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Author : Ermitazh
Publisher : Unknown
Page : 478 pages
File Size : 46,8 Mb
Release : 1975
Category : Painting
ISBN : NYPL:33433100840036
Author : Государственный Эрмитаж (Russia)
Publisher : Unknown
Page : 442 pages
File Size : 51,9 Mb
Release : 1975
Category : Painting
ISBN : UOM:39076000770813
Author : Nina Kalitina
Publisher : Parkstone International
Page : 175 pages
File Size : 41,5 Mb
Release : 2019-12-09
Category : Art
ISBN : 9781783104239
For Monet, the act of creation was always a painful struggle. His obsession with capturing the effects of lighting in nature was much more intense than that of his contemporaries. In his words: “Skills come and go … art is always the same: a transposition of nature that requires as much determination as sensibility. I strive and struggle against the sun … I might as well paint it with gold and precious stones.” A beautiful display of Impressionist work, Great Masters Monet explores the extraordinary paintings of one of the Masters of the 19th century. Monet’s rapid brushstroke style in landscapes and scenes from everyday life illustrates his overall fascination with light and colour.
Author : Nathalia Brodskaya
Publisher : Parkstone International
Page : 160 pages
File Size : 41,9 Mb
Release : 2011-07-01
Category : Art
ISBN : 9781780422978
For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre’s studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.”Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.
Author : Barska︠i︡a, A. G,Izergina, Antonina Nikolaevna,Leningrad. Hermitage Museum
Publisher : New York : H.N. Abrams
Page : 0 pages
File Size : 42,8 Mb
Release : 1982
Category : Painting
ISBN : OCLC:1310733222
Author : Rebecca A. Rabinow,Dorthe Aagesen,Metropolitan Museum of Art (New York, N.Y.)
Publisher : Metropolitan Museum of Art
Page : 274 pages
File Size : 42,5 Mb
Release : 2012
Category : Art, Modern
ISBN : 9781588394675
"Throughout his long career, Henri Matisse (1869-1954) continually expanded the boundaries of his art. By repeating images in pairs, trios, and series, he conducted an ongoing dialogue with his earlier works in order to, as he put it, "push further and deeper into true painting." In this fresh approach to a much-studied artist, prominent scholars from the United States and Europe examine more than sixty works in concise chapters that focus on this aspect of Matisse's working process. From early pairs such as Young Sailor I and II (1906) and Le Lexe I and II (1907-8) through a series of late studio scenes from Vence (1946-48), Matisse is shown revisiting a given theme with the aim of devising innovative, often radical, solutions to such problems as how to portray light, handle paint, select colors, and manipulate perspective. New technical studies of the early paired works and photographs documenting the evolution of his later paintings help to elucidate Matisse's complex evolution. In numerous excerpts from letters and interviews, he is revealed as an artist who regularly questioned himself and his methods, a man of powerful intellect who regarded each new painting as an adventure. A significant addition to art historical literature, Matisse: In Search of True Painting is a revelatory study of a seminal figure in 20th-century modernism."--Page 4 of cover.
Author : Gosudarstvennyĭ Ėrmitazh (Russia)
Publisher : ABRAMS
Page : 904 pages
File Size : 48,7 Mb
Release : 1994
Category : Architecture
ISBN : UOM:49015002270842
Author : Anna Barskaya
Publisher : Parkstone International
Page : 160 pages
File Size : 50,9 Mb
Release : 2011-07-01
Category : Art
ISBN : 9781780424866
Paul Gauguin was first a sailor, then a successful stockbroker in Paris. In 1874 he began to paint at weekends as a Sunday painter. Nine years later, after a stock-market crash, he felt confident of his ability to earn a living for his family by painting and he resigned his position and took up the painter’s brush full time. Following the lead of Cézanne, Gauguin painted still-lifes from the very beginning of his artistic career. He even owned a still-life by Cézanne, which is shown in Gauguin’s painting Portrait of Marie Lagadu. The year 1891 was crucial for Gauguin. In that year he left France for Tahiti, where he stayed till 1893. This stay in Tahiti determined his future life and career, for in 1895, after a sojourn in France, he returned there for good. In Tahiti, Gauguin discovered primitive art, with its flat forms and violent colours, belonging to an untamed nature. With absolute sincerity, he transferred them onto his canvas. His paintings from then on reflected this style: a radical simplification of drawing; brilliant, pure, bright colours; an ornamental type composition; and a deliberate flatness of planes. Gauguin termed this style “synthetic symbolism”.
Author : Edgar Degas,Jean Sutherland Boggs,Galeries nationales du Grand Palais (France)
Publisher : Metropolitan Museum of Art
Page : 640 pages
File Size : 49,6 Mb
Release : 1988
Category : Art, French
ISBN : 9780870995194
Katalog towarzyszący wystawom w: Galeries Nationales du Grand Palais w Paryżu, 9 luty - 16 maj 1988; National Galery of Canada w Ottawie, 16 czerwiec - 28 sierpień 1988; Metropolitan Museum of Art w Nowym Jorku, 27 wrzesień - 8 styczeń 1989.
Author : New York Public Library. Art and Architecture Division
Publisher : Unknown
Page : 504 pages
File Size : 45,6 Mb
Release : 1975
Category : Architecture
ISBN : UOM:39015016645171
Author : Albert Kostenevitch
Publisher : Parkstone International
Page : 200 pages
File Size : 43,7 Mb
Release : 2014-05-10
Category : Art
ISBN : 9781783101801
Pierre Bonnard was the leader of the group of post-impressionist painters who called themselves “the Nabis”, from the Hebrew word for “prophet”. Influenced by Odilon Redon, Puvis de Chavannes, popular imagery, and Japanese woodblock printing, Bonnard, Vuillard, Vallotton and Denis (to name the most prominent members) revolutionised the spirit of decorative technique during one of the richest periods in French painting. Although the increasing individualism of their works often threatened to weaken their unity, the Nabis were above all a group of close friends. The artwork presented in this book - varying between Bonnard’s guilelessness, Vuillard’s ornamental and mysterious works, Denis’s soft languor and Vallotton’s almost bitter roughness - plunges us into the deep source of their creative talents.
Author : Solomon R. Guggenheim Museum
Publisher : Unknown
Page : 476 pages
File Size : 47,5 Mb
Release : 2005
Category : Art
ISBN : UOM:39015064939088
Essays by James Billington, Lidia Iovleva, Robert Rosenblum, Mikhail Allenov, Alexander Borovsky, Alexander Kostenevich, Valerie Hillings, Evgenia Petrova and others.
Author : Richard R. Brettell,Camille Pissarro,Joachim Pissarro
Publisher : Yale University Press
Page : 300 pages
File Size : 53,7 Mb
Release : 1992-01-01
Category : Art
ISBN : 9780300053500
"Examines the problematic serial nature of ... [Pissarro's] urban works"--Foreword.
Author : Metropolitan Museum of Art (New York, N.Y.). Library
Publisher : Unknown
Page : 826 pages
File Size : 46,6 Mb
Release : 1962
Category : Art
ISBN : MINN:31951001323264N
Author : Metropolitan Museum of Art (New York, N.Y.)
Publisher : Unknown
Page : 172 pages
File Size : 52,6 Mb
Release : 1990
Category : Art
ISBN : UOM:39015047487999