The Paintings of Paul Cézanne: An online catalogue raisonné – www.cezannecatalogue.com

The Paintings of Paul Cézanne: An online catalogue raisonné - www.cezannecatalogue.com

The Paintings of Paul Cézanne: An online catalogue raisonné – www.cezannecatalogue.com

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About the Catalogue: The Paintings of Paul Cézanne, an online catalogue raisonné is the first installment of the artist’s complete works. It capitalizes on the versatility of digital technology and takes Cézanne scholarship in a new direction. The works in this catalogue are organized in five consecutive groups or themes: landscape, portrait, figure composition, still life, and bather.

Catalogue Entries include:

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Still . . .by ee cummings

museworthy

i carry your heart with me (i carry it in
my heart) i am never without it (anywhere
i go you go, my dear; and whatever is done
by only me is your doing, my darling)
.  … . . . . . . . . . . . . i fear
no fate (for you are my fate, my sweet) i want
no world (for beautiful you are my world, my true)
and it’s you are whatever a moon has always meant
and whatever a sun will always sing is you

here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life; which grows
higher than the soul can hope or mind can hide)
and this is the wonder that’s keeping the stars apart

i carry your heart…

View original post 21 more words

Lyonel Feininger, In a Village Near Paris (Street in Paris, Pink Sky), 1909.

Lyonel Feininger (American, active in Germany, 1871–1956), In a Village Near Paris (Street in Paris, Pink Sky), 1909. Oil on canvas, 39 ¾ x 32 in. (101 × 81.3 cm). University of Iowa Museum of Art, Iowa City; gift of Owen and Leone Elliott. © Lyonel Feininger Family, LLC./Artists Rights Society (ARS), New York.

Source:  http://uima.uiowa.edu/lyonel-feininger/

Artistic Inspiration: Richard Pousette-Dart

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Richard Pousette-Dart, Desert, 1940. Oil on canvas, 43 x 72 inches. Museum of Modern Art, New York. © The Estate of Richard Pousette-Dart.

A fiercely independent artist throughout his career, Richard Pousette-Dart contributed meaningfully to key discourses that shaped the emergence of Abstract Expressionism. In 1948 he attended gatherings at the Subjects of the Artist school, an informal group organized by William Baziotes, David Hare, Robert Motherwell and Mark Rothko that would later became known as the Eighth Street Club. In 1950 he participated in a three-day conference at Studio 35, and a year later his painting was included in the landmark exhibition Abstract Painting and Sculpture in America at The Museum of Modern Art, which had acquired his Number 11: A Presence (1949). In 1951, Pousette-Dart gained additional renown by appearing in Nina Leen’s iconic photograph “The Irascibles” in Life Magazine featuring prominent painters who had formally protested contemporary art policies at the Metropolitan Museum of Art.</em

Courtesy The Estate of Richard Pousette-Dart

Artistic Inspiration: New addition to Vincent van Gogh’s oeuvre – ‘Sunset at Montmajour’ (July 1888)

Confirming Sunset at Montmajour’s authenticity was a letter written by Vincent van Gogh to his brother Theo on 5 July 1888 [Arles]:

Yesterday, at sunset, I was on a stony heath where very small, twisted oaks grow, in the background a ruin on the hill, and wheatfields in the valley. It was romantic, it couldn’t be more so, à la Monticelli, the sun was pouring its very yellow rays over the bushes and the ground, absolutely a shower of gold” (Letter 636: To Theo van Gogh. Arles, Thursday, 5 July 1888).

Vincent Van Gogh, Sunset at Montmajour, July 1888. Oil on canvas, 73.3 cm × 93.3 cm (28.9 in × 36.7 in). Van Gogh Museum, Amsterdam, Netherlands.

 

Van Gogh Museum discovers new painting by Vincent van Gogh: Sunset at Montmajour

[Amsterdam, 9 September 2013]

 

The Van Gogh Museum has discovered a new painting by Vincent van Gogh (1853-1890): Sunset at Montmajour (1888). Director Axel Rüger: “A discovery of this magnitude has never before occurred in the history of the Van Gogh Museum. It is already a rarity that a new painting can be added to Van Gogh’s oeuvre. But what makes this even more exceptional is that this is a transition work in his oeuvre, and moreover, a large painting from a period that is considered by many to be the culmination of his artistic achievement, his period in Arles in the south of France. During this time he also painted world-famous works, such as Sunflowers, The yellow house and The bedroom. The attribution to Van Gogh is based on extensive research into style, technique, paint, canvas, the depiction, Van Gogh’s letters and the provenance.” Sunset at Montmajourwill be shown in the exhibition Van Gogh at work in the Van Gogh Museum in Amsterdam from 24 September. 

“All research indicates: this work is by Van Gogh”
Extensive research by Louis van Tilborgh and Teio Meedendorp, two senior researchers of the Van Gogh Museum, indicates that this is a work by Van Gogh. “We carried out art historical research into the style, the depiction, use of materials and context, and everything we found indicated that this is a work by Van Gogh. Stylistically and technically speaking, there are a plenty of parallels with other paintings by Van Gogh from the summer of 1888. By means of research into literature and records, we were also capable of tracing the earliest history of the provenance of the painting. It belonged to Theo van Gogh’s collection in 1890 and was sold in 1901.The location of the painting has been identified – the landscape not far from Arles near the Montmajour hill, with the ruin of the abbey with the same name – and, moreover, there are two letters from the artist from the summer of 1888 that literally refer to the painting. Van Gogh writes that he had not succeeded, which can be explained, because the painting shows very strong and typical characteristics of Van Gogh, next to weaker and less convincing elements. Technical research has shown that the pigments used correspond with those of Van Gogh’s palette from Arles – including the discolorations that are so characteristic of his oeuvre. He also used the same type of canvas and underpainting for at least one other work, The rocks from the Museum of Fine Arts in Houston, which he painted during the same period and which is highly comparable in terms of style.”

The relatively large painting (93.3 x 73.3 cm) has been technically researched by our restorer Oda van Maanen, in cooperation with the Cultural Heritage Agency of the Netherlands (Rijkdienst voor het Cultureel Erfgoed) (RCE), with X-ray photos and computer analyses of the type of canvas used. The pigments used have also been identified. Microscopic research has been carried out into the various layers of paint. Everything supports the conclusion: this work is by Van Gogh.

Transition in his oeuvre
Van Gogh had great ambitions with this painting. With this work he wanted to present himself as a poet among the landscape painters and was deeply disappointed when he felt he had not managed to solve certain problems convincingly. It is true that he was often dissatisfied with his achievements, because he even considered world-famous paintings such as Starry night (1889) in the Museum of Modern Art in New York and The sower (1888) in het Kröller-Müller Museum at Otterlo as not all that successful. Van Tilborgh and Meedendorp: “Yet, the tension between dream and reality is what makes this painting all the more attractive. We see Van Gogh visiblyworking, struggling almost, and this adds to the charm of this work. It belongs to a special group of experimental works that Van Gogh at times esteemed of lesser value than we tend to do nowadays. The painting is even a transitional work. From then on, Van Gogh increasingly felt the need to paint with more and more impasto and more and more layers, and owing to this work, we also get a more balanced insight into to origin of the greatest examples of his drawing – the series of pen and ink drawings that he made the week after he painted Sunset at Montmajour. The painting appears to be inextricably bound up with these pen and ink drawings, they constitute a unity.”

Research results on show in Van Gogh at work 
This discovery emphasizes the importance of research that the Van Gogh Museum, as expertise centre, carries out into Van Gogh’s painting method and life. The results of this long-term research of the Van Gogh Museum, in cooperation with RCE and Partner in Science Shell Nederland, into Van Gogh’s method of working are now on show in the anniversary exhibitionVan Gogh at work, open daily in Van Gogh Museum in Amsterdam until 12 January 2014.Sunset at Montmajour will be exhibited to the public as part of this exhibition from 24 September.

The entire report of the discovery of Sunset at Montmajour will be published in the October edition of The Burlington Magazine and will also be available in the Van Gogh Museum.

 

**Courtesy of the Van Gogh Museum, Amsterdam.**

Reference:

The Van Gogh Museum, Van Gogh Museum discovers new painting by Vincent van Gogh: Sunset at Montmajour (September 9, 2013)

Artistic Inspiration: Eugene J. Martin (July 24, 1938 – January 1, 2005)

“Eugene Martin (1938-2005) is best known for his imaginative, complex mixed media collages on paper, his often gently humorous pencil and pen and ink drawings, and his paintings on paper and canvas that may incorporate whimsical allusions to animal, machine and structural imagery among areas of “pure”, constructed, biomorphic, or disciplined lyrical abstraction. Martin called many of his works straddling both abstraction and representation ‘satirical abstracts’.”

© Estate of Eugene J. Martin

Selected works by Eugene J. Martin

(© 2013 Estate of Eugene James Martin.  All Rights Reserved)

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References

Words of Wisdom: Max Beckmann (1884 – 1950)

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(Self Portrait with Horn, 1939)

“My heart beats more for a raw, average vulgar art, which doesn’t live between sleepy fairy-tale moods and poetry but rather concedes a direct entrance to the fearful, commonplace, splendid and the average grotesque banality in life.”
-Max Beckmann

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Max Beckmann, The Acrobats, 1939. Oil on canvas, Center panel, 78 1/2 x 67″, Side panels: 78 1/2 x 35 1/2″. Private collection, St. Louis, Missouri

Artistic Inspiration: Jean Béraud, Parisian Street Scene, ca. 1985

This painting shows a view of a Parisian street corner on a gray, winter day. A typical Parisian scene, as Beraud’s straightforward paintings most commonly were, this painting evokes bustling activity in the background and an exchange of gazes in the foreground. A stylish woman dressed in black peruses a poster-covered kiosk, its orange tones contrasting to the otherwise silvery tones of the painting. To her right, another man who momentarily appears to be doing the same actually gazes in her direction. He is joined by another man who peers from behind the kiosk to admire the woman’s fashionable beauty. This woman is the only female shown in the painting, as men fill the background with movement and conversation.  Beraud’s representation of this street scene is so precise that its location in Paris can be identified as a view of the boulevard des Italiens from the corner of rue Laffitte.  (Metropolitan Museum of Art, Robert Lehman Collection)

Read more about Jean Béraud

Artistic Inspiration: Robert Henri (June 24, 1865–July 12, 1929)

Henri was a significant artist in his own right, but his influence extended beyond his repudiation of Impressionist and Academic conventions; his greatest influence was as an educator. Although Robert Henri was an important portraitist and figure painter, he is best remembered as a progressive and influential teacher.  He demanded his students be free-thinking and independent individuals and this likely contributed to their success and originality. He once said that “the world will see many fashions of art and most of the world will follow the fashions and make none. These cults – these ‘movements’ – are absolutely necessary, or at any rate their causes are, for somewhere in their centers are the ones who bear the Idea, the ones who have questioned, ‘But what do I think?’ and ‘How shall I say it best?’” (Russell Tether Fine Art)

His ideas on art were collected by former pupil Margery Ryerson and published as The Art Spirit (Philadelphia, 1923). He died in 1929 at the age of sixty-four (National Gallery of Art).

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The Art Spirit (1923) – A Collection of Quotes

“The man who has honesty, integrity, the love of inquiry, the desire to see beyond, is ready to appreciate good art. He needs no one to give him an ‘Art Education’; he is already qualified. He needs but to see pictures with his active mind, look into them for the things that belong to him, and he will find soon enough in himself an art connoisseur and an art lover of the first order.”

“It is a big job to know oneself; no one can ever entirely accomplish it. But to try is to act in the line of evolution. Men can come to know more of themselves, and act more like themselves, and this will be by dint of self-acknowledgment. The only men who are interesting to themselves and to others are those who have been willing to meet themselves squarely. Today man stands in his own way. He puts externally imposed criteria in the way of his own revelation and development. He should push the restraining hands off himself; he should defy fashion and let himself be.”

“Know what the old masters did. Know how they composed their pictures, but do not fall into the conventions they established. These conventions were right for them, and they are wonderful. They made their language. You make yours. All the past can help you.”

“There are moments in our lives, there are moments in a day, when we seem to see beyond the usual- become clairvoyant. We reach then into reality. Such are the moments of our greatest happiness. Such are the moments of our greatest wisdom. It is in the nature of all people to have these experiences; but in our time and under the conditions of our lives, it is only a rare few who are able to continue in the experience and find expression for it.”

“The man who has honesty, integrity, the love of inquiry, the desire to see beyond, is ready to appreciate good art. He needs no one to give him an art education; he is already qualified. He needs but to see pictures with his active mind, look into them for the things that belong to him, and he will find soon enough in himself an art connoisseur and an art lover of the first order.”

“When the artist is alive in any person… he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for better understanding.”

“Through art, mysterious bonds of understanding and of knowledge are established among men. They are the bonds of a great Brotherhood. Those who are of the Brotherhood know each other, and time and space cannot separate them.”

References

  • Homer, William Innes. Robert Henri and His Circle. Ithaca, 1969.
  • Kwiat, Joseph J. “Robert Henri’s Good Theory and Earnest Practice: The Humanistic Values of an American Painter.” Prospects 4 (1979), 389 – 401.
  • Kennedy-Gustafson, Sharon L., “Review of American Women Modernists: The Legacy of Robert Henri, 1910-1945 Edited by Marian Wardle” (2007). Great Plains Quarterly. Paper 1517. Retrieved from http://digitalcommons.unl.edu/greatplainsquarterly/1517
  • Leeds, Valerie Anne. Robert Henri: American Icon [Catalogue Essay]. Robert Henri: American Icon, 1998. New York: Owen Gallery.  (Accessed via Resource Library Magazine, Traditional Fine Arts Organization Online)
  • Perlman, Bennard B. Robert Henri: His Life and Art. New York, 1991.
  • Web, Poul.  Ashcan School – Robert Henri parts 1-5.  Art & Artists [blog], October 2012.

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