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One of the founding artists of modern art, Paul Cézanne (1839-1906) is now widely acclaimed as the preeminent painter of the late nineteenth century. Less well known is his groundbreaking work as a draftsman; relatively little scholarship has been devoted to this aspect of his oeuvre, which is rarely presented in exhibitions. The Kunstmuseum Basel's Kupferstichkabinett (Department of Prints and Drawings) contains 154 sheets by Cézanne, making it the most comprehensive and significant collection of the artist's drawings in the world. The collection dates back to the 1930s, attesting to the museum's farsighted collection policy. Two thirds of these drawings come from dissolved sketchbooks, which were reconstructed in view of this presentation. The starting point and nucleus of Cézanne's creative thinking, they allow us to observe Cézanne's everyday practice as a draftsman up close. Early scenes of violence appear side by side with portrait sketches; copies after Delacroix or ancient sculptures alternate with landscapes and bathers. Repetition and slight variation of the angle from which he studied a motif enabled the artist to understand how perceptions formed and to develop entirely new pictorial registers. In his watercolors, Cézanne explored the dynamic interplay between line and color, casting off the constraints of the tradition. In his paintings, too, the line is vital. He often produced a preparatory drawing on the canvas and reworked it with the brush before executing the picture in paint. This book offers fascinating insights into this outstanding painter's creative process. Exhibition: Kunstmuseum Basel - Neubau, Switzerland (10.06.-24.09.2017).
Drawing --- Cézanne, Paul --- Cézanne, Paul,
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Kupferstichkabinett (Kunstmuseum Basel) --- Cézanne, Paul --- Delacroix, Eugène
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A major new study of the portraiture of one of the most important artists of the nineteenth century. Paul Cezanne (1839-1906) may be best known for his landscapes, but he also painted some 160 portraits throughout his exceptional career. This major work establishes portraiture as an essential practice for Cezanne, from his earliest self-portraits in the 1860s; to his famous depictions of figures including his wife Hortense Fiquet, the writer Emile Zola, and the art dealer Ambrose Vollard; and concluding with a poignant series of portraits of his gardener Vallier, made shortly before Cezanne's death. Featured essays by leading experts explore the special pictorial and thematic characteristics of Cezanne's portraits. The authors address the artist's creation of complementary pairs and multiple versions of the same subject, as well as the role of self-portraiture for Cezanne. They investigate the chronological evolution of his portrait work, with an examination of the changes that occurred within his artistic style and method, and in his understanding of resemblance and identity. They also consider the extent to which particular sitters influenced the characteristics and development of Cezanne's practice.
Cézanne, Paul --- Themes, motives --- Exhibitions --- Portrait painting --- France --- 19th century
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Portrait painting, French --- Peinture de portraits française --- Peinture de portraits --- Cézanne, Paul, --- Cézanne, Paul --- portretten --- Peinture de portraits française --- Cézanne, Paul, --- Cézanne, Paul --- Exhibitions. --- Expositions. --- portretten. --- Cézanne, Paul.
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Drawing --- Painting --- drawings [visual works] --- watercolors [paintings] --- easel paintings [paintings by form] --- Cézanne, Paul --- Delacroix, Eugène --- Flaubert, Gustave --- Cézanne, Paul. --- Delacroix, Eugène. --- Flaubert, Gustave.
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Deux grands artistes, l'un peintre, l'autre écrivain. Deux amis de toujours et pour toujours. Leur amitié a débuté en 1853 ou 1854, au lycée d'Aix, et résistera longtemps à l'éloignement. Entre Cézanne et Zola, ce ne fut pas seulement une forte complicité de jeunesse, de proximité géographique ou de milieu, mais un même choix de sujets, de communautés d'artistes, de refus des académismes et des conventions, une même compréhension de l'époque. Leur correspondance, publiée jusqu'ici séparément, n'avait jamais été rassemblée ni confrontée. Pourtant, ces cent quinze lettres ? malgré les pertes et les années manquantes ? témoignent de leur dialogue entre 1858 et 1887 : leur sens véritable ne réside pas seulement dans leurs allusions aux événements de la vie privée ou de la vie sociale de chacun, mais dans leur existence même, et dans les autres échanges qu'elles présupposent, dont la trace s'est perdue. Si John Rewald, le premier éditeur de la correspondance de Zola en 1937, a pu affirmer jusqu'ici que les deux hommes s'étaient brouillés à la suite de la publication de L'Œuvre ? pour le critique, le personnage de Lantier et son échec représentaient Cézanne et le sien ?, une nouvelle lettre retrouvée en 2013, postérieure à celle de la ±rupture , vient remettre en question toutes les thèses établies. C'est sous ce nouvel éclairage rendu possible par la recherche littéraire qu'Henri Mitterand nous guide à travers l'œuvre picturale et l'œuvre romanesque des deux artistes
Cézanne, Paul --- Zola, Émile --- Correspondance --- Painters --- Authors, French --- Peintres --- Ecrivains français --- Correspondence. --- Cézanne, Paul, --- Zola, Emile, --- Correspondence --- Cézanne, Paul, --- Zola, Émile, --- Correspondance. --- Painters - France - Correspondence --- Authors, French - 19th century - Correspondence --- Cézanne, Paul, - 1839-1906 - Correspondence --- Zola, Émile, - 1840-1902 - Correspondence --- Cézanne, Paul, - 1839-1906 --- Zola, Émile, - 1840-1902
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Drawing --- Painting --- drawings [visual works] --- watercolors [paintings] --- easel paintings [paintings by form] --- Cézanne, Paul
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verzamelingen --- Japonisme --- Salon d'Automne (Parijs, 1904) --- Cézanne, Paul --- Picasso, Pablo --- Monet, Claude --- Renoir, Pierre-Auguste --- Guillaumin, Armand --- Matisse, Henri
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Braiding together strands of literary, phenomenological and art historical reflection, Modernism and Phenomenology explores the ways in which modernist writers and artists return us to wonder before the world. Taking such wonder as the motive for phenomenology itself, and challenging extant views of modernism that uphold a mind-world opposition rooted in Cartesian thought, the book considers the work of modernists who, far from presenting perfect, finished models for life and the self, embrace raw and semi-chaotic experience. Close readings of works by Paul Cézanne, Gertrude Stein, Franz Kafka, Gerard Manley Hopkins, Wallace Stevens, Paul Klee, and Virginia Woolf explore how modernist texts and artworks display a deep-rooted openness to the world that turns us into "perpetual beginners." Pushing back against ideas of modernism as fragmentation or groundlessness, Mildenberg argues that this openness is less a sign of powerlessness and deferred meaning than of the very provisionality of experience.
Science --- Philosophy --- Theory of knowledge --- History of civilization --- intellectuele ontwikkeling --- cultuurgeschiedenis --- filosofie --- existentialisme --- fenomenologie --- Klee, Paul --- Cézanne, Paul --- Kafka, Franz --- Stein, Gertrude --- Stevens, Wallace --- Hopkins, Gerard Manley --- Woolf, Virginia
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