#portraitiste

[francepittoresque]

29 décembre 1743: mort du peintre Hyacinthe Rigaud ➽ https://bit.ly/Hyacinthe-Rigaud Orphelin de père à l'âge de huit ans, Hyacinthe Rigaud entame six ans plus tard sous la direction de plusieurs maîtres une carrière qui s'avéra longue et glorieuse, nul portraitiste n'ayant donné à son personnage plus de prestance dans le maintien, imprimé plus de solennité à la pose, au geste, plus d'éloquence et d'emphase, exerçant son art durant plus de soixante ans en peignant les grands de son temps avec une persévérance et une ardeur qui ne se démentirent jamais

[droitsdesfemmes]

Alice Neel photographiée par Lynn Gilbert, New York, 1976.

Alice Neel (1900-1984) était une peintre américaine renommée pour ses portraits réalistes. Née à Merion Square, Pennsylvanie, elle a grandi dans une famille de la classe moyenne. Elle a commencé à s'intéresser à l'art dès son jeune âge et a poursuivi ses études à la School of Industrial Art à Philadelphie.

En 1921, elle s'est inscrite à la Philadelphia School of Design for Women (maintenant connue sous le nom de Moore College of Art and Design), où elle a développé une approche unique du portrait. Ses premières œuvres reflétaient l'influence du réalisme et de l'expressionnisme.

Dans les années 1930, elle a déménagé à New York, où elle a vécu dans divers quartiers, y compris Greenwich Village et Spanish Harlem. Cette période a été marquée par des défis personnels, y compris la perte de sa première fille et des difficultés financières. Malgré ces obstacles, elle a continué à peindre, se concentrant souvent sur les gens de son entourage.

Les portraits d'Alice Neel sont connus pour leur représentation psychologique profonde et leur honnêteté brute. Elle a peint une variété de sujets, y compris des amis, des voisins, des activistes, des artistes et des personnalités publiques. Ses œuvres offrent un aperçu des différentes couches sociales et culturelles de New York, notamment durant les époques de la Grande Dépression et des mouvements des droits civiques. Elle est célèbre pour avoir capturé l'essence des individus souvent invisibles aux yeux de la société américaine. Son œuvre, profondément ancrée dans une démarche de représentation des marginaux, des exclus, des malades mentaux, ainsi que des communautés portoricaines en proie à la pauvreté, offre un visage humain et poignant à ces groupes négligés.

Alice, qui se déclarait elle-même fascinée par les « perdants » tant dans la sphère politique que dans les tréfonds de la vie quotidienne, a produit des portraits intenses et dénués de tout artifice. Son travail se distingue nettement des mouvements d'avant-garde contemporains, souvent empreints d'abstraction, par sa crudité et son réalisme sans concession. Se considérant comme une « collectionneuse d'âmes », son art explore non seulement l'apparence extérieure de ses sujets, mais plonge également dans les méandres de la psyché humaine.

Dans son style unique, brut et authentique, elle a également abordé des sujets difficiles tels que la nudité, souvent représentée de manière crue et sans embellissement, et des thèmes sociaux poignants, y compris les femmes enceintes ou victimes de violences domestiques. Par ces représentations, elle a remis en question les conventions traditionnelles de la représentation féminine dans l'art.

Dans les années 1960 et 1970, la reconnaissance d'Alice Neel a augmenté, notamment avec une exposition individuelle à la Whitney Museum of American Art en 1974. Ses œuvres ont été saluées pour leur approche non conventionnelle et leur commentaire social poignant.

Alice Neel est décédée en 1984, mais son héritage persiste. Elle est considérée comme l'une des portraitistes les plus importantes du 20e siècle, ayant influencé de nombreux artistes contemporains. Reconnue pour son indépendance et son caractère affirmé, elle fut pionnière dans la liaison des luttes de sexes, de classes et des questions d'origine à travers ses œuvres. Aujourd'hui, elle est célébrée comme une icône du féminisme et un modèle d'engagement, continuant d'inspirer les nouvelles générations d'artistes féminines. Son travail continue d'être exposé dans des musées et des galeries du monde entier.

[audfray]

Sculptures d'Armand Petersen et d'Etienne Audfray à l'exposition Art et Poésie de Touraine au Manoir de la Tour à St Cyr-sur-Loire qui a lieu jusqu'au dimanche 8 octobre 2023 à 18h00 https://www.aapea.fr

[aapea]

AUDFRAY et PETERSEN au 41ème Salon International d'Art et Poésie de Touraine

Nous vous attendons très nombreux au vernissage du 41ème Salon d'Art et Poésie de Touraine qui se tiendra au Manoir de la Tour à Saint-Cyr-sur-Loire le samedi 19 octobre à partir de 18 heures. Des oeuvres d'Audfray et de Petersen seront présentes.

AAPEA - Association Armand Petersen et Etienne Audfray https://www.aapea.fr

[armand-petersen]

Sculptures d'Armand Petersen et d'Etienne Audfray à l'exposition Art et Poésie de Touraine au Manoir de la Tour à St Cyr-sur-Loire qui a lieu jusqu'au dimanche 8 octobre 2023 à 18h00 https://www.aapea.fr

[mouseshouses]

The portraitist

[thepaintedroom]

Tito Conti (Italian 1842-1924) • The Musician • Late 19th — early 20th century

[canvasmirror]

Anna Bilińska-Bohdanowicz (Polish, 1854–1893) • Self-Portrait with Apron and Brushes • 1887

[resplendentoutfit]

John Singer Sargent (American, 1856-1925) • Portrait of Louise Pomeroy Inches • 1887 • Museum of Fine Arts, Boston

Evening Dress • Unidentified Maker • American • Silk velvet with silk plain weave lining

How wonderful that such a well-preserved dress exists to enliven a famous portrait painting! This dress is one of my favorites for a couple of reasons – firstly, I love velvet and this silk velvet is the real deal – gorgeous. Secondly, I've seen the portrait many times at the MFA in Boston. The dress was in a glass case at the blockbuster Fashioned by Sargent exhibition also at the MFA.

I've read that Louise Inches was expecting her third child when she sat for this portrait and that the dress had been designed to accommodate extra panels as her figure expanded. She and Sargent got on well. Both were music lovers and accomplished musicians.

[yashley]

fearne's polyamory saving bells hells from the sorrowlord's fey dragon wrath is exactly where this campaign was always going to go love wins

[kecobe]

Mrs. George Swinton (Elizabeth Ebsworth) John Singer Sargent (American; 1856–1925) London, 1897 Oil on canvas Art Institute of Chicago, Chicago, Illinois

[francepittoresque]

30 septembre 1909 : mort du cinéaste et photographe Eugène Pirou, producteur du premier film érotique ➽ http://bit.ly/Eugene-Pirou Portraitiste de la Belle Époque, producteur en 1896 du plus ancien film érotique et couvrant en 1897 la venue du tsar Nicolas II à Paris, Eugène Pirou, toujours à la pointe de la technologie cinématographique, exerça une influence importante sur la société photographique parisienne de la fin du XIXe siècle

[snapeaddict]

Snapetober Day 14 - Perpetual

Summer of 1998

The gargoyle gave way - Harry quickly climbed the flight of stairs leading to the Headmaster's office. He did it with relative apprehension. He had not been invited, had not even requested a meeting; yet he was granted passage, and he hoped that was a good omen.

He wanted to speak with Dumbledore, once and for all. He needed it. Then he would finally try to let go, to think ahead, and continue to grieve. One last conversation and he would leave the school for twelve months before coming back to complete his seventh year: they had all agreed upon this break, even Hermione. 

But he stopped, well before the threshold. There was something - a sound - resembling sobs coming from the office: desperate weeping that could not be muffled, no matter how hard one tried. He listened.

Slowly, he climbed the last steps and froze. 

Professor McGonagall was standing in the middle of the office. In front of her, on the headmaster's desk, lay what looked like a portrait, recently unwrapped; the frame was of a rusty colour.

That was all Harry could see. 

Slowly, the new headmistress turned around the desk to face the portrait of Albus Dumbledore. Her hands were shaking. 

"Albus... perhaps we should wait. Just... just until he wakes up..."

Dumbledore shook his head.

When his voice rose, Harry was struck by how tainted with grief it was. If Professor McGonagall was crying, he instinctively expected the former headmaster to take on the role of the grave, comforting figure: but his voice, if that was even possible, sounded even weaker than the headmistress'. 

"I am afraid Severus made himself clear", Dumbledore said, closing his eyes briefly. "No portrait."

McGonagall was wringing her hands. 

"I cannot - I - please. No. I need to tell him first... how sorry I am..."

"My dear-"

"You have had your chance, Albus", she cut him acerbically. "I did not."

For a moment she could not speak. She tried to calm herself down, and Harry watched as she reached the desk for support. She looked fragile - exhausted. 

"You have no idea... no idea what I have said... or done", she whispered after a while. "No idea."

"Severus never held any of it against you, Minerva", the former headmaster said sadly, almost hesitantly. "He knew... what his role entailed."

"I need to speak to him!" the headmistress shouted, jerking her head to look straight into his eyes again.

The features of her face were distorted by pain - her gaze was wet, red and terrible - she struggled to breathe. 

"I need to speak to him", she muttered again, leaning more heavily on the desk. Then it seemed that she could not take it any longer and turned her face away from Dumbledore's, back to the portrait that led beside her. "I must speak to him."

"I cannot let you do that."

"You sent him to his death!"

The silence was heavy- atrocious. Harry watched as the former headmaster lowered his head in shame, and he stepped back, almost falling down - this could not be... Dumbledore would never...

"No matter what you tell yourself, Albus", McGonagall said after a while, coldly - "No matter what you tell yourself or how much we owe you, the fact remains. He is dead - I must tell him that I am sorry. I must tell him... how much I cared for him. He must know that I mourned him as much as I mourned you, when he... when he... he must know."

Dumbledore shook his head.

"Severus had little if any agency over his life, Minerva. He was never in control. He decided against a portrait. Could you face him once more, having denied his wishes even in death?"

In response, the headmistress only made a strangled sound and took her head in her hands, throwing herself into the headmaster's chair in defeat.  

She looked like a woman who would never recover. 

"You know how this works, Minerva", Dumbledore spoke softly, cautiously. "Severus was not alive when this portrait was painted. He did not teach it anything. That portrait will be less than a mirror - we poured so much of ourselves into our portraits, whereas he -"

"But it still will be a faint imprint. The level of sentience also depends on the power of the wizard depicted - you know this portrait will retain something of him. It has to."

The painted Dumbledore stood up.

"It will. And this version of Severus - this echo - will understand that his very existence and cognizance are to be the result of us having ignored his last wishes, only to cleanse ourselves - to relieve ourselves from guilt."

McGonagall shook her head, but said nothing. 

"Severus' wishes deserve to be respected, Minerva, more than even you deserve to apologise to him. It must be so - it cannot be otherwise."

She remained silent.

"Let him be in control. Let him decide. What he was never granted in life, he needs to be granted in death. I apologise, Minerva - I never wanted to inflict this pain on either of you. I tried to save him... he was to come out of this alive... you must believe me."

Then they fell silent.

After a while, McGonagall took out her wand and laid it before her, her face unreadable. She looked up.

"So you get the chance to apologise to me, Albus. You can and you will. But I cannot. I never will, even though I have a chance, even a half-chance..."

"This is not Severus."

"I know!"

She seized her wand and pointed it at the portrait on the desk, standing up furiously.

"I am glad, Albus", she said coldly, her voice suddenly strangely calm.

Blue flames came out of her wand and wrapped the portrait with blinding vigour. From where he stood, Harry saw the paper slowly come out of the frame, writhe in the fire, grow distorted and black; it took only a few seconds for it to be reduced to ashes, and it was then that he noticed all the headmasters and headmistresses around the office standing up, paying their respects.

The light of the flames made the tears on McGonagall's face shimmer faintly. She watched the portrait burn until nothing but the frame remained.

After a while she turned away, her face dry, and looked once more at Dumbledore.

"I am glad", she said again, and the former headmaster did not hold her gaze. "I will blame myself for the rest of my life - I will never get to apologise - but you won't, either. And your penitence, Albus, begins now, and lasts perpetually."

[audfray]

L'Association Armand PETERSEN et Etienne AUDFRAY (AAPEA) exposera les deux sculpteurs au 40ème Salon de Peinture et d'arts plastiques qui se déroulera au Manoir de la Tour à Saint-Cyr-sur-Loire du 30/09 14h00 au 08/10/2023 18h00.

Le vernissage aura lieu le samedi 30/09 à 18h00.

[aapea]

Exposition au château de Lagord (17)

Entourées des deux artistes peintres Laura Paulet et Nadine Chebrou de Lespinats, les sculptures d'Etienne Audfray seront présentes au Château de Lagord (17) (https://www.facebook.com/watch/?v=2731324923571940) du mercredi 25 octobre au mercredi 29 novembre 2023.

Etienne AUDFRAY https://www.audfray.com

Association Armand Petersen et Etienne Audfray (AAPEA) https://www.aapea.fr

[armand-petersen]

2 rappels. J-8 et J-16 deux expositions avec Armand PETERSEN et une avec Etienne AUDFRAY.

Dans 8 jours, le 22 septembre, se termine l'exposition de la Galerie Marie-Hélène BOU qui a lieu au Grand Couvent de Gramat (46) avec Armand PETERSEN.

Dans 16 jours, le 30 septembre, débute le 40ème Salon de Peinture et d'Arts Plastiques de l'Association Art et Poésie de Touraine qui se tiendra au Manoir de la Tour à Saint-Cyr-sur-Loire (37) avec Armand PETERSEN et Etienne AUDFRAY. Le vernissage aura lieu le samedi 30 septembre à partir de 18h00.

(AAPEA) https://www.aapea.fr