Impressionism 14 B 33 Bazin Germain Impressionist paintings

Impressionism Щ 14 B 33 Bazin Germain Impressionist paintings in the Louvre. – London : Thames and Hudson, 1977. is a 19 th-century art movement that originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870 s and 1880 s. Impressionist painting characteristics include relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil Levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari. The development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature. Impressionism is so much a French movement that it should be no surprise that the galleries of the Louvre at the Jeu de Paume contain such a superb collection of this school. The walls of the galleries are rich with the sunlight of the Impressionist world, the gaiety of picnics by the river, of cornfields and the glistening cobbles of city streets. For this new revised edition of an exceptionally popular title in the 'World of Art Library' Germain Bazin, the distinguished Conservateur-en-Chef of the Louvre, has selected 222 of the finest treasures for reproduction. His remarkably lucid text has been thoroughly revised and contains several new passages of importance; it provides a superb introduction to the Jeu de Paume and to Impressionism itself. Artists are widely presented in this section. We offer to your attention the book in which in addition to the information presented illustrations of paintings. Despite the fact that many of them were published long ago, they retained the print quality and don't inferior to many modern albums. Let's start. смотреть далее

Pierre-Auguste Renoir Claude Monet Henri Matisse Edgar Degas Для дальнейшего просмотра нажмите на портрет художника Henri de Toulouse-Lautrec Vincent van Gogh Camille Pissarro Alfred Sisley Paul Cézanne Paul Gauguin Édouard Manet François-Auguste-René Rodin

Pierre-Auguste Renoir On a Cliff 1880 Dance at Bougival 1883 Basket of Flowers commonly known as Auguste Renoir 25 (February 1841 – 3 December 1919), was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau/Pierre. Auguste Renoir was born in Limoges, Haute-Vienne, France, the child of a working-class family. As a boy, he worked in a porcelain factory where his drawing talents led to his being chosen to paint designs on fine china. Before he enrolled in art school, he also painted hangings for overseas missionaries and decorations on fans. During those early years, he often visited the Louvre to study the French master painters. In 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet. At times, during the 1860 s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol (1867), which depicted Lise Tréhot, his lover at the time. Although Renoir first started exhibiting paintings at the Paris Salon in 1864. After a series of rejections by the Salon juries, Renoir joined forces with Monet, Sisley, Pissarro, and several other artists to mount the first Impressionist exhibition in April 1874, in which Renoir displayed six paintings. Although the critical response to the exhibition was largely unfavorable, Renoir's work was comparatively well receive. In 1890, he married Aline Victorine Charigot, who, along with a number of the artist's friends, had already served as a model for Le Déjeuner des canotiers (Luncheon of the Boating Party) 1881, and with whom he had already had a child, Pierre, in 1885. ] After his marriage, Renoir painted many scenes of his wife and daily family life including their children and their nurse, Aline's cousin Gabrielle Renard. The Renoirs had three sons: Jean Renoir, who became a filmmaker of note, Pierre Renoir, who became a stage and film actor, and Claude Renoir, who became a ceramic artist. Renoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings. One of the best known Impressionist works is Renoir's 1876 Dance at Le Moulin de la Galette. Из фондов Лингвострановедческого центра библиотеки ТОГУ вернуться

Щ 14 G 26 Gauthier Maximilienт. Renoir Naefels: Bonfini Press, S. A. 1976 (Les maitres de la peinture moderne) Щ 14 R 43 Renoir Pierre Auguste/Text von Walter Pach. -Koln: Dumont Buchverlag, 1983 вернуться

Henri Matisse Dance 1910 Before this canvas, theme of the dance passed through several stages in Matisse's work. Only in this composition of 1910, however, did it acquire its famous passion and expressive resonance. The frenzy of the pagan bacchanalia is embodied in the powerful, stunning accord of red, blue and green, uniting Man, Heaven and Earth. How rightly has Matisse captured the profound meaning of the dance, expressing man's subconscious sense of involvement in the rhythms of nature and the cosmos. The five figures have firm outlines, while the deformation of those figures is an expression of their passionate arousal and the power of the allconsuming rhythm. The swift, joint movement fills the bodies with untamed life force and the red becomes a symbol of inner heat. The figures dance in the deep blue of the Cosmos and the green hill is charged with the energy of the dancers, sinking beneath their feet and then springing back. For all its expressiveness, Matisse's Dance has no superfluous emotion, other than that required by the subject. The very organisation of the canvas ensures that. Instinct and consciousness are united into a harmonious whole, as we can feel in the balance between centrifugal and centripetal forces, and in the outlines of the figure on the left, strong and classical in proportion. (December 31, 1869 - November 3, 1954) was a French artist. He was born Henri-Emile-Benoit Matisse in Le Cateau, Picardie, France, and grew up in Bohainen-Vermandois. In 1887 he went to Paris to study law. After gaining his qualification he worked as a court administrator in Cateau Cambresis. Following an attack of appendicitis he took up painting during his convalescence. After his recovery, he returned to Paris in 1891 to study art at the Academie Julian and became a student of Odilon Redon and Gustave Moreau. nfluenced by the works of Edouard Manet, Paul Signac and Paul Cezanne, and also by traditional Japanese art, he painted in the Fauvist manner, becoming known as a leader of that movement. His first exhibition was in 1901 and his first solo exhibit. His fondess for bright and expressive colour became more pronounced after he moved southwards in 1905 to work with Andre Derain and spent time on the French Riviera, his paintings marked by having the colours keyed up into a blaze of intense shades and characterized by flat shapes and controlled lines, with expression dominant over detail. The decline of the Fauvist movement after 1906 did nothing to affect the rise of Matisse; he had moved beyond them and many of his finest works were created between 1906 and 1917 when he was an active part of the great gathering of artistic talent in Montparnasse. In 1941 he was diagnosed with cancer and, following surgery, he soon needed a wheelchair; this did not stop his work however, but as increased weakness made an easel impossible he created cut paper collages called papiers decoupes, often of some size, which still demonstrated his eye for colour and geometry. tion in 1904. Matisse lived in Cimiez on the French Riviera, now a suburb of the city of Nice, from 1917 until his death in 1954. He is buried there in the Cimiez Monastery Cemetery. Working in a number of modes, but principally as a painter, he is considered one of the most significant artists of the early 20 th century. Unlike many artists, he achieved international fame and popularity during his own lifetime. From his early shows in Paris, he attracted collectors and critics. Из фондов лингвострановедческого центра библиотеки ТОГУ вернуться

Щ 14 G 70 Lawrence Gowing Matisse /New York. Toronto: Oxford University Press, 1979 In this richly illustrated study, Lawrence Gowing takes us through Matisse's career, assessing the lifetime of arduous labor that culminated in the apparent spontaneity of his color and ease of his imagery, and in the formidable intelligence of his compositions. The detailed discussion of individual works reveals the subtlety and complexity of one of the greatest masters вернуться

Henri de Toulouse-Lautrec was born on November 24, 1864, in southern France. Son and heir of Comte Alphonse. Charles de Toulouse, he was the last in the line of an aristocratic family that dated back a thousand years. Today, the family estate houses the Musée Toulouse-Lautrec. As a child, Henri was weak and often sick. But by the time he was ten years old he had begun to draw and paint. At age twelve Toulouse-Lautrec broke his left leg and at fourteen his right leg. The bones did not heal properly, and his legs ceased to grow. He reached maturity with a body trunk of normal size but with abnormally short legs. He was only 4 1/2 feet (1. 5 meters) tall. Deprived of the physical life that a normal body would have permitted, Toulouse-Lautrec lived completely for his art. He dwelt in the Montmartre section of Paris, the center of the cabaret entertainment and bohemian life that he loved to depict in his work. Dance halls and nightclubs, racetracks, prostitutes - all these were memorialized on canvas or made into lithographs. Toulouse. Lautrec was very much an active part of this community. He would sit at a crowded nightclub table, laughing and drinking, meanwhile making swift sketches. The next morning in his studio he would expand the sketches into brightly colored paintings. In order to join in the Montmartre life - as well as to fortify himself against the crowd's ridicule of his appearance Toulouse-Lautrec began to drink heavily. By the 1890 s the drinking was affecting his health. He was confined first to a sanatorium and then to his mother's care at home, but he could not stay away from alcohol. Toulouse-Lautrec died on September 9, 1901, at the family chateau of Malrome. Из фондов лингвострановедческого центра библиотеки ТОГУ At the Moulin Rouge: The Dance At the Moulin Rouge / It was painted in 1890, and is the second of a number of graphic paintings by Toulouse-Lautrec depicting the Moulin Rouge cabaret built in Paris in 1889. It portrays two dancers dancing the can-can in the middle of the crowded dance hall. A recently discovered inscription by Toulouse-Lautrec on the back of the painting reads: "The instruction of the new ones by Valentine the Boneless. " This means that the man to the left of the woman dancing, is Valentin le désossé, a well-known dancer at the Moulin Rouge, and he is teaching the newest addition to the cabaret. To the right, is a mysterious aristocratic women in pink. The background also features many aristocratic people such as poet Edward Yeats, the club owner and even Toulouse-Lautrec's father. The work is currently displayed at the Philadelphia Museum of Art. вернуться

Щ 14 J 92 Julien Edouard Lautrec/Naefels: Bonfini Press, S. A. The book has plain wraps, with an illustrated dust jacket. The book is bumped at the base of the spine. The trench is split about a third of the way through the book, before an April poster, although the thread is still holding. There is little or no age toning to the pages. Faint ownership appears on the second endpaper. Otherwise, the book remains Very Good for its age. There is a semi-opaque overlay, which is torn at the spine. вернуться

Сamille Pissarro Paint the essential characters of things, and try to convey it by whatever means possible, rather than being preoccupied with the medium. Do not adhere to rules and principles, but paint what you observe and feel. You mast paint confidently, expensively, without hesitation, so as to retain the primary impression. Do not stand in awe of nature, for you mast be daring even at the risk of dece iving yourself or making mistakes and it is essential to have but one master, that is nature, whom you must always consult. The Boulevard Montmartreon a Winter Morning 1897 After spending six years painting in the rural setting of Éragny, Pissarro returned to Paris, where he produced several series of the "grands boulevards. " As Pissarro surveyed the view from his lodgings at the Grand Hôtel de Russie in early 1897, he marveled that not only could he "see down the whole length of the boulevards" but he had "almost a bird's- Из фондов лингвострановедческого центра библиотеки ТОГУ вернуться eye view of carriages, omnibuses, people, between big trees, big houses that have to be set straight. " From February through April, he set out to record—in two views of the boulevard des Italiens to the right, and fourteen of the boulevard Montmartre to the left— the spectacle of urban life as it unfolded below his window.

Щ 14 L 85 Lloyd Christopher Pissarro/Edinburgh: Phaidon Press Limited 1979 Camille Pissarro was not only a central figure in the Impressionist movement, but a seminal influence on the development of modern art. This book concentrates on the evolution of Pissarro s painting, but this is done in the knowledge that he was dedicated draughtsman, an influential theoretician and a man with firm political beliefs. No less than his better-known contemporaries, Manet, Degas and Monet, Pissarro emerges as a figure deserving of close attention for the technical skill, compositional brilliance and innovatory tendencies of his painting. The generous and wide-ranging selection of color plates combines with the text to prove that Pissarro s work both more interesting and more compellingly beautiful than is often believed. вернуться

Paul Cézanne Still Life with a Curtain 1895 Mont Sainte-Victoire 1882– 1885 19 January 1839 – 22 October 1906) was a French artist and Impressionist painter whose work laid the foundations of the transition from the 19 th-century conception of artistic endeavour to a new and radically different world of art in the 20 th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. Cézanne is said to have formed the bridge between late 19 thcentury Impressionism and the early 20 th century's new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne "is the father of us all. «The Cézannes lived in the town of Cesana Torinese, now in West Piedmont, Italy, and the surname is probably of Italian origin. At the age of ten Cézanne entered the Saint Joseph school in Aix. ] In 1852 Cézanne entered the Collège Bourbon (now Collège Mignet), where he met and became friends with Émile Zola, who was in a less advanced class, as well as Baptistin Baille—three friends who came to be known as "les trois inséparables" (the three inseparables). He stayed there for six years, though in the last two years he was a day scholar. In 1857 he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk. From 1858 to 1861, complying with his father's wishes, Cézanne attended the law school of the University of Aix, while also Из фондов лингвострановедческого центра библиотеки ТОГУ receiving drawing lessons. Going against the objections of his banker father, he committed himself to pursuing his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time. Eventually, his father reconciled with Cézanne and supported his choice of career. Cézanne later received an inheritance of 400, 000 francs from his father, which rid him of all financial worries Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials: he wanted to "treat nature by the cylinder, the sphere, the cone" (a tree trunk may be conceived of as a cylinder, an apple or orange a sphere, for example). Additionally, Cézanne's desire to capture the truth of perception led him to explore binocular vision graphically, rendering slightly different, yet simultaneous visual perceptions of the same phenomena to provide the viewer with an aesthetic experience of depth different from those of earlier ideals of perspective, in particular single-point perspective. Cézanne's innovations have prompted critics to suggest such varied explanations as sick retinas, pure vision, and the influence of the steam railway. вернуться

Щ 14 С 42 Cezanne /Milano: Rizzoli Editore. -1979 Щ 14 Т 15 Taillandier Yvon. Сezann/Naefels: Bonfin Press, S. A. -1979 вернуться

Édouard Manet Olympia 1863 (23 January 1832 – 30 April 1883) was a French painter. He was one of the first 19 th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism. His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Manet’s debut as a painter met with a critical resistance that did not abate until near the end of his career. Although the success of his memorial exhibition and the eventual critical acceptance of the Impressionists—with whom he was loosely affiliated—raised his profile by the end of the 19 th century, it was not until the 20 th century that his reputation was secured by art historians and critics. Manet’s disregard for traditional modeling and perspective made a critical break with academic painting’s historical emphasis on illusionism. This flaunting of tradition and the official art establishment paved the way for the revolutionary work of the Impressionists and Post-Impressionists. Manet also influenced the path of much 19 th- and 20 th-century art through his choice of subject matter. His focus on modern, urban subjects—which he presented in a straightforward, almost detached manner—distinguished him still more from the standards of the Salon, which generally favoured narrative and avoided the gritty realities of everyday life. Manet’s daring, unflinching approach to his painting and to the art world assured both him and his work a pivotal place in the history of modern art. A Bar at the Folies-Bergère 1882 Из фондов лингвострановедческого центра библиотеки ТОГУ вернуться

Щ 14 R 69 Rey Robert Manet / Naefels: Bonfini Press, S. A. -1983 вернуться

Claude Monet (November 14, 1840 - December 5, 1926), French impressionist painter. Monet was born in Paris, France. His family moved to Le Havre in Normandy when he was six. His father wanted him to go into the family grocery store business, but Oscar Monet wanted to paint. Eugene Boudin, an artist who worked extensively on plein air paintings quick sketches made in open air - at beaches in Normandy, taught him some painting techniques in 1856. In 1862 he studied art with Charles Gleyre in Paris, where he met Pierre. Auguste Renoir with whom he founded the Impressionist movement. They painted together and maintained a lifelong friendship. Monet could also use the studio and paint its models for a low cost. He painted Camille Doncieux, and later they were married. He painted Women in the Garden in the late 1860 s. They moved to a house in Argenteuil, near the Seine River, after he and his wife had their first child. They lived there for six years until Camille died; he painted her on her death-bed. Monet then moved to a house in Giverny, Eure, in the Haute-Normandie Region where he planted a large garden. In 1872 (or 1873) Monet painted Impression, soleil levant (French: Impression, sunrise now in the Musee Marmottan, Paris), a landscape of Le Havre, which was hung in the first Impressionist exhibition in 1874. It is said that a hostile critic Louis Leroy used the name "Impressionists" from the title of this picture by commenting that their paints were indeed "impressions" rather than finished works of art. By the third exhibition in 1876 the painters we know as the Impressionists were using the term about themselves. He married Alice Hoschede in 1892, whom he had an affair with while he was married to Camille. In the 1880 s and 1890 s Monet painted a series of paintings of the Rouen Cathedral from different points of view and at different times of the day. Twenty views of the cathedral were exhibited at the Durand -Ruel gallery in 1895. He also made series-paintings of haystacks. Monet was exceptionally fond of painting controlled nature - his own garden, his water lilies, his pond, and his bridge. His garden had a meadow with willows and a marsh. He also painted up and down the banks of the Seine. In 1914 Monet began a major new large series of the water lily scenes at the suggestion of his friend, the politician Georges Clemenceau. He is interred in the Giverny Church Cemetery, Giverny, Eure, in the Haute -Normandie, Region of France. Argenteuil 1872 Flowers and Fruit 1869 Из фондов лингвострановедческого центра библиотеки ТОГУ вернуться In The Woods At Giverny Blanche Hoschede Monet At Her Easel With Suzzanne Hoschede Reading 1887

Щ 14 Т 15 Taillandier Yvon Claude Monet/ Naefels: Bonfini Press, S. A. 1977 Щ 14 М 81 Monet: 25 masterworks/ New York: Harry N. Abrams, Inc. 1982 вернуться

Edgar Degas Dancers in Pink CGF in full Hilaire-Germain-Edgar De Gas, De Gas later spelled Degas (born July 19, 1834, Paris, France— died September 27, 1917, Paris), French painter, sculptor, and printmaker who was prominent in the Impressionist group and widely celebrated for his images of Parisian life. Degas’s principal subject was the human—especially the female—figure, which he explored in works ranging from the sombre portraits of his early years to the studies of laundresses, cabaret singers, milliners, and prostitutes of his Impressionist period. Ballet dancers and women at their toilette would preoccupy him throughout his career. Degas was the only Impressionist to truly bridge the gap between traditional academic art and the radical movements of the early 20 th century, a restless innovator who often set the pace for his younger colleagues. Acknowledged as one of the finest draftsmen of his age, Degas experimented with a wide variety of media, including oil, pastel, gouache, etching, lithography, monotype, wax modeling, and photography. In his last decades, both his subject matter and technique became simplified, resulting in a new art of vivid colour and expressive form, and in long sequences of closely linked compositions. Once marginalized as a “painter of dancers, ” Degas is now counted among the most complex and innovative figures of his generation, credited with influencing Pablo Picasso, Henri Matisse, and many of the leading figurative artists of the 20 th century. A Woman Seated beside a Vase of Flowers вернуться L'Absinthe 1876

Vincent van Gogh March 30, 1853 - July 29, 1890 was a Dutch painter, generally considered one of the greatest painters in European art history. He produced all of his work (some 900 paintings and 1100 drawings) during a period of only 10 years before he succumbed to mental illness (possibly bipolar disorder) and committed suicide. He had little success during his lifetime, but his posthumous fame grew rapidly, especially following a showing of 71 of van Gogh's paintings in Paris on March 17, 1901 (11 years after his death). (Properly, in Dutch language pronunciation, the name Gogh rhymes with the English language loch, in other languages than Dutch it is also pronounced 'goph', 'go' and 'goe'. ) Van Gogh's influence on expressionism, fauvism and early abstraction was enormous, and can be seen in many other aspects of 20 th-century art. The Van Gogh Museum in Amsterdam is dedicated to Van Gogh's work and that of his contemporaries. The Kroller-Muller Museum in Otterlo (also in the Netherlands), has a considerable collection of Vincent van Gogh paintings as well. Several paintings by Van Gogh rank among the most expensive paintings in the world. On March 30, 1987 Van Gogh's painting Irises was sold for a record $53. 9 Sunflowers million at Sotheby's, New York. On May 15, 1990 his Portrait of Doctor Gachet was sold for $82. 5 million at Christie's, thus establishing a new price record (see also List of most expensive paintings). The Starry Night, June 1889 "This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big, " van Gogh wrote to his brother Theo, from France. Rooted in imagination and memory, The Starry Night embodies an inner, subjective expression of van Goghs response to nature. In thick, sweeping brushstrokes, a flamelike cypress unites the churning sky and the quiet village below. The village was partly invented, and the church spire evokes van Gogh's native land, the Netherlands. Из фондов лингвострановедческого центра библиотеки ТОГУ вернуться

Щ 14 L 36 Lassaigne Jacques Van Gogh/ London: Thames and Hudson. -1979 вернуться

Alfred Sisley Villeneuve-la-Garenne (Village on the Seine) Meadow 1875 was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, and his mother Felicia Sell was a cultivated music connoisseur. In 1857 at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. From 1862, he studied at the Paris École des Beaux-Arts within the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Frédéric Bazille, Claude Monet, and Pierre-Auguste Renoir. Together they would paint landscapes en plein air rather than in the studio, in order to realistically capture the transient effects of sunlight. This approach, innovative at the time, resulted in paintings more colorful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860 s, though, Sisley was in a better financial position than some of his fellow artists, as he received an allowance from his father. In 1866, Sisley began a relationship with Eugénie Lesouezec (1834– 1898; also known as Marie Lescouezec), a Breton living in Paris. The couple had two children: son Pierre (born 1867) and daughter Jeanne (1869). [ At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, the gatheringplace of many Parisian painters. In 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success; nor did subsequent exhibitions. Из фондов лингвострановедческого центра библиотеки ТОГУ In 1870 the Franco-Prussian War began, and as a result Sisley's father's business failed and the painter's sole means of support became the sale of his works. For the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons; and this allowed him, among other things, to make a few brief trips to Britain. The first of these occurred in 1874 after the first independent Impressionist exhibition. The result of a few months spent near London was a series of nearly twenty paintings of the Upper Thames near Molesey, which was later described by art historian Kenneth Clark as "a perfect moment of Impressionism. ” Until 1880, Sisley lived and worked in the country west of Paris; then he and his family moved to a small village near Moret-sur-Loing, close to the forest of Fontainebleau, where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, "the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the rampaging ocean or the brilliantly colored scenery of the Côte d'Azur. ” In 1881 Sisley made a second brief voyage to Britain. In 1897 Sisley and his partner visited Britain again, and were finally married in Cardiff Register Office on 5 August. They stayed at Penarth, where Sisley painted at least six oils of the sea and the cliffs. In mid-August they moved to the Osborne Hotel at Langland Bay on the Gower Peninsula, where he produced at least eleven oil paintings in and around вернуться Langland Bay and Rotherslade Bay (then called Lady's Cove). They returned to France in October. This was Sisley's last voyage to his ancestral homeland. The National Museum Cardiff possesses two of his oil paintings of Penarth and Langland. The following year Sisley applied for French citizenship, but was refused. A second application was made and supported by a police report, but illness intervened, and Sisley remained British till his death. The painter died on 29 January 1899 in Moretsur-Loing at the age of 59, a few months after the death of his wife.

Щ 14 S 55 Shone Richard Sisley/Oxford: Phaidon. - 1979 Of all the French Impressionists, it is a commonplace of Sisley (1839 -99) as the most neglected and perhaps the least interesting. His life and personality are not well documented, unlike those of the other Impressionists, and he died before recognition and reword came his way. He painted landscape almost eхcursively, choosing for his subjects the fields and rivers of the Il-de-France and quiet corners of the villages where he spend most of his life. This book gives an account of Sisley s career and character, and his role within the impressionist movement. It traces his stylistic development in relation to the places where he worked -from the inspired landscapes of Fontainebleau to the lane works of chromatic brilliance painted at Moet-and seeks to redress the balance in favour of some of his later pictures, which have been unfairly Neglected. Looked at in this light, Sisley is seen to be not merely a charming, minor landscapist, but an artist of considerable power and originality. вернуться

Paul Gauguin Femmes de Tahiti 1891 The Swineherd Gauguin’s life was interesting enough without all the mythologizing. He was born Eugene Henri Paul Gauguin on June 7, 1848, in Paris to a political journalist, Clovis Gauguin, and his wife, Aline Marie Chazal, the daughter of a prominent feminist. With revolutions sweeping Europe when Paul was barely a year old, the family sought the relative safety of Peru, where Clovis intended to start a newspaper. But he died en route, leaving Aline, Paul and Paul’s sister, Marie, to continue on to Lima, where they stayed with Aline’s uncle. Five years later they returned to France. Gauguin was back on the high seas by the time he was 17, first in the merchant marine, then in the French Navy. When Gauguin’s mother died, in 1867, her close friend Gustave Arosa, a financier and art collector, became his guardian. Arosa introduced his ward to Paris painters, helped him get a job as a stockbroker and arranged for him to meet Mette Gad, the Danish woman he would marry in 1873. Though an admirer of Claude Monet, a collector of Paul Cézanne, a student of Camille Pissarro and a friend of Edgar Degas, Gauguin had long sought to go beyond Impressionism. He wanted his art to be more intellectual, more spiritual and less reliant on quick impressions of the physical world. The Universal Exposition of 1889, for which the Eiffel Tower was built, marked a defining moment for Gauguin. He was particularly taken with the Exposition’s ethnographic displays, featuring natives from France’s colonies in Africa and the South Pacific. It was likely the Exposition that pointed him to Tahiti. Though Gauguin’s two years in Tahiti were productive—he painted some 80 canvases and produced numerous drawings and wood sculptures—they brought in little money. Discouraged, he decided to return to France, landing in Marseilles in August 1893 with just four francs to his name. But with help from friends and a small inheritance, he was soon able to mount a one-man show of his Tahitian work. Critical reception was mixed, but critic Octave Mirbeau marveled at Gauguin’s unique ability to capture “the soul of this curious race, its mysterious and terrible past, and the strange voluptuousness of its sun. ” And Degas, then at the height of his success and influence, bought several paintings. Sick and near-penniless, Gauguin died at age 54 on May 8, 1903, and was buried in the Marquesas. A small retrospective was held in Paris that year. A major exhibition of 227 works followed in 1906, which influenced Pablo Picasso and Henri Matisse, among others. Gauguin was famous at last. вернуться thee Mary

François Auguste René Rodin 12 November 1840 – 17 November 1917, known as Auguste Rodin , was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past. He was schooled traditionally, took a craftsmanlike approach to his work, and desired academic recognition, although he was never accepted into Paris's foremost school of art. Sculpturally, Rodin possessed a unique ability to model a complex, turbulent, deeply pocketed surface in clay. Many of his most notable sculptures were roundly criticized during his lifetime. They clashed with predominant figurative sculpture traditions, in which works were decorative, formulaic, or highly thematic. Rodin's most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, and celebrated individual character and physicality. Rodin was sensitive to the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community. From the unexpected realism of his first major figure – inspired by his 1875 trip to Italy – to the unconventional memorials whose commissions he later sought, Rodin's reputation grew, such that he became the preeminent French sculptor of his time. By 1900, he was a world-renowned artist. Wealthy private clients sought Rodin's work after his World's Fair exhibit, and he kept company with a variety of high-profile intellectuals and artists. He married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, but within a few decades, his legacy solidified. Rodin remains one of the few sculptors widely known outside the visual arts community. The Burghers of Calais Why is The Thinker naked? Because Rodin wanted a heroic figure à la Michelangelo to represent Thinking as well as Poetry. Rodin himself wrote about his intention: The Thinker has a story. In the days long gone by I conceived the idea of the Gates of Hell. Before the door, seated on the rock, Dante thinking of the plan of the poem behind him. . . all the characters from the Divine Comedy. This project was not realized. Thin ascetic Dante in his straight robe separated from all the rest would have been without meaning. Guided by my first inspiration I conceived another thinker, a naked man, seated on a rock, his fist against his teeth, he dreams. The fertile thought slowly elaborates itself within his brain. He is no longer a dreamer, he is a creator. Из фондов лингвострановедческого центра библиотеки ТОГУ вернуться The Thinker. From the «Gate of hell» Bronze 1880 -1900 The kiss. Marble 1886

Щ 14 Т 15 Taillandier Yvon Rodin/ Naefels: Bonfini Press, S. A. -1980 Щ 13 R 69 Rodin : Sculptures/Introduced by S. Story/Oxford: Phaidon. -1979 Beside the painters of the Great Generation from Manet to Cezanne stands f solitary sculptor. Who ranks equally with them: Auguste Roden. In his studies, one hidden in a monastery crypt in Paris and the eхposed to the other eхposed to the sun and air on the Meudon hills. The Master surrounded himself with Egyptian. Greek and Gotic sculptures. And this most modern of all sculptors drew in fact upon the traditions of all great epochs/ Some of his works have nothing to fear from comparison with the masterpieces of Greek art or with the sculptures of Michelangelo. The impressive shape of the Thinker, the pathetic grope of the burgers of Calais on their way to sacrifice, the Balzac Memorial with head towering like a gigantic summit upon a mountainous body –these are his masterpieces. He created also some of the most impressive portraits of our century, such as the busts of Shaw, Victor Hugo, Gustav Mahler, and marvelous portraits of women. вернуться