#museum barberini

[peoplematchingartworks]

[bspoquemagazine]

40. Werk Claude Monets in der Sammlung Hasso Plattner

Das 1888 entstandene Gemälde Antibes von den Gärten von Salis aus wurde am 15. Mai – und damit exakt 150 Jahre nach der Finissage der ersten Gemeinschaftsausstellung der Impressionisten – durch die Hasso Plattner Foundation erworben. Das Museum Barberini begrüßt mit dem Werk das 40. Gemälde Claude Monets und den bereits dritten Ankauf im Lauf des Jubiläumsjahres in der Sammlung Hasso Plattner,…

[wdr2-rlbmut]

Held at the Museum Barberini in Potsdam, Germany:

Paul Signac, The Port at Sunset, Opus 236 (Saint-Tropez), 1892

Oil on canvas, 65 x 81,3 cm

Signed and dated lower left: P. Signac 92; inscribed lower right: Op 236

Inv.-no. MB-Sig-03

In 1892, Paul Signac transferred his yacht Olympia to Saint-Tropez, still an unassuming fishing village at the time, where he bought a house on the coast. He painted this composition there that same year. The application of the complementary colors violet and orange in tiny dots causes the picture to vibrate. Light is no longer featured as an atmosphere that surrounds an object but instead as stimulating particles. ~~ from the museum website.

[wandering-italy]

Palazzo Barberini, Rome

Feb 16, 2024

[artschoolglasses]

Barberini Faun, 220 BCE

Glyptothek, Munich

[hsundholm]

A Spiral Colonnade by Henrik Sundholm Via Flickr: I saw this staircase inside the Palazzo Barberini in Rome, Italy.

[alessandro55]

Jasper Johns The 100 Monotypes

edited by Ortrud Westheider, Michael Philipp

Prestel Verlag, München 2018, 128 pages, 24x30cm, ISBN 978-3-7913-596-2

euro 30,00

email if you want to buy booksinprogressmilano@yahoo.it

exh.Museum Barberini, Postdam

Jasper Johns (b. 1930) is one of the leading artists of American Pop art. Well-known for his large-format paintings in bright, vibrant colors, he was also a prolific printmaker, and his graphic work puts the peintre-graveur on a par with Goya and Picasso. On the occasion of his 90th birthday on May 15, 2020, the Museum Barberini presented his most recent series, The 100 Monotypes

“Is it a flag, or is it a painting?” This was the question asked by the musician John Cage when Jasper Johns began to move abstract expressionism back to figuration in the 1950s by painting flags, numbers, targets, maps, and letters. Cage alluded to Johns’s blurring of the boundaries between reality and representation. Johns has also repeatedly addressed the dynamics of reproduction by experimenting with collage and repetition.

Since each print is unique, monotypes are more akin to painting than to printmaking. Reworking the same plates many times for The 100 Monotypes, Johns added an etched imprint of his hand and symbols of American Sign Language (ASL), as well as motifs that were important to him, such as string, stencils, and allusions to his own paintings and sculptures. The artist commented about this interaction in an interview: “I like to repeat an image in another medium to observe the play between the two: the image and the medium. In a sense, one does the same thing two ways and observes differences and sameness—the stress the image takes in different media. I can understand that someone else might find that boring and repetitious, but that’s not the way I see it. I enjoy working with such an idea.” Each monotype informs the next, thus forming part of a narrative chain that reflects Johns’s artistic practice as well as his oeuvre.

26/06/26

[vqtblog]

Widewalls Magazine: Monet's Rediscovered Masterpiece, Le bassin aux nymphéas

Currently on exhibit at the Barberini Museum in Potsdam.

[pixelpluto]

Man kann gerade noch so das Fußballfeld im Hintergrund erkennen ⚽🖌️🎨 Gemälde aus der Sonderausstellung Wolken und Licht aus dem Museum Barberini in Potsdam, wo ich heute war 😊

[germanpostwarmodern]

After 95(!) years and a solo exhibition at Alfred Flechtheim’s gallery in Düsseldorf Maurice de Vlaminck (1876-1958) finally receives a retrospective in Germany: with „Maurice de Vlaminck. Rebell der Moderne“ the Museum Barberini until January 12, 2025 presents a comprehensive overview of the painter’s oeuvre that comprises a total of 76 paintings.

The exhibition is accompanied by the present handsome catalogue published by Prestel that is warmly recommended to all those who can’t make it to Potsdam in time. Of course it contains all of the paintings included in the exhibition but also provides substantial information about de Vlaminck: in five essays experts and curators discuss the painter’s relationship with the Fauves as well as his Fauvist paintings, elucidate his reception of Vincent van Gogh’s art, his connection with Cézanne and Picasso and also shed light on Vlaminck’s use of pure colors straight from the tube.

What emerges from these essays is an artist as colorful as his paintings: a former bicycle racer, violinist, boxer and anarchist Vlaminck prided himself on never having attended an art academy and cultivated his image as a real „fauve“, a wild beast. The latter term dates back to the 1905 Salon d’Automne where Vlamincks paintings were exhibited alongside Henri Matisse’s, André Derain’s and Kees van Dongen’s: their powerful colors and focus on expression and emotion provoked the critic Louis Vauxcelles to call them „fauves“ and eventually made them examples also for the German expressionists. Vlaminck came to the use of pure color together with André Derain whom he met by chance in 1900 and with whom he explored the landscapes along the river Seine. Of course, and despite his own assertions, he was were well aware of the Impressionists/Neo-impressionists but transferred their motifs into the 20th century. Around 1908 Vlaminck gradually put behind Fauvism and began experimenting with cubist forms in a number of landscape paintings, portraits and seascapes, although in retrospect he dismissed Cubism. In parallel Cézanne became an important reference, especially in still lifes and landscapes. The latter also dominates Vlaminck’s late work, this time in the form of snowy forests and villages. To this day this late work has received only little attention, probably due to Vlaminck’s outspoken support of the Nazi art doctrines. The Potsdam exhibition and catalogue thus offer the rare chance to forge an opinion about these disputed works.

In view of the few German language publications on Vlaminck and the insightful essays as well as the countless illustrations the present catalogue is a highly recommended read and a great substitute for an exhibition visit!

[peoplematchingartworks]

[charybdisrevenge]

Michael Triegel,

Persephone and Orpheus, 2012,

Museum Barberini

Potsdam Amsterdam 2019, Photo Galerie Schwind.

[labuenosairesfrancaise]

Chile National Museum of Fine Arts

Hello guys! 

I leave this here. This is the chilean Museum of Fine Arts. 

Some history: 

The Palace of the Fine Arts (el Palacio de Bellas Artes), dates to 1910 and commemorates the first centennial of the Independence of Chile. It was designed by the Chilean architect Emile Jéquier in a full-blown Beaux-arts style and is situated in the Parque Forestal of Santiago.

The Palacio de Bellas Artes, the current home of the Museum, is in the Neoclassical Second Empire style and the Baroque Revival style, strongly reinforced with Art Nouveau details and touches of metallic structural architecture. The central entrance is through a gigantically enlarged version of Borromini's false-perspective window reveals from Palazzo Barberini, which encloses a pedimented doorway entirely surrounded by glass, a Beaux-Arts touch. Through a broken pediment the squared cupola rises to the top. The internal layout and the facade are both modelled after the Petit Palais of Paris. The glass cupola that crowns the central hall was designed and manufactured in Belgium and brought to Chile in 1907. The approximate weight of the armour of the museum is 115,000 kg, of the glass of the cupola, 2,400 kg.

Architectonically, the floorplan of the museum is one of a central axis marked by the entrance and a grand hall with a staircase to the second floor. In the grand hall, above a balcony from the second floor, there is a carving in high relief which depicts two angels supporting a shield. They are located in the semi-vault above the heads of two Caryatids that arise from the balcony, carved by Antonio Coll y Pi.

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You will need a 64x64 lot and the usual CC that I use. 

I took some liberties because I laked the resources to make it identical to the original.

IMPORTANT - you will need to change the usage because I allready had a family living in the lot and did not want to evict them.

I will be sharing the same building with a parliament configuration and a home configuration, so you can chose the one that fits your game :) 

Please let me know if you like it and tag me if you share my buildings in your stories that I really enjoy!

Have a great day!

DOWLOAD: https://www.patreon.com/posts/86664913?pr=true

(early access: 7/28/2023)

[blueiscoool]

The Barberini Tyche Roman, 1st century AD Marble portrait head of tyche

The features of the goddess, a portrait, suggest she was a woman of high status. Her finer details include centrally parted wavy hair bound in a plait at the back and surmounted by a mural crown of three towers each with an arched opening; spiral locks of hair fall down her neck. Probably also a personification of a city, possibly Rome, the head sits on a 17th century bust of Egyptian alabaster and Italian Porta Santa marble with a plinth of Bianco e Nero marble.

Musée d'Art Classique de Mougins. The MACM, the Mougins Museum of Classical Art.