Paris
–
Notre-Dame, on the
Île de la Cité in the 4th arrondissement.
4th arrondissement of Paris
–
Robert de Vaugondy 's map of Paris (4th arrondissement) - 1760
4th arrondissement of Paris
–
Saint-Jacques Tower circa 1867
7.
Louis XVIII of France
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Louis XVIII, known as The Desired, was a monarch of the House of Bourbon who ruled as King of France from 1814 to 1824 except for a period in 1815 known as the Hundred Days. Until his accession to the throne of France, Louis held the title of Count of Provence as brother of King Louis XVI, on 21 September 1792, the National Convention abolished the monarchy and deposed King Louis XVI, who was later executed by guillotine. When the young Louis XVII, Louis XVIs son, died in prison in June 1795, during the French Revolution and Napoleonic era, Louis XVIII lived in exile in Prussia, the United Kingdom and Russia. When the Sixth Coalition finally defeated Napoleon in 1814, Louis was placed in what he, Napoleon escaped from his exile in Elba, however, and restored his French Empire. Louis XVIII fled and a Seventh Coalition declared war on the French Empire, defeated Napoleon, Louis XVIII ruled as king for slightly less than a decade. The Bourbon Restoration regime was a constitutional monarchy, as a constitutional monarch, Louis XVIIIs royal prerogative was reduced substantially by the Charter of 1814, Frances new constitution. Louis had no children, therefore, upon his death, the passed to his brother, Charles. Louis XVIII was the last French monarch to die while reigning, as his successor Charles X abdicated and both Louis Philippe I and Napoléon III were deposed. Louis Stanislas Xavier, styled Count of Provence from birth, was born on 17 November 1755 in the Palace of Versailles, the son of Louis, Dauphin of France and he was the grandson of the reigning King Louis XV. As a son of the Dauphin he was a Fils de France, Louis Stanislas was christened Louis Stanislas Xavier six months after his birth in accordance with Bourbon family tradition, being nameless before his baptism. By this act, he also a Knight of the Order of the Holy Spirit. The former died in 1761, leaving Louis Auguste as heir to their father until the Dauphins own premature death in 1765, the two deaths elevated Louis Stanislas to second in the line of succession, while Louis Auguste acquired the title Dauphin. Louis Stanislas found comfort in his governess, Madame de Marsan, Governess of the Children of France, as he was her favourite among his siblings. Louis Stanislas was taken away from his governess when he turned seven, Antoine de Quélen de Stuer de Caussade, Duke of La Vauguyon, a friend of his father, was named his governor. Louis Stanislas was an intelligent boy, excelling in classics and his education was of the same quality and consistency as that of his older brother, Louis Auguste, despite the fact that Louis Auguste was heir and Louis Stanislas was not. Louis Stanislas education was religious in nature, several of his teachers were men of the cloth. La Vauguyon drilled into young Louis Stanislas and his brothers the way he thought princes should know how to withdraw themselves, to like to work, and to know how to reason correctly. In the same month his household was founded, Louis was granted titles by his grandfather, Louis XV, Duke of Anjou, Count of Maine, Count of Perche
Louis XVIII of France
–
Portrait by
Robert Lefèvre, c.1822
Louis XVIII of France
–
Signature
Louis XVIII of France
–
Portrait of the young Count of Provence
Louis XVIII of France
–
Louis, Count of Provence
8.
Louvre
–
The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
Louvre
–
the Richelieu wing (2005)
Louvre
–
The only portion of the medieval Louvre still visible
Louvre
–
Antonio Canova 's
Psyche Revived by Cupid's Kiss was commissioned in 1787, donated in 1824.
Louvre
–
The
Venus de Milo was added to the Louvre's collection during the reign of
Louis XVIII.
9.
Auguste Perret
–
Auguste Perret was a French architect and entrepreneur who worked in collaboration with his two younger brothers, Claude and Gustave Perret. He was one of the pioneers of the use of reinforced concrete. After World War II he designed a group of buildings in the centre of the city of Le Havre. In 2005, his post-World War II reconstruction of city was declared by UNESCO a World Heritage Site. Auguste Perret was born in Ixelles, Belgium, where his father and he received his early education in architecture in the family firm. He was accepted in the course of the École des Beaux-Arts in Paris. Where he studied under Julien Guadet, a Beaux Arts neoclassicist who had collaborated with Charles Garnier on the construction of the Paris Opera. Beyond the neoclassical rationalism he learned from Gaudet, Perrets particular interest was the structure of buildings, though he was considered a brilliant student, he left School without obtaining a diploma and went to work for the family firm. Perret immediately began experimenting with concrete and his first important project was an apartment building on rue Franklin in Paris, where the concrete structure, instead of being concealed, was clearly visible and was a part of the exterior design. His most famous building was the Théâtre des Champs-Élysées a project which he took over from the Art Nouveau architect Henry van de Velde, the facade was simple and decorated only with a sculptural bas-relief by Antoine Bourdelle. The corner of the building was smooth and rounded, anticipating the Streamline Moderne style three decades later, thanks to the use of concrete pillars, the interior lobby and the theater itself was vast and open, unobstructed by columns. The interior decoration featured works by the modernist artists of the day, a dome by Maurice Denis, paintings by Édouard Vuillard and Jacqueline Marval, and a stage curtain by Ker-Xavier Roussel. In his later works, Perret used concrete in imaginative ways to achieve the functions of his buildings, while preserving classical harmony, symmetry and he experimented with concrete forms to achieve the best acoustics for the concert hall of the École Normale de Musique de Paris in Paris. In 1952 he completed construction of the Saclay Nuclear Research Centre in the Paris suburb of Essonne and he described this building as a Small Versailles for nuclear research. Most of Frances early nuclear reactors were constructed within the site and his other major postwar projects were the reconstruction of the center of the port of Le Havre, which had been almost totally destroyed during the war. His first plan was rejected as too ambitious, but his plans were followed and were later listed as a UNESCO World Heritage Site. His last major work, finished after his death, was the St. Josephs Church, Le Havre, whose most prominent feature is its tower, like a lighthouse,107 meters high and he also participated in the postwar reconstruction of the port of Marseille and Amiens. From 1940 Perret taught at the École des Beaux-Arts and he won the Royal Gold Medal in 1948 and the AIA Gold Medal in 1952
Auguste Perret
–
Portrait of Auguste Perret (1921) by Bourdelle (1861-1929)
Auguste Perret
–
Théâtre des Champs-Élysées, Paris, 1913
Auguste Perret
–
Interior of the "Chapelle de l'Immaculée Conception", (1930)
Auguste Perret
–
St. Joseph's church, Le Havre
10.
Palais de Tokyo
–
The Palais de Tokyo is a building dedicated to modern and contemporary art, located at 13 avenue du Président-Wilson, near the Trocadéro, in the 16th arrondissement of Paris. The eastern wing of the building belongs to the City of Paris, the building is separated from the Seine river by the avenue de New-York, which was formerly named Quai Debilly and later Avenue de Tokio. The name Palais de Tokyo derives from the name of this street, the monument was inaugurated by President Lebrun on May 24,1937, at the time of the International Exhibition of Arts and Technology of 1937. The original name of the building was Palais des Musées dart moderne, the building has since then hosted a number of establishments, projects, and creative spaces. Among them, le musée dart et dessai, FEMIS, le Centre National de la Photographie, with no permanent collection, it is not a museum and produces all of its exhibitions. The Pavillon was established in 2001, since the opening of the building, the director of the programme has been artist and filmmaker, Ange Leccia. In March 2002, Nicolas Bourriaud and Jérome Sans launched the Site de création contemporaine in the west wing of Palais de Tokyo. Endowed with a operating budget, but run by a brilliant and committed team, it soon became simply known as Palais de Tokyo. Marc-Olivier Wahler, former director of The Swiss Institute, New York, former director and cofounder of CAN, under Mr. Wahler, the Palais de Tokyo became one of the citys best springboards for young artists. Jean de Loisy is the current President of Palais de Tokyo, the Museum also publishes the magazine Palais /, which annually releases three editions and was created in 2006 by Marc-Olivier Wahler. The Magazine features articles centering around a central artistic theme selected for each edition, the subjects are conceptual, and are explored using photography, various artistic media, essays, and often experimental media. The theme generally coincides with the exhibition featured at the museum. In addition to Palais /, Palais de Tokyo also published five volumes of an art encyclopedia. List of museums in Paris Palais de Tokyo website Palais de Tokyo at Google Cultural Institute
Palais de Tokyo
–
Le palais de Tokyo (Paris) (12419276954)
Palais de Tokyo
–
View of the Palais de Tokyo, seen from the
Eiffel Tower. The eastern wing is on the right.
Palais de Tokyo
–
An exhibition in the Palais de Tokyo / Site de création contemporaine.
11.
Petit Palais
–
The Petit Palais is an art museum in the 8th arrondissement of Paris, France. Built for the 1900 Exposition Universelle, it now houses the City of Paris Museum of Fine Arts, the Petit Palais is located across from the Grand Palais on Avenue Nicolas II, today Avenue Winston-Churchill. The other façades of the face the Seine and Avenue des Champs-Elysees. The Petit Palais is one of 14 museums of the City of Paris that have incorporated since January 1,2013. In 1894 a competition was held for the 1900 Exhibition area, the Palais de lIndustrie from the 1855 World’s Fair was considered unfitting and was to be replaced by something new for the 1900 Exhibition. Architects had the option to do what they pleased with the Palais de l’Industrie, in the end, Charles Girault won the competition and built the Petit Palais as one of the buildings that replaced the Palais de l’Industrie. The construction of the Petit Palais began on October 10,1897 and was completed in April 1900, the total cost of the Petit Palais at the time of the construction was 400,000 pounds. Charles Girault largely draws on the seventeenth and early eighteenth century French style for the Petit Palais. Additionally his work, such as the central porch and the triple arcade, has many references to the stables at Chantilly. Girault’s plan for the Petit Palais had minimal alterations from the design to the execution, the plan was original and fit perfectly in its given location. The Petit Palais is a shape with its larger side as the main façade facing the Grand Palais. The building’s shape makes a semi-circular courtyard at the center, the Beaux-Arts style Petit Palais was designed by Charles Girault, and is around an octi-circular courtyard and garden, similar to the Grand Palais. Its ionic columns, grand porch, and dome echo those of the Invalides across the river, the tympanum depicting the city of Paris surrounded by muses is the work of sculptor Jean Antoine Injalbert. The Petit Palais was built to be a building that would become a permanent fine arts museum after the exhibition. The materials of the building—stone, steel, and concrete as well as the decoration were to demonstrate that the Petit Palais was built to be enduring, the main façade of the building faces the Grand Palais. The focal point of the façade is the entrance, “a central archway set in an archivolt topped by a dome. Two wings flank the main entrance and these wings, continuing to the end pavilions, are embellished with free-standing columns that frame the tall windows. The exterior of the pavilions are embellished with arched windows from the side around to the rear façades and these grand windows provide side lighting for the outer three galleries of the interior museum
Petit Palais
–
Petit Palais façade
Petit Palais
–
The Petit Palais in 1900.
Petit Palais
–
View from the Eiffel Tower
Petit Palais
–
Entrance
12.
World War II
–
World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945, although related conflicts began earlier. It involved the vast majority of the worlds countries—including all of the great powers—eventually forming two opposing alliances, the Allies and the Axis. It was the most widespread war in history, and directly involved more than 100 million people from over 30 countries. Marked by mass deaths of civilians, including the Holocaust and the bombing of industrial and population centres. These made World War II the deadliest conflict in human history, from late 1939 to early 1941, in a series of campaigns and treaties, Germany conquered or controlled much of continental Europe, and formed the Axis alliance with Italy and Japan. Under the Molotov–Ribbentrop Pact of August 1939, Germany and the Soviet Union partitioned and annexed territories of their European neighbours, Poland, Finland, Romania and the Baltic states. In December 1941, Japan attacked the United States and European colonies in the Pacific Ocean, and quickly conquered much of the Western Pacific. The Axis advance halted in 1942 when Japan lost the critical Battle of Midway, near Hawaii, in 1944, the Western Allies invaded German-occupied France, while the Soviet Union regained all of its territorial losses and invaded Germany and its allies. During 1944 and 1945 the Japanese suffered major reverses in mainland Asia in South Central China and Burma, while the Allies crippled the Japanese Navy, thus ended the war in Asia, cementing the total victory of the Allies. World War II altered the political alignment and social structure of the world, the United Nations was established to foster international co-operation and prevent future conflicts. The victorious great powers—the United States, the Soviet Union, China, the United Kingdom, the Soviet Union and the United States emerged as rival superpowers, setting the stage for the Cold War, which lasted for the next 46 years. Meanwhile, the influence of European great powers waned, while the decolonisation of Asia, most countries whose industries had been damaged moved towards economic recovery. Political integration, especially in Europe, emerged as an effort to end pre-war enmities, the start of the war in Europe is generally held to be 1 September 1939, beginning with the German invasion of Poland, Britain and France declared war on Germany two days later. The dates for the beginning of war in the Pacific include the start of the Second Sino-Japanese War on 7 July 1937, or even the Japanese invasion of Manchuria on 19 September 1931. Others follow the British historian A. J. P. Taylor, who held that the Sino-Japanese War and war in Europe and its colonies occurred simultaneously and this article uses the conventional dating. Other starting dates sometimes used for World War II include the Italian invasion of Abyssinia on 3 October 1935. The British historian Antony Beevor views the beginning of World War II as the Battles of Khalkhin Gol fought between Japan and the forces of Mongolia and the Soviet Union from May to September 1939, the exact date of the wars end is also not universally agreed upon. It was generally accepted at the time that the war ended with the armistice of 14 August 1945, rather than the formal surrender of Japan
World War II
–
Clockwise from top left: Chinese forces in the
Battle of Wanjialing, Australian
25-pounder guns during the
First Battle of El Alamein, German
Stuka dive bombers on the
Eastern Front in December 1943, a U.S. naval force in the
Lingayen Gulf,
Wilhelm Keitel signing the
German Instrument of Surrender, Soviet troops in the
Battle of Stalingrad
World War II
–
The
League of Nations assembly, held in
Geneva,
Switzerland, 1930
World War II
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Adolf Hitler at a German
National Socialist political rally in
Weimar, October 1930
World War II
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Italian soldiers recruited in 1935, on their way to fight the
Second Italo-Abyssinian War
13.
Jean Cassou
–
Jean Cassou was a French writer, art critic, poet, member of the French Resistance during World War II and the first Director of the Musée National dArt Moderne in Paris. Jean Cassou was born at Deusto, near Bilbao and his father was French and his mother Milagros Ibañez Pacheco was from Andalucia. His father, who had the prestigious degree Ingénieur des Arts et Manufactures and his mother gave Jean and his sister basic Spanish culture, and he learnt French and Spanish classics side by side at school. Jean did secondary studies at the Lycée Charlemagne while providing for the needs of his family and this he followed in 1917 and 1918 by getting a masters degree at the Bayonne Lycée and, though interrupted many times, was not mobilised in World War I. He was Secretary to Pierre Louÿs, writing from 1921 to 1929 his monthly chronicle Spanish Letters in the cultural magazine Le Mercure de France and he became in 1923 the writer for the Ministry of State Education and in 1926 published his first novel. In 1932 Jean Cassou became an inspector of historic monuments, in 1934 he became a member of the Vigilance Committee of anti-fascist intellectuals and director from 1936 of the review Europe. In 1936 he was a member of the cabinet of Jean Zay, Minister of State Education and he was then in favour of the Spanish Republic and socialism, and approached the communist party – but broke with then in 1939 at the time of the Germano-Soviet pact. On the approach of the German army, he went to the castle at Compiègne, with Claude Aveline, Agnès Humbert, Simone Martin-Chauffier and Marcel Abraham, he drafted the groups periodical called Résistance. When many members of the group were arrested, he escaped the Gestapo and he was an agent of the Bertaux group in August 1941, and was arrested in December for his activities at the Musée de lHomme. Freed after a year in prison, he was sent by the ST to an internment camp at Saint-Sulpice. After a month, following a plea from the Resistance to the director of ST, he was released in June 1943 and continued his work for the Resistance using the pseudonyms Alain. He became inspector of the southern zone, the provisional government of the French Republic in Algeria named him in June 1944 as Commissioner of the Republic for the Toulouse Region. In August, at the time of the liberation of the town, his car met an armed German patrol and he spent three weeks in a coma. General Charles de Gaulle came to his bedside to present him with the Croix de la Libération, though his job was replaced he kept the title, but resigned after convalescing for a year. In 1945 Jean Cassou regained his post as Director of the National Museum of Modern Art, in 1971 he received the Grand prix national des Lettres and in 1983 the grand Prix de la Société des Gens de Lettres for the whole of his work. He died on 18 January 1986 and is buried in the Cimetière de Thiais and he was a militant activist for the Peace Movement and brother-in-law of the philosopher Vladimir Jankélévitch. A bronze bust by Madeleine de Tézenas is in the Place de la Résistance in Toulouse, composer Henri Dutilleux set four of his poems to music between 1944 and 1956. Poésie/Gallimard,1995 La rose et le vin La folie dAmadis La vie de Philippe II
Jean Cassou
–
Jean Cassou in Belgrade 1963
14.
Picasso
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Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
Picasso
–
Picasso in 1908
Picasso
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Pablo Picasso with his sister Lola, 1889
Picasso
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Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Picasso
–
Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
15.
Braque
–
Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
Braque
–
Georges Braque, 1908, photograph published in
Gelett Burgess, The Wild Men of Paris, Architectural Record, May 1910
Braque
–
Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque). At least four versions of this scene were painted by Braque, one of which was stolen from the
Musée d'Art Moderne de la Ville de Paris during the month of May, 2010.
Braque
–
Georges Braque, 1907-08, The Viaduct at L'Estaque (Le Viaduc de l'Estaque), oil on canvas, 65.1 x 80.6 cm,
Minneapolis Institute of Arts
Braque
–
Georges Braque, 1908, Maisons et arbre (
Houses at l'Estaque), oil on canvas, 40.5 x 32.5 cm,
Lille Métropole Museum of Modern, Contemporary and Outsider Art
16.
Contemporary art
–
Contemporary art is the art of today, produced by artists who are living in the twenty-first century. Contemporary art provides an opportunity to reflect on contemporary society and the relevant to ourselves. Contemporary artists work in a globally influenced, culturally diverse, and their art is a dynamic combination of materials, methods, concepts, and subjects that challenge traditional boundaries and defy easy definition. In vernacular English, modern and contemporary are synonyms, resulting in some conflation of the modern art. Some define contemporary art as art produced within our lifetime, recognizing that lifetimes, however, there is a recognition that this generic definition is subject to specialized limitations. The classification of art as a special type of art, rather than a general adjectival phrase. In London, the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide, Australia, particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has perhaps been a lack of natural break points since the 1960s, and definitions of what contemporary art in the 2010s vary. Art from the past 20 years is likely to be included, and definitions often include art going back to about 1970, the art of the late 20th and early 21st century. Many use the formulation Modern and Contemporary Art, which avoids this problem, smaller commercial galleries, magazines and other sources may use stricter definitions, perhaps restricting the contemporary to work from 2000 onwards. One of the many people have in approaching contemporary artwork is its diversity - diversity of material, form, subject matter. It is distinguished by the lack of a uniform organizing principle, ideology, or -ism that we so often see in other. Broadly speaking, we see Modernism as looking at modernist principals - the focus of the work is self-referential, likewise, Impressionism looks at our perception of a moment through light and color as opposed to attempts at stark realism. Contemporary art, on the hand, does not have one. Its view, instead, is refracted, prismatic, and multi-faceted, reflecting the diversity of the world today, in all of its complexities, contemporary art reflects life as we know it. It can be, therefore, contradictory, confusing, and open-ended, there are, however, a number of common themes that have appeared in contemporary works. Post-modern, post-structuralist, feminist, and Marxist theory have played important roles in the development of theories of art
Contemporary art
–
History of art
Contemporary art
–
The
Museum of Contemporary Art in
Miami, Florida.
17.
Museum of Modern Art
–
The Museum of Modern Art is an art museum located in Midtown Manhattan in New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA has been important in developing and collecting modernist art, and is identified as one of the largest and most influential museums of modern art in the world. The MoMA Library includes approximately 300,000 books and exhibition catalogs, over 1,000 periodical titles, the archives holds primary source material related to the history of modern and contemporary art. The idea for The Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller and they became known variously as the Ladies, the daring ladies and the adamantine ladies. They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7,1929, nine days after the Wall Street Crash. Abby had invited A. Conger Goodyear, the president of the board of trustees of the Albright Art Gallery in Buffalo, New York. At the time, it was Americas premier museum devoted exclusively to art. One of Abbys early recruits for the staff was the noted Japanese-American photographer Soichi Sunami. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees, Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, under Barrs guidance, the museums holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne. Abbys husband was opposed to the museum and refused to release funds for the venture. Nevertheless, he donated the land for the current site of the museum, plus other gifts over time. During that time it initiated many more exhibitions of noted artists, the museum also gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars, Boy Leading a Horse was briefly contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the exhibition, Indian Art of the United States. His brother, David Rockefeller, also joined the board of trustees in 1948. David subsequently employed the noted architect Philip Johnson to redesign the garden and name it in honor of his mother
Museum of Modern Art
–
Museum of Modern Art
Museum of Modern Art
Museum of Modern Art
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The entrance to The Museum of Modern Art
Museum of Modern Art
–
Stairs in the Museum of Modern Art
18.
Fauvism
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While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain, the paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as a development of Van Goghs Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derains work at Collioure in 1905, in 1888 Gauguin had said to Paul Sérusier, How do you see these trees. So, put in yellow, this shadow, rather blue, paint it with pure ultramarine, Fauvism can also be seen as a mode of Expressionism. Moreaus broad-mindedness, originality and affirmation of the potency of pure color was inspirational for his students. Matisse said of him, He did not set us on the right roads and this source of empathy was taken away with Moreaus death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse, then an art student, visited the artist John Peter Russell on the island of Belle Île off the coast of Brittany. The next year he returned as Russells student and abandoned his earth-colored palette for bright Impressionist colors, later stating, Russell was my teacher, Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In parallel with the discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art. Another aesthetic influence was African sculpture, of which Vlaminck, Derain, many of the Fauve characteristics first cohered in Matisses painting, Luxe, Calme et Volupté, which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross. The artists shared their first exhibition at the 1905 Salon dAutomne, Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisses work and may have had an influence on the pejorative used. Vauxcelles comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, the pictures gained considerable condemnation—A pot of paint has been flung in the face of the public, wrote the critic Camille Mauclair —but also some favorable attention. Matisses Neo-Impressionist landscape, Luxe, Calme et Volupté, had already exhibited at the Salon des Indépendants in the spring of 1905. Art history History of painting Neo-Fauvism Visual arts Western painting Gerdts, the Color of Modernism, The American Fauves. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism, The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. New York, The Metropolitan Museum of Art Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves,1910
Fauvism
–
Henri Matisse, Portrait of Madame Matisse (The
Green Stripe), 1906,
Statens Museum for Kunst,
Copenhagen, Denmark
Fauvism
–
Press clipping, Les Fauves: Exhibition at the
Salon d'Automne, in L'Illustration, 4 November 1905
Fauvism
–
Henri Matisse.
Woman with a Hat, 1905.
San Francisco Museum of Modern Art.
Fauvism
–
Henri Matisse,
Luxe, Calme et Volupté, 1904, oil on canvas, 98 x 118.5 cm,
Musée d'Orsay, Paris, France
19.
Expressionism
–
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, Expressionist artists sought to express the meaning of emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War and it remained popular during the Weimar Republic, particularly in Berlin. The style extended to a range of the arts, including expressionist architecture, painting, literature, theatre, dance, film. The term is sometimes suggestive of angst, in a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism, though an alternate view is that the term was coined by the Czech art historian Antonin Matějček in 1910, as the opposite of impressionism, An Expressionist wishes, above all, to express himself. Immediate perception and builds on more complex psychic structures, in 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, a few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter in Munich. The name came from Wassily Kandinskys Der Blaue Reiter painting of 1903, among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913, though mainly a German artistic movement initially and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Expressionism is notoriously difficult to define, in part because it overlapped with other major isms of the modernist period, with Futurism, Vorticism, Cubism, Surrealism, more explicitly, that the expressionists rejected the ideology of realism. The term refers to a style in which the artist seeks to depict not objective reality but rather the subjective emotions. It is arguable that all artists are expressive but there are examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon, according to Alberto Arbasino, a difference between the two is that Expressionism doesnt shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific fuck yous, Baroque doesnt, brazil, Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall. Estonia, Konrad Mägi, Eduard Wiiralt Finland, Tyko Sallinen, Alvar Cawén, Juho Mäkelä, there were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter was based in Munich and Die Brücke was based originally in Dresden, Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year. The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh and they were also aware of the work being done by the Fauves in Paris, who influenced Expressionisms tendency toward arbitrary colours and jarring compositions
Expressionism
–
The Scream by
Edvard Munch (1893), which inspired 20th-century Expressionists
Expressionism
–
Portrait of Eduard Kosmack by
Egon Schiele
Expressionism
–
"View of Toledo" by
El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Historically however it is an example of
Mannerism. [
citation needed]
Expressionism
–
Wassily Kandinsky, On White II, 1923
20.
Cubism
–
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubism
–
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubism
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubism
–
Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubism
–
Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
21.
Dada
–
Dada or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire, in New York, and after 1920, in Paris. The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, Dadaist artists expressed their discontent with violence, war, and nationalism, and maintained political affinities with the radical left. Others note that it suggests the first words of a child, evoking a childishness, still others speculate that the word might have been chosen to evoke a similar meaning in any language, reflecting the movements internationalism. The roots of Dada lay in pre-war avant-garde, the term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works which challenge accepted definitions of art. Cubism and the development of collage and abstract art would inform the movements detachment from the constraints of reality, the work of French poets, Italian Futurists and the German Expressionists would influence Dadas rejection of the tight correlation between words and meaning. Works such as Ubu Roi by Alfred Jarry, and the ballet Parade by Erik Satie would also be characterized as proto-Dadaist works, the Dada movements principles were first collected in Hugo Balls Dada Manifesto in 1916. The movement influenced later styles like the avant-garde and downtown music movements, Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I, avant-garde circles outside France knew of pre-war Parisian developments. Futurism developed in response to the work of various artists, many Dadaists believed that the reason and logic of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos, for example, George Grosz later recalled that his Dadaist art was intended as a protest against this world of mutual destruction. According to Hans Richter Dada was not art, it was anti-art, Dada represented the opposite of everything which art stood for. Where art was concerned with aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend, as Hugo Ball expressed it, For us, art is not an end in itself. But it is an opportunity for the perception and criticism of the times we live in. A reviewer from the American Art News stated at the time that Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man. Art historians have described Dada as being, in large part, a systematic work of destruction and demoralization. In the end it became nothing but an act of sacrilege, to quote Dona Budds The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich, Dada rejected reason and logic, prizing nonsense, irrationality and intuition
Dada
–
Cover of the first edition of the publication Dada by
Tristan Tzara;
Zürich, 1917
Dada
–
Francis Picabia, Dame! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920
Dada
–
Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915.
Dada
–
Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90×144 cm,
Nationalgalerie, Staatliche Museen zu Berlin
22.
Abstract art
–
Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
Abstract art
–
Wassily Kandinsky,
Kandinsky's first abstract watercolor, 1910.
Abstract art
–
Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), Private collection.
Abstract art
–
James McNeill Whistler,
Nocturne in Black and Gold: The Falling Rocket (1874),
Detroit Institute of Arts. A near abstraction, in 1877 Whistler sued the art critic
John Ruskin for libel after the critic condemned this painting. Ruskin accused Whistler of "ask[ing] two hundred
guineas for throwing a pot of paint in the public's face."
Abstract art
–
Henri Matisse,
The Yellow Curtain, 1915. With his
Fauvist color and drawing Matisse comes very close to pure abstraction.
23.
Surrealism
–
Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to resolve the previously contradictory conditions of dream, leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism developed out of the Dada activities during World War I, the word surrealist was coined by Guillaume Apollinaire and first appeared in the preface to his play Les Mamelles de Tirésias, which was written in 1903 and first performed in 1917. The Dadaists protested with anti-art gatherings, performances, writings and art works, after the war, when they returned to Paris, the Dada activities continued. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the son of writer. He admired the young writers anti-social attitude and disdain for established artistic tradition, later Breton wrote, In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most. Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and they began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault delved deeper into automatism and wrote The Magnetic Fields, continuing to write, they came to believe that automatism was a better tactic for societal change than the Dada form of attack on prevailing values. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin, freuds work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness, as Salvador Dalí later proclaimed, There is only one difference between a madman and me. Beside the use of analysis, they emphasized that one could combine inside the same frame, elements not normally found together to produce illogical. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power, the group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to people from false rationality, and restrictive customs. Breton proclaimed that the aim of Surrealism was long live the social revolution. To this goal, at various times Surrealists aligned with communism and anarchism, in 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established, leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Guillaume Apollinaire, the other group, led by Breton, included Louis Aragon, Robert Desnos, Paul Éluard, Jacques Baron, Jacques-André Boiffard, Jean Carrive, René Crevel and Georges Malkine, among others. Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées, in the end, Breton won the battle through tactical and numerical superiority
Surrealism
–
Max Ernst,
The Elephant Celebes (1921),
Tate, London
Surrealism
–
Cover of the first issue of
La Révolution surréaliste, December 1924.
Surrealism
–
Yvan Goll, Surréalisme, Manifeste du surréalisme, Volume 1, Number 1, October 1, 1924, cover by
Robert Delaunay
Surrealism
–
André Masson. Automatic Drawing. 1924. Ink on paper, 23.5 x 20.6 cm.
Museum of Modern Art, New York.
24.
Matisse
–
Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910
Matisse
–
Henri Matisse, 1913, by
Alvin Langdon Coburn
Matisse
–
Henri and Amélie Matisse, 1898
Matisse
–
Woman Reading, 1894, Museum of Modern Art, Paris
Matisse
–
Blue Pot and Lemon (1897),
Hermitage Museum,
St. Petersburg, Russia
25.
Maurice de Vlaminck
–
Maurice de Vlaminck was a French painter. Vlaminck was one of the Fauves at the controversial Salon dAutomne exhibition of 1905, Maurice de Vlaminck was born on Rue Pierre Lescot in Paris. His father Edmond Julien was Flemish and taught violin and his mother Joséphine Caroline Grillet came from Lorraine and his father taught him to play the violin. He began painting in his late teens, in 1893, he studied with a painter named Henri Rigalon on the Île de Chatou. In 1894 he married Suzanne Berly, the turning point in his life was a chance meeting on the train to Paris towards the end of his stint in the army. Vlaminck, then 23, met an aspiring artist, André Derain, when Vlaminck completed his army service in 1900, the two rented a studio together, the Maison Levanneur which now houses the Cneai, for a year before Derain left to do his own military service. In 1902 and 1903 he wrote several mildly pornographic novels illustrated by Derain and he painted during the day and earned his livelihood by giving violin lessons and performing with musical bands at night. Vlaminck participated in the controversial 1905 Salon dAutomne exhibition, in 1911, Vlaminck traveled to London and painted by the Thames. In 1913, he painted again with Derain in Marseille and Martigues, in World War I he was stationed in Paris, and began writing poetry. Eventually he settled in Rueil-la-Gadelière, a small village south-west of Paris and he married his second wife, Berthe Combes, with whom he had two daughters. From 1925 he traveled throughout France, but continued to paint primarily along the Seine, resentful that Fauvism had been overtaken by Cubism as an art movement Vlaminck blamed Picasso for dragging French painting into a wretched dead end and state of confusion. During the Second World War Vlaminck visited Germany and on his return published a tirade against Picasso, a gifted story teller, Vlaminck wrote many autobiographies, which were somewhat marred either by vagueness or lack of absolute truthfulness. Vlaminck died in Rueil-la-Gadelière on 11 October 1958, two of Vlamincks groundbreaking paintings, Sur le zinc and Lhomme a la pipe were painted in 1900. For the next few years Vlaminck lived in or near Chatou, painting and exhibiting alongside Derain, Matisse, at this time his exuberant paint application and vibrant use of colour displayed the influence of Vincent van Gogh. According to art critic Souren Melikian, it is the cartoon of a type. In his landscape paintings, his approach was similar and he ignored the details, with the landscape becoming a mere excuse to express mood through violent colour and brushwork. An example is Sous bois, painted in 1904, the following year, he began to experiment with deconstruction, turning the physical world into dabs and streaks of colour that convey a sense of motion. His paintings Le Pont de Chatou, Les Ramasseurs de pommes de terre, La Seine a Chatou, Vlamincks compositions show familiarity with the Impressionists, several of whom had painted in the same area in the 1870s and 1880s
Maurice de Vlaminck
–
Maurice de Vlaminck. The River Seine at Chatou, 1906
Maurice de Vlaminck
–
Maurice de Vlaminck, 1905-06, Barges on the Seine (Bateaux sur la Seine), oil on canvas, 81 x 100 cm,
Pushkin Museum, Moscow
Maurice de Vlaminck
–
Maurice de Vlaminck, c.1909, Town on the Bank of a Lake, oil on canvas, 81.3 x 100.3 cm,
Hermitage Museum, Saint Petersburg
Maurice de Vlaminck
–
Maurice de Vlaminck, c.1912, Village, oil on canvas, 73.7 x 92.1 cm (29 x 36 1/4 in.),
Art Institute of Chicago
26.
Raoul Dufy
–
Raoul Dufy was a French Fauvist painter, brother of Jean Dufy. He developed a colorful, decorative style that became fashionable for designs of ceramics and textiles and he is noted for scenes of open-air social events. He was also a draftsman, printmaker, book illustrator, scenic designer, a designer of furniture, Raoul Dufy was born into a large family at Le Havre, in Normandy. He left school at the age of fourteen to work in a coffee-importing company, in 1895, when he was 18, he started taking evening classes in art at Le Havres École des Beaux-Arts. The classes were taught by Charles Lhuillier, who had been, forty years earlier, there, Dufy met Raimond Lecourt and Othon Friesz with whom he later shared a studio in Montmartre and to whom he remained a lifelong friend. During this period, Dufy painted mostly Norman landscapes in watercolors, in 1900, after a year of military service, Dufy won a scholarship to the École nationale supérieure des Beaux-Arts in Paris, where again he crossed paths with Othon Friesz. He concentrated on improving his drawing skills, the impressionist landscape painters, such as Claude Monet and Camille Pissarro, influenced Dufy profoundly. His first exhibition took place in 1901, introduced to Berthe Weill in 1902, Dufy showed his work in her gallery. Then he exhibited again in 1903 at the Salon des Indépendants, a boost to his confidence, the painter, Maurice Denis, bought one of his paintings. Dufy continued to paint, often in the vicinity of Le Havre, in 1904, with his friend, Albert Marquet, he worked in Fecamp on the English Channel. Henri Matisses Luxe, Calme et Volupté, which Dufy saw at the Salon des Indépendants in 1905, was a revelation to the young artist, les Fauves emphasized bright color and bold contours in their work. Dufys painting reflected this aesthetic until about 1909, when contact with the work of Paul Cézanne led him to adopt a somewhat subtler technique. It was not until 1920, however, after he had flirted briefly with yet another style, cubism and it involved skeletal structures, arranged with foreshortened perspective, and the use of thin washes of color applied quickly, in a manner that came to be known as stenographic. Dufys cheerful oils and watercolors depict events of the period, including yachting scenes, sparkling views of the French Riviera, chic parties. Dufy completed one of the largest paintings ever contemplated, a huge and immensely popular ode to electricity, Dufy also acquired a reputation as an illustrator and as a commercial artist. He painted murals for buildings, he also produced a huge number of tapestries. His plates appear in books by Guillaume Apollinaire, Stéphane Mallarmé, in 1909, Raoul Dufy was commissioned by Paul Poiret to design stationery for the house, and after 1912 designed textile patterns for Bianchini-Ferier used in Poirets and Charvets garments. In the late 1940s and early 1950s, Dufy exhibited at the annual Salon des Tuileries in Paris, by 1950, his hands were struck with rheumatoid arthritis and his ability to paint diminished, as he has to fasten the brush to his hand
Raoul Dufy
–
Le Cavalier arabe (Le Cavalier blanc), 1914, oil on canvas, 66 x 81 cm, Musée d'Art Moderne de la Ville de Paris
Raoul Dufy
–
Raoul Dufy, Regatta at Cowes, (1934), Washington, D.C.
National Gallery of Art.
Raoul Dufy
–
Sketch (1918) by Dufy for a
Charvet silk square,
Centre Pompidou
27.
Albert Marquet
–
Albert Marquet was a French painter, associated with the Fauvist movement. He initially became one of the Fauve painters and a friend of Henri Matisse. Marquet subsequently painted in a naturalistic style, primarily landscapes. Marquet was born in 1875 at Bordeaux, in 1890 he moved to Paris to attend the Ecole des Arts Decoratifs, where he met Henri Matisse. They were roommates for a time, and they influenced each others work, Marquet began studies in 1892 at the École des Beaux-Arts under Gustave Moreau, a symbolist artist who was a follower of the Romantic tradition of Eugène Delacroix. In these years, Marquet exhibited paintings at the Salon des Indépendants, although he did not sell many paintings, the artistic community of Paris became aware of his work. He became a friend of Matisse. Dismayed by the coloration in these paintings, critics reacted by naming the artists the Fauves. Marquet subsequently painted in a naturalistic style, primarily landscapes. At the end of 1907 he stayed in Paris and dedicated himself, together with Matisse, the fundamental difference between the two is that while Matisse used strong colours, Marquet favored grayed yellows, greyed violets or blues. From 1907 to his death, Marquet alternated between working in his studio in Paris and many parts of the European coast and in North Africa and he was most involved with Algeria and Algiers and with Tunisia. In his voyages he painted the sea and ships, but also the lights and animated life of the city, especially cities on the waterfront, among European cities Marquet remained impressed particularly with Naples and Venice where he painted the sea and boats, accenting the light over water. His views of the lagoon in Venice do this very economically, the water stays at a right angle to the picture plane and the large ships float with ease, with their reflections exactly the correct tone to project the required space. His color is much like Matisse of the 1920s, here and his contrasts of vivid colors describe the waves of the sea with simple drawing which accompany the exactly observed color tones, giving a scene of placid movement. The human figures are simplified, calligraphically drawn in a way related to Japanese Shijo style work. Matisse said, When I look at Hokusai, I think of Marquet—and vice versa, I dont mean imitation of Hokusai, I mean similarity with him. During his voyages to Germany and Sweden he painted the subjects he preferred, river and sea views, ports and ships. Over the course of his career he returned to the same subjects, even years later
Albert Marquet
–
Sergeant of the Colonial Regiment circa 1906-1907, oil on canvas, 90.2 x 71.1 cm,
Metropolitan Museum of Art, New York City, United States
Albert Marquet
–
Albert Marquet, 1906, Fécamp (The Beach at Sainte-Adresse), oil on canvas, 64.5 x 80 cm
Albert Marquet
–
Albert Marquet, 1916, Port of Marseilles, oil on canvas, 65 x 81 cm,
Ohara Museum of Art
Albert Marquet
–
Albert Marquet, 1919, La femme blonde (Femme blonde sur un fond de châle espagnol), oil on canvas, 98.5 x 98.5 cm,
Musée National d'Art Moderne,
Centre Georges Pompidou, Paris
28.
Le Douanier Rousseau
–
Henri Julien Félix Rousseau was a French post-impressionist painter in the Naïve or Primitive manner. He was also known as Le Douanier, a description of his occupation as a toll collector. Ridiculed during his lifetime by critics, he came to be recognized as a genius whose works are of high artistic quality. Rousseaus work exerted an influence on several generations of avant-garde artists. Rousseau was born in Laval, France, in 1844 into the family of a plumber, he was forced to work there as a small boy. He attended Laval High School as a day student, and then as a boarder after his father became a debtor, though mediocre in some of his high school subjects, Rousseau won prizes for drawing and music. After high school, he worked for a lawyer and studied law and he served four years, starting in 1863. With his fathers death, Rousseau moved to Paris in 1868 to support his mother as a government employee. In 1868, he married Clémence Boitard, his landlords 15-year-old daughter, in 1871, he was appointed as a collector of the octroi of Paris, collecting taxes on goods entering Paris. His wife died in 1888 and he married Josephine Noury in 1898 and he started painting seriously in his early forties, by age 49, he retired from his job to work on his art full-time. Rousseau claimed he had no other than nature, although he admitted he had received some advice from two established Academic painters, Félix Auguste Clément and Jean-Léon Gérôme. Essentially, he was self-taught and is considered to be a naïve or primitive painter and his best-known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrations in books and the botanical gardens in Paris. He had also met soldiers during his term of service who had survived the French expedition to Mexico, along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs. Rousseaus flat, seemingly childish style was disparaged by many critics and his ingenuousness was extreme, and he always aspired, in vain, to conventional acceptance. Many observers commented that he painted like a child, but the work shows sophistication with his particular technique, from 1886, he exhibited regularly in the Salon des Indépendants, and, although his work was not placed prominently, it drew an increasing following over the years. Yet it was more than a decade before Rousseau returned to depicting his vision of jungles, in 1893, Rousseau moved to a studio in Montparnasse where he lived and worked until his death in 1910
Le Douanier Rousseau
–
Portrait of Henri (Le Douanier) Rousseau, 1910, photograph: Pablo Picasso
Le Douanier Rousseau
–
Self-portrait of the Artist with a Lamp
Le Douanier Rousseau
–
Tiger in a Tropical Storm (Surprised!) (1891) was the first of many jungle scenes for which Rousseau is best known.
Le Douanier Rousseau
–
The Hungry Lion Throws Itself on the Antelope, 1905
29.
Paul Signac
–
Paul Victor Jules Signac was a French Neo-Impressionist painter who, working with Georges Seurat, helped develop the Pointillist style. Paul Signac was born in Paris on 11 November 1863 and he followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monets work. He sailed around the coasts of Europe, painting the landscapes he encountered and he also painted a series of watercolors of French harbor cities in later years. In 1884 he met Claude Monet and Georges Seurat, many of Signacs paintings are of the French coast. He loved to paint the water and he left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends. Paul Signac, Albert Dubois-Pillet, Odilon Redon and Georges Seurat were among the founders of the Société des Artistes Indépendants, the association began in Paris 29 July 1884 with the organization of massive exhibitions, with the device No jury nor awards. The purpose of Société des Artistes Indépendants—based on the principle of abolishing admission jury—is to allow the artists to present their works to public judgement with complete freedom, for the following three decades their annual exhibitions set the trends in art of the early 20th century. At the 1905 Salon des Indépendants, Henri Matisse exhibited the proto-Fauve painting Luxe, Signac purchased the work after the 1905 Salon des Indépendants. In 1908 Signac was elected president of the 24th Salon des Indépendants, in 1886 Signac met Vincent van Gogh in Paris. In 1887 the two regularly went to Asnières-sur-Seine together, where they painted such subjects as river landscapes. Initially, Van Gogh chiefly admired Signac’s loose painting technique, in March 1889, Signac visited Van Gogh at Arles. The next year he made a trip to Italy, seeing Genoa, Florence. In 1888, Signac discovered anarchist ideas by reading Elisee Reclus, Kropotkin and Jean Grave, with his friends Angrand Cross, Maximilien Luce and Camille Pissarro he contributed to Jean Grave’s paper Les Temps Nouveaux. His financial support was considerable, he sent regular cheques and made a gift of his works for five lotteries between 1895 and 1912, from his various ports of call, Signac brought back vibrant, colorful watercolors, sketched rapidly from nature. From these sketches, he painted large canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny. Signac himself experimented with various media, as well as oil paintings and watercolors he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots. The Neo-Impressionists influenced the next generation, Signac inspired Henri Matisse and André Derain in particular, as president of the Société des Artistes Indépendants from 1908 until his death, Signac encouraged younger artists by exhibiting the controversial works of the Fauves and the Cubists. Signac served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, in September 1913, Signac rented a house at Antibes, where he settled with Jeanne Selmersheim-Desgrange, who gave birth to their daughter Ginette on 2 October 1913
Paul Signac
–
Paul Signac with his palette, ca. 1883
Paul Signac
–
Paul Signac, Portrait of
Félix Fénéon, 1890, oil on canvas, 73.5 × 92.5 cm (28.9 × 36.4 in),
Museum of Modern Art, New York
Paul Signac
–
Georges Seurat Portrait of Paul Signac, 1890,
conté crayon, private collection
Paul Signac
–
In the Time of Harmony. The Golden Age is not in the Past, it is in the Future, 1893-95, oil on canvas, 310 x 410 cm (122 × 161.4 in), Mairie de Montreuil
30.
Georges Braque
–
Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
Georges Braque
–
Georges Braque, 1908, photograph published in
Gelett Burgess, The Wild Men of Paris, Architectural Record, May 1910
Georges Braque
–
Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque). At least four versions of this scene were painted by Braque, one of which was stolen from the
Musée d'Art Moderne de la Ville de Paris during the month of May, 2010.
Georges Braque
–
Georges Braque, 1907-08, The Viaduct at L'Estaque (Le Viaduc de l'Estaque), oil on canvas, 65.1 x 80.6 cm,
Minneapolis Institute of Arts
Georges Braque
–
Georges Braque, 1908, Maisons et arbre (
Houses at l'Estaque), oil on canvas, 40.5 x 32.5 cm,
Lille Métropole Museum of Modern, Contemporary and Outsider Art
31.
Pablo Picasso
–
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
Pablo Picasso
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Picasso in 1908
Pablo Picasso
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Pablo Picasso with his sister Lola, 1889
Pablo Picasso
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Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Pablo Picasso
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Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
32.
Jean Metzinger
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Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote a theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the Neo-impressionism of Georges Seurat, between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works. From 1908 Metzinger experimented with the faceting of form, a style that would become known as Cubism. His early involvement in Cubism saw him both as an influential artist and an important theorist of the movement. The idea of moving around an object in order to see it from different view-points is treated, for the first time, in Metzingers Note sur la Peinture, before the emergence of Cubism, painters worked from the limiting factor of a single view-point. Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism in 1912, Metzinger was a founding member of the Section dOr group of artists. During the First World War Metzinger furthered his role as a leading Cubist with his co-founding of the phase of the movement. He recognized the importance of mathematics in art, through a radical geometrization of form as an underlying basis for his wartime compositions. As post-war reconstruction began, a series of exhibitions at Léonce Rosenbergs Galerie de LEffort Moderne were to highlight order, the collective phenomenon of Cubism—now in its advanced revisionist form—became part of a widely discussed development in French culture, with Metzinger at its helm. In terms of the separation of culture and life, this period emerges as the most important in the history of Modernism, for Metzinger, the classical vision had been an incomplete representation of real things, based on an incomplete set of laws, postulates and theorems. He believed the world was dynamic and changing in time, that it appeared different depending on the point of view of the observer, each of these viewpoints were equally valid according to underlying symmetries inherent in nature. Jean Metzinger came from a prominent military family and his great-grandfather, Nicolas Metzinger, Captain in the 1st Horse Artillery Regiment, and Chevalier of the Legion of Honour, had served under Napoleon Bonaparte. A street in the Sixième arrondissement of Nantes was named after Jeans grandfather, Jeans younger brother Maurice would become a musician, excelling as a cellist. By 1900 Jean was a student at Académie Cours Cambronne in Nantes, working under Hippolyte Touront, Metzinger, however, was interested in the current trends in painting. Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale, from the age of 20, Metzinger supported himself as a professional painter. He would show four times at Weills gallery,17 January-1 February 1913, March 1913, June 1914. It is at Berthe Weills that he would meet Max Jacob for the first time, Berthe Weill was also the first Parisian art dealer to sell works of Picasso. Along with Picasso and Metzinger, she helped discover Matisse, Derain, Amedeo Modigliani, in 1904 Metzinger exhibited six paintings in the Divisionist style at the Salon des Indépendants and the Salon d’Automne
Jean Metzinger
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Metzinger, before 1913
Jean Metzinger
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Jean Metzinger, 1912,
Danseuse au café (Dancer in a café), oil on canvas, 146.1 x 114.3 cm, Albright-Knox Art Gallery, Buffalo, New York. Published in Au Salon d'Automne "Les Indépendants" 1912, Exhibited at the 1912 Salon d'Automne
Jean Metzinger
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Jean Metzinger, c.1905,
Baigneuse, Deux nus dans un jardin exotique (Two Nudes in an Exotic Landscape), oil on canvas, 116 x 88.8 cm, Colección Carmen Thyssen-Bornemisza
Jean Metzinger
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Jean Metzinger, ca. 1906,
Coucher de Soleil No. 1 (Landscape), oil on canvas, 72.5 x 100 cm,
Rijksmuseum Kröller-Müller, Otterlo, Netherlands
33.
Albert Gleizes
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Albert Gleizes was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Gleizes was a founding member of the Section dOr group of artists. He was also a member of Der Sturm, and his theoretical writings were originally most appreciated in Germany. Gleizes spent four years in New York, and played an important role in making America aware of modern art. He was a member of the Society of Independent Artists, founder of the Ernest-Renan Association, Gleizes exhibited regularly at Léonce Rosenberg’s Galerie de l’Effort Moderne in Paris, he was also a founder, organizer and director of Abstraction-Création. From the mid-1920s to the late 1930s much of his energy went into writing, La Peinture et ses lois, Vers une conscience plastique, La Forme et l’histoire and Homocentrisme. Born Albert Léon Gleizes and raised in Paris, he was the son of a designer who ran a large industrial design workshop. He was also the nephew of Léon Comerre, a portrait painter who won the 1875 Prix de Rome. The young Albert Gleizes did not like school and often skipped classes to idle away the time writing poetry, finally, after completing his secondary schooling, Gleizes spent four years in the 72nd Infantry Regiment of the French army then began pursuing a career as a painter. Gleizes began to paint self-taught around 1901 in the Impressionist tradition and his first landscapes from around Courbevoie appear particularly inspired by Sisley or Pissarro. The density with which these works are painted and their solid framework suggest affinities with Divisionism which were noted by early critics. Gleizes was only years of age when his work titled La Seine à Asnières was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year Gleizes exhibited two paintings at the Salon dAutomne, in 1905 Gleizes was among the founders of lAssociation Ernest-Renan, a union of students opposed to military propaganda. Gleizes was in charge of the Section littéraire et artistique, organizing theater productions, at the Musée des Beaux-Arts de Lyon, Gleizes exhibited Jour de marché en banlieue. Tending towards 1907 his work evolved into a Post-Impressionist style with strong Naturalist and Symbolist components, Gleizes and others decide to create an association fraternelle dartistes and rent a large house in Créteil. The Abbaye de Créteil was a community of artists that aimed to develop their art free of any commercial concerns. For nearly a year, Gleizes along with painters, poets, musicians and writers. A lack of income forced them to give up their cherished Abbaye de Créteil in early 1908 and Gleizes moved to rue du Delta near Montmartre, in 1908 Gleizes exhibited at the Toison dOr in Moscow
Albert Gleizes
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Albert Gleizes, circa 1920
Albert Gleizes
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Albert Gleizes, 1909,
Bords de la Marne, oil on canvas, 54 x 65 cm, Musée des Beaux-Arts, Lyon
Albert Gleizes
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Albert Gleizes, 1910,
La Femme aux Phlox (Woman with Phlox), oil on canvas, 81 x 100 cm, exhibited
Armory Show, New York, 1913,
Museum of Fine Arts, Houston
Albert Gleizes
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Albert Gleizes, 1911,
Portrait de Jacques Nayral, oil on canvas, 161.9 x 114 cm, Tate Modern, London. This painting was reproduced in Fantasio: published 15 October 1911, for the occasion of the Salon d'Automne where it was exhibited the same year.
34.
Juan Gris
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José Victoriano González-Pérez, better known as Juan Gris, was a Spanish painter and sculptor born in Madrid who lived and worked in France most of his life. Closely connected to the artistic genre Cubism, his works are among the movements most distinctive. He later studied engineering at Madrids School of Arts and Sciences, there, from 1902 to 1904, he contributed drawings to local periodicals. From 1904 to 1905, he studied painting with the academic artist José Moreno Carbonero and it was in 1905 that José Victoriano González adopted the more distinctive name Juan Gris. In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque, in Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso. He submitted darkly humorous illustrations to journals such as the anarchist satirical magazine LAssiette au Beurre, and also Le Rire, Le Charivari, Gris began to paint seriously in 1910, developing at this time a personal Cubist style. In A Life of Picasso, John Richardson writes that Jean Metzingers 1911 work, Le goûter, Gris exhibited for the first time at the 1912 Salon des Indépendants. He appears with two styles, writes art historian Peter Brooke, In one of them a grid structure appears that is reminiscent of the Goûter. In the other, Brooke continues, the grid is still present but the lines are not stated and their presence is suggested by the heavy, often triangular, shading of the angles between them. Both styles are distinguished from the work of Picasso and Braque by their clear, rational, although Gris regarded Picasso as a teacher, Gertrude Stein wrote in The Autobiography of Alice B. Toklas that Juan Gris was the person whom Picasso wished away. Gris, in same year, signed a contract that gave D. -H. Kahnweiler exclusive rights to his work, unlike Picasso and Braque, whose Cubist works were practically monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. Gris exhibited with the painters of the Puteaux Group in the Salon de la Section dOr in 1912 and his preference for clarity and order influenced the Purist style of Amédée Ozenfant and Charles Edouard Jeanneret, and made Gris an important exemplar of the post-war return to order movement. In 1915 he was painted by his friend, Amedeo Modigliani, in November 1917 he made one of his few sculptures, the polychrome plaster Harlequin. Griss works from late 1916 through 1917 exhibit a greater simplification of geometric structure, the oblique overlapping planar constructions, tending away from equilibrium, can best be seen in Woman with Mandolin, after Corot and in its epilogue, Portrait of Josette Gris. Though Gris certainly had planned the representation of his subject matter. The geometric structure of Juan Griss Crystal period is already palpable in Still Life before an Open Window, the overlapping elemental planar structure of the composition serves as a foundation to flatten the individual elements onto a unifying surface, foretelling the shape of things to come
Juan Gris
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Juan Gris, 1922, photograph by
Man Ray (Paris)
Juan Gris
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Portrait of Picasso, 1912, oil on canvas, the
Art Institute of Chicago
Juan Gris
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Juan Gris, September 1916, Woman with Mandolin, after Corot (La femme à la mandoline, d'après Corot), oil on canvas, 92 x 60 cm,
Kunstmuseum Basel
Juan Gris
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Guitar and Pipe, 1913,
Dallas Museum of Art, Texas
35.
Ernst Ludwig Kirchner
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He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. In 1933, his work was branded as degenerate by the Nazis and in 1937, in 1938, he committed suicide by gunshot. Ernst Ludwig Kirchner was born in Aschaffenburg, Bavaria and his parents were of Prussian descent and his mother was a descendant of the Huguenots, a fact to which Kirchner often referred. The institution provided a range of studies in addition to architecture, such as freehand drawing, perspective drawing. While in attendance, he became friends with Fritz Bleyl. They discussed art together and also studied nature, having a radical outlook in common, Kirchner continued studies in Munich 1903–1904, returning to Dresden in 1905 to complete his degree. In 1905, Kirchner, along with Bleyl and two other students, Karl Schmidt-Rottluff and Erich Heckel, founded the artists group Die Brücke. From then on, he committed himself to art, the group aimed to eschew the prevalent traditional academic style and find a new mode of artistic expression, which would form a bridge between the past and the present. They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as part of the affirmation of their national heritage, they revived older media, particularly woodcut prints. Their group was one of the ones which in due course had a major impact on the evolution of modern art in the 20th century. The group met initially in Kirchners first studio, which had previously been a butchers shop, Kirchners studio became a venue which overthrew social conventions to allow casual love-making and frequent nudity. Group life-drawing sessions took place using models from the circle, rather than professionals. A group manifesto written by Kirchner in 1906 stated that Everyone who reproduces, directly and without illusion, whatever he senses the urge to create, belongs to us. In September and October 1906, the first group exhibition was held, focused on the female nude, in 1906, he met Doris Große, who was his favoured model until 1911. Between 1907 and 1911, he stayed during the summer at the Moritzburg lakes and on the island of Fehmarn with other Brücke members, his work featured the female nude in natural settings. In 1911, he moved to Berlin, where he founded an art school, MIUM-Institut. This was not a success and closed the year, when he also began a relationship with Erna Schilling that lasted the rest of his life. In 1913, his writing of Chronik der Brücke led to the ending of the group, at this time, he established an individual identity with his first solo exhibition, which took place at the Essen Folkwang Museum
Ernst Ludwig Kirchner
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Photographic self-portrait 1919
Ernst Ludwig Kirchner
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Marzella (1909–10)
Ernst Ludwig Kirchner
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Vier Holzplastiken, 1912,
Dallas Museum of Art
Ernst Ludwig Kirchner
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Kirchner's Berlin studio in 1915
36.
August Macke
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August Macke was one of the leading members of the German Expressionist group Der Blaue Reiter. Like a true artist of his time, Macke knew how to integrate into his painting the elements of the avant-garde which most interested him, August Robert Ludwig Macke was born in Germany on 3 January 1887, in Meschede, Westphalia. Shortly after Augusts birth the family settled at Cologne, where Macke was educated at the Kreuzgymnasium and became a friend of Hans Thuar, in 1904 Mackes father died, and in that year Macke enrolled at the Kunstakademie Düsseldorf, under Adolf Maennchen. Thereafter Macke lived most of his life in Bonn, with the exception of a few periods spent at Lake Thun in Switzerland and various trips to Paris, Italy. In Paris, where he traveled for the first time in 1907, Macke saw the work of the Impressionists and his style was formed within the mode of French Impressionism and Post-impressionism and later went through a Fauve period. In 1909 he married Elisabeth Gerhardt, in 1910, through his friendship with Franz Marc, Macke met Kandinsky and for a while shared the non-objective aesthetic and the mystical and symbolic interests of Der Blaue Reiter. Mackes meeting with Robert Delaunay in Paris in 1912 was to be a sort of revelation for him, Delaunays chromatic Cubism, which Apollinaire had called Orphism, influenced Mackes art from that point onwards. His Shops Windows can be considered an interpretation of Delaunays Windows. August Mackes oeuvre can be considered as Expressionism, and also as part of Fauvism, the paintings concentrate primarily on expressing feelings and moods rather than reproducing objective reality, usually distorting colour and form. Mackes career was cut short by his death in the second month of the First World War at the front in Champagne, France. His final painting, Farewell, depicts the mood of gloom that settled after the outbreak of war and this was also the same year that he painted the famous painting, Türkisches Café in München. The August Macke Prize, was given the first time in 1959 by the districts Arnsberg, Brilon, Olpe and Meschede, the August-Macke-Haus is a museum dedicated to August Macke founded in 1991. It is located in Mackes former home in Bonn, where he lived from 1911 to 1914, at a 1997 Christies auction, Mackes The Couple at a Garden Table was sold for £2 million. Market in Tunis sold for £2.86 million in 2000, consigned by the estate of Ernst Beyeler, the artist’s In the Bazar was auctioned for £3.96 million – then four and a half times the high estimate – at Christies in 2011. August Macke und die rheinischen Expressionisten, August Macke und die fruhe Moderne in Europa Ursula Heiderich, August Macke Aquarelle Werkverzeichnis Anna Meseure, August Macke 1887-1914 G
August Macke
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August Macke,
Self-portrait, 1906, oil on canvas
August Macke
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Rokoko,1912, oil on canvas, 89 x 89 cm,
National Museum of Art, Architecture and Design, Norway
August Macke
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Tightrope walker, 1913
August Macke
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Street with church in Kandern, 1911
37.
Alexej von Jawlensky
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Alexej Georgewitsch von Jawlensky was a Russian expressionist painter active in Germany. He was a key member of the New Munich Artists Association, Der Blaue Reiter group, Alexej von Jawlensky was born in Torzhok, a town in Tver Governorate, Russia, as the fifth child of Georgi von Jawlensky and his wife Alexandra. At the age of ten he moved with his family to Moscow, after a few years of military training, he became interested in painting, visiting the Moscow World Exposition c. Thanks to his social connections, he managed to get himself posted to St. Petersburg and, from 1889 to 1896, studied at the art academy there. Free to pursue his vision, he moved to Munich in 1894. In 1905 Jawlensky visited Ferdinand Hodler, and two later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art, in Munich he met Wassily Kandinsky and various other Russian artists, and he contributed to the formation of the Neue Künstlervereinigung München. His work in this period was lush and richly coloured, but later moved towards abstraction, between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings, they experimented with one another’s techniques, expelled from Germany in 1914, he moved to Switzerland. He met Emmy Scheyer in 1916, another artist who abandoned her own work to champion his in the United States. In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his son, Andreas, born before their marriage. In 1924 he organized the Blue Four, whose works, thanks to Scheyer’s tireless promotion, were exhibited in Germany. From 1929 Jawlensky suffered from crippling arthritis, which necessitated a reduced scale. He began to dictate his memoirs in 1938 and he died in Wiesbaden, Germany, on 15 March 1941. He and his wife Helene are buried in the cemetery of St. Elizabeths Church, in November 2003 his Schokko sold for US$9,296,000 and in February 2008 for GB£9,450,000. The 2006 album by the jazz group Acoustic Ladyland, Skinny Grin, features one of his works, Portrait of The Dancer Alexander Sacharoff, as its cover art. The five CDs issued by CPO with the string quartets by the Polish composer Mieczysław Weinberg. Volume 2 has Kind mit blauen Augen, and volume 5 shows Mädchen mit Haube
Alexej von Jawlensky
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Self-portrait, 1905
Alexej von Jawlensky
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External video
Alexej von Jawlensky
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Schokko with Red Hat, 1909
Alexej von Jawlensky
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Portrait of
Alexander Sakharoff, 1909
38.
Emil Nolde
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Emil Nolde was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke and he is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones and his watercolors include vivid, brooding storm-scapes and brilliant florals. Noldes intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh, Emil Nolde was born as Emil Hansen near the village of Nolde, in the Prussian Duchy of Schleswig. His parents, devout Protestants, were Frisian and Danish peasants and he realized his unsuitability for farm life and that he and his three brothers were not at all alike. Between 1884 and 1891, he studied to become a carver and illustrator in Flensburg and he spent his years of travel in Munich, Karlsruhe and Berlin. In 1889, he gained entrance into the School of Applied Arts in Karlsruhe, from 1892 to 1898 he was a drawing instructor at the school of the Museum of Industrial and Applied Arts in St. Gallen, Switzerland. He eventually left this job to pursue his dream of becoming an independent artist. As a child he had loved to paint and draw, and he became a member of the revolutionary expressionist group Die Brücke, of Dresden, in 1906, upon the groups invitation. This association lasted only until the end of the following year, from 1908 to 1910 he was a member of the Berlin Secession, before being excluded in 1910 due to a disagreement with the leadership. In 1912 he exhibited with Kandinsky’s Munich-based group Der Blaue Reiter, from 1902 he called himself after his birthplace. Nolde was a supporter of the Nazi party from the early 1920s and he expressed anti-semitic, negative opinions about Jewish artists, and considered Expressionism to be a distinctively Germanic style. This view was shared by other members of the Nazi party, notably Joseph Goebbels. However Hitler rejected all forms of modernism as degenerate art, until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, some were included in the Degenerate Art exhibition of 1937, despite his protests, including a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941, nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the Unpainted Pictures, in 1942 Nolde wrote, There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, to a person who has no art in him, colors are colors, tones tones. and that is all
Emil Nolde
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Head with Pipe (Self Portrait) (1907) Lithograph
Emil Nolde
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Blumengarten (ohne Figur),
oil on canvas, 1908
Emil Nolde
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The Burial (Die Grablegung, Begravelsen), 1915, oil on canvas, 87 x 117 cm, Stiftung Nolde, Seebüll, Nasjonalmuseet,
National Museum of Art, Architecture and Design, Norway
Emil Nolde
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Emil Nolde The Prophet,
woodcut, 1912
39.
Oskar Kokoschka
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Oskar Kokoschka was an Austrian artist, poet and playwright best known for his intense expressionistic portraits and landscapes. He was born in Pöchlarn, second child to Gustav Josef Kokoschka, a Czech goldsmith and his older brother died in infancy in 1887, he had a sister, Berta and a brother, Bohuslav. Oskar had a belief in omens, spurred by a story of a fire breaking out in Pöchlarn shortly after his mother gave birth to him. Kokoschkas life was not easy due to a lack of financial help from his father. They constantly moved into flats, farther and farther from the thriving center of the town. Concluding that his father was inadequate, Kokoschka drew closer to his mother, he felt that he was the head of the household, Kokoschka entered secondary school at Realschule, where emphasis was placed on the study of modern subjects such as science and language. Kokoschka was not interested in subjects, as he found he only excelled in art. This education of classic literature is said to have influenced his artwork, one of Kokoschkas professors suggested he pursue a career in fine art. Against his fathers will, Kokoschka applied to Kunstgewerbeschule in Vienna, Kunstgewerbeschule was an extremely progressive school that focused mainly on architecture, furniture, crafts and modern design. Unlike the more prestigious and traditional Academy of Fine Art in Vienna, Kokoschka studied there from 1904 to 1909, and was influenced by his professor Carl Otto Czeschka in developing an original style. Among Kokoschkas early works were drawings of children, which portrayed them as awkward. Kokoschka had no training in painting and so approached the medium without regard to the traditional or correct way to paint. The teachers at Kunstgewerbeschule helped Kokoschka gain opportunities through the Wiener Werkstätte or Viennese Workshops, Kokoschkas first commissions were postcards and drawings for children. Kokoschka said that it gave him the basis of artistic training and his early career was marked by portraits of Viennese celebrities, painted in a nervously animated style. Kokoschka had a passionate, often stormy affair with Alma Mahler and it began in 1912, shortly after the death of her four-year-old daughter Maria Mahler and her affair with Walter Gropius. After several years together, Alma rejected him, explaining that she was afraid of being too overcome with passion and he continued to love her his entire life, and one of his greatest works, The Bride of the Wind, is a tribute to her. The poet Georg Trakl visited the studio while Kokoschka was painting this masterpiece, Kokoschkas poem Allos Makar was inspired by this relationship. He volunteered for service as a cavalryman in the Austrian army in World War I, at the hospital, the doctors decided that he was mentally unstable
Oskar Kokoschka
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The Bride of the Wind or The Tempest, oil on canvas, a self-portrait expressing his unrequited love for
Alma Mahler, widow of composer
Gustav Mahler, 1914
Oskar Kokoschka
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The house in which Oskar Kokoschka was born in
Pöchlarn (August 2006)
Oskar Kokoschka
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Oskar Kokoschka in 1963, by
Erling Mandelmann
Oskar Kokoschka
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Portrait of Lotte Franzos 1909, (oil on canvas, 114.9 cm × 79.4 cm), The Phillips Collection, Washington, DC
40.
Otto Dix
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Wilhelm Heinrich Otto Dix was a German painter and printmaker, noted for his ruthless and harshly realistic depictions of Weimar society and the brutality of war. Along with George Grosz, he is considered one of the most important artists of the Neue Sachlichkeit. Otto Dix was born in Untermhaus, Germany, now a part of the city of Gera. The eldest son of Franz and Louise Dix, he an iron worker and she a seamstress who had written poetry in her youth. Between 1906 and 1910, he served an apprenticeship with painter Carl Senff, in 1910, he entered the Kunstgewerbeschule in Dresden, where Richard Guhr was among his teachers. When the First World War erupted, Dix enthusiastically volunteered for the German Army and he was assigned to a field artillery regiment in Dresden. In the autumn of 1915 he was assigned as a officer of a machine-gun unit on the Western front. In November 1917, his unit was transferred to the Eastern front until the end of hostilities with Russia, back on the western front, he fought in the German Spring Offensive. He earned the Iron Cross and reached the rank of vizefeldwebel, in August of that year he was wounded in the neck, and shortly after he took pilot training lessons. He took part in a Fliegerabwehr-Kurs in Tongern, was promoted to Vizefeldwebel and he was discharged from service in 22 December 1918 and was home for Christmas. Dix was profoundly affected by the sights of the war, and he represented his traumatic experiences in many subsequent works, including a portfolio of fifty etchings called Der Krieg, published in 1924. At the end of 1918 Dix returned to Gera, but the year he moved to Dresden. He became a founder of the Dresden Secession group in 1919, in 1920, he met George Grosz and, influenced by Dada, began incorporating collage elements into his works, some of which he exhibited in the first Dada Fair in Berlin. He also participated in the German Expressionists exhibition in Darmstadt that year and his 1923 painting The Trench, which depicted dismembered and decomposed bodies of soldiers after a battle, caused such a furore that the Wallraf-Richartz Museum hid the painting behind a curtain. In 1925 the then-mayor of Cologne, Konrad Adenauer, cancelled the purchase of the painting, Dixs work, like that of Grosz—his friend and fellow veteran—was extremely critical of contemporary German society and often dwelled on the act of Lustmord, or sexual murder. He drew attention to the side of life, unsparingly depicting prostitution, violence, old age. In one of his few statements, published in 1927, Dix declared, The object is primary, when the Nazis came to power in Germany, they regarded Dix as a degenerate artist and had him sacked from his post as an art teacher at the Dresden Academy. He later moved to Lake Constance in the southwest of Germany, Dixs paintings The Trench and War cripples were exhibited in the state-sponsored Munich 1937 exhibition of degenerate art, Entartete Kunst
Otto Dix
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Otto Dix on April 12, 1957
Otto Dix
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Otto Nagel (left) and Dix (right) on April 12, 1957
Otto Dix
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Otto Dix House in
Gera. The artist's birthplace opened as a museum in 1991
Otto Dix
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Stormtroopers Advancing Under Gas, etching and
aquatint by Otto Dix, 1924
41.
George Grosz
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George Grosz was a German artist known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic and he emigrated to the United States in 1933, and became a naturalized citizen in 1938. Abandoning the style and subject matter of his work, he exhibited regularly. In 1956 he returned to Berlin where he died, George Grosz was born Georg Ehrenfried Groß in Berlin, Germany, the son of a pub owner. Grosz grew up in the Pomeranian town of Stolp, where his mother became the keeper of the local Hussars Officers mess after his father died in 1901. At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a painter named Grot. Grosz developed his skills further by drawing meticulous copies of the scenes of Eduard von Grützner. From 1909 to 1911, he studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, Raphael Wehle and he subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik. In November 1914 Grosz volunteered for service, in the hope that by thus preempting conscription he would avoid being sent to the front. He was given a discharge after hospitalization for sinusitis in 1915, in January 1917 he was drafted for service, but in May he was discharged as permanently unfit. In the last months of 1918, Grosz joined the Spartacist League and he was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns, by contrast, in 1942 Time magazine identified Grosz as a pacifist. In 1922 Grosz traveled to Russia with the writer Martin Andersen Nexø, upon their arrival in Murmansk they were briefly arrested as spies, after their credentials were approved they were allowed to meet with Grigory Zinoviev, Anatoly Lunacharsky, and Vladimir Lenin. Groszs six-month stay in the Soviet Union left him unimpressed by what he had seen and he ended his membership in the KPD in 1923, although his political positions were little changed. Bitterly anti-Nazi, Grosz left Germany shortly before Hitler came to power, in June 1932, he accepted an invitation to teach the summer semester at the Art Students League of New York. In October 1932, Grosz returned to Germany, but on January 12,1933 he, Grosz became a naturalized citizen of the United States in 1938, and made his home in Bayside, New York. In the 1930s he taught at the Art Students League, where one of his students was Romare Bearden and he taught at the Art Students League intermittently until 1955. In America, Grosz determined to make a break with his past
George Grosz
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George Grosz in 1921
George Grosz
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George Grosz, Daum marries her pedantic automaton George in May 1920, John Heartfield is very glad of it,
Berlinische Galerie
George Grosz
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George Grosz, Republican Automatons, 1920, watercolor on paper,
Museum of Modern Art, New York
George Grosz
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Made in Germany (
German: Den macht uns keiner nach), by George Grosz, drawn in pen 1919, photo-lithograph published 1920 in the portfolio God with us (
German: Gott mit Uns). Sheet 48.3 x 39.1 cm. In the collection of the
MoMA
42.
Kurt Schwitters
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Kurt Hermann Eduard Karl Julius Schwitters was a German artist who was born in Hanover, Germany. He is most famous for his collages, called Merz Pictures, Kurt Schwitters was born on 20 June 1887 in Hanover, at Rumannstraße No.2, now, No. 8, the child of Eduard Schwitters and his wife Henriette. His father was proprietor of a clothes shop. In 1893, the moved to Waldstraße 5, future site of the Merzbau. In 1901, Schwitters suffered his first epileptic seizure, a condition that would exempt him from service in World War I until late in the war. After studying art at the Dresden Academy alongside Otto Dix and George Grosz, 1909–15, Schwitters returned to Hanover, in 1911 he took part in his first exhibition, in Hanover. As the First World War progressed his work became darker, gradually developing a distinctive expressionist tone, Schwitters spent the last one-and-half years of the war working as a drafter in a factory just outside Hanover. He was conscripted into the 73rd Hanoverian Regiment in March 1917, by his own account, his time as a draftsman influenced his later work, and inspired him to depict machines as metaphors of human activity. In the war I discovered my love for the wheel and realized that machines are abstractions of the human spirit and he married his cousin Helma Fischer on 5 October 1915. In 1918, his art was to change dramatically as a consequence of Germanys economic, political. In the war, things were in terrible turmoil, what I had learned at the academy was of no use to me and the useful new ideas were still unready. Everything had broken down and new things had to be out of the fragments. It was like a revolution within me, not as it was, Schwitters was to come into contact with Herwarth Walden after exhibiting expressionist paintings at the Hanover Secession in February 1918. He showed two Abstraktionen at Waldens gallery Der Sturm, in Berlin, in June 1918 and this resulted in meetings with members of the Berlin Avant-garde, including Raoul Hausmann, Hannah Höch, and Hans Arp in the autumn of 1918. The night he introduced himself in the Café des Westens, im a painter, he said, and I nail my pictures together. Schwitters asked to join Berlin Dada either in late 1918 or early 1919, Hausmanns anecdote about Schwitters asking to join Berlin Dada is, however, somewhat dubious, for there is well-documented evidence that Schwitters and Huelsenbeck were on amicable terms at first. When they first met in 1919, Huelsenbeck was enthusiastic about Schwitters’s work and promised his assistance, when Huelsenbeck visited him at the end of the year, Schwitters gave him a lithograph and though their friendship was by now strained, Huelsenbeck wrote him a conciliatory note
Kurt Schwitters
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Kurt Schwitters, London 1944
Kurt Schwitters
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Das Undbild, 1919, Staatsgalerie Stuttgart
Kurt Schwitters
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Cover of Anna Blume, Dichtungen, 1919
Kurt Schwitters
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Untitled (Oval Construction), c.1925, Yale University Art Gallery
43.
Marcel Duchamp
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Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his artists as retinal art. Instead, Duchamp wanted to use art to serve the mind, Marcel Duchamp was born at Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his grandfather, filled the house, and the family liked to play chess, read books, paint. Of Eugene and Lucie Duchamps seven children, one died as an infant, Marcel Duchamp was the brother of, Jacques Villon, painter, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter. At 8 years old, Duchamp followed in his brothers footsteps when he left home and began schooling at the Lycée Pierre-Corneille, two other students in his class also became well-known artists and lasting friends, Robert Antoine Pinchon and Pierre Dumont. For the next 8 years, he was locked into a regime which focused on intellectual development. Though he was not a student, his best subject was mathematics. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize and he learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamps true artistic mentor at the time was his brother Jacques Villon, whose fluid, at 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he painted landscapes in an Impressionist style using oils. Duchamps early art works align with Post-Impressionist styles and he experimented with classical techniques and subjects. He studied art at the Académie Julian from 1904 to 1905, during this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns, visual puns, or both, such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his military service with the 39th Infantry Regiment. There he learned typography and printing processes—skills he would use in his later work, due to his eldest brother Jacques membership in the prestigious Académie royale de peinture et de sculpture Duchamps work was exhibited in the 1908 Salon dAutomne. The following year his work was featured in the Salon des Indépendants, of Duchamps pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called Duchamps very ugly nudes. The group came to be known as the Puteaux Group, or the Section dOr, uninterested in the Cubists seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy
Marcel Duchamp
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Portrait of Marcel Duchamp, 1920-21, by
Man Ray, Yale University Art Gallery
Marcel Duchamp
Marcel Duchamp
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Three Duchamp brothers, left to right: Marcel Duchamp,
Jacques Villon, and
Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (
Smithsonian Institution collections.)
Marcel Duchamp
44.
Francis Picabia
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Francis Picabia was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism and his highly abstract planar compositions were colourful and rich in contrasts. He was one of the major figures of the Dada movement in the United States. He was later associated with Surrealism, but would soon turn his back on the art establishment. Francis Picabia was born in Paris of a French mother and a Cuban father who was an attaché at the Cuban legation in Paris and his mother died of tuberculosis when he was seven. Some sources would have his father as of aristocratic Spanish descent, whereas others consider him of non-aristocratic Spanish descent, financially independent, Picabia studied under Fernand Cormon and others at the École des Arts Decoratifs in the late 1890s. Fernand Cormon took him into his academy at 104 boulevard de Clichy, from the age of 20, he lived by painting, he subsequently inherited money from his mother. In the beginning of his career, from 1903 to 1908, little churches, lanes, roofs of Paris, riverbanks, wash houses, lanes, barges—these were his subject matter. Some however, began to question his sincerity and said he copied Sisley, or that his cathedrals looked like Monet, from 1909, he came under the influence of those that would soon be called Cubists and later form the Golden Section. The same year, he married Gabrielle Buffet, around 1911 Picabia joined the Puteaux Group, members of which he met at the studio of Jacques Villon in Puteaux, a commune in the western suburbs of Paris. There he became friends with artist Marcel Duchamp and close friends with Guillaume Apollinaire, other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Léger and Jean Metzinger. From 1913 to 1915 Picabia traveled to New York City several times and took part in the avant-garde movements. The magazine 291 devoted an issue to him, he met Man Ray, Gabrielle and Duchamp joined him, drugs and alcohol became a problem. He suffered from dropsy and tachycardia and these years can be characterized as Picabias proto-Dada period, consisting mainly of his portraits mécaniques. He continued the periodical with the help of Marcel Duchamp in the United States, in Zurich, seeking treatment for depression and suicidal impulses, he had met Tristan Tzara, whose radical ideas thrilled Picabia. Picabia, the provocateur, was back home, Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. He denounced Dada in 1921, and issued an attack against Breton in the final issue of 391. The same year, he put in an appearance in the René Clair surrealist film Entracte, the film served as an intermission piece for Picabias avant-garde ballet, Relâche, premiered at the Théâtre des Champs-Élysées, with music by Erik Satie
Francis Picabia
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Francis Picabia, 1919, inside Danse de Saint-Guy
Francis Picabia
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Francis Picabia, 1912, La Source (The Spring), oil on canvas, 249.6 x 249.3 cm,
Museum of Modern Art, New York. Exhibited at the 1912 Salon d'Automne, Paris
Francis Picabia
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Machine Turn Quickly, 1916-1918, tempera on paper,
National Gallery of Art
Francis Picabia
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Francis Picabia, 1913, Udnie (Young American Girl, The Dance), oil on canvas, 290 x 300 cm,
Musée National d'Art Moderne,
Centre Georges Pompidou, Paris.
45.
Umberto Boccioni
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Umberto Boccioni was an influential Italian painter and sculptor. He helped shape the revolutionary aesthetic of the Futurism movement as one of its principal figures, despite his short life, his approach to the dynamism of form and the deconstruction of solid mass guided artists long after his death. His works are held by many art museums, and in 1988 the Metropolitan Museum of Art in New York organized a major retrospective of 100 pieces. Umberto Boccioni was born on 19 October 1882 in Reggio Calabria and his father was a minor government employee, originally from the Romagna region in the north, and his job included frequent reassignments throughout Italy. The family soon relocated further north, and Umberto and his older sister Amelia grew up largely in Forlì, Genoa, at the age of 15, in 1897, Umberto and his father moved to Catania, Sicily, where he would finish school. Some time after 1898, he moved to Rome and studied art at the Scuola Libera del Nudo of the Accademia di Belle Arti di Roma, boccionis writings at this time already express the combination of outrage and irony that would become a lifelong characteristic. His critical and rebellious nature, and overall ability, would contribute substantially to the development of the Futurism movement. Severini wrote It was a stroke of luck for us to meet such a man. Returning to Italy in 1907, he took drawing classes at the Accademia di Belle Arti of Venice. He had first visited the Famiglia Artistica, a society for artists in Milan, Boccioni moved to Milan in 1907. There, early in 1908, he met the Divisionist painter Gaetano Previati, in early 1910 he met Filippo Tommaso Marinetti, who had already published his Manifesto del Futurismo in the previous year. Boccioni became the main theorist of the artistic movement, only when Boccioni, Severini and a few other Futurists traveled to Paris and saw what Braque and Picasso had been doing did the movement begin to take real shape. He also decided to be a sculptor after he visited various studios in Paris, in 1912, including those of Braque, Archipenko, Brâncuși, Raymond Duchamp-Villon and, probably, Medardo Rosso. In the brief span of the Italian Futurist movement, the short-lived Umberto Boccioni was a blazing comet. Boccioni was a theoretician of the movement, drafting two Futurist manifestoes in 1910 and 1912 that exalted the force and energy of contemporary life. They called for an art that glorified speed, violence and the machine age, one that above all reflected the dynamism of an engine-driven civilization. He exhibited in London, together with the group, in 1912 and 1914, others aligned themselves instead to its British equivalent, Vorticism, led by Wyndham Lewis. Boccionis gift was to bring a fresh eye to reality in ways that, we now recognise, defined the nature of the movement in the visual arts and literature
Umberto Boccioni
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Umberto Boccioni self-portrait (1905)
Umberto Boccioni
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Self portrait, 1905, oil on canvas
Umberto Boccioni
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Umberto Boccioni, 1913, Synthèse du dynamisme humain (Synthesis of Human Dynamism), sculpture destroyed
Umberto Boccioni
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Three Women, 1910
46.
Giacomo Balla
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Giacomo Balla was an Italian painter, art teacher and poet best known as a key proponent of Futurism. In his painting he depicted light, movement and speed, Giacomo Balla was born in Turin, in the Piedmont region of Italy. He was the son of a photographer and as a child studied music, at age nine, after the death of his father, he gave up music and began working in a lithograph print shop. By age 20, his interest in art had developed to such a level that he decided to study painting at local academies. Following academic studies at the University of Turin, Balla moved to Rome in 1895, for several years he worked in Rome as an illustrator, caricaturist and portrait painter. Around 1902, he taught Divisionist techniques to Umberto Boccioni and Gino Severini, influenced by Filippo Tommaso Marinetti, Giacomo Balla adopted the Futurism style, creating a pictorial depiction of light, movement and speed. He was a signatory of the Futurist Manifesto in 1910, and he began to design Futurist furniture, typical for his new style of painting is Dynamism of a Dog on a Leash and his 1914 work Abstract Speed + Sound. In 1914, Balla began working as a sculptor, creating, in 1915, during World War I, Ballas studio became a meeting place for young artists. In 1935, he was made a member of Romes Accademia di San Luca, in 1955, Balla participated in the documenta 1 in Kassel. Ballas 1909 painting The Street Light typifies his exploration of light, atmosphere, Ballas most famous works, such as his 1912 Dynamism of a Dog on a Leash where efforts to express movement – and thus the passage of time – through the medium of painting. One of Ballas main inspirations was the chronophotography of Étienne-Jules Marey, Ballas 1912 The Hand of the Violinist depicts the frenetic motion of a musician playing, and draws on inspiration from Cubism and the photographic experiments of Marey and Eadweard Muybridge. In his abstract 1912–1914 series Iridescent Interpenetration, Balla attempts to separate the experience of light from the perception of objects as such, Abstract Speed + Sound is a study of speed symbolised by the automobile. Originally, it may have part of a triptych. Ballas 1914 series Mercury Passing Before the Sun depicts the November 17,1914 transit of Mercury across the face of the Sun, Balla created at least a dozen versions and studies of this work. In 1987, some of his artworks were exhibited at documenta 8, works by Giacomo Balla Italian Futurism Maurizio Fagiolo DellArco, Balla, The Futurist Vivien Greene, Italian Futurism 1909 -1944. Reconstructing the Universe, Guggenheim Museum 2014, ISBN 978-0-89207-499-0 Giovanni Lista, Balla, catalogue général de l’œuvre, vol. I, Edizioni della Galleria Fonte d’Abisso, Modène,1982, vol. Giacomo Balla, Scritti futuristi, raccolti e curati da Giovanni Lista, Abscondita, Milan,2010
Giacomo Balla
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Giacomo Balla
Giacomo Balla
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Giacomo Balla, 1912, Dinamismo di un Cane al Guinzaglio (Dynamism of a Dog on a Leash),
Albright-Knox Art Gallery
Giacomo Balla
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Giacomo Balla, Abstract Speed and Sound, 1913-14
47.
Gino Severini
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Gino Severini was an Italian painter and a leading member of the Futurist movement. For much of his life he divided his time between Paris and Rome and he was associated with neo-classicism and the return to order in the decade after the First World War. During his career he worked in a variety of media, including mosaic and he showed his work at major exhibitions, including the Rome Quadrennial, and won art prizes from major institutions. Severini was born into a family in Cortona, Italy. His father was a court official and his mother a dressmaker. He studied at the Scuola Tecnica in Cortona until the age of fifteen, for a while he worked with his father, then in 1899 he moved to Rome with his mother. It was there that he first showed a serious interest in art, with the help of a patron of Cortonese origins he attended art classes, enrolling in the free school for nude studies and a private academy. His formal art education ended after two years when his patron stopped his allowance, declaring, I absolutely do not understand your lack of order, in 1900 he met the painter Umberto Boccioni. The ideas of Divisionism had a influence on Severinis early work. Severini settled in Paris in November 1906, the move was momentous for him. He said later, The cities to which I feel most strongly bound are Cortona and Paris, I was born physically in the first and he lived in Montmartre and dedicated himself to painting. There he met most of the artists of the period, befriending Amedeo Modigliani and occupying a studio next to those of Raoul Dufy, Georges Braque. The sale of his work did not provide enough to live on and he was an important link between artists in France and Italy and came into contact with Cubism before his Futurist colleagues. Following a visit to Paris in 1911, the Italian Futurists adopted a sort of Cubism, in 1913, he had solo exhibitions at the Marlborough Gallery, London, and Der Sturm, Berlin. Severini later came to agree with Apollinaire, Severini was less attracted to the subject of the machine than his fellow Futurists and frequently chose the form of the dancer to express Futurist theories of dynamism in art. He was particularly adept at rendering lively urban scenes, for example in Dynamic Hieroglyph of the Bal Tabarin, during the First World War he produced some of the finest Futurist war art, notably his Italian Lancers at a Gallop and Armoured Train. In 1916 Severini departed from Futurism and painted works in a naturalistic style inspired by his interest in early Renaissance art. After the First World War, Severini gradually abandoned the Futurist style, by 1920 he was applying theories of classical balance based on the Golden Section to still lifes and figurative subjects from the traditional commedia dellarte
Gino Severini
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Gino Severini, aged 30, at the opening of his solo exhibition at the Marlborough Gallery, London
Gino Severini
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Gino Severini, 1910–11, La Modiste (The Milliner), oil on canvas, 64.8 x 48.3 cm,
Philadelphia Museum of Art
Gino Severini
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Gino Severini, 1911, Souvenirs de Voyage (Memories of a Journey, Ricordi di viaggio), oil on canvas, 47 x 75 cm, private collection
Gino Severini
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Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.),
Museum of Modern Art, New York
48.
Marc Chagall
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Marc Zakharovich Chagall was a Russian-French artist. Art critic Robert Hughes referred to Chagall as the quintessential Jewish artist of the twentieth century, according to art historian Michael J. Lewis, Chagall was considered to be the last survivor of the first generation of European modernists. For decades, he had also respected as the worlds preeminent Jewish artist. Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and he also did large-scale paintings, including part of the ceiling of the Paris Opéra. Before World War I, he travelled between Saint Petersburg, Paris and Berlin, during this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He had two basic reputations, writes Lewis, as a pioneer of modernism and as a major Jewish artist. He experienced modernisms golden age in Paris, where he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism. Yet throughout these phases of his style he remained most emphatically a Jewish artist, when Matisse dies, Pablo Picasso remarked in the 1950s, Chagall will be the only painter left who understands what colour really is. Marc Chagall was born Moishe Segal in a Lithuanian Jewish family in Liozna, at the time of his birth, Vitebsks population was about 66,000, with half the population being Jewish. A picturesque city of churches and synagogues, it was called Russian Toledo, as the city was built mostly of wood, little of it survived years of occupation and destruction during World War II. Chagall was the eldest of nine children, the family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl Shagal, was employed by a herring merchant and his father worked hard, carrying heavy barrels but earning only 20 roubles each month. Chagall would later include fish motifs out of respect for his father, writes Chagall biographer, Chagall wrote of these early years, Day after day, winter and summer, at six oclock in the morning, my father got up and went off to the synagogue. There he said his prayer for some dead man or other. On his return he made ready the samovar, drank some tea, hellish work, the work of a galley-slave. No word will ever ease my fathers lot, There was always plenty of butter and cheese on our table. Buttered bread, like a symbol, was never out of my childish hands. One of the sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout Russia
Marc Chagall
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Chagall, c.1920 (by Pierre Choumoff)
Marc Chagall
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Chagall's Parents
Marc Chagall
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Portrait of Chagall by
Yehuda (Yuri) Pen, his first art teacher in Vitebsk
Marc Chagall
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Marc Chagall, 1912, Calvary (Golgotha), oil on canvas, 174.6 x 192.4 cm,
Museum of Modern Art, New York. Alternative titles: Kreuzigung Bild 2 Christus gewidmet [Golgotha. Crucifixion. Dedicated to Christ]. Sold through Galerie
Der Sturm (Herwarth Walden), Berlin to Bernhard Koehler (1849–1927), Berlin, 1913. Exhibited: Erster Deutscher Herbstsalon, Berlin, 1913
49.
Natalia Goncharova
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Natalia Sergeevna Goncharova was a Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer. Natalia Sergeevna Goncharova was born on June 21,1881, in Nagaevo and her father, Sergei, was an architect and graduate of the prestigious Moscow Institute of Painting, Sculpture and Architecture. Goncharova moved to Moscow at the age of 10 in 1892, in 1901 Goncharova began her own studies at the Moscow Institute of Painting, Sculpture and Architecture as a sculptor, under Pavel Trubetskoi, who was associated with the World of Art movement. By 1903, she began exhibiting in major Russian salons and she was awarded a silver medal for sculpture in 1903-04. It was at the Moscow Institute that Goncharova met fellow-student Mikhail Larionov, Goncharova drew inspirations for primitivism from Russian icons and folk art, otherwise known as luboks. The Donkeys Tail was conceived as a break from European art influence. Goncharova and her counter-part, Larionav, were harassed for their artwork. However, the influence of Russian Futurism is much in evidence in Goncharovas later paintings, initially preoccupied with icon painting and the primitivism of ethnic Russian folk-art, Goncharova became famous in Russia for her Futurist work such as The Cyclist and her later Rayonist works. Goncharova and Larionav painted hieroglyphics and flowers on their faces and walked the streets as a part of a primitivist art movement, Goncharova herself sometimes appears topless in public with symbols on her chest. As leaders of the Moscow Futurists, they organized provocative lecture evenings in the vein as their Italian counterparts. Goncharova was also involved with graphic design—writing and illustrating several avant-garde books and she started to exhibit at the Salon dAutomne since 1906. Goncharova was a member of the Der Blaue Reiter avant-garde group from its founding in 1911, in 1915, she began to design ballet costumes and sets in Geneva. In 1915 she started work on a series of designs—Six Winged Seraph, Angel, St. Andrew, St. Mark, Nativity, and others—for a ballet commissioned by Sergei Diaghilev to be titled Liturgy. Also involved in the project, for which Igor Stravinsky was invited to compose the score, were Larionov and Léonide Massine, Goncharova moved to Paris in 1921 where she designed a number of stage sets of Diaghilevs Ballets Russes. She also exhibited at the Salon dAutomne in 1921, and participated regularly at the Salon des Tuileries, Goncharova and Larionav collaborated on four charity events in Moscow. These events were The Grand Bal des Aristes, The Bal Banal, The Bal Olympique and they both designed much of the publicity materials for the event. Between 1922 and 1926 Goncharova created fashion designs for Marie Cuttolis shop, Maison Myrbor on the Rue Vincent and her richly embroidered and appliquéd dress designs were strongly influenced by Russian folk art, Byzantine mosaic and her work for the Ballets Russes. In 1938 Goncharova became a French citizen, on June 2,1955, four years after Larionov suffered a stroke, the two artists got married in Paris to safeguard their rights of inheritance
Natalia Goncharova
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Natalia in 1910
Natalia Goncharova
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Self-portrait (1907)
Natalia Goncharova
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Women with rakes (1907)
Natalia Goncharova
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Khorovod (1910)
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