#french postimpressionism

[in-tenebris-et-in-solitudine]

[waldires]

Landscape by Emile Bernard (1868-1941)

[tynatunis]

Henri Matisse (French, 1869-1954) Petit paysage Corse oil on board, 16 x 22 cm. Painted in 1898 Private collection •​ #Repost @paintings_i_love № 3176 #HenriMatisse #Matisse #postimpressionismo #postimpressionisme #oilpainter #oilpaintings #oilpainting #artforeveryone #fineartpainting #paintingoftheday #peinture #historiadelarte #storiadellarte #peintures #historyofart #arthistory #beauxarts #instamuseum #artmuseum #pittura #arthistorian #peintre #malerei #19thcenturyart #20thcenturyart #oldmasters #impressionism #postimpressionism #europeanart #landscape https://www.instagram.com/p/ClLV606IELJ/?igshid=NGJjMDIxMWI=

[jamieroxxartist]

RIP today, Sept 9, 1901 – Henri de #ToulouseLautrec, French painter and illustrator (b. 1864) walked on.

(https://en.wikipedia.org/wiki/Henri_de_Toulouse-Lautrec)

#HenrideToulouseLautrec #PostImpressionism #ArtNouveau

[tesslev]

Post Impressionism

Post-Impressionism (also spelled Postimpressionism) was a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists' concern for the naturalistic depiction of light and colour. Its broad emphasis on abstract qualities or symbolic content means Post-Impressionism encompasses Les Nabis, Neo-Impressionism, Symbolism, Cloisonnism, the Pont-Aven School, and Synthetism, along with some later Impressionists' work. The movement's principal artists were Paul Cézanne (known as the father of Post-Impressionism), Paul Gauguin, Vincent van Gogh and Georges Seurat.

[christ2525]

What Fauvism is?

What is Fauvism? What Fauvism is?Fauvism is a workmanship development that was laid out towards the start of the twentieth 100 years. Described by its striking tones, finished brushwork and non-naturalistic portrayals, the Fauvist style denoted a fundamental second in the mid twentieth 100 years.

Fauvism is a craftsmanship development and style that was laid out towards the start of the twentieth 100 years. Spearheaded by any semblance of Henri Matisse and André Derain, in its initial years Fauvism was dominatingly partnered with French craftsmen. Fauvist craftsmanship is described by its striking tones, finished brushwork and non-naturalistic portrayals.

Somehow or another, Fauvist specialists arose as an augmentation of the Impressionist craftsmen working when the new century rolled over. Connected by the manner in which they painted straightforwardly from nature, Fauvists are in some cases related with post-Impressionism. Be that as it may, not at all like the Impressionists, the Fauvists gave specific consideration to catching feeling in their subjects. Frequently arranging pictures, scenes and nudes, the Fauvists improved the varieties and tones of the regular world, while intently noticing logical variety speculations that had been created in the earlier 100 years. Fauvism consolidates so many of the workmanship developments that continued it, getting everything from German Expressionism to neo-Impressionism.

The Historical backdrop of Fauvism The term 'Fauvism' means actually imply 'wild-monsters' and was authored by pundit Louis Vauxcelles following the 1905 Salon d'Autumne presentation. The show, which was held in Paris, caused far reaching shock. Such lively and unnatural varieties stunned the general population and pundits the same, as Fauvism before long acquired its place as one of the primary vanguard workmanship developments of the twentieth hundred years.

The figure generally regularly connected with Fauvism is, in all honesty, Matisse. Taking impact from Gauguin, van Gogh and Seurat, Matisse moved craftsmanship that one bit nearer to deliberation. This historic innovator development got rid of the quietness of the topic, rather ingraining tone with development and brushwork with energy.

The most popular Fauvist bits of craftsmanship are transcendently by Matisse. Works, for example, Bonheur de Vivre and Dance have persevered as notorious and quickly unmistakable compositions. Joining a supernatural and euphoric topic with an unmistakable levelness and an improved range, these works keep on impacting the course of contemporary workmanship.

Qualities of Fauvism The qualities that most characterize Fauvism are the exceptionally extreme variety range and the strong brushwork.

Response against Imagery: Fauvism is a craftsmanship development that pointedly differentiates the Symbolist specialty of the balance de-siecle (turn of the hundred years). Symbolists like Edvard Chomp, Odilon Redon, and Gustave Moreau were worried about investigating otherworldliness, passing, existentialism, and the mysterious, and their works are portrayed by a dim, surly variety range. Fauvism answered the weighty and dim variety range of the Symbolists, as well as the pastel range of the Impressionists, by embracing a range of strong, energetic and non-naturalistic tones. Impact of Postimpressionism: Henri Matisse — who is viewed as the foremost Fauvist painter — was affected by crafted by Postimpressionists Vincent Van Gogh, Paul Gauguin, and Paul Cézanne, and the Neo-Impressionists Georges Seurat and Paul Signac. A few researchers decipher the Fauves as having taken Seurat and Signac's Pointillism and consolidated it with the brilliant shades of the Postimpressionists. Expressive tones: Fauvist artworks underline the expressive characteristics of unadulterated variety. These painters applied unadulterated shades of variety for arbitrary reasons, not putting together their decisions with respect to how their topic showed up in nature. Savage brushwork: The Fauves made compositions with harsh entries of variety, thick brushstrokes, and spots of splendid variety. In some cases the craftsman applied the paint straightforwardly from the cylinder onto the material, swearing off brushes by and large.

Beginning of the name Fauvism

It is accepted that the name of this development would have emerged in 1905 , inside the structure of the display of certain works by the fundamental Fauvist creators in room VII of the Pre-winter Lobby, where they would have produced a serious differentiation with the others, which propelled to the pundit Louis Vaxcelles to allude to them as les fauves , that is, "the monsters." With this he implied the "bash of unadulterated tones" that he had tracked down in the artworks. The gathering of specialists being referred to would then have assumed control over the term and accordingly the development was conceived.

Impacts of Fauvism A considerable lot of the Fauvist specialists came from the studios of Gustave Moreau.

A considerable lot of the Fauvist specialists came from the studios of the bosses Charles Lhuillier , Eugene Carriere and Gustave Moreau, in this manner addressing an underlying move toward his pictorial preparation.

Crafted by Paul Cezanne was very powerful in the Fauvists , to the point that the finish of the development is credited to the revaluation of the specialty of this French painter from 1907.

Other essential references for the development of the development were Paul Gauguin, Redon, Moreau . Furthermore, likewise, different types of workmanship from Africa and Oceania , result of the pilgrim acquisitions of the Europe of the time.

Significance of Fauvism The impact of Fauvism in the vanguard was wide and can be seen in different creative types of the time. His style was duplicated by specialists from Belgium, Spain , Hungary, and different countries , who adjusted the Fauvist proposes to their practices.

[4eternal-life]

Paul Gauguin. The Isolated House (La Maison isolée), 1889

oil on canvas

[wetreesinart]

Francis Picabia (Français,1879-1953), Lever du soleil, bords du Loing, 1905, huile sur toile, 66 x 81 cm

[marinepaintings]

Henry Moret - Gros temps à Doëlan, Bretagne

[orpheez]

PIERRE BONNARD, Autotportrait dans la glace du cabinet de toilette (1939).

[lemurs-lionsmanes]

At the Moulin Rouge, by Henri de Toulouse-Lautrec(1892)

Art Institute of Chicago

Painting

oil on canvas

[mishinashen]

Boléro violet by Henri Matisse, 1937

Suffused with the brilliant light of the South of France, Boléro violet is an exquisite portrait from one of the most important and creative periods of Matisse’s art. The arrangement of the exotically dressed girl, with her upper body posed diagonally across the painting, is invitingly intimate, with the sweeping arm of her chair creating a subtle distinction between the position of the model and the picture's surface. The emphasis Matisse placed on decorative patterns is particularly apparent in Boléro violet. The buttercup gold and orange striped wallpaper, vivid purple coat and strikingly stylised features of the model - her dark hair and red lips being especially pronounced - combine to create a beguiling vision of the artist’s opulent domain.

The model in the painting is Princess Hélène Galitzine, daughter of Russian aristocrat Prince Serge Galitzine and Helene Ghijitzky. Not yet eighteen years-old when Matisse created Boléro violet, her strikingly dark hair provided a perfect foil to Lydia Delectorskaya’s fair colouration. Throughout 1937 Hélène was one of Matisse’s principal models and posed for a number of important works, often alongside her cousin Delectorskaya. The pair continued to model together for the next couple of years, and posed for the monumental La musique in 1939 (fig. 1). In the same year he completed La musique, Matisse made a statement recognising the importance of his models: ‘The emotional interest aroused in me by them does not appear particularly in the representation of their bodies, but often rather in the lines or the special values distributed over the whole canvas or paper, which form its complete orchestration, its architecture… It is perhaps sublimated sensual pleasure’ (H. Matisse, quoted in Henri Matisse. Figure Color Space (exhibition catalogue), Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 2005, p. 40).

Throughout his life, Matisse approached clothing and textiles with the keen eye of a collector. Costumes of all descriptions could be found in numerous chests about his house and studio. From Romanian peasant clothing to Parisian ball gowns, Matisse’s appetite for clothing was enormous. He commissioned the celebrated designer Paul Poiret’s sister to make dresses for his wife and daughter, and on one occasion in 1938, he spent a day in the area around the rue de la Boëtie in Paris buying several items of haute couture at the spring sales. By the time he moved to his new apartment in the old Excelsior-Regina Palace Hotel in Cimiez in 1939, his collection of costumes required a whole room to store them. As Hilary Spurling has noted: ‘Moroccan jackets, robes, blouses, boleros, caps and scarves, from which his models could be kitted out in outfits distantly descended - like Bakst's ballet, and a whole series of films using Nice locations in the 1920s as a substitute for the mysterious East - from the French painterly tradition of orientalisation’ (H. Spurling, Matisse: His Art and his Textiles (exhibition catalogue), The Metropolitan Museum of Art, New York, 2005, p. 29).

According to Lydia Delectorskaya in 1937 Matisse had become particularly fascinated with a set of Romanian blouses which he rediscovered amongst his studio props. These blouses had been a gift from the Romanian painter Theodor Pallady, who regularly corresponded with Matisse, discussing their art and in particular the important role of its more decorative aspects. Hélène Galitzine was photographed by the artist wearing one of these blouses (fig. 2), and he subsequently painted a number of works - using other models - that used the geometric oak-leaf embroidery as the central decorative motif. Similarly, Matisse produced several improvisations on the decorative qualities of a richly hued jacket decorated with elaborate gold embroidery (fig. 3). Matisse had used this coat in an earlier oil (fig. 4), and echoes of its orientalist charm are reawakened in his paintings in the late 1930s.

In a discussion concerning his working methods with the poet Tériade, which was later published in 1937, Matisse wrote: ‘In my latest paintings, I united the acquisitions of the last twenty years to my essential core, to my very essence. […] The reaction of each stage is as important as the subject. For this reaction comes from me and not from the subject. It is from the basis of my interpretation that I continually react until my work comes into harmony with me... At each stage, I reach a balance, a conclusion. At the next sitting, if I find there is a weakness in the whole, I make my way back into the picture by means of the weakness - I re-enter through the breach-end, I reconceive the whole. Thus everything becomes fluid again and as each element is only one of the component forces (as in an orchestration), the whole can be changed in appearance but the feeling sought still remains the same. A black could very well replace a blue, since basically the expression derives from the relationships. One is not bound to a blue, to a green or to a red, whose timbres can be introverted or replaced if the feeling so dictates… At the final stage the painter finds himself freed and his emotion exists complete in his work' (quoted in Jack Flam (ed.), Matisse on Art, Berkeley, 1995, p. 123).

Discussing Matisse’s portraits of the mid-1930s, John Elderfield wrote: ‘his model is shown in decorative costumes – a striped Persian coat [fig. 5], a Rumanian blouse – and the decorativeness and the very construction of a costume and of a painting are offered as analogous. What developed were groups of paintings showing his model in similar or different poses, costumes, and settings: a sequence of themes and variations that gained in mystery and intensity as it unfolded’ (J. Elderfield in Henri Matisse, A Retrospective (exhibition catalogue), The Museum of Modern Art, New York, 1992, p. 357). Boléro violet is an extraordinary example of Matisse’s constantly evolving perception of form and colour. The paintings of the late 1930s are the supreme outcome of decades of improvisation on these decorative elements, wherein contrasting patterns and colours of the present work harmonise, and the features of the young Hélène are transfigured into the epitome of timeless elegance. The first owner of the present work was Aldus Chapin Higgins of Worcester, Massachusetts. Higgins acquired Boléro violet from Paul Rosenberg’s Paris exhibition of Matisse’s recent works in 1937 which subsequently travelled to London. The previous year Rosenberg persuaded Matisse to sign a three year contract, thus becoming his principal dealer. These exhibitions in Paris and London, held for the next few years, helped the artist to sell directly to a large number of collectors from America and Europe. Aldus C. Higgins was a businessman who spent his entire career with his family’s firm, the Norton Emery Wheel Company. He also invented a water-cooled electric furnace which won the John Scott medal for exceptional achievement in mechanical arts in 1914. Higgins also commissioned the architect Grosvenor Atterbury to build him a house modelled on Compton Wyngates, the Elizabethan seat of the Marquesses of Northampton. The house was completed in 1923, and Higgins and his wife, Mary, lived there until their deaths when it was given to the Worcester Polytechnic Institute, of which his family had been tremendously supportive. Aldus and Mary Higgins were avid collectors of art, and during trips to Europe purchased many wonderful paintings including the magnificent Fauve canvas, L’Oliviers by Georges Braque and Georges Rouault’s Coucher du soleil which were both eventually bequeathed to the Worcester Art Museum. Boléro violet remained in Higgins' family possession until 1990, when it was acquired by the present owner.

[waldires]

Still life by Emile Bernard (1868-1941)

[tynatunis]

#Repost @paintings_i_love № 3169 Maxime Maufra (French, 1861 – 1918) Grosse mer à Étretat Oil on canvas Private collection • Maxime Maufra was a French landscape and marine painter, etcher and lithographer. Maufra first began painting at 18. However, he did not fully embrace his painting career right away. He remained in the first place a businessman and only painted in his spare time from 1884 to 1890. During this period, Maufra discovered the work of the Impressionists. He also displayed his works at the Paris Salon of 1886. In 1890, Maufra decided to give up business and to become a full-time painter. He left Nantes for Pont-Aven in the Finistère department of Brittany, where he was met Paul Gauguin and Paul Sérusier. Maufra had his first solo exhibition in Paris in 1894, at Le Barc de Toutteville. He subsequently exhibited with Durand-Ruel, to whom he remained under contract for the rest of his life. Returning from Brittany, Maufra was the first painter to take up residence in the Bateau-Lavoir in Montmartre, a famous Parisian residence for artists. He returned to Brittany each year, in particular to the Quiberon region. Maufra was mainly an artist of landscapes and marine views. In his compositions, Maufra sometimes quoted the pointillist technique of Camille Pissarro or Alfred Sisley, and also took from the strong colors and powerful drawing of the Pont-Aven School. Maufra remained an independent artist his whole life through and dedicated his art to recording the beauty of nature. • #MaximeMaufra #Maufra #postimpressionismo #postimpressionisme #oilpainter #oilpaintings #oilpainting #artforeveryone #fineartpainting #paintingoftheday #peinture #historiadelarte #storiadellarte #peintures #historyofart #arthistory #beauxarts #instamuseum #artmuseum #pittura #arthistorian #peintre #malerei #19thcenturyart #20thcenturyart #oldmasters #impressionism #postimpressionism #europeanart #landscape https://www.instagram.com/p/CpZknR0Im7T/?igshid=NGJjMDIxMWI=

[jamieroxxartist]

*One of the greats! Fun Facts: Rousseau was self-taught and he never made to a Jungle, outside of his dreams and imagination. AMAZING!

Henri Rousseau's 'Tiger in a Tropical Storm(Surprised!)' explained

RIP today, Sept 2, 1910 – #HenriRousseau, French painter (b. 1844) walked on.

(https://en.wikipedia.org/wiki/Henri_Rousseau )

#HenriRousseau #postimpressionism #Naïve #Primitive

[wegog]

Self-Portraits by a French Post-Impressionist painter Émile Bernard (1868 - 1941) 

Self-Portrait with Portrait of Gauguin (1888), Self-Portrait (1888), Self-Portrait (1890), Symbolic Self-Portrait (1891), Self-Portrait (1897), Self Portrait (1901)