tag:blogger.com,1999:blog-80020976750419229952024-03-06T08:48:29.712+01:00 Art Johnson - AuthorUnknownnoreply@blogger.comBlogger78125tag:blogger.com,1999:blog-8002097675041922995.post-22038058100620841932020-12-15T20:43:00.000+01:002020-12-16T20:09:40.174+01:00The women in my novels <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqKfTBwO-t1aD-52VnIrWhi3GkGDpS150YdIngOzRJo_u-1lgnxqW4NHvOaKM4YSZhQnT2nB8yJvcS1IM00pfz79yGVVY-dvUC0Wid4DMe_gC_VMADb73wasHKiPLSKYHRGKWe9dGDaq1M/s1600/smoke1_mini.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqKfTBwO-t1aD-52VnIrWhi3GkGDpS150YdIngOzRJo_u-1lgnxqW4NHvOaKM4YSZhQnT2nB8yJvcS1IM00pfz79yGVVY-dvUC0Wid4DMe_gC_VMADb73wasHKiPLSKYHRGKWe9dGDaq1M/s400/smoke1_mini.jpg" width="330" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">artist <a href="http://burdu976.com/" target="_blank" title="">Alberto Seveso</a> </td></tr>
</tbody></table>
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I was about three quarters of the way with the first draft of “Deadly Impressions” when the thought struck me that the women in both of my novels are the catalyst for the actions, tension and release of the stories. <br />
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“The Devil’s Violin” presents two strong personalities on opposite sides of the fence. Maria Sanoni the Italian beauty who partners up with Gus Happy to steal Paganini’s violin from the museum in Genoa, is the exact opposite of FBI agent Aerial George and yet it is this opposing force, like the positive and negative poles of a magnet that pull the story together. Both women are strong and skilled and each excerpts a unique influence from the time they are introduced into the picture.<br />
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In “Deadly Impressions” I present, for lack of a better description at the moment, a ’grittier ’book with women more intense. Three women of singular strengths. Conchita Morales, a twenty-six year old L.A. prostitute is much more than a hooker. She is perceptive with an unusually natural intellect and a honed skill to manipulate people beyond the use of her sexual facilities. <br />
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Although FBI Agents Chris Clarke and Chubbs Gonzales return in this semi-sequel to my first novel, the LA private detective, Arney Blackburn, the main character in the story falls in love with Conchita even though he knows better. On reflection, “…the truth of the matter was he really liked her despite her background and who she was. A hooker is a hooker is a hooker, and yet Arney knew, or thought he knew, her tender side and it was captivating. She had heart. She had been through an unimaginable hell most of her adult life, but was still in one piece and somehow had maintained her dignity. That’s what attracted him to her. She had managed to live a life doling out sex for a living and was still a human being.”<br />
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Stephanie Fick is our kidnap victim. She is the twenty-six year old granddaughter of Ezekiel Fick, the Pasadena multi-billionaire who had spent his youth in Switzerland during WWII. His uncle was Roderich Fick a favorite architect of Adolf Hitler. <br />
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Stephanie’s impact on the story is tantamount to the success of the tale although we don’t hear much from her, she proves to be all important.<br />
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Finally, Madeline Steinman, who started her career in Paris at the age of twenty-six in 1946. Today she is in her ninety’s and presides over the art world as the queen of the art restoration. Her relationships with both uncle and nephew Fick are at the foundation of the book. <br />
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While living in Los Angeles for twenty years I spent time in the nineteen-eighties as an assistant to Manly Palmer Hall the Canadian born twentieth century philosopher and student of ancient religious and philosophical beliefs. Through a rather odd set of circumstances I lectured at his Philosophical Research Society from 1984 – 1988. My series contained five or more lectures, one presented each week and to my surprise, were well attended. <br />
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I was engrossed in study at the time, desperately trying to educate myself while writing and publishing poetry. I found myself very influenced by women throughout the past two centuries who were scholars, intellectuals, artists and above all great personalities. One of my series I named, “The Goddess on the Threshold” and over the weeks I helped people to discover Lou Andres Salome/Kathleen Raine/Frances Yates/ Florence Farr/ H.P. Blavatsky/Mary Cassette/ Emily Dickenson and so many others.<br />
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Women in the arts and sciences have contributed equal shares alongside their male counterparts of pertinent and timeless concepts made physical by the magic of the intellect and the imagination. I invite you to take some time to investigate women in the arts.<br />
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These types of exceptional females shall always find a way into my efforts as a novelist. I need them to be there. <br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-11826787292813678482015-12-15T21:49:00.001+01:002015-12-15T22:26:53.856+01:00Top 10 Famous Pieces of Art Stolen by the Nazis<br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Before the outbreak of World War I, Adolf Hitler was a practicing artist. On two separate occasions, Hitler was denied admission to the Academy for Art Studies in Vienna. He took art very seriously and during his 12-year reign as German Führer, the international art industry was demolished. It has been estimated that Hitler stole over 750,000 artworks during the war. The years between 1933 and 1945 are a black hole in the art community, with thousands of pieces of art changing hands and going missing.</span></span><br />
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<span style="font-size: x-large;">10. Saint Justa and Saint Rufina</span>
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<b>Artist: Bartolome Esteban Murillo</b></div>
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Bartolomé Esteban Murillo is one of the most important Spanish painters in history. He was alive during the 17th century and is a cherished painter of the Baroque period of art. Murillo is probably best known for his religious works, but also painted many portraits of everyday life. In 1943, the Allied armies formed a coalition of men whose goal was to assist in the protection of valuable art and national monuments. The group became known as the Monuments Men. The Monuments Men were vital in the process of gathering stolen art and returning it to the rightful owner. As the Allied Forces liberated Nazi-occupied territories, Monuments Men were present at the front lines. In Germany alone, U.S forces found approximately 1,500 repositories of art and cultural objects, with hundreds-of-thousands of artifacts. Some of the most identifiable pieces of art were immediately returned to their rightful owners. However, thousands of artifacts were never claimed or stolen.<br />
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<b>Today</b><br />
Monument Men organizations still exist today, with the goal of tracking down and returning stolen art. Recently, a member of the organization stumbled upon an old picture taken during World War II. It showed a photo of Murillos famous pair of paintings titled Saint Justa and Saint Rufina. Immediately the connection was made with the Meadows Museum in Dallas, which houses the paintings. The Meadows Museum holds one of the largest collections of Spanish art outside of Spain, with masterpieces by some of the world’s greatest painters. After some intense research, it was confirmed that the museum had the two painting and they were in fact stolen by the Nazis during World War II.<br />
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This was accomplished by examining the back of the picture frames, which contained a number R1171. This number is consistent with art stolen by Germany and stands for Rothschild, 1171, which is the 1,171st object stolen from the Rothschilds. The Rothschild family was looted in France, 1941. Like all stolen art, a major legal battle has pursued, as the Meadows Museum legally purchased the portraits at an auction, but the paintings whereabouts before the auction are confusing. The two portraits are estimated to be worth more than $10 million.<br />
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<span style="font-size: x-large;">9. Painter on the Road to Tarascon</span></h2>
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<b>Artist: Vincent van Gogh</b></div>
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Vincent van Gogh was a Dutch painter that died in 1890 at the age of 37. He is one of the most renowned and well known painters in the history of art. On January 31, 1933 Adolf Hitler became chancellor of Germany. One of his first actions was the “cleansing of the German culture,” which included book burnings and the labeling of degenerate art. Degenerate art included all types of modern artistic expression. Any artist, past or present, that was not seen as having Aryan blood was deemed degenerate. Hitler made it a high priority to track down all degenerate art and steal it. If you were labeled a degenerate artist then you were not allowed to paint.<br />
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Nazi soldiers would even make routine house calls to ensure that some artists were not painting. The abuse was inflicted on many modern German painters, including Ernst Ludwig Kirchner, who was labeled degenerate and had all of his over 600 works sold or destroyed. Kirchner would commit suicide in 1938. The Nazis destroyed hundreds of famous paintings and the ones that survived were featured in a “Degenerate Art Show.” It was claimed that this show was meant to incite further revulsion against the “perverse Jewish spirit.” The famous pieces of art were crowded into small rooms and often displayed with a hanging cord. According to the history books, the first room contained art considered demeaning of religion, the second featured works by Jewish artists in particular, and the third contained works deemed insulting to the people of Germany.<br />
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Some of the artists featured in the show were Alexander Archipenko, Marc Chagall, James Ensor, Henri Matisse, Pablo Picasso, and Vincent van Gogh. After the exhibit ended, the famous pieces of art were either destroyed or sold at auctions. A large amount of “degenerate art” by Picasso, Dalí, Ernst, Klee, Léger and Miró was destroyed in a bonfire on the night of July 27, 1942 in Paris. In 1939, a stolen self-portrait by Vincent van Gogh was auctioned at Gallerie Fisher, Lucerne, for $US 40.000. One of the most famous paintings to be burned during World War II is the Painter on the Road to Tarascon by Vincent van Gogh. It is not known for sure how the painting was burned, but it is thought to have perished when the Allied forces bombed Magdeburg, setting fire to the Kaiser-Friedrich Museum, which contained stolen art.<br />
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<b>Today</b><br />
The Painter on the Road to Tarascon was lost forever when it became a causality of the Second World War, but the portrait has left a lasting impression. It remains one of the most cherished pieces of art that was lost in the war. The painting shows a lonely portrait of Vincent van Gogh traveling. The painting was a heavy influence on artist Francis Bacon, who described it as a haunting image of van Gogh, showing him as an alienated outsider. Vincent van Gogh was quoted as saying “Real painters do not paint things as they are…They paint them as they themselves feel them to be.”<br />
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<span style="font-size: x-large;">8. Portrait of Dr. Gachet</span></h2>
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<b>Artist: Vincent van Gogh</b></div>
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In 1933, the famous Dutch painter Vincent van Gogh was put on Hitler’s list of “degenerate artists.” Many of van Gogh’s most famous pieces of art were stolen from their owners and displayed in mock museums. One of these paintings was the famous Portrait of Dr. Gachet. The month before Vincent van Gogh committed suicide, he painted two different copies of the Portrait of Dr. Gachet. He wrote a letter to his brother regarding the painting, “I’ve done the portrait of M. Gachet with a melancholy expression, which might well seem like a grimace to those who see it… Sad but gentle, yet clear and intelligent, that is how many portraits ought to be done… There are modern heads that may be looked at for a long time, and that may perhaps be looked back on with longing a hundred years later.”<br />
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In the case of the Portrait of Dr. Gachet, the Nazis didn’t steal it from a private collector, but stripped the art from the Städel museum in Frankfort, Germany. The Städel acquired the portrait in 1911 and it was confiscated in 1937. Nazi leader Hermann Göring realized the value of the art, so he decided to sell it and make a profit. The Portrait of Dr. Gachet was auctioned off and purchased by a German collector who quickly sold the art to Siegfried Kramarsky. Kramarsky was a Jewish financier that fled to New York in 1938 to escape the Holocaust. He purchased the art for $53,000.<br />
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<b>Today</b><br />
On May 15, 1990, exactly 100 years after the paintings creation, the family of Siegfried Kramarsky sold their copy of the Portrait of Dr. Gachet for $82.5 million. At that time in history, it was the most expensive piece of art ever sold. It was purchased by Ryoei Saito, who was a Japanese businessman. Upon Saito’s death in 1996, the painting was thought to have been sold, but no information was made available to the public. Various reports in 2007 claimed that the painting was sold to the Austrian-born investment fund manager Wolfgang Flöttl, but this was never confirmed.<br />
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Many questions remain regarding the history of the Portrait of Dr. Gachet. In this specific case, a Jewish man was able to obtain the stolen art. If a high powered German, Russian, or American businessman had profited off of the art, I think more people would have taken offense. The second version of the Portrait of Dr. Gachet is currently in the possession of the Musée d’Orsay, in Paris, France.<br />
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<span style="font-size: x-large;">7. Portrait of Adele Bloch-Bauer I</span></h2>
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<b>Artist: Gustav Klimt</b></div>
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Gustav Klimt was an Austrian born Symbolist painter. During his lifetime, Klimt created many portraits, murals, and sketches. The primary subject of his work was usually the female body. In 1904, Ferdinand Bloch-Bauer hired Gustav Klimt to create a portrait of his wife Adele. The work took Klimt three years to complete and the portrait is made of oil and gold on canvas. Adele Bloch-Bauer died of meningitis in 1925. In 1938, all of Ferdinand Block-Bauer’s property was put under “Protective Custody” by the National Socialist party. During the war, everything was taken away from Ferdinand and he eventually died in Zürich, Switzerland in November of 1945.<br />
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The will of Ferdinand Block-Bauer’s made no mention of donating his property to a museum. After the war, the three living Bloch-Bauer siblings attempted to retain some of the famous paintings from the Austrian government, who were given the pieces of art after Nazi Germany was liberated. Nothing happened for decades until 1998 when the Austrian government decided that they would return art that had been illegally seized by the Nazis. However, in order to get the paintings returned, rightful ownership needs to be proved in a court of law, which can be expensive. In 2006, the Austrian court ruled that Block-Bauer heir Maria Altmann was the rightful owner of the Portrait of Adele Bloch-Bauer I and four other paintings by Gustav Klimt.<br />
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<b>Today</b><br />
Portraits by Gustav Klimt are extremely rare and valuable. After regaining the rights to the Portrait of Adele Bloch-Bauer I, Maria Altmann decided to sell it. In June of 2006 the portrait became the highest selling piece of art up to that point in history. American businessman Ronald Lauder purchased the painting for $135 million and placed it in his Neue Galerie, which is located in New York City. The Neve Galerie is highly dedicated to pieces of Jewish art that were stolen from the Nazis and recovered. Ronald Lauder was quoted as saying that the Portrait of Adele Block-Bauer I is his museums “Mona Lisa.” In November of 2006, the second painting that Gustav Klimt made of Adele Bloch-Bauer (Adele II) sold for almost $88 million. Eventually, all five of the Block-Bauer’s Klimt portraits were sold, with a grand total of approximately $325 million.<br />
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<span style="font-size: x-large;">6. Foundation E.G. Bührle</span></h2>
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Paul Cézanne, Jeune garçon au gilet rouge </div>
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When researching the history of famous art, it is shocking the amount
of paintings that have a large gap in documentation around the time of
World War II. Hundreds of valuable portraits changed hands during the
war, but the specifics surrounding the sales are unknown. This entry
will not be examining one specific piece of art, but rather a man named
Emil Georg Bührle. Bührle was a born in Pforzheim, Germany in 1890 and
was a German cavalry officer in the Imperial army from 1914 to 1919. In
the 1920s, Bührle became the CEO of a large company and was moved to
Zürich, Switzerland. Bührle was always interested in art and he started
a huge collection during World War II. He took the opportunity of war
to build one of the most prestigious private art galleries in the
world. Today, his museum is known as the Foundation E.G. Bührle and is
located in Zürich, Switzerland.<br />
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The collection of art at the museum is quite impressive and contains many famous painting and sculptures from Old Masters and Modern artists<a href="https://www.blogger.com/null">,</a>
including works from Paul Cézanne, Edgar Degas, Paul Gauguin, Édouard
Manet, Claude Monet, and Pierre-Auguste Renoir. You might say that
there is no proof that any of these paintings are from stolen victims of
the Holocaust. However, after World War II, Emil Georg Bührle was
forced to give back 13 paintings to French-Jewish families who had their
property taken away during the war. A book was put together with a
list of artworks reported stolen and Bührle had 13 of them. The amount
of valuable artwork that Bührle obtained at a low price is astonishing.
The art collection housed at the Foundation E.G. Bührle is worth
hundreds-of-millions of dollars.<br />
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<b>Today</b><br />
The Foundation E.G. Bührle houses <i>Der Sämann</i> by Vincent van Gogh, <i>Der Selbstmörder</i> by Edouard Manet, <i>Junge Frau</i> by
Amedeo Modigliani, and countless other famous works. On February 10,
2008, one of the largest art heists in history took place at the
museum. Armed gunman stormed the museum shortly before closing and
stole four famous paintings valued at $162.5 million dollars. The most
expensive painting taken was <i>The Boy in the Red Vest</i> by Paul Cézanne, valued at around $80 million. The three other paintings stolen were <i>Count Lepic and His Daughters</i> by Edgar Degas, <i>Poppies near Vétheuil</i> by Claude Monet, and van Gogh’s <i>Blossoming Chestnut Branches</i>. To date, the van Gogh and Monet portraits have been recovered, while the other two remain missing.<br />
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<span style="font-size: x-large;">5. Altarpiece of Veit Stoss</span></h2>
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<b>Sculptor: Veit Stoss</b></div>
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Veit Stoss is a famous German sculptor who passed away in 1533. His
career spanned the transitional period between the late Gothic and the
Northern Renaissance style of architecture. Stoss primarily worked as a
wood sculptor. In the early part of his career he was approached by
the people of Kraków, Poland and asked to build a magnificent
altarpiece. He agreed and developed the Altarpiece of Veit Stoss, which
is the largest gothic altarpiece in the world. It measures 13 m high
and 11 m wide when the panels are open. The piece is covered with incredible statue figures, which are more than 12 ft. tall and are carved from the tree trunk of a lime.<br />
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Prior to the German invasion of Poland in 1939, Hitler was well aware
of the historic altarpiece and unjustly felt that it was his because
Veit Stoss was a German sculptor. Before the invasion of Poland, the
altarpiece was taken apart and hid in various locations. However, it
was still discovered by the Nazis and stolen. A German unit called the
Sonderkommando Paulsen located the crates containing the altarpiece and
had the statues and panels shipped to Berlin. It was kept at Nuremberg
Castle.<br />
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<b>Today</b><br />
During the war, many members of the Polish resistance relayed the
message that the altarpiece was being held at Nuremberg Castle.
Luckily, it was not significantly damaged during the liberation of Nazi
Germany and was recovered by Allied forces. The Polish National
Treasure was immediately returned and in 1957 it was placed in St.
Mary’s Church, Kraków, Poland, where it remains today. The altarpiece
underwent restoration from 1946-1949 to fix the structural damage caused
by the Nazis.<br />
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<span style="font-size: x-large;">4. Place de la Concorde</span></h2>
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<b>Artist: Edgar Degas</b></div>
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Edgar Degas is considered one of the founders of the Impressionism
art movement. He was a popular French artist that lived predominately
during the 19th century. After the collapse of Nazi Germany, the Red
Army was the first to invade Berlin. During this time, the Soviets
discovered hundred of hidden repositories of art. The Soviet government
has been criticized over the years for not reporting many of these
discoveries. In 1991, it became known that some paintings looted by the
Red Army in Germany had been put on display at the Hermitage Museum
located in Saint Petersburg, Russia. After intense pressures, the
museum announced in 1994 that they had displayed some pieces of art that
had been looted from German private collections.<br />
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One should realize that art taken from German homes and underground
storage facilities in 1945 consisted of a large amount of stolen goods.
The exhibition “Hidden Treasures Revealed” premiered in 1995 at the
museum. It consisted of 74 separate paintings that were displayed for
the first time, including the world famous <i>Place de la Concorde</i> by Edgar Degas. <i>Place de la Concorde</i> was painted by Degas in 1875. It depicts the cigar smoking Vicomte Ludovic-Napoléon Lepic, his daughters, and his dog. It also shows a solitary man in Place de la Concorde in Paris.<br />
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<b>Today</b><br />
<i>Place de la Concorde</i> has always been considered one of Degas
signature portraits. It was thought lost after World War II, but
showed up at the Hermitage Museum in 1995. The famous painting remains
on display at the Hermitage. Another painting that appeared at the
Hermitage in 1995 is the van Gogh masterpiece <i>White House at Night</i>. <i>White House at Night</i> was
also thought to be lost after the war. It was painted six weeks before
van Gogh’s death. In December 2004, another looted work was discovered
at the museum, the <i>Venus disarming Mars</i> by Rubens. The French
master Henri Matisse also has many of his early paintings on display at
the Hermitage. During World War II, Matisse’s paintings were widely
distributed and stolen. Today, they can be found in museums all over the world. The story of how the <i>Place de la Concorde</i> survived is not documented to the public. It is simply listed at the Hermitage as “provenance unknown.”<br />
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<span style="font-size: x-large;">3. The Astronomer</span></h2>
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<b>Artist: Johannes Vermeer</b></div>
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Johannes Vermeer was a Dutch painter who lived from 1632-1675. During his lifetime, Vermeer was moderately successful and has since become one of the most well known painters of the Baroque period of art. He tended to paint portraits of domestic middle class life and many of Vermeer’s paintings were of scientists. Hitler was a big follower of Johannes Vermeer and made it his ultimate goal to own all of his paintings.<br />
<br />
In 1940, one of Vermeer’s most cherished works, The Astronomer, was owned by a French man named Edouard de Rothschild. After the German invasion of France, the painting was stolen by the Nazis. The Astronomer became one of Hitler’s prized possessions and was meant to be the focal point of the Führermuseum. The Führermuseum was a large museum complex that Hitler planned on creating. It was meant to store and display all of the plundered European art. A black swastika was stamped on the back of The Astronomer, where it remains today.<br />
<br />
<b>Today</b><br />
The Astronomer was finished by Vermeer around 1668. The art was created with oil on canvas, and measures 51cm x 45cm. The painting is linked with another famous Vermeer portrait named The Geographer. Both paintings are thought to portray the same man, which could be Anton van Leeuwenhoek. The Astronomer shows incredible detail. In the painting the book located on the table is turned to a specific page, which is a section that is advising the astronomer to seek “inspiration from God.”<br />
<br />
In the portrait, the picture on the wall shows the finding of Moses. After the war ended, The Astronomer was returned to the Rothschild’s. It was then donated to the famous French museum Louvre in 1982. It remains one of the museum’s most prized possessions. Vermeer’s The Geographer had a bit of a different fate. The Geographer is located at the Städel, which is one of the largest art museums in Germany.<br />
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<article class="hentry post publish post-1 odd author-bryan format-standard category-history category-art-entertainment post_tag-adolf-hitler post_tag-claude-monet post_tag-vincent-van-gogh post_tag-art post_tag-paul-gauguin post_tag-van-gogh post_tag-nuremberg-castle post_tag-henry-hatt post_tag-siegfried-kramarsky post_tag-amber-room-organization post_tag-johannes-vermeer post_tag-wolfgang-flottl post_tag-stadel-museum post_tag-veit-stoss post_tag-bartolome-esteban-murillo post_tag-e-g-buhrle post_tag-edouard-manet post_tag-peters-basilica post_tag-mona-lisa post_tag-edgar-degas post_tag-meadows-museum post_tag-kaiser-friedrich-museum post_tag-henri-matisse post_tag-emil-georg-buhrle post_tag-pablo-picasso post_tag-paul-cezanne post_tag-stolen-art post_tag-nazis post_tag-sculpture post_tag-monuments-men" id="post-8819"><div class="entry-content">
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<h2>
<span style="font-size: x-large;">2. Amber Room</span></h2>
<div style="text-align: center;">
<b>Designer: Andreas Schlüter</b></div>
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<div class="entry-content">
Andreas Schlüter was German baroque sculptor and architect that lived at the end of the 17th century. Along with Gottfried Wolfram, who was a Danish amber craftsman, Schlüter was the one that designed the Amber Room. Construction of the Amber Room began in 1701 and the room was installed at Charlottenburg Palace, home of Friedrich I, the first King of Prussia. As the name implies, the Amber Room was sculpted out of amber, which is a gemstone made from fossilized tree resin. The room also contained many jewels, paintings, and gold. In 1716, the Amber Room was given to Peter the Great to celebrate peace between Russia and Prussia, and an alliance against Sweden. In 1755, Tsarina Elizabeth of Russia had the room transferred to the Catherine Palace, where Frederick II the Great had more amber sent for reconstructions. Many renovations took place on the Amber Room throughout the 18th century, ultimately measuring 55 square meters and containing over six tones of amber.<br />
<br />
During World War II, Hitler was very familiar with the Amber Room and felt that it should be in German possession. The Nazi army reached the Amber Room after taking control of the city of Leningrad. Hitler sent a group of men to dismantle the priceless piece of art. The Soviet army was unable to properly hide the Amber Room because it was crumbling as they tried to dismantle it. The Nazi army put the Amber Room in 27 separate crates and sent it to Königsberg in East Prussia. On January 21, 1945 Hitler ordered the relocation of many pieces of art. German leader Erich Koch was in charge of the Amber Room and may have decided to move it out of the city. Later in the war, Königsberg was heavily bombed by the Royal Air Force and the Soviet military. The Amber Room was never heard from again.<br />
<br />
<b>Today</b><br />
The disappearance of the Amber Room is one of the great mysteries of World War II. Some reports have claimed that the room survived the war, while others have stated that it was destroyed by bombings or hidden in a lost bunker. One theory has the Amber Room being loaded onto a German ship or submarine that was sunk by Soviet forces in the Baltic Sea. Many different groups have been organized over the years in hopes of discovering the lost treasure. In 2008, German treasure hunters claimed to have found the Amber Room. The discovery of an estimated two tons of gold and silver was made, but it was hard to gain access to the site because of deadly booby traps.<br />
<br />
The finding was never confirmed to be that of the Amber Room and some reports indicated that clues to the whereabouts of the Amber Room were discovered at the site. Recently, the Amber Room Organization has announced another discovery that was made in the mountains about 30 miles east of Weimar. A German ARO spokesman named Henry Hatt has stated that he knows where the Amber Room is hidden. Apparently, he claims that the treasure was transported to the county of Saalfeld and hidden in an old underground mining chamber. This story has not been confirmed.<br />
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<br />
<h2>
<span style="font-size: x-large;">1. Madonna of Bruges</span></h2>
<div style="text-align: center;">
<b>Sculptor: Michelangelo</b></div>
<div style="text-align: center;">
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<a href="http://www.toptenz.net/10-famous-pieces-of-art-stolen-by-the-nazis.php/madonna-of-bruges" rel="attachment wp-att-8823" style="margin-left: 1em; margin-right: 1em;"><img alt="Madonna of Bruges" src="http://www.toptenz.net/wp-content/uploads/2010/07/Madonna-of-Bruges.jpg" height="604" title="Madonna of Bruges" width="400" /></a></div>
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</b>
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Michelangelo was an Italian Renaissance painter and sculptor. He
lived from 1475-1564 and is most widely known for his sculptures Pietà
and David. In the early 1500s Michelangelo created the masterpiece
Madonna of Bruges. The sculpture is made of marble and is 128 cm in
dimension. Madonna of Bruges is a depiction of Mary with the baby Jesus. It is noted for being largely unique in comparison to other statues of Mary and Jesus created
during the time of Michelangelo. Most depictions show a smiling Mary
looking down on a baby Jesus. However, in Madonna of Bruges, Mary doesn’t
cling to Jesus or even look at him. She has a steady gaze down and
away from the child. It seems that Mary knows the fate of her son.<br />
<br />
The sculpture is also notable for being the only Michelangelo work to
leave Italy during his lifetime. It was purchased by a family of
wealthy cloth merchants from Bruges. Bruges is a city located in the
northwest corner of Belgium. The Madonna of Bruges has only been
removed from Belgium on two separate incidents in history. The first
came in 1794, after French Revolutionaries had conquered the Austrian
Netherlands. At that time, Napoleon ordered the people of Bruges to
pack up the Madonn and ship it to France. The sculpture was returned
after the defeat of Napoleon. The second removal occurred in 1944 when
German soldiers were retreating from the area. The soldiers smuggled
the Madonna to Germany in a group of mattresses transported by a Red
Cross truck. Two years later the sculpture was found by Allied forces
and returned to Bruges.<br />
<br />
<b>Today</b><br />
The Madonna of Bruges is located at the Church of Our Lady in Bruges,
Belgium. It has been kept at the Church of Our Lady since 1514 and
this is where the sculpture belongs and will hopefully stay forever. It
is a cherished piece of art and is kept behind a piece of bulletproof
glass. Visitors are also required to stay 15 feet away from the
sculpture. These measures were taken after the 1972 attack on
Michelangelo’s Pietà. In 1972, a mentally disturbed geologist named
Laszlo Toth attacked the sculpture, which is located at St. Peter’s
Basilica in Vatican City. Toth took a geologists hammer and bashed the
Pietà while screaming “I am Jesus Christ.” It suffered significant
damage and many pieces of marble were broken from the statue. To make
things worse, people stole these pieces, which included the nose of
Mary.<br />
<br />
<a href="http://www.toptenz.net/10-famous-pieces-of-art-stolen-by-the-nazis.php">Read more at Top Tenz</a><br />
<br /></div>
</article>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-49720495105949986802015-12-08T19:36:00.002+01:002015-12-08T19:36:44.798+01:00Deadly Impressions Makes Google News!<div class="separator" style="clear: both; text-align: center;">
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-48808685550029789512015-12-08T19:14:00.002+01:002015-12-10T01:02:54.395+01:00Art Johnson Thrills Again with Deadly Impressions<div class="separator" style="clear: both; text-align: center;">
<i> </i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs1vkJWoxFR16Nx412g_rPBodqeRtvJd0TUQFo3rIEo_ndJ71x_DYNmzZyMJht_fQkfvmy6hRd3Kp9fYErnW62L6CNBGxduen_3cp1i-8ea-W87q4H3xGM0dHyiWA-2XGIRDUM118uHMGn/s1600/deadly_print.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs1vkJWoxFR16Nx412g_rPBodqeRtvJd0TUQFo3rIEo_ndJ71x_DYNmzZyMJht_fQkfvmy6hRd3Kp9fYErnW62L6CNBGxduen_3cp1i-8ea-W87q4H3xGM0dHyiWA-2XGIRDUM118uHMGn/s640/deadly_print.jpeg" width="640" /></a></div>
<br />
<i>Before he began writing, Art Johnson was a Grammy nominated musician with over 40 years of experience in music and 10 CDs.</i>
<br />
<br />
<br />
<br />
<br />
<section class="row" id="summary">
</section>
<b>Los Angeles, CA; 05, December 2015:</b> Before he began writing, <b><a href="http://thedevilsviolin-artjohnson.blogspot.com/" title="Art Johnson">Art Johnson</a></b>
was a Grammy nominated musician with over 40 years of experience in
music and 10 CDs. He has toured all over the globe and his life
experience has inspired his second mystery/thriller, <b><a href="http://www.amazon.com/Deadly-Impressions-Art-Johnson/dp/0996368906/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=" title="Deadly Impressions">Deadly Impressions</a></b>,
following the success of The Devil’s Violin. Johnson lives in Monaco,
where the Princess Charlene has a copy of The Devil’s Violin kept in
the palace.<br />
<br />
In his new book, Deadly Impressions,
Johnson’s combines his travels and intelligence with a fascinating
thriller that hold its readers captive to the last sentence as it
follows FBI special Agent Chris Clarke and his partner Carlos Chubbs
Gonzales to Los Angeles to investigate the kidnapping of a twenty-four
year old heiress. Her grandfather, multi-billionaire Ezekiel Fick,
who has the President of the United States on speed-dial, cracks the
whip over the Mayor of Los Angeles, which puts LA Police Chief Fergus
McCreary on the hot seat to find Stephanie Fick—and fast.<br />
<br />
After organizing the departmental investigation, Chief Mac goes behind
closed doors to call in Arnold Blackburn, an ex-LAPD Lieutenant
recently booted off the force who is now a Pri-vate Detective in LA
County. Arney Blackburn has respect from both sides of the law which
gives him access to information the LAPD isn’t privy to. But the
abductors won’t follow the rule book. A week goes by and yet no ransom
is demanded.<br />
<br />
Why was she kidnapped if not for money? Is her
grandfather’s Swiss/German back-ground and the fact that his uncle was
a key architect under the wing of Adolph Hitler during World War II
giving this crime a political slant? To what degree are some of
Hollywood’s most famous involved: especially those who had relatives
in Europe during the war, whose art collec-tions were confiscated by
the Nazi regime? Deadly Impressions asks hard questions about the past
and the answers will dictate who lives and who doesn’t.<br />
<br />
Deadly Impressions is available on <b><a href="http://www.amazon.com/Deadly-Impressions-Art-Johnson/dp/0996368906/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=" title="Amazon">Amazon</a></b> in paperback ($14.95) or on Kindle ($4.95). Don’t miss this artful and suspenseful new novel.<br />
<br />
Find out more about <b><a href="https://www.facebook.com/art.johnson.35" title="Art Johnson on Facebook">Art Johnson on Facebook</a></b>.<br />
<br />
<b>About Majestic Publications:</b><br />
<br />
A division of Majestic Productions, Majestic Publications is a
boutique media and mar-keting specializes in digital, press, internet
book promotions for titles likely to be acquired for television or
screen. For more information, contact books@majesticproductionsllc.com<br />
<br />
<b>For Media Contact:</b><br />
Publicist, Cindy Villarreal<br />
512-659-2268<br />
<br />
<br />
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-25917058107286662322015-11-26T04:09:00.000+01:002015-11-26T04:30:29.379+01:00Camille Claudel<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjMT48eC_0cJR-LiGI2wwXtYADxVccNUsy4GZudUj0qh3MtqIaswLx9TWBsLerPUUIf1gWgjAF_eiLxrMVOgIwF7RzUz13fZsuYfahRDQj1aifFEbd6jXHBP7yLKbNn83nVqt5AXCdo2r4/s1600/CAmille.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjMT48eC_0cJR-LiGI2wwXtYADxVccNUsy4GZudUj0qh3MtqIaswLx9TWBsLerPUUIf1gWgjAF_eiLxrMVOgIwF7RzUz13fZsuYfahRDQj1aifFEbd6jXHBP7yLKbNn83nVqt5AXCdo2r4/s640/CAmille.jpg" width="640" /></a></div>
<br />
As one of the first women on the arts scene of belle epoch Paris, Camille Claudel made quite an impression when she arrived at Auguste Rodin's studio at the age of 19 to work as his assistant. Rodin was quickly drawn to her – and her evident talent – and before long, she was his model, lover, inspiration and artistic equal.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx1i5NwOp0fcgSygSKX5FquPrr7uA6bTeYYTPt6y_Lgs2vvGc8USUGxfZaHNhGEb2MDisaFsHAzHRorx7QUDfweAUJVeykgsq1JRmroLSwSzpZf1p_SKWnznz55izUG0gBzOjsA6uzIb_j/s1600/Camille_Claudel_atelier.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx1i5NwOp0fcgSygSKX5FquPrr7uA6bTeYYTPt6y_Lgs2vvGc8USUGxfZaHNhGEb2MDisaFsHAzHRorx7QUDfweAUJVeykgsq1JRmroLSwSzpZf1p_SKWnznz55izUG0gBzOjsA6uzIb_j/s400/Camille_Claudel_atelier.jpg" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Camille Claudel in her workshop (before 1930)</span></td></tr>
</tbody></table>
Rodin introduced her to all the famous figures in Paris; she, for her part,
helped change the course of his work. In sculptures such as The Waltz
and The Wave, she sought to capture a fleeting moment in motion, or the
ephemeral moment "just gone". Contrary to the assumption of the
19th-century's academy (who thought she was imitating Rodin's work)
Claudel's presence in Rodin's studio cast an important influence over
his work, rather than the other way around.<br />
<br />
By focusing on figurative sculpture –
sometimes nude – Claudel attracted public outrage. Griselda Pollock,
professor of social and critical histories of art at Leeds University,
confirms that Claudel was "a major force in the experimental and
transformative partnership that occurred artistically in Rodin's
studio"; yet her work was subject to gendered censorship.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-g54HeEoqOKHEHq_jw_VFntKWGaYIZS5wSw1FoyacaQ9nec8vTKkeKfBdvDK9gp6fPN2hyphenhyphenVU31znoR7IUV8_2kQTg5FCw9ByRA4PHckSBhvNWqpH0AhneOuSzNAf7Nzkf_HE-LYyvL_8v/s1600/Auguste_Rodin%252C_Paris%252C_c1862_by_Charles_Hippolyte_Aubry.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-g54HeEoqOKHEHq_jw_VFntKWGaYIZS5wSw1FoyacaQ9nec8vTKkeKfBdvDK9gp6fPN2hyphenhyphenVU31znoR7IUV8_2kQTg5FCw9ByRA4PHckSBhvNWqpH0AhneOuSzNAf7Nzkf_HE-LYyvL_8v/s320/Auguste_Rodin%252C_Paris%252C_c1862_by_Charles_Hippolyte_Aubry.jpg" width="217" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span class="mw-mmv-title">Rodin circa 1862.</span></span></td></tr>
</tbody></table>
For instance, to get a clay maquette made in bronze you needed the funding
and the approval of the official Institut. When the inspectors visited
Claudel's studio, they refused to give her permission to cast The Waltz
because it showed two nude bodies in close proximity. The very idea was
not acceptable from a woman's hand, whereas from Rodin's hand, work
influenced by Claudel's daring, became acceptable as men are allowed to
know about sexual desire and the body.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMEfKyOwt394kF280FrfzOzf1LvMl5BOPm3ENvb6bmQ1-zP0znAvnAkl_Ck12uu7nYaGC7lBoLpvEjQysDR4uBEEAlidt_TLPt_ixoXo6xgGbimrK3xUM3muWZDqp10LvF71x-NZ12hU-F/s1600/Rodin.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMEfKyOwt394kF280FrfzOzf1LvMl5BOPm3ENvb6bmQ1-zP0znAvnAkl_Ck12uu7nYaGC7lBoLpvEjQysDR4uBEEAlidt_TLPt_ixoXo6xgGbimrK3xUM3muWZDqp10LvF71x-NZ12hU-F/s320/Rodin.jpg" width="235" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Bust of Rodin (1892)</span></td></tr>
</tbody></table>
<br />
In 1888 Claudel moved out of her parents' house and rented a small apartment in Paris. Shortly after, Rodin purchased a house nearby known as La Folie-Neufbourg. Here the lovers were said to have occasionally lived together, while Beuret remained at Rodin's primary residence. During this time, Rodin sculpted several portraits of Claudel, and Claudel sculpted her Bust of Rodin (1892), the artist's favorite portrait of himself. Claudel also began working on her minor masterpiece The Waltz (begun 1891), which depicts a couple entwined in a dance.<br />
<br />
The affair with Rodin both made her and destroyed her. Rodin, already in a committed relationship and 25 years her senior, was not prepared to leave his long-term partner, Rose Beuret, though he promised her that he would.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPL74Ffh40u7vGVnMXQZ-jUyPJ9ulo_xOjJ3j2mFeahS-8fNNTXasIHXlshXi9PByyFay5_8drvtoq-FopYgFH9ZsgfnHnC5mtwtwKjAVJpCu2sRs1jQcDLU0mz9inyGiM0oamjgAYWaAT/s1600/Camille+Claudel+The+Waltz.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPL74Ffh40u7vGVnMXQZ-jUyPJ9ulo_xOjJ3j2mFeahS-8fNNTXasIHXlshXi9PByyFay5_8drvtoq-FopYgFH9ZsgfnHnC5mtwtwKjAVJpCu2sRs1jQcDLU0mz9inyGiM0oamjgAYWaAT/s320/Camille+Claudel+The+Waltz.png" width="246" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span class="irc_su" dir="ltr" style="text-align: left;">Camille Claudel, The Waltz, 1895 </span></span></td></tr>
</tbody></table>
While Rodin's infidelities are well-documented, less is known of affairs Claudel may have had with other men. Some historians believe she had a brief romance with the composer Claude Debussy in or around 1890. Whatever passion may have existed between them was over by early 1891, however, when they ceased seeing each other. Debussy was said to have kept a small cast of The Waltz on his piano until his death.<br />
<br />
Immediately following the breakup, Claudel was perhaps her most productive, completing some of her most original and mature works, including L'Age Mur (1898), an autobiographical sculpture depicting a love triangle, and La Vague (1900), with three female figures bathing under an enormous wave. The latter work was indicative of a new style for Claudel, who now used onyx, a rare material, and based her compositions on an eloquent play of curves. She composed large works as well as sculptures of a more intimate scale, making quick sketches of people in the streets of Paris and returning home to sculpt them. Unfortunately, these small figures do not survive; she destroyed them all.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7zYHltuojWayDf26ecOe6_Mo70l4_m6e1Yt7fwmNgx9Nr1UA39vxgI3bqtp8dIocz8A6YdrVDhBAPpJoaM_iSAiJWBWaYCxLRJHAVDn3HZriJ6w10QxISdEKrZd3e1tl4rIg9VG2Sr68P/s1600/Camille_Claudel_L_ge_m_r_20_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="489" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7zYHltuojWayDf26ecOe6_Mo70l4_m6e1Yt7fwmNgx9Nr1UA39vxgI3bqtp8dIocz8A6YdrVDhBAPpJoaM_iSAiJWBWaYCxLRJHAVDn3HZriJ6w10QxISdEKrZd3e1tl4rIg9VG2Sr68P/s640/Camille_Claudel_L_ge_m_r_20_.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">L'Age Mur (1898)</span></td></tr>
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The destructive aftermath of the affair consumed her to such a degree that she threw away much of her work and was admitted to an asylum, where she lived for 30 years.<br />
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Gradually, Claudel began to feel persecuted. She even accused Rodin of plotting against her.<br />
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What made her public profile all the more contentious was her unmarried status. Alone as a woman of her class, not married to the man with whom she had a sexual relation, perhaps deeply distraught by the loss of love and undergoing major changes in her life cycle, while she watched her own sculptural ideas make Rodin the lionized figure of French sculptures, she may well have had some kind of psychological breakdown.<br />
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While her artistic career had its highlights, she never managed to earn enough money to be fully independent and, at times, Rodin paid the rent on her studio. Claudel came from a rich family and her father, having spotted her talent, supported her sculpting, but after he died, her diplomat brother and mother – more suspicious of her lifestyle – held the purse strings. It was after her father had died that she found herself on the streets of Paris, dressed in beggar's clothes. Now at her most vulnerable, her brother admitted her to a lunatic asylum.<br />
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For the remaining 30 years of her life, Claudel languished in an insane asylum, transferring once to a facility in Montdevergues, near Avignon. Her life as a sculptor was over, although she wrote letters begging her brother and mother to release her and let her return to the artist's life. When Claudel's doctors tried to interest her in sculpting and presented her with clay, she angrily rejected it. Diagnosed as suffering from a persecution complex, she remained deeply paranoid of Rodin, and blamed him for her troubles.<br />
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Whether or not Claudel was truly insane and needed to stay in an asylum remains unclear. She wrote lucid letters to her family and friends, and even her doctors recommended that she be released on at least two occasions. But her brother was often abroad, and her mother would not allow her release, claiming that she was too old to care for her daughter. Brazilian-French actress and writer, Gaël believes she languished here for decades for being a woman who was "ahead of her time".<br />
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<span style="font-size: xx-small;"><a href="http://www.independent.co.uk/arts-entertainment/art/features/how-rodins-tragic-lover-shaped-the-history-of-sculpture-8026836.html">Sources: The Independent </a></span><br />
<span style="font-size: xx-small;"><a href="https://en.wikipedia.org/wiki/Camille_Claudel">Wikipedia</a></span><br />
<span style="font-size: xx-small;"><a href="http://biography.yourdictionary.com/camille-claudel">Your Dictionary </a></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-91910835237187754452015-11-19T00:00:00.000+01:002015-11-19T20:13:02.717+01:00Hitler's Architect <br />
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<span style="mso-fareast-font-family: "Times New Roman";">In Art Johnson's new novel, <i>Deadly Impressions</i> he performs his usual method of taking a real personage from history, in this case Roderich Fick, and blending them into his story. In Paris after the war Roderich meets the freshly arrived art restorer Madeline Steinman and their affair furthers the mystery of the Missing Impressionist paintings. </span></div>
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<span style="mso-fareast-font-family: "Times New Roman";">Roderich was a talented
architect who Hitler commissioned to design the Fuehrer museum in Austria after
he conquered the world. The museum was to house all of the confiscated
Nazi art work. Rod visits his brother's family in Switzerland during the
war. He takes his 12 year old nephew for a walk in the forest and tells him that his
father has an incurable disease and will die soon. He gives Zeke a mysterious envelope and instructs him not to open until after his father's death. In the envelope is a key and instructions.</span><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpd2f48OZDzygsqVUzXKLOqqcl7sHrEPYVuFta9uDozWyKAE9gOb3E6MbWqs5TA4VFiMO9YcOXVhbDRxbxy2l78tNfeoWaH0hNpEMv2tqztUGJeishaB4hguWcf2so7EFAb8q0Bcp6BAyQ/s1600/Roderich+Fick+2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpd2f48OZDzygsqVUzXKLOqqcl7sHrEPYVuFta9uDozWyKAE9gOb3E6MbWqs5TA4VFiMO9YcOXVhbDRxbxy2l78tNfeoWaH0hNpEMv2tqztUGJeishaB4hguWcf2so7EFAb8q0Bcp6BAyQ/s1600/Roderich+Fick+2.jpg" /></a>Roderich Fick (1887-1955) studied architecture in Munich Zürich and Dresden. After several years in Africa he returned in 1935 to become professor at the Munich Technical University. In 1936 he built the "Haus der deutschen Ärtzte" (House of the German Medical Ass.)<br />
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After a building near the Braunen Haus in Munich attracted the attention of Adolf Hitler to his surprise Hitler provided him with further commissions in Munich and also for buildings at the Obersalzberg near Berchtesgaden. Roderik Fick designed the Munich residence of Rudolf Hess in 1937, was involved in a number of projects for members of the Nazi leadership, these projects included the building of both Martin Bormann’s own villa in Berchtesgaden and Hitler’s first and original Teehaus on the nearby Mooslahnerkopf, Hitler was the adviser .<br />
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Fick constructed several buildings for Hitler's Obersalzberg complex and was appointed (in 1939) "Reichsbaurat für die Neugestaltung der Stadt Linz" (State Councillor for the Redesign of the City of Linz).<br />
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<br />
Fick
was responsible for the buildings which flank the Nibelungen Bridge --
the only parts of Hitler's grand scheme for Linz that were actually
completed.<br />
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None of Ficks projects were to be as spectacular and as technically testing as the Teehaus on the Kehlstein mountain.<br />
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Fick’s structure was essentially a massive granite square with the largest room, the main reception hall, being octagonal in shape with a large panoramic window. This and other specially-placed windows would provide both the Führer and his visitors with a breathtaking view of the surrounding mountains as well as both the Scharitzkehl Valley and the Königssee lake.<br />
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After the war Fick was officially classified as “Mitläufer”, a person passively complicit in Nazi crimes. In 1946 his conduct in the nazi era was investigated. He was forced to pay a huge fine and support the rebuilding of Munich. In 1948 his case was re-investigated and it was concluded that he had never enriched himself. All he had to do was pay a much smaller fine and he was free to work again. In 1938 his wife Marie had died and in 1948 he married his former student Catharina Büscher, who was 28 years his junior. They worked together until he retired in 1954.<br />
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Sources: <a href="http://ww2gravestone.com/people/fick-roderich/">WW2Gravestone</a>, <a href="http://www.volkverlag.de/bayrische-gschichten/bayerische-geschichten-162010-vom-brauknecht-zum-stadtrat">Bayerische Geschichte</a><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-70301960985385076562015-11-10T01:39:00.002+01:002015-11-10T01:39:23.858+01:00Five Stars for Deadly Impressions!!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNtU2B3x4J49EPjmJICT1Z-EE8mcNQD1RyfWunrMxR-neMSODvwMRiV8hrOWzwYHJ7cD854jl8OuDaQz5twr436Q6m68unddB5V-STmz9IXDaQGLz_qHlrdDwAUwPgmrmHWK7dJhB2UqsP/s1600/deadly_cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNtU2B3x4J49EPjmJICT1Z-EE8mcNQD1RyfWunrMxR-neMSODvwMRiV8hrOWzwYHJ7cD854jl8OuDaQz5twr436Q6m68unddB5V-STmz9IXDaQGLz_qHlrdDwAUwPgmrmHWK7dJhB2UqsP/s320/deadly_cover.jpg" width="213" /></a></div>
Billionaire Ezekiel Fick is extremely worried. His pride and joy, his granddaughter, Stephanie has been kidnapped. He'll do whatever it takes to get her back. Using his contacts among the elite of the United States, Zeke demands action from everyone! To the LAPD and private investigator Arnold Blackburn, this seems like an ordinary kidnapping. They all seem to follow the same game plan. This one, however, stops being ordinary when no demands are sent to Zeke. Everyone is contacting their sources to try to find Stephanie. Will it be enough help?<br />
<a href="http://www.amazon.com/dp/B01599R32E/?tag=stormerc-20" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_"blank""><img alt="purchase on Amazon.com" border="0" class="logoimg" src="http://www.storymerchant.com/images/purchase_amazon.png" /></a>
<br />
This book surprised me. I felt it was going to be another simple mystery. WOW was I ever wrong. Mr. Johnson leads you subtly and carefully down a path of twists and turns. The intrigue and suspense is off the charts. While reading this book, I was certain I knew who dun-nit only to be proven wrong over and over. The writing style is terrific. The characters well defined and easy to understand. I also loved the history tie-in. This book is an easy read and perfect to curl up with. I know you'll enjoy it as much as I did.<br />
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I gave this one 5 cheers out of 5 because of the twisted ending it has.<br />
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<a href="http://haveyouheardbookreview.blogspot.com/2015/11/deadly-impressions-by-art-johnson.html">Reposted from Have You Heard Book Reviews </a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-57033657796387647672015-11-02T00:00:00.000+01:002015-11-02T00:00:03.851+01:00A New Look at Old PaintingsA novel technique has revealed never-before-seen details of Renaissance artworks in Italy. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHYXInEi7nnr9LPxs6IAIRRAgOpznFvbNaXFSS4EccT43qHj2u8-dI3rc3-ODMM5GjbTE0pqQJQJdin6xA2mWdnKs_ChdvZL1Idcib4c5zlUFZHjnWvDJKPBGZWg5izEDvvcO5I6yXFxPz/s1600/r1-Fresco-120618.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHYXInEi7nnr9LPxs6IAIRRAgOpznFvbNaXFSS4EccT43qHj2u8-dI3rc3-ODMM5GjbTE0pqQJQJdin6xA2mWdnKs_ChdvZL1Idcib4c5zlUFZHjnWvDJKPBGZWg5izEDvvcO5I6yXFxPz/s640/r1-Fresco-120618.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="float: left; margin: 0px 10px 10px 0px;">Part of a fresco by
the Zavattaris in the Theodelinda’s Chapel near Milan, Italy. The
artworks, executed between 1440 and 1446 are extremely rich and complex,
featuring different fresco techniques, gold and silver decorations and
reliefs. <a class="itxtnewhook itxthook" href="http://www.livescience.com/21019-renaissance-frescoes-hidden-color.html#" id="itxthook0" rel="nofollow" style="background-color: transparent; background-image: none; border: 0px none transparent; display: inline; font-size: 100%; font-style: normal; font-weight: normal; padding: 0px; text-decoration: none;"><span class="itxtrst itxtrstspan itxtnowrap" id="itxthook0p"><span class="itxtrst itxtrstspan itxtnowrap itxtnewhookspan" id="itxthook0w" style="background-color: transparent; border-color: transparent transparent rgb(0, 204, 0); border-style: none none solid; border-width: 0px 0px 1px; color: #009900; font-size: 100%; font-weight: normal; padding: 0px 0px 1px ! important; text-decoration: underline ! important;">Color</span><img class="itxtrst itxtrstimg itxthookicon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" id="itxthook0icon" style="margin-bottom: 0px!important; margin-left: 0px!important; margin-right: 0px!important; margin-top: 0px!important; padding-bottom: 0px!important; padding-left: 4px!important; padding-right: 0px!important; padding-top: 0px!important; vertical-align: baseline!important;" /></span></a> photography (a), and imaging in the NIR (b), compared to the TQR image (c). <br />
<span style="float: left; margin-top: 5px; padding-right: 5px;">Credit: Optics Express</span></span></td></tr>
</tbody></table>
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A new look at old paintings reveals never-before-seen details of two Renaissance works of art, including hidden decorations in brilliant silver and gold.<br />
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The hidden accents appear on frescoes painted in the Chapel of Theodelinda in the Monza Cathedral in Italy. To the naked eye, they appear dull and are sometimes even painted over. Using a new technique, however, Italian scientists can make the colors pop. These new visualizations could help art historians restore and conserve the paintings.<br />
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The technique is called thermal quasi-reflectography, or TQR. It uses reflected light to differentiate between different pigments on a piece of art<br />
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"This is, to the best of our knowledge, the first time that this technique has been applied on artworks," study researcher Dario Ambrosini of the University of L'Aquila in Italy said in a statement. "This novel method represents a powerful yet safe tool for artwork diagnostics." [See Photos of the Renaissance Art]<br />
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<b>A new light on old art</b><br />
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Art conservators have long used parts of the light spectrum not visible to the naked eye to bring out tiny details in old paintings. Infrared light, for example, has wavelengths longer than visible light. By taking images of artwork in these long wavelengths, scientists can see places where layers have been painted upon layers, revealing preparatory sketches and changes by the artist.<br />
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Other techniques use thermal, or heat, energy to investigate the materials a painting is made of as well as structural flaws. A dot of paint with an air bubble behind it, for example, will emit less heat than spots where the paint is flush because of the insulating properties of air.<br />
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Ambrosini and his colleagues turned this last technique on its head. Instead of measuring heat emitted from a painting, the researchers shone a halogen lamp in the mid-infrared spectrum onto the frescoes and measured the amount of light reflected back. A camera capable of capturing mid-wavelength infrared light recorded the image created as the light bounced off the art.<br />
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The set-up was simple, but the researchers had to control the environment carefully, ensuring that the lamp did not heat the painting surface and that there were no other sources of heat nearby.<br />
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<b>Unseen detail</b><br />
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The researchers tested the TQR technique on two frescoes, or murals created on wet plaster on walls. The first were the 15th-century paintings in the Chapel of Theodelinda, which depict the life of the patron queen of the church. With the TQR system, the scientists were able to make out extra detail on the old frescoes. Suits of armor, dulled and uniform to the naked eye, reveal sharp lines and careful detail under the infrared technique. In one case, the individual fingers of a soldier grasping a staff come out of hiding. <br />
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Because silver and gold pigments are highly reflective, they stand out strongly in the new views of the Theodelinda frescoes. Decorations on the soldier's armor appear almost luminous in the new images.<br />
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Next, the researchers tried the technique on Piero della Francesca's "The Resurrection," which dates back to the 1460s and depicts the resurrection of Jesus Christ. This painting is held in the Museo Civico of Sansepolcro in Italy.<br />
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In this fresco, the new images showed differences in pigments that look nearly identical to the naked eye. They also showed telltale signs of retouching, as well as a segment of a soldier's sword painted with two different fresco techniques. These tiny details can be very important to art historians trying to restore a work to its original condition.<br />
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The researchers are now testing the technique on other, non-fresco types of paintings, hoping it can be used to tell what kinds of pigments were used to make the painting.<br />
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"Determining the chemical makeup of the pigments is important in determining how best to protect and restore the artwork," Ambrosini said. He and his colleagues reported their work Monday (June 18) in the open-access journal Optics Express.<br />
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<a href="http://www.livescience.com/21019-renaissance-frescoes-hidden-color.html">Read more at Live Science </a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-48867452431813961892015-10-26T00:00:00.000+01:002015-10-26T00:00:03.694+01:00Ambroise Vollard<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtmYMZ2-6TJ3w37uFhRfJhxnDwEbp1m2M8W6JZjegRadX9fBSRMxhhBxuxioGovbof2_UbgWz05TvVgbShqWz6cAKun4-8YqBc-DFF4U-kJyRazOukpWtJDCI6zMVXNVLi4Snu0fDULsTH/s1600/lissone-la-vita-degli-artisti-al-mac-a-partire-dalle-memorie-di-volla_dd51ce3e-cace-11e2-bd3c-12b61dae83e4_display.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtmYMZ2-6TJ3w37uFhRfJhxnDwEbp1m2M8W6JZjegRadX9fBSRMxhhBxuxioGovbof2_UbgWz05TvVgbShqWz6cAKun4-8YqBc-DFF4U-kJyRazOukpWtJDCI6zMVXNVLi4Snu0fDULsTH/s320/lissone-la-vita-degli-artisti-al-mac-a-partire-dalle-memorie-di-volla_dd51ce3e-cace-11e2-bd3c-12b61dae83e4_display.jpg" width="320" /></a></div>
He was Paris's leading dealer, friend and mentor to history's finest artists, and owner of a unique, priceless collection. He was one of the most influential figures in modern art in Paris. A publisher, gallerist and collector, he worked with many of the greatest artists of the late 19th and 20th century, Renoir, Cézanne and Gaugin, and later, Picasso. He helped shape his promotion and establishing of the avant-garde artists of his day and of the previous generation. Beyond his work as a gallerist, he wrote artist biographies and encouraged many to take on new and extended projects.<br />
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Born in Réunion, a French colony in the Indian Ocean, Vollard arrived in Paris in 1895 as a student of law at his father’s behest, aged 21.<br />
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The city was in its first flush of Impressionism, intoxicated by a flurry of paintings in creamy yellow lights and grey-green shadows; their shimmering colours and sliding forms heralding a new strain of modernism, which seized him, he says in his autobiography, ‘like a blow to the stomach’.<br />
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A year later, having abandoned his studies, he gave the then unknown Cézanne his first show from modest premises on the rue Laffitte.<br />
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He recalled that ‘an innovator like Cézanne was considered a madman or an impostor, and even the avant-garde regarded him with contempt. On the spot, I managed to buy 150 canvases from him, almost his entire output.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7J9yvUKiglN-l6MuEr1J7nQanQgD6cv_N2vG7CrSP_5lUE_Se2TjGgfvOeqHXTUAncepHVhmwyca1tGs6-PJJPGRObNNGHfZ8eotcbODnvYVwvznupjnHdEuPa9yUD-PiaGEd9fBL589M/s1600/Salon_d%2527Automne%252C_1904%252C_Ambroise_Vollard%252C_Salle_C%25C3%25A9zanne.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7J9yvUKiglN-l6MuEr1J7nQanQgD6cv_N2vG7CrSP_5lUE_Se2TjGgfvOeqHXTUAncepHVhmwyca1tGs6-PJJPGRObNNGHfZ8eotcbODnvYVwvznupjnHdEuPa9yUD-PiaGEd9fBL589M/s640/Salon_d%2527Automne%252C_1904%252C_Ambroise_Vollard%252C_Salle_C%25C3%25A9zanne.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> View of the 1904 Salon d'Automne, photograph by Ambroise Vollard, Salle Cézanne (Victor Choquet, Baigneuses, etc.)</td></tr>
</tbody></table>
'I raised a great deal of money - my entire fortune went into it. And I anxiously wondered whether my audacity might not turn out to be the ruin of me. I didn’t even have enough money left over to frame the canvases decently.’<br />
<br />
The show was a revelation and made reputation and fortune for both.<br />
<br />
Pissarro wrote excitedly to his son: ‘I believe this dealer is the one we have been seeking, he likes only our school of painting or works by artists whose talents have developed along similar lines. He is very enthusiastic and knows his job.’<br />
<br />
Vollard’s appetite and eye for undiscovered talent was voracious. Over his career, he exhibited the work of Van Gogh, Gauguin, Picasso (whom he gave his first Paris show), Matisse (his first solo exhibition) and bought and sold works by Rouault, Derain and the Fauves, Degas, Renoir, Monet and Manet.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiHwM-njW7FgwuJBS1AH9ZoLnzE-lKdddTUZ2ig-iVlLJoWdWAH0fdzyftbEKswBXw7Xc_3vd73DTlvxWL_NmPYVaYHwq_SL2CNQrD_hW7yjXIUPXB44Tt-KhvxuM5RuuHwj0auBhO13dr/s1600/Auguste+Renoir+and+Ambroise+Vollard.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiHwM-njW7FgwuJBS1AH9ZoLnzE-lKdddTUZ2ig-iVlLJoWdWAH0fdzyftbEKswBXw7Xc_3vd73DTlvxWL_NmPYVaYHwq_SL2CNQrD_hW7yjXIUPXB44Tt-KhvxuM5RuuHwj0auBhO13dr/s1600/Auguste+Renoir+and+Ambroise+Vollard.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Renoir and Vollard 1918</td></tr>
</tbody></table>
<br />
He instigated a swap-shop style of trading. According to his meticulous account books, Picasso exchanged his works for those by Degas and Matisse. Degas and Renoir drew lots for a Cézanne. Kandinsky wanted a Rousseau but could not afford it. In 1913 Matisse pawned his wife’s emerald ring to purchase Cézanne’s Three Bathers.<br />
<br />
Some complained he exploited them. Most valued him immeasurably.<br />
<br />
Time and again we see evidence – letters, inscriptions and so on, bearing witness to his loyalty and generosity: ‘to my sympathetic slave-driver’ reads one of the more poignant, from Renoir, a lifelong friend.<br />
<br />
By far the best monument to their esteem, though, can be found in the portraits by each and every artist that passed through his hands.<br />
<br />
‘The most beautiful woman who ever lived,’ said Picasso, ‘has never had her portrait painted, drawn, or engraved any oftener than Vollard.’<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHTLQyK0tC9f3Kv_cwZE0lZa0UU5OJFPbQ1gyZnahOt6XAO4by-cH0GHaHOkgpVXM3uGKtrVEV7saZE_R_TB3eegA14fsrj9plmn4uVAThtbfTqoJeSfktH9yyoQoRL0Whu4B81nWe4dBl/s1600/Jean+Puy.GIF" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHTLQyK0tC9f3Kv_cwZE0lZa0UU5OJFPbQ1gyZnahOt6XAO4by-cH0GHaHOkgpVXM3uGKtrVEV7saZE_R_TB3eegA14fsrj9plmn4uVAThtbfTqoJeSfktH9yyoQoRL0Whu4B81nWe4dBl/s400/Jean+Puy.GIF" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">by Jean Puy</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV0aMRmfN3EZo-spcsyNF3L0YEF1YSsAYwt2HL3SqX-1LJRnYIttF1IUO5UbOUvapgSicju_NkI94LFpdAUsIRRy5NhsEmVKXDS9YvVVDWISFQSyEh-abVlKbVSoERThGLA1M0RotQv47Q/s1600/Renoir+-+1908.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV0aMRmfN3EZo-spcsyNF3L0YEF1YSsAYwt2HL3SqX-1LJRnYIttF1IUO5UbOUvapgSicju_NkI94LFpdAUsIRRy5NhsEmVKXDS9YvVVDWISFQSyEh-abVlKbVSoERThGLA1M0RotQv47Q/s400/Renoir+-+1908.jpg" width="312" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>By Pierre-Auguste Renoir - 1908</b></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLuwYxFC-UM9p_N25jwi2TOa5JnxRWOGCHtk_RHabzRxxcjM5DpA25wLovXYVF7ZKllkptYBs-jMc-zGIbg5sdNjKDZUgHehea88O3M_kqNI5CIPQU-ONQVFuWZeoFnwjldP05oousxHTo/s1600/portrait-of-ambroise-vollard.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLuwYxFC-UM9p_N25jwi2TOa5JnxRWOGCHtk_RHabzRxxcjM5DpA25wLovXYVF7ZKllkptYBs-jMc-zGIbg5sdNjKDZUgHehea88O3M_kqNI5CIPQU-ONQVFuWZeoFnwjldP05oousxHTo/s400/portrait-of-ambroise-vollard.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>By Pablo Picasso - 1910</b></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ2LCrpPTNox1fL2bYrufRvvXPb4lpCYkhA2uvL0S2AUtpasYYEgpeM9gtjOy_r39jsdw3Hg5F5fNfKkI6und2daVaHyRBm-kZuNjxJp27NT2QdJnuMwNvkoqHyBhVRUTzzKxH8jFSCcmw/s1600/Cezanne.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ2LCrpPTNox1fL2bYrufRvvXPb4lpCYkhA2uvL0S2AUtpasYYEgpeM9gtjOy_r39jsdw3Hg5F5fNfKkI6und2daVaHyRBm-kZuNjxJp27NT2QdJnuMwNvkoqHyBhVRUTzzKxH8jFSCcmw/s400/Cezanne.jpg" width="323" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>By Paul Cézanne</b></td></tr>
</tbody></table>
<br />
His gallery became a meeting point for all of bohemian Paris. He held dinners in his cellar, where he served creole curry to his guests who clamoured for invitations. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOr60WddDlmWeXs-Sq0Yg4WCfPbE8QqwbuQGDAUQ_cYgBLnb6PIp5c6Hy3iGG6CLawzwX_kHRLgSJxnw7vQ_L5lbuymMv-x-CSWNeFdAfvN4LqYCXeHHv8vPlu7TsE_eGMfOCx4pUzYQFG/s1600/Ambrose.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOr60WddDlmWeXs-Sq0Yg4WCfPbE8QqwbuQGDAUQ_cYgBLnb6PIp5c6Hy3iGG6CLawzwX_kHRLgSJxnw7vQ_L5lbuymMv-x-CSWNeFdAfvN4LqYCXeHHv8vPlu7TsE_eGMfOCx4pUzYQFG/s640/Ambrose.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">An
anonymous photograph of diners at one of Vollard's celebrated bohemian
soirees, which took place in the cellar of his gallery on rue <span class="caption">Laffitte.</span></span></td></tr>
</tbody></table>
<br />
Brassai would later recall: ‘What joyful feasts, what parries and conferences, what planning sessions had been held there.’<br />
<br />
The estate he left when he died on that July afternoon was vast. His cottage in Tremblay Sur Mer held some 10,000 artworks; Cézanne, Renoir, Picasso, Matisse, Gauguin, Van Gogh, Degas, Cassatt, Manet, Monet, stacked up, unframed, piled high and higgledy-piggledy under a layer of dust and in impressive disorder. The photographer Brassai, who visited him in 1936, reported only two occupiable rooms – a dining room and a bedroom – every other inch of space given over to storage.<br />
<br />
Without direct heirs, the majority was divided between Madelaine de Galea, an alleged mistress, and his brother Lucien.<br />
<br />
What happened next is hazy, complicated by war. Some were hidden in
museums outside the city; Lucien appointed a dealer Martin Fabiani, in
accordance with Ambroise’s will, who set about disposing of the rest.<br />
<br />
At some point a shipment consigned for the United States was impounded by the British, only to leak on to the New York art market years afterwards.<br />
<br />
Fabiani was later indicted as a collaborator, a ‘Corsican adventurer, gigolo and racetrack tout’ who traded art plundered by the Nazis to the gaggle of strange adventurers, gangsters and government officials in occupied France.<br />
<br />
By 1948, the newspaper Ici Paris would cry ‘On a perdu la richissimes collections d’Ambroise Vollard!’ (we’ve lost the incredibly rich collection of Ambroise Vollard).<br />
<br />
What no one knew, until recently, was that several hundred works ended up in the hands of a young Croatian Jew. Erich Slomovich had come to Paris in the mid-Thirties and become something of a protégé of the ageing Vollard.<br />
<br />
Slomovich later told his mother that Vollard had given him the works to create a museum in Yugoslavia. But on his way there, the sound of German artillery thundering at the outskirts of Paris, he hurriedly deposited about 180 works in a vault at Société Generale.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsrFWDrZfAME8yLq-G0gLotujqKwBR1FdtCjaDrKmWpaK5q_5ESzuUgGzoGNEhkUXD037wJiBLE540f2yCJCIBUlpJ_oFPuo0yTIEXA-z2i1VaYDhyGCL3Gk7DFFqPyYU2uKGGfVgmhUlf/s1600/darcy1-10-07-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsrFWDrZfAME8yLq-G0gLotujqKwBR1FdtCjaDrKmWpaK5q_5ESzuUgGzoGNEhkUXD037wJiBLE540f2yCJCIBUlpJ_oFPuo0yTIEXA-z2i1VaYDhyGCL3Gk7DFFqPyYU2uKGGfVgmhUlf/s400/darcy1-10-07-2.jpg" width="386" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Erich Slomovic with (clockwise from top left) Aristide Maillol, Pierre Bonnard, Marc Chagall, and Henri Matisse</td></tr>
</tbody></table>
<br />
A year later, he stashed the remainder behind a false wall in a farmhouse near Belgrade, just weeks before he was gassed, aged 27, in a converted truck.<br />
<br />
The Belgrade stash was appropriated by the Yugoslav state, but the safe deposit box in Paris slept silently, unknown, unopened, until 1979, when French law allowed the bank to reclaim unpaid rent via a sale of the contents.<br />
<br />
When the bank announced it was auctioning ‘La Collection Chlomovitch, Provenance Ambroise Vollard’, quick as a flash, 15 parties stepped forward to claim the art and the sale was cancelled.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYrVoAgWCdJZ1xe6SQk2PIVR1ZBY8mCKa1KIGwdLnWe92gCzCR3uUMiznATydDCwiUpFYa1w6jy6XRJIyHpyPFM7VS1AhU72MfZRclDVmDmWWwy2ocpPGmU8SCWwKzWiDZ3b1vB663cUIz/s1600/darcy1-10-07-1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYrVoAgWCdJZ1xe6SQk2PIVR1ZBY8mCKa1KIGwdLnWe92gCzCR3uUMiznATydDCwiUpFYa1w6jy6XRJIyHpyPFM7VS1AhU72MfZRclDVmDmWWwy2ocpPGmU8SCWwKzWiDZ3b1vB663cUIz/s320/darcy1-10-07-1.jpg" width="217" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Thérèse Bonney’s Vollard at 28, rue Martignac (ca. 1932), with an inscription to dealer Etienne Bignou reading "To someone who loves paintings so much."</span></td></tr>
</tbody></table>
A sobering 29 years of legal wrangling later, the works are finally to be offered at auction by the Vollard heirs, making their long-anticipated appearance on the market.<br />
<br />
The highlight of the sale is a 1905 Derain painted at Collioure, in the south of France which is expected to sell for up to £14 million. Its vibrant colouration heralded a new string for modernism’s bow as he and fellow artists Vlaminck and Matissse became known as Les Fauves, or ‘Wild Beasts’.<br />
<br />
There are also works by Cézanne and Degas, Renoir, Mary Cassatt, Picasso and Chagall. Some are inked with fond messages and dedications in scrawling, century-old signatures.<br />
<br />
In 1937, when Vollard was busy curating his memories for an autobiography, he chanced upon a subscription slip for an edition of the pastoral romance Daphnis et Chloé, for which he had commissioned Bonnard to provide a series of illustrations.<br />
<br />
In reflective mood, he inscribed it thus: ‘When I had the good fortune to find such a talented illustrator as Bonnard.’ and sent it to his former protégé.<br />
<br />
Three days after he died in a fateful car crash, Bonnard, stricken with grief added: ‘When I had the good fortune to find such a patron as Vollard.’<br />
<br />
Sources: <a href="http://www.artnet.com/magazineus/features/darcy/darcy1-10-07.asp">Art Net</a>, <a href="http://www.telegraph.co.uk/culture/art/7818407/Ambroise-Vollard-the-original-Charles-Saatchi.html">The Telegraph </a><br />
<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8002097675041922995.post-789906069432551572015-10-21T00:00:00.000+02:002015-10-22T02:07:10.289+02:00‘Manet Paints Monet’<i>In the summer of 1874, Claude Monet was living in
Argenteuil, a suburb on the Seine some seven miles north of Paris, and
Édouard Manet was spending time at his family’s property in nearby
Gennevilliers, just across the river. </i><br />
<hr />
<div class="inline inline-type-blog-image inline-id-3301 inline-position-center" id="blog-image-3301">
<br />
<figure class="landscape">
<a class="poppable" href="http://www.nybooks.com/media/img/blogimages/manet-olympia.jpg"><img alt="" src="http://www.nybooks.com/media/img/blogimages/manet-olympia_jpg_780x637_q85.jpg" height="433" width="640" /></a>
<figcaption>
<small> </small>
Édouard Manet: <i>Olympia</i>, 1863
</figcaption>
</figure>
</div>
Monet had first crossed Manet’s path at the Salon of 1865, where
confusion resulted owing to the regulation of hanging works
alphabetically by artists’ names. There Manet showed his highly
controversial nude <i>Olympia</i>.<br />
<br />
<hr />
<div class="inline inline-type-blog-image inline-id-3295 inline-position-center" id="blog-image-3295">
<br />
<figure class="landscape">
<a class="poppable" href="http://www.nybooks.com/media/img/blogimages/monet-seascape.jpg"><img alt="" src="http://www.nybooks.com/media/img/blogimages/monet-seascape_jpg_780x600_q85.jpg" height="522" width="640" /></a>
<figcaption>
<small> </small>
Claude Monet: <i>A Seascape, Shipping by Moonlight</i>, 1864
</figcaption>
</figure>
</div>
At the Salon, Monet’s two large seascapes had been placed near the
older artist’s work, and the Monets were much admired. Infuriated at
being congratulated for Monet’s seascapes, Manet apparently exclaimed,
“Who is this rascal who pastiches my painting so basely?”
<br />
<hr />
<div class="inline inline-type-blog-image inline-id-3303 inline-position-center" id="blog-image-3303">
<br />
<figure class="portrait">
<a class="poppable" href="http://www.nybooks.com/media/img/blogimages/woman-with-a-parrot-1866.jpg"><img alt="" src="http://www.nybooks.com/media/img/blogimages/woman-with-a-parrot-1866_jpg_780x1124_q85.jpg" height="640" width="446" /></a>
<figcaption>
<small>Metropolitan Museum of Art</small>
Édouard Manet: <i>Woman with a Parrot</i>, 1866
</figcaption>
</figure>
</div>
Monet, for his part, was dismissive of Manet’s <i>Woman with a Parrot</i>—Zola considered it the best of his recent paintings—writing to Frédéric Bazille in June 1867 that “<i>La Femme rose</i> is bad, his earlier work is better than what he is doing at the moment.”
<br />
<hr />
<div class="inline inline-type-blog-image inline-id-3293 inline-position-center" id="blog-image-3293">
<br />
<figure class="portrait">
<a class="poppable" href="http://www.nybooks.com/media/img/blogimages/manet-argenteuil_1.jpg"><img alt="" src="http://www.nybooks.com/media/img/blogimages/manet-argenteuil_1_jpg_780x1244_q85.jpg" height="640" width="483" /></a>
<figcaption>
<small> </small>
Édouard Manet: <i>Argenteuil</i>, 1874
</figcaption>
</figure>
</div>
Yet there can be no doubt of Manet’s artistic and affective
complicity with Monet at Argenteuil in the summer of 1874. Dazzling and
virtuosic, Manet’s painting <i>Argenteuil</i> is louche and playful at
the same time, with its lusty canotier balancing his companion’s
parasol over their adjacent laps, her millinery confection, as T.J.
Clark has written, a “wild twist of tulle, piped onto the oval like
cream on a cake.” Routinely identified as the “drill sergeant” of the
Impressionists—despite his refusal to participate in any of their
exhibitions—it is clear that Manet now intended to come out (as it were)
and show solidarity with the fledgling avant-garde, including such
painters as Monet and Renoir.
<br />
<hr />
<div class="inline inline-type-blog-image inline-id-3288 inline-position-center" id="blog-image-3288">
<br />
<figure class="landscape">
<a class="poppable" href="http://www.nybooks.com/media/img/blogimages/manet-boating.jpg"><img alt="" src="http://www.nybooks.com/media/img/blogimages/manet-boating_jpg_780x707_q85.jpg" height="480" width="640" /></a>
<figcaption>
<small>The Metropolitan Museum of Art, New York</small>
Édouard Manet: <i>Boating</i>, 1874
</figcaption>
</figure>
</div>
The second Argenteuil boating picture, also likely completed in the
summer of 1874 but held back until the Salon of 1879, suggests something
of a withdrawal from Monet’s shimmering chromatic language.
<br />
<hr />
<div class="inline inline-type-blog-image inline-id-3302 inline-position-center" id="blog-image-3302">
<br />
<figure class="landscape">
<a class="poppable" href="http://www.nybooks.com/media/img/blogimages/the-grand-canal-of-venice-blue-venice-1874.jpg"><img alt="" src="http://www.nybooks.com/media/img/blogimages/the-grand-canal-of-venice-blue-venice-1874_jpg_780x1731_q85.jpg" height="530" width="640" /></a>
<figcaption>
<small> </small>
Édouard Manet: <i>The Grand Canal of Venice</i>, 1875
</figcaption>
</figure>
</div>
Paradoxically, Manet’s most fully realized Impressionist
landscapes—done far from Argenteuil and Monet—are the two dazzling views
of Venice’s Grand Canal, painted in Tissot’s company in the autumn of
1875
<br />
<hr />
<div class="inline inline-type-blog-image inline-id-3289 inline-position-center" id="blog-image-3289">
<br />
<figure class="landscape">
<a class="poppable" href="http://www.nybooks.com/media/img/blogimages/manet-monet-family.jpg"><img alt="" src="http://www.nybooks.com/media/img/blogimages/manet-monet-family_jpg_780x578_q85.jpg" height="393" width="640" /></a>
<figcaption>
<small>The Metropolitan Museum of Art, New York, bequest of Joan Whitney Payson</small>
Édouard Manet: <i>The Monet Family in Their Garden at Argenteuil</i>, 1874
</figcaption>
</figure>
</div>
On July 23, Manet had been invited to paint en plein air in the
garden of Monet’s rented villa on the rue Pierre Guienne (a house that
Manet had found for him three years earlier). In a vibrating, high-keyed
canvas, Manet portrayed Camille Monet and their seven-year-old son Jean
seated on the lawn, with Monet in his painter’s smock tending to the
flowers behind them. As Sauerländer observes in one of his most
endearing insights, a cock, hen, and chick line up in the left
foreground, affectionately paraphrasing the family as in an animal fable.<br />
<br />
<span style="font-size: x-small;"><a href="http://www.nybooks.com/blogs/gallery/2015/apr/14/manet-paints-monet/">Read more at The New York Review of Books </a></span><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-50707150637291091502015-10-14T21:43:00.000+02:002015-10-14T21:43:02.327+02:00The First Family of Art Forgery<br />
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Evgeni Posin and Michail Posin in their Posin Art Salon, surrounded by paintings they and their third brother, Semyon, painted. </div>
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In 2001, Belgian police called curators at one of London’s top
museums and told them that two J.M.W. Turner paintings valued at $35
million had been recovered in a sting operation. Lost since 1994, the
Tate Gallery scrambled to get a professional down to Antwerp to see
them.<br />
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Sitting at home in Berlin a few days later, Evgeni Posin was reading
an article in the newspaper about two men arrested for trying to pass
off the Turners as original. He knew immediately the paintings were
fakes. How? Because he and his two brothers had painted them.<br />
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The Manning brothers play quarterback. The Jonas brothers do boy-band
music. And the Posin brothers make art fakes. For decades, Evgeni, 66,
Michail, 65, and Semyon, 69, have painted near-perfect copies of the
world’s masterworks, with all three of the brothers typically painting
different sections of each canvas.<br />
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But unlike most forgers, they’re not trying to dupe the art
world. Their buyers know exactly what they’re getting for the thousands
of euros they shell out for a Posin painting. Many of the customers are
collectors, often millionaires, who own an original but want to keep it
hidden away. One fan, Gerold Schellstaeder, has bought more than a 100
of the Posins’ paintings—he has even <a href="http://www.seehotel-grossraeschen.de/Seehotel/Falschermuseum.html" target="_blank">set up a museum</a> for
their work in northern Germany. The brothers even have a Hollywood
following: Four of their most recent Gustav Klimt copies turned up
in Wes Anderson’s latest film, <em>The Grand Budapest Hotel.</em><br />
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Posin Art Salon, a storefront in the Neukölln neighborhood of Berlin. </div>
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All three brothers live in the Neukölln neighborhood of Berlin, where
each has his own apartment and studio, along with an old storefront
converted into what is called the Posin Art Salon, crammed to the brim
with fabulous fakes. Walk in and you’ll see the Mona Lisa on an easel
and a Van Gogh lying sideways on the floor.<br />
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Christoph Stoelzl, a German art critic, <a href="http://www.dw.de/berlin-artists-create-a-buzz-with-original-fakes/a-5888474-1" target="_blank">told Deutsche Welle</a> that
works painted by the brothers could easily pass as originals. But the
brothers aren’t interested in the intricacies of a true forgery and
leave plenty of clues for the expert.<br />
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“You can see it immediately,” says Evgeni. “All you need to do is look on the back.”<br />
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Other clues are in the makeup of the painting. Copies, for example,
have to be painted on a slightly different sized canvas than the
original to be legal, and the brothers use some newer materials, like
paints and canvas. The clues aren’t so much on purpose as much as just
obvious to someone looking for a forgery.<br />
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Michail Posin, 65, sitting in the Posin Art Salon next to some of the art works he and his brothers have painted. </div>
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The brothers are obsessed with detail. For them, copying the great
masters is akin to the best method acting. They didn’t cut their ears
off while painting a copy of Van Gogh, but they did read diaries, study
the time period and try to put themselves in his head. If an original
painting took two hours to paint, then they take two hours. And if it
took three months to make the masterpiece, then they paint for three
months, too. Their attention to detail has led to some lucrative offers.
Evgeni says that though they were once offered $9.6 million to forge a
Picasso, but turned it down.<br />
<br />
“We will not put our heads on the guillotine,” he says, “because
people get caught eventually.” Asked if some of their customers pass off
the works as originals, Evgeni says he doesn’t know—and doesn’t want to
know. “If you sell a knife you don’t know if someone will kill with
it.”<br />
The brothers grew up in Russia and studied at the Leningrad Arts
Academy, where the curriculum was all about copying the great masters.
As they started in their early careers, authorities wanted them to make
Communist-style paintings.<br />
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Paint used by the brothers inside of their Posin Art Salon storefront. </div>
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“We didn’t do what we were supposed to do at the time in Russia,”
Evgeni says. He left first, traveled around Europe and ended up in
Berlin. His brothers soon followed, and they have been here since.
The three have an unusual relationship and with the larger paintings:
They all paint together, adding parts at will.<br />
<br />
The art of reproducing masters, and even adding a bit sometimes, gets
overlooked in the rush to find new forms of self-expression. And though
much of the art world frowns on copying, art critic Blake Gopnik
pointed out in a New York Times article entitled “In Praise of Art
Forgeries” that “if a fake is good enough to fool experts, then it’s
good enough to give the rest of us pleasure, even insight.”<br />
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The brothers also create their own original works—one massive
painting by Evgeni even earned the brothers an audience with the pope
back in 2004—but much of their focus remains on the classics, in part
because copies can be made of only paintings that are more than 70 years
old. (Copyright law expires after 70 years, so copying older stuff is
legal but newer stuff would require owning rights to the piece to do a
reproduction.)<br />
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Then there are some paintings that the brothers say they won’t ever
sell. Why? “It’s just intuition,” says Evgeni. “There are paintings we
want to have and we want to keep.”<br />
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<em>Additional reporting and translating by Svetlana Stepanova.</em><br />
<em><a href="http://www.vocativ.com/culture/art-culture/first-family-art-forgery/">Reposted from Vocativ </a></em><br />
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<em><br /></em>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-90126739607850733452015-10-05T23:30:00.000+02:002015-10-05T23:30:00.036+02:00Rare Film of Pierre-Auguste Renoir, 1915You may never look at a painting by Pierre-August Renoir in quite the same way again after seeing this three-minute film. It didn’t show in his artwork, but Renoir suffered from severe rheumatoid arthritis during the last three decades of his life. He worked in constant pain, right up until the day he died.<br />
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In this rare footage from 1915 we see the 74-year-old master seated at his easel, applying paint to a canvas while his youngest son Claude, 14, stands by to arrange the palette and place the brush in his father’s permanently clenched hand. By the time the film was made Renoir could no longer walk, even with crutches. He depended on others to move him around in a wheelchair. His assistants would scroll large canvases across a custom-made easel, so that the seated painter could reach different areas with his limited arm movements. But there were times when the pain was so bad he was essentially paralyzed. In the book Renoir, My Father, the painter’s famous filmmaker son Jean describes the shock his father’s wasted figure and gnarled hands gave to people who knew him only from his beautiful art:<br />
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<i>"His hands were terribly deformed. His rheumatism had made the joints stiff and caused the thumbs to turn inward towards the palms, and his fingers to bend towards the wrists. Visitors who were unprepared for this could not take their eyes off his deformity. Though they did not dare to mention it, their reaction would be expressed by some such phrase as “It isn’t possible! With hands like that, how can he paint those pictures? There’s some mystery somewhere.”</i><br />
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The film of Renoir was made by 30-year-old Sacha Guitry, who appears midway through the film sitting down and talking with the artist. Guitry was the son of the famous actor and theatre director Lucien Guitry, and would go on to even greater fame than his father as an actor, filmmaker and playwright. When a group of German intellectuals issued a manifesto after the outbreak of World War I bragging about the superiority of German culture, Guitry was infuriated. As an act of patriotism he decided to make a film of France’s great men and women of the arts. It would be released as Ceux de Chez Nous, or “Those of Our Land.” Guitry and Renoir were already friends, so when the young man embarked on his project he traveled to Renoir’s home at Cagnes-sur-Mer, in the Provence-Alpes-Côte d’Azur region. The date was shortly after June 15, 1915, when Renoir’s wife Aline died. In Sacha Guitry: The Last Boulevardier, writer James Harding describes the scene:<br />
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<i>The choice of time was unfortunate. That very day Renoir’s wife was to be buried. Sacha went to the old man who sat huddled arthritically in his wheel chair and murmured: ‘It must be terribly painful, Monsieur Renoir, and you have my deepest sympathy.’ ‘Painful?’ he replied, shifting his racked limbs, ‘you bet my foot is painful!’ They pushed him in his chair up to a canvas, and, while Sacha leaned watching over his shoulder, Renoir jabbed at the picture with brushes attached to hands which had captured so much beauty but which now were shriveled like birds’ claws. The flattering reminder that he was being filmed for posterity had no effect on the man who, on being awarded the cravat of a Commandeur of the Légion d’Honneur, had said: ‘How can you expect me to wear a cravat when I never wear a collar?’</i><br />
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Renoir died four years after the film was made, on December 3, 1919. He lived long enough to see some of his paintings installed in the Louvre. When a young Henri Matisse asked the suffering old man why he kept painting, Renoir is said to have replied, “The pain passes, but the beauty remains.”<br />
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<a href="http://www.openculture.com/2012/07/astonishing_film_of_arthritic_impressionist_painter_pierre-auguste_renoir_1915.html">Source Open Culture </a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-40506572184240686912015-09-27T23:59:00.000+02:002015-09-27T23:59:00.946+02:00Rare Film Footage of French Impressionist painter Claude Monet We’ve all seen their works in fixed form, enshrined in museums and printed in books. But there’s something special about watching a great artist at work. This is the only known film footage of the French Impressionist Claude Monet, made when he was 74 years old, painting alongside a lily pond in his garden at Giverny. <br />
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The footage was shot in the summer of 1915 by the French actor and dramatist <a href="http://www.imdb.com/name/nm0347589/bio">Sacha Guitry</a> for his patriotic World War I-era film <a href="http://www.imdb.com/title/tt0200524/">Ceux de Chez Nous</a>, or “Those of Our Land.” It was shot in the summer of 1915, when Monet was 74 years old. It was not the best time in Monet’s life. His second wife and eldest son had both died in the previous few years, and his eyesight was getting progressively worse due to cataracts. But despite the emotional and physical setbacks, Monet would soon rebound, making the last decade of his life (he died in 1926 at the age of 86) an extremely productive period in which he painted many of his most famous studies of water lilies.<br />
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At the beginning of the film clip we see Guitry and Monet talking with each other. Then Monet paints on a large canvas beside a lily pond. It’s a shame the camera doesn’t show the painting Monet is working on, but it’s fascinating to see the great artist all clad in white, a cigarette dangling from his lips, painting in his lovely garden.<br />
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<a href="http://www.openculture.com/2015/09/watch-1915-video-of-monet-renoir-rodin-creating-art-and-edgar-degas-taking-a-stroll.html">Read more</a><br />
<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8002097675041922995.post-58464557510350310312015-09-16T00:38:00.002+02:002015-09-16T00:45:28.922+02:00Story Merchant Books Launches Deadly Impressions!<div class="separator" style="clear: both; text-align: center;">
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Story Merchant Books launches Art Johnson's second detective thriller <a href="http://amzn.com/0996368906"><i>Deadly Impressions </i></a>after his premier critically acclaimed <i><a href="http://www.amazon.com/dp/B00ICSYQZC/?tag=stormerc-20">The Devil's Violin</a>.</i> The musician/writer who worked with Lena Horne, Tim Buckley and Pavarotti to name a few resides in Monaco. <br />
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His new novel begins with the kidnapping of Pasadena billionaire Ezekiel Fick's granddaughter. Enter ex-LA PD Lieutenant Arnold "Arney" Blackburn who has become a private eye since his dismissal from the force. The abduction is not following the rule book and an LA drug lord, a Chicago gangster, and a host of Hollywood's " A " list are all potentially involved. <br />
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Eighty year old Ezekiel Fick hides a life changing secret in his past. His uncle Roderich a preferred architect of Adolf Hitler left him a fortune in impressionist paintings by none other than Claude Monet, works that were thought to be destroyed nearly a century ago. <br />
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Tensions mount as Arney joins forces with FBI agents Chris Clarke and Carlos "Chubbs" Gonzales, (<a href="http://www.amazon.com/dp/B00ICSYQZC/?tag=stormerc-20"><i>The Devils Violin</i></a>) to weed through the overgrowth of the Hollywood Hills in search of the missing girl. But who are her real abductors? Even PI Arney Blackburn is completely baffled by the time the final curtain falls. He never saw this one coming. <br />
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<a href="http://amzn.com/0996368906"><i>Deadly Impressions</i></a> pits ghosts from the past against those phantoms in control of the present to weave a haunting story that will stay with you long after you close the cover.<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-91773808897267888982015-09-14T00:00:00.000+02:002015-09-14T00:00:06.572+02:00KATHLEEN RAINE<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">One of the most renowned British female poets of the twentieth-century, and an accomplished scholar of Blake, Yeats and Hopkins, Kathleen Raine’s contribution to British poetry is without question. </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />As a young poet, she longed to be published by TS Eliot at Faber, but in vain. Decades later, the daughter of her beloved Yeats told her that "Tom" had first told "WBY" (as Anne Yeats called her father) to read Kathleen Raine's poems. When she no longer bothered about such things, "I received Eliot's posthumous acceptance, with Yeats's also." It was the Sri Lankan, Tambimutto, who published her first book of poems, Stone And Flower, in 1943, with illustrations by Barbara Hepworth; he never ceased to see greatness in her work.<br /><br />Kathleen's life had its pleasures, but much pain. She was beautiful and intelligent, and knew the passions of the heart and body as well as the immortal longings of the soul. At Cambridge, a group of young men hung around simply to catch sight of her. There were love affairs, marriages, partings.<br /> </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The love of her life was the homosexual Gavin Maxwell, naturalist and author of Ring Of Bright Water - their relationship proved disastrous, she renounced personal emotions, and judged her own part in these dramas with ruthless severity. Threads of sorrow, regret and loneliness run through her four volumes of autobiography, as well as through her poetry.</span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">They had met first as teenagers on the Galloway coast and again in the rarefied literary cliques of Oxford and Cambridge. Their relationship had never been calm; as intellectual equals they shared much, especially their love of literature and a passion for nature and the West Highlands of Scotland. She had been a regular visitor at Sandaig; he had also unwisely taken a flat in the basement of her London house. Their rows were frequent and verbally violent. Maxwell deeply resented her possessive jealousy, particularly when his attention strayed to other women, notably Clementine Glock, an artist of rare beauty. He also had a brief dalliance with Princess Margaret.</span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">After one such row, Maxwell banished Raine from the house. She ran to the rowan tree at the burn, grasped it in both hands and, weeping uncontrollably, cried out, ‘Let Gavin suffer in this place as I am suffering now!’ In Celtic mythology rowan trees possess magical properties, traditionally planted to ward off evil spirits. Maxwell took it to be a curse and called her a witch. He was later to blame her and the curse for the bizarre sequence of misfortunes that then befell him, but Raine always insisted that it was not so much a curse as ‘a desperate heart’s cry for truth’. In reality, of course, it was the anguished outpouring of a spurned love.</span></span><br />
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<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3FpGRLAMPQNiD38Ne9FP89qWvCJX0V_Ze2L4B9ZoU5HkpjM3cqexoH7PFhJkE6QaO-0G9HQ00FWaFFLwoNUKJLAI0geMl0xIINgV48tRzXd3DUIuJb8wXMbhwpbF3qwsP0gGXHIifnEYj/s1600/h_01925432_2963321c.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3FpGRLAMPQNiD38Ne9FP89qWvCJX0V_Ze2L4B9ZoU5HkpjM3cqexoH7PFhJkE6QaO-0G9HQ00FWaFFLwoNUKJLAI0geMl0xIINgV48tRzXd3DUIuJb8wXMbhwpbF3qwsP0gGXHIifnEYj/s1600/h_01925432_2963321c.jpg" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;"><span class="irc_su" dir="ltr" style="text-align: left;">Maxwell writing at Sandaig at home in the West Highlands</span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />The agony that Kathleen Raine underwent thereafter, expressed in her poetry and prose, seems never wholly to have expiated her guilt for a curse that so rebounded on herself. As a woman, she reviled herself as loveless and destructive of other lives; as a poet, she castigated herself for not writing more, or better - for neglecting her daimon, as she called her gift and source. "Sin of omission: as women/ Withhold love, so I poetry," as one poem begins.<br /><br />Yet she kept faith with her vocation, producing more than a dozen books of poetry in six decades. She visited India for the first time in her 70s, and felt she had come home. She grew closer to her children, whose lives she thought she had ruined, her grandchildren and great-grandchildren. All but one grandchild survive her.<br /><br />In 1980, her life took a new turning. With a group of like-minded artists and writers, she launched Temenos - "a review devoted to the arts of the imagination" - with its first issue offering contributions from fellow poets David Gascoyne, Peter Redgrove and Vernon Watkins, and the visionary artist Cecil Collins, as well as herself. The editors of Temenos (the word means the sacred area around a temple) declared that "the intimate link between the arts and the sacred" had fired imaginative creation in almost all human societies, except our own. Temenos aimed to challenge this "deviation" in the arts of its time.<br /><br />It did so at an unpropitious moment, the start of the 1980s, a decade that epitomised all that Temenos opposed - secularism, materialism, a popularised culture and press, and Margaret Thatcher's denial of the very existence of "society". Yet in the 1990s a tide turned. At the Temenos Academy, Kathleen presided over discussions and lectures by scientists, ecologists and economists, as well as scholars, writers and artists from both east and west.<br /><br />When asked how she wished people to remember her, Kathleen Raine said she would rather they didn't. Or that Blake's words be said of her: "That in time of trouble, I kept the divine vision". Better to be a sprat in that "true ocean", she believed, than a big fish in a literary rock pool. </span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.telegraph.co.uk/news/earth/wildlife/10943319/The-genius-of-Gavin-Maxwell.html">Read more at The Guardian, The Telegraph</a></span></span><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-30566863165295331032015-08-23T00:00:00.000+02:002015-08-20T20:26:11.459+02:008 Artists You Should KnowThroughout the history of art, many brave and creative spirits have exposed their souls, their imaginations and their ideas about the world through the
power of visual expression. Today, we're honoring eight individuals whose artistic expression has transformed the conversation surrounding
representation, the role of the artist, the relationship between figuration and abstraction, and the power of art. <br />
<br />
<img alt="men" src="http://i.huffpost.com/gen/2781926/thumbs/o-MEN-900.jpg" height="244" width="640" /><br />
<div class="feature-section">
<br />
<br />
<br />
<big><b>1. Claude Monet (1840-1926)</b></big><br />
<i>"My life has been nothing but a failure."</i><br />
<br />
<img alt="monet" src="http://i.huffpost.com/gen/2781410/thumbs/o-MONET-900.jpg" height="640" width="480" /><br />
<br />
The
work of French painter Claude Monet (pronounced Mo-Nay) isknown for his
paintings of water lilies in the idyllic gardens of Giverny. Sadly, his
work remains confined to institutions like the Metropolitan Museum of
Art and Musée d'Orsay, and sells for <a href="http://www.huffingtonpost.com/2015/02/04/le-grand-canal-monet_n_6614950.html" target="_hplink">millions of dollars</a>. IMHO, those canvases are whimsical enough to warrant billion dollar price tags.<br />
<br />
<br />
<big><b>2. Leonardo da Vinci (1452-1519)</b></big><br />
<i>"I have offended God and mankind because my work didn't reach the quality it should have."</i><br />
<br />
<img alt="da" src="http://i.huffpost.com/gen/2781460/thumbs/o-DA-900.jpg" height="640" width="445" /><br />
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Leonardo has been dubbed a "<a href="https://books.google.com/books?id=I9pkbjp_4rgC&printsec=frontcover&dq=leonardo+genius&hl=en&sa=X&ei=WZkZVfGKPMffoATpsoDoCQ&ved=0CCkQ6AEwAg#v=onepage&q=leonardo%20genius&f=false" target="_hplink">genius</a>," as well as the "Renaissance humanist ideal." There are <a href="http://www.quora.com/Was-Leonardo-da-Vinci-the-most-talented-person-that-has-ever-lived" target="_hplink">forums dedicated to whether or not he was the most talented person that has ever lived</a>.
One of his most celebrated paintings, the "Mona Lisa," is likely the
most famous portrait of all time, but it's also the most parodied, and
sometimes that stuff gets mean spirited.<br />
<br />
<br />
<big><b>3. Henri Matisse (1869-1954)</b></big><br />
<i>"It has bothered me all my life that I do not paint like everybody else."</i><br />
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<img alt="henri matisse" src="http://i.huffpost.com/gen/2781562/thumbs/o-HENRI-MATISSE-900.jpg" height="640" width="489" /><br />
<br />
Matisse
(pronounced Muh-Tees) is known as one of the most influential artists
of the 20th century, as well as the leader of the Fauvists, French for
"wild beasts," a group of artists who privileged intense and unnatural
color, sometimes straight from the tube. In 2005 one of his pieces<a href="http://www.nytimes.com/2005/09/08/arts/design/08muse.html" target="_hplink"> sold for $25 million to the Museum of Modern Art</a>. <a href="http://en.wikipedia.org/wiki/File:The_Plum_Blossoms.jpg" target="_hplink">It's not even one of the super famous ones.</a><br />
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<br />
<big><b>4. Édouard Manet (1832-1883)</b></big><br />
<i>"This woman's work is exceptional. Too bad she's not a man."</i><br />
<br />
<img alt="m" src="http://i.huffpost.com/gen/2781630/thumbs/o-M-570.jpg" height="640" width="457" /><br />
<br />
In
the mid-19th century, Manet (pronounced Man-ehh?) painted provocative
artworks such as "The Luncheon on the Grass," and "Olympia," both
radical for their use of a nude subject staring straight at the viewer
without shame. <a href="http://www.pbs.org/wgbh/cultureshock/beyond/manet.html" target="_hplink">Some say his career sparked the beginning of modern art.</a>
Also, his name sounds a lot like Monet (see #1 on list) who is slightly
more famous, which, we can only imagine, must have been frustrating.<br />
<br />
<br />
<big><b>5. Michelangelo (1475-1564)</b></big><br />
<i>"If people knew how hard I worked to get my mastery, it wouldn't seem so wonderful at all."</i><br />
<br />
<img alt="portrait" src="http://i.huffpost.com/gen/2781702/thumbs/o-PORTRAIT-900.jpg" height="640" width="478" /><br />
<br />
The Encyclopedia Britannica subtly states: "<a href="http://www.britannica.com/EBchecked/topic/379957/Michelangelo" target="_hplink">Michelangelo was considered the greatest living artist in his lifetime,</a>
and ever since then he has been held to be one of the greatest artists
of all time." He's responsible for works like the ceiling of the Sistine
Chapel and the "Pietà," and yet we're still left wondering: but who <i>is</i> Michelangelo?<br />
<br />
<br />
<big><b>6. Pablo Picasso (1881–1973)</b></big><br />
<i>"My mother said to me, 'If you are a soldier, you will become a
general. If you are a monk, you will become the Pope.' Instead, I was a
painter, and became Picasso."</i><br />
<br />
<img alt="picasso photo" src="http://i.huffpost.com/gen/2781762/thumbs/o-PICASSO-PHOTO-900.jpg" height="426" width="640" /><br />
<br />
As
Norman Mailer once put it: "By general consensus, Pablo Picasso is the
most brilliant and influential artist of this century." Among other
things, he co-founded Cubism, invented constructed sculpture and helped
popularize collage. Sadly, however, many individuals still hurl
disparaging comments at him, like "my five-year-old could do that."<br />
<br />
<br />
<big><b>7. Paul Gauguin (1848-1903)</b></big><br />
<i>"We never really know what stupidity is until we have experimented on ourselves."</i><br />
<br />
<img alt="gaug" src="http://i.huffpost.com/gen/2781836/thumbs/o-GAUG-570.jpg" height="640" width="501" /><br />
<br />
Gauguin
(pronounced Go-gan) is a key figure in Symbolist, Post-Impressionist
and Primitivist art. He's also, perhaps less widely, known as the former
stockbroker who left his wife and five children to embark on a hunt to "<a href="http://www.thestranger.com/seattle/you-may-be-infected-already/Content?oid=12587203" target="_hplink">discover the primitive</a>." In other words, he moved to Tahiti and took adolescent girls for wives. Get this guy a reality show!<br />
<br />
<big><b>8. Edgar Degas (1834-1917)</b></big><br />
<i>"Painting is easy when you don't know how, but very difficult when you do."</i><br />
<br />
<img alt="degas" src="http://i.huffpost.com/gen/2781862/thumbs/o-DEGAS-900.jpg" height="640" width="508" /><br />
<br />
Degas
(pronounced Day-gah) is known for his weightless depictions of
ballerinas in motion, combining on-stage performances with awkward
behind-the-scenes moments. He's also known as one of the founders of
Impressionism. His bronze sculpture creepily titled "Little Dancer of
Fourteen Years" was estimated to draw between $25 million and $35
million during a Christie's auction in 2009. <a href="http://www.huffingtonpost.com/2011/11/02/degas-bronze-ballerina-auction_n_1071225.html?" target="_hplink">There were no bids.</a> It did not sell.<br />
<br />
<a href="http://www.huffingtonpost.com/2015/04/03/dead-white-male-artists_n_6971216.html">Reposted From The Huffington Post </a><br />
<br />
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-68366947175259806702015-08-12T23:18:00.000+02:002015-08-12T22:41:06.215+02:00Saint-Paul Asylum, Saint-Rémy Van Gogh Series<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFan292yC5-C5VYJ6-I4qQ2fmLCOX-zMG4Yp2eGpkkDaupwTuWBAUupCw2Sy9jlBwyBXYJOjkfhccYDzxG2m3ngMR9cqZQyssqPEHL0zfJLikPXsUPuqfukLKos0uQXt3adv0jRVKX7aX/s1600/Hospital_in_Saint-Remy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFan292yC5-C5VYJ6-I4qQ2fmLCOX-zMG4Yp2eGpkkDaupwTuWBAUupCw2Sy9jlBwyBXYJOjkfhccYDzxG2m3ngMR9cqZQyssqPEHL0zfJLikPXsUPuqfukLKos0uQXt3adv0jRVKX7aX/s640/Hospital_in_Saint-Remy.jpg" width="482" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Hospital at Saint-Rémy-de -Provence</span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Saint-Paul Asylum, Saint-Rémy is a collection of paintings that Vincent van Gogh did when he was a self-admitted patient at the Saint-Paul asylum in Saint-Rémy-de-Provence, since renamed the Clinique Van Gogh, from May 1889 until May 1890.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">During much of his stay there he was confined to the grounds of the asylum, and he made paintings of the garden, the enclosed wheat field that he could see outside his room and a few portraits of individuals at the asylum.</span></span><br />
<br />
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<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5SbLRuI4R_VGzJsmvCPFYebinGFm_GonsPftQaTkxMGPWPg-Vn95avWVW9gEg5N_spZ56gmr7e22Q3-svf9_iRbEb98vTx4HaQ-QWZwy5zD3SztDcgtR9pKdkS6w51pfRjgwquijAFe8Z/s1600/Van_Gogh_-_Garten_des_Hospitals_Saint-Paul.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5SbLRuI4R_VGzJsmvCPFYebinGFm_GonsPftQaTkxMGPWPg-Vn95avWVW9gEg5N_spZ56gmr7e22Q3-svf9_iRbEb98vTx4HaQ-QWZwy5zD3SztDcgtR9pKdkS6w51pfRjgwquijAFe8Z/s640/Van_Gogh_-_Garten_des_Hospitals_Saint-Paul.jpeg" width="486" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;"><i>The Garden of Saint-Paul Hospital</i></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">May 1889</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Rczmg5M8oDVfZkktopzTgHIGOaFUnfRClWijJUN2JUUDAa0GUoNzx-HIu5eoNZ0oeFTFyoghTTMKtloBZWO0KjSxPozSVdRbtlvka5wiIl-1Qjw6ydL4S9EGdhTvJCUAWWiMLVXX_-m7/s1600/Vincent_van_Gogh_-_Corridor_in_the_Asylum.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Rczmg5M8oDVfZkktopzTgHIGOaFUnfRClWijJUN2JUUDAa0GUoNzx-HIu5eoNZ0oeFTFyoghTTMKtloBZWO0KjSxPozSVdRbtlvka5wiIl-1Qjw6ydL4S9EGdhTvJCUAWWiMLVXX_-m7/s640/Vincent_van_Gogh_-_Corridor_in_the_Asylum.JPG" width="488" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Corridor in Saint-Paul Hospital, 1889</span></span><i><br /></i></td></tr>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container"><tbody>
<tr align="left"><td class="tr-caption"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">During his stay
at Saint-Paul asylum, Van Gogh experienced periods of illness when he
could not paint. When he was able to resume, painting provided solace
and meaning for him. Nature seemed especially meaningful to him, trees,
the landscape, even caterpillars as representative of the opportunity
for transformation and budding flowers symbolizing the cycle of life.
One of the more recognizable works of this period is The Irises. </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: 0px; margin-right: auto; text-align: left;"><tbody>
<tr align="left"><td><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlMjfMeUCYS5my__BJS-4cCtYx4HSEPnGY_nc8l_-JSKdPRZk91yutTXFwbPQdQH-yKMGGP7v2ZLUQ0Z1UG7FBBlujwuF9iaknCaMlMNOFJZDwqOSqvJzpVzKkV9z2wtaKvmZH2v02qzJ/s1600/VanGoghIrises2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlMjfMeUCYS5my__BJS-4cCtYx4HSEPnGY_nc8l_-JSKdPRZk91yutTXFwbPQdQH-yKMGGP7v2ZLUQ0Z1UG7FBBlujwuF9iaknCaMlMNOFJZDwqOSqvJzpVzKkV9z2wtaKvmZH2v02qzJ/s640/VanGoghIrises2.jpg" width="640" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;"><i>Irises, </i>1889</span></td></tr>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Works of the
interior of the hospital convey the isolation and sadness that he felt.
From the window of his cell he saw an enclosed wheat field, the subject
of many paintings made from his room. He was able to make but a few
portraits while at Saint-Paul.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: 0px; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYw7Z45QZ46dOoIjWJWoVIQaxaZv-myeXS6k-VjxG_-TbZ20LLTfAwixVJ1WLaeGM4zaeys8Vyd2qdnyyFj1ReYIjPZsf5A5lTVOrJz6RFsVspbzyvnKZ92Gfq0DA9spbgno53u5uxLHEJ/s1600/Vincent_Willem_van_Gogh_007.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYw7Z45QZ46dOoIjWJWoVIQaxaZv-myeXS6k-VjxG_-TbZ20LLTfAwixVJ1WLaeGM4zaeys8Vyd2qdnyyFj1ReYIjPZsf5A5lTVOrJz6RFsVspbzyvnKZ92Gfq0DA9spbgno53u5uxLHEJ/s640/Vincent_Willem_van_Gogh_007.jpg" width="640" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><i>Enclosed Wheat Field with Rising Sun,</i> May 1889</span></span></td></tr>
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<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Within
the grounds he also made paintings that were interpretations of some of
his favorite paintings by artists that he admired. When he could leave
the grounds of the asylum, he made other works, such as Olive Trees (Van
Gogh series) and landscapes of the local area.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Events leading up to stay at the Saint-Paul hospital</b></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Following the
incident with Paul Gauguin in Arles in December 1888 in which van Gogh
cut off part of his left ear he was hospitalized in Arles twice over a
few months.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: 0px; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjTIxIHjE7uWzOmHArDD6oH0bbvIVT3mqoq1Avc_LDXC6M_k5FCkSUFKx3ucfgqLJMtk7Y8v4k29RmLApYTy9FgBPG7B-NJ1BNIglTMHyF31kdElznXpB21kvBZ6unLf60V_4jVmS2NUM/s1600/Ward_in_the_Hospital_in_Arles.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjTIxIHjE7uWzOmHArDD6oH0bbvIVT3mqoq1Avc_LDXC6M_k5FCkSUFKx3ucfgqLJMtk7Y8v4k29RmLApYTy9FgBPG7B-NJ1BNIglTMHyF31kdElznXpB21kvBZ6unLf60V_4jVmS2NUM/s640/Ward_in_the_Hospital_in_Arles.jpg" width="640" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span class="mw-mmv-title"><span style="font-size: x-small;"><i>Ward in the Hospital in Arles</i></span> </span></span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">In January 1889,
he returned to the Yellow House where he was living, but spent the
following month between hospital and home suffering from hallucinations
and delusions that he was being poisoned. In March 1889, the police
closed his house after a petition by 30 townspeople, who called him "fou
roux" (the redheaded madman). Paul Signac visited him in hospital and
Van Gogh was allowed home in his company. In April 1889, he moved into
rooms owned by Dr. Félix Rey, after floods damaged paintings in his own
home. Around this time, he wrote, "Sometimes moods of indescribable
anguish, sometimes moments when the veil of time and fatality of
circumstances seemed to be torn apart for an instant." Finally in May
1889 he left Arles and traveled to the asylum in Saint-Rémy-de-Provence.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Van Gogh was
initially confined to the immediate asylum grounds and painted (without
the bars) the world he saw from his room, such as ivy covered trees,
lilacs, irises of the garden, and the enclosed wheat field, subject of
many paintings at Saint-Rémy. As he ventured outside of the asylum
walls, he painted the wheat fields, olive groves, and cypress trees of
the surrounding countryside, which he saw as "characteristic of
Provence." Over the course of the year, he painted about 150 canvases.</span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://en.wikipedia.org/wiki/Saint-Paul_Asylum,_Saint-R%C3%A9my_%28Van_Gogh_series%29">Source Wikipedia </a></span></span></td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-36780650933513204732015-08-09T19:51:00.000+02:002015-08-12T22:40:38.695+02:00COMING SOON!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM3kq1tnzBMInJzdOdEtS-Ovh-lnD9A5FCkltMV_6ljh_95br5URYtdbTAQb6vfMcYfbqyOg0zzRWluUu1cc2upkxp6EXpwzHkFiwWYRTtKiP-EZueHNn-L51hWTcs7QjQePeuhRKSOGjS/s1600/Deadly+Bev.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM3kq1tnzBMInJzdOdEtS-Ovh-lnD9A5FCkltMV_6ljh_95br5URYtdbTAQb6vfMcYfbqyOg0zzRWluUu1cc2upkxp6EXpwzHkFiwWYRTtKiP-EZueHNn-L51hWTcs7QjQePeuhRKSOGjS/s400/Deadly+Bev.jpeg" width="266" /></a></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">FBI special Agent Chris Clarke and his partner Carlos Chubbs Gonzales are off to Los Angeles, “…the City of angels and assholes” to investigate the kidnapping of a twenty-four year old heiress. Her grandfather, multi-billionaire Ezekiel Fick, who has the President of the United States on speed-dial, cracks the whip over the Mayor of Los Angeles which puts LA Police Chief Fergus McCreary on the hot seat to find Stephanie Fick and fast.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />After organizing the departmental investigation Chief Mac goes behind closed doors to call in Arnold Blackburn, an ex-LAPD Lieutenant recently booted off the force who is now a Private Detective in LA County. Arney Blackburn has respect from both sides of the law which gives him access to information the LAPD isn’t privy to.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />But her abductors won’t follow the rule book. A week goes by and yet no ransom is demanded. Why was she kidnapped if not for money? Is her grandfather’s Swiss/German background and the fact that his uncle was a key architect under the wing of Adolph Hitler during World War II giving this crime a political slant? To what degree are some of Hollywood’s most famous involved: especially those who had relatives in Europe during the war whose art collections were confiscated by the Nazi regime? </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />How does Victor Gastaldi, one of LA’s most prominent drug Czars and Danny Ballantyne a Chicago gangster fit in? </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />What do thirteen un-cataloged paintings by a French Impressionist have to do with the outcome? Deadly Impressions asks hard questions about the past and the answers will dictate who lives and who doesn’t. </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />Chris and Chubbs with Arney in tow wade their way through the murky waters of Hollywood to find clues which don’t connect until the very end. The action travels to Cannes France, Monaco and Tunisia with all roads leading back to LA as the conclusion smacks you in the face like a wet boxing glove in the dark. You won’t see this one coming, you can bet on that! </span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-37214782531444158942015-04-03T23:00:00.000+02:002015-04-04T19:14:05.029+02:00Gustave Moreau<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKgfGN18KrpHMvyc5_DGmvWbSYwUbQe9wv-6oRsa04YleOPEyXjrnO47rOGeUOz_bcgzbntLLBlxQSWrjUF20bzC5wofidfSeV3mGv94ny27Hma76NS91ELzc7thpD3dWY1q8W5LTRKbAi/s1600/330px-GustaveMoreau02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKgfGN18KrpHMvyc5_DGmvWbSYwUbQe9wv-6oRsa04YleOPEyXjrnO47rOGeUOz_bcgzbntLLBlxQSWrjUF20bzC5wofidfSeV3mGv94ny27Hma76NS91ELzc7thpD3dWY1q8W5LTRKbAi/s1600/330px-GustaveMoreau02.jpg" height="640" width="508" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://en.wikipedia.org/wiki/Self-portrait" title="Self-portrait">Self-portrait</a> of Gustave Moreau, 1850</td></tr>
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French artist Gustave Moreau (1826-1898) is known for his strange and mystical works, often portraying scenes from mythology or religion. Although admired in his time, his works fell out of favor until the 1960s, when there was a revival of interest. Moreau instructed Henri Matisse and Georges Rouault, two famous French artists.<br />
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Moreau attended boarding school, the College Rollin, beginning at age 11 but left when his sister died. At the school, he won an award for draftsmanship. After he left school, his parents educated him at home, where they had a large library of books that Moreau read eagerly, including works on mythology. Moreau also studied Roman architecture, the Middle Ages, the Renaissance, the artistic themes of the Middle East and Far East, Shakespeare, and the Bible. In 1841, Moreau's mother, aunt, and uncle took him on a trip to Italy, where they visited Turin, Milan, Parma, Pisa, Florence, and Genoa. Moreau's sketchbook from this trip still exists and is kept in the Moreau Museum in Paris.<br />
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Moreau knew he wanted to be an artist and his parents supported him in his goal. In the mid-1840s, his parents showed his work to a painter, Pierre-Joseph Dedreux-Dorcy, who also encouraged him. Around 1844, Moreau began to study art with the neoclassical painter and art instructor Francois-Edouard Picot, who gave his student a solid technical foundation for his work. While studying with Picot, Moreau painted studies of nudes, copied Old Masters, and made oil sketches and large paintings.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju8mPhCYp2RhfJ0dOYVEOqgEWDJjiWvXzAoPFmjGlADiFajUhSlAxwxlCocPm228ApXuTOV9WM-GNLlmhjGJVDYth1Vx8x3DvO77_AhQ7aOdBB9OQyTN9Blrq-a-FztlBwYopx37q75e-J/s1600/Eugene+Delacroix.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju8mPhCYp2RhfJ0dOYVEOqgEWDJjiWvXzAoPFmjGlADiFajUhSlAxwxlCocPm228ApXuTOV9WM-GNLlmhjGJVDYth1Vx8x3DvO77_AhQ7aOdBB9OQyTN9Blrq-a-FztlBwYopx37q75e-J/s1600/Eugene+Delacroix.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Eugene Delacroix</td></tr>
</tbody></table>
In the early 1850s, Moreau met the Romantic painters Eugene Delacroix and Theodore Chasseriau, who greatly influenced his style of painting. From them, Moreau learned to love exotic romanticism, dramatic lighting, and bright colors. Moreau moved next door to Chasseriau and became interested in the latest fashions, often visiting Paris's literary and artistic salons. In 1854, Louis Moreau bought a house on the rue de La Rochefoucauld, number 14, which became the family home, Moreau's studio, and eventually the Gustave Moreau Museum.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZJ3lKGo6bi0AL842pCDA9yskKGTwAZLqbKOIV4oNU0OBE4ORG2-yyzZ99kM6H8zXGGQqeNxHXklwhXEf5vK5UKZIxOmaRlEqZyibnXk398oRwu5menI5i99pS99U-V8__M0WL4vHfRNUy/s1600/Chasseriau-Redingote.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZJ3lKGo6bi0AL842pCDA9yskKGTwAZLqbKOIV4oNU0OBE4ORG2-yyzZ99kM6H8zXGGQqeNxHXklwhXEf5vK5UKZIxOmaRlEqZyibnXk398oRwu5menI5i99pS99U-V8__M0WL4vHfRNUy/s1600/Chasseriau-Redingote.jpg" height="200" width="165" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Theodore Chasseriau</td></tr>
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Chasseriau's death in 1856, at the age of 37, greatly upset Moreau. Unhappy with his work and saddened by his friend's death, Moreau went to Italy in 1857 to study the methods and work of Renaissance artists and the architectural remains and artifacts of ancient Greece and Rome. He traveled throughout the country, going to Rome, Florence, Siena, Pisa, Milan, Venice, Naples, and Pompeii. Italy's art deeply affected his work. "The trip also exposed him to the influence of Byzantine enamels, early mosaics, and Persian and Indian miniatures, all of which would play a significant role in the evolution of his individual style and in the jewel-like effect of his technique," noted Bennett Schiff in the Smithsonian. "At the Villa Medici in Rome, Moreau met Edgar Degas and traveled around the country with him for a while. They became fast friends, but over time, as their styles diverged, the friendship cooled."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJqFCP1dTdGn1kbYbV-tj_DCNhKzEadNThLvmMNsMP74zCA_Lhwu4DnNJ0ps6jJUlp1zkSmKUfydC7D-yB0nDHBtv_lxX_HV27OePP1Jy4vCQSgskw2Dp4SICR9iXWDIyD_6iKlw_1gVOE/s1600/gustave-moreau-alexandrine-dureux2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJqFCP1dTdGn1kbYbV-tj_DCNhKzEadNThLvmMNsMP74zCA_Lhwu4DnNJ0ps6jJUlp1zkSmKUfydC7D-yB0nDHBtv_lxX_HV27OePP1Jy4vCQSgskw2Dp4SICR9iXWDIyD_6iKlw_1gVOE/s1600/gustave-moreau-alexandrine-dureux2.jpg" height="320" width="250" /></a>For a very long time, it was assumed that Moreau remained single throughout his life, devotedly living with his mother until her death in 1884. However, it is now known that in 1859, he met Alexandrine Dureux, his “best and unique friend”. Sometimes labelled his “mistress”, it seems she was more like his muse, if not soulmate. They were united for 27 years, but never married, for unknown reasons. All of his correspondence with Alexandrine was burnt by the painter himself, which is why it took decades before their relationship was discovered. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCuIc6PK3HSOzj_bQJQ1BmAN6KTZmCkrsbIKQALcuMWYymqKyuLoZNw99YDvn4wmnFCWt7lt-ODCgFWoIfYySBwRrqAhKuep9CBjfiiCPO-HAORV2Y39Gb9JcPXrZWYsNO5XzuNK2y7fb/s1600/gustave-moreau-projet-alexandrine-dure.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCuIc6PK3HSOzj_bQJQ1BmAN6KTZmCkrsbIKQALcuMWYymqKyuLoZNw99YDvn4wmnFCWt7lt-ODCgFWoIfYySBwRrqAhKuep9CBjfiiCPO-HAORV2Y39Gb9JcPXrZWYsNO5XzuNK2y7fb/s1600/gustave-moreau-projet-alexandrine-dure.jpg" height="248" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Project for the tomb of Alexandrine Dureux</td></tr>
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Shortly after his mother had died, Alexandrine took ill herself and she became worse in 1889. When she died the following year, he constructed a monument in the cemetery of Montmartre, near to where he knew he would be buried later. He also painted “Orpheus on the tomb of Eurydice”, a very mythical theme about soulmates, thus underlining how he saw the bond that he and Alexandrine shared.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieq5EcE5nob_aUQQ0takVYPdtSRfsHkSHHYPQ45mCmNiuTdnti7Qj3Vo758p-7cuLuZfXDhWp_DafrqRmAZpObG__TO8ldy40fLryxjfGHLnvZhTHFD7jPTg5CczfwUgguoIalnsHw0AOC/s1600/moreau_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieq5EcE5nob_aUQQ0takVYPdtSRfsHkSHHYPQ45mCmNiuTdnti7Qj3Vo758p-7cuLuZfXDhWp_DafrqRmAZpObG__TO8ldy40fLryxjfGHLnvZhTHFD7jPTg5CczfwUgguoIalnsHw0AOC/s1600/moreau_2.jpg" height="640" width="472" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Orpheus on the tomb of Eurydice</td></tr>
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Moreau painted for a number of years without exhibiting his work, but during this time he developed his unique style. The colors he used reflected the Romantic style, but his figures were static. He spent many hours studying Persian, Indian, and Japanese prints and from them took motifs, which he used to create his own vision of myths and religions.<br />
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In the Salon of 1864, Moreau exhibited his painting Oedipus and the Sphinx, the work that launched him into prominence. To Moreau, the work represented man facing the eternal mystery with moral strength and self-confidence. "Outstanding examples of psychological and physical detachment can be seen in one after another of Moreau's paintings," wrote Schiff. "In Oedipus and the Sphinx (1864), for instance, the winged creature—half nude female, half lion, an incubus clawed into Oedipus' breast— does not seem to inflict pain at all. Instead, the grotesque creature and its placid victim appear to be dreamily engrossed in each other, although Oedipus is soon to answer the Sphinx's riddle and she, or it, is to fall dead to the ground, finally, having already shredded any number of hapless voyagers unable to answer the riddle. Their bits and pieces are, in Moreau's superbly rendered canvas, strewn about the foreground." Finally, Moreau had achieved formal recognition of his talent. From then on, he helped re-energize the tradition of history painting, giving epic tales poetic imagination, exoticism, and wonder.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjatenRqHWtbDN3N52Ik75Vym2JtEa_64wtVEfKB0P4qW-A4YSAPah_KImAjrMzTU8BdPkh5X5VbsVzilMSSWBAwVZCPJ7RGIKYRZ2zKGG_hKsUmDpekVULYX71p2L8oNSXEYP93x_XP-Dl/s1600/Oedipus+and+the+Sphinx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjatenRqHWtbDN3N52Ik75Vym2JtEa_64wtVEfKB0P4qW-A4YSAPah_KImAjrMzTU8BdPkh5X5VbsVzilMSSWBAwVZCPJ7RGIKYRZ2zKGG_hKsUmDpekVULYX71p2L8oNSXEYP93x_XP-Dl/s1600/Oedipus+and+the+Sphinx.jpg" height="640" width="544" /></a></div>
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In the Salon of 1865, Moreau exhibited Young Man and Death and Jason and Medea. In 1866, he showed Orpheus and Diomedes Devoured by his Horses. He exhibited each year in the Salon through 1869, when his works were criticized in the press. After that he sold a few paintings to admirers but rarely left his studio.<br />
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In 1876, he began to exhibit in the Salon again, showing three of his most famous paintings: Hercules and the Hydra, Salome Dancing Before Herod, and The Apparition. He last exhibited in the Salon in 1880, showing Galatea and Helen.<br />
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Moreau was devoted to Alexandrine Dureux for 31 years, until her death in 1890 at age 54. After her death, Moreau's style altered. "His brushwork became looser and more expressive; his pigment grew thicker, more impastoed; and his forms became increasingly abstract," Schiff wrote. "The overriding effect of these later paintings was to evoke an emotional response through the use of color, line and form. Some even view his later nonfigurative works as heralds of Abstract Expressionism. Certainly his art inspired a generation of Symbolist painters, poets and writers and had a marked impact on other artists, including the Surrealists and the radical group known as the Fauves."<br />
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In 1888, Moreau was elected to the Academie des Beaux-Arts. At age 65, he became a professor in charge of a studio at the Ecole des Beaux-Arts. He was considered the last great teacher there. He taught Georges Rouault, Henri Matisse, and others, developing their natural talents and encouraging them to use color imaginatively.<br />
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In 1895, Moreau remodeled his house into a four-story building to create a museum for his works. He died of stomach cancer in Paris on April 18, 1898. Moreau left to the state his home and its contents, about 1,200 paintings and watercolors and roughly 10,000 drawings. Moreau sold about 500 works while alive, and these are in other collections and museums.<br />
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From about 1914 until 1960, art historians lost interest in Moreau, viewing him as an eccentric, although he was always considered a great teacher. In 1961, a large retrospective of Moreau was held in Paris at the Louvre, which led to more exhibitions in the 1960s. In 1974, the Los Angeles County Museum of Art held an exhibition and so did the Zurich Kunsthaus in 1986. In 1998 and 1999, an exhibition of his works appeared in Paris, Chicago, and New York. "Exactly where Moreau fits in, and his real place in art history, is as difficult to determine in 1999, however, as it was in 1899," wrote Laura Morowitz in The Art Bulletin. "Perhaps our only safe judgment is to agree with the critic Theophile Gautier, writing a century and a half ago, that ' … his work stands in singular isolation, and whether it pleases or not, one has to reckon with it."'<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-86273541366204004842015-03-10T01:25:00.000+01:002015-03-10T01:49:36.731+01:00Monet's Sketchbook<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOcEeNw5eSmrO8cxhr_gEzSZup0UJLwCeqB_4JKd7pRi_DZW8Gp3UCxfuG3CJYUHY4xrMFXe_GxQUwyfQpLpSbQQtHKbrM4D-okJEo1J8VxI_j5aOxNyRni24nd8nWQzJLpfjiotimcZv/s1600/Claude+Monet.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOcEeNw5eSmrO8cxhr_gEzSZup0UJLwCeqB_4JKd7pRi_DZW8Gp3UCxfuG3CJYUHY4xrMFXe_GxQUwyfQpLpSbQQtHKbrM4D-okJEo1J8VxI_j5aOxNyRni24nd8nWQzJLpfjiotimcZv/s1600/Claude+Monet.png" height="258" width="640" /></a></div>
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<a href="http://www.clarkart.edu/exhibitions/monet/sketchbooks/">Monet's Sketchbooks</a><a href="https://www.blogger.com/null"> From the Musee Marmottan Monet, Paris</a><br />
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<span id="content">This digital presentation of Monet's sketchbooks
gives unprecedented public access to works that are among his least
refined yet some of his most intimate artistic utterances.</span><br />
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The exhibition of Monet's Sketchbooks challenges the conventional, long-held understanding of Claude Monet's artistic process and life. Drawing upon recently discovered documents and a body of graphic work largely unknown to the public and scholars alike, the exhibition reveals that Monet (1840–1926) relied extensively upon drafting in the development of his paintings in addition to painting his subjects directly.<br />
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Monet habitually
carried sketchbooks with him in his teenage years when he went on
expeditions to draw landscapes. He then made use of sketchbooks from the
very beginning of his professional career in the 1860s through to the
1920s.<br />
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Monet seems to have used sketchbooks in a strictly functional and utilitarian way to make drawings for their own sake - e.g. drawings of his children and to jot down visual ideas for exploratory purposes - both at home, Paris and other parts of France and abroad. The graphic language of his sketches varies from the spare and minimalistic (outlines only) to evidence of retracing which suggests working on composition and design<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_kVq69o2b_7nBh-4mEWy0mOR0oe9OQ9f-CzGDo1E2wVvTntfbS65BXoI94JfJJJkZwxoHuUGX-8-bYMuK72byyhk6wWbTYqPByg1AarKyuAcAZcZuNh8PBhc51fOa-nOHKCfG_16fAP-X/s1600/Monet+sketchbook2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_kVq69o2b_7nBh-4mEWy0mOR0oe9OQ9f-CzGDo1E2wVvTntfbS65BXoI94JfJJJkZwxoHuUGX-8-bYMuK72byyhk6wWbTYqPByg1AarKyuAcAZcZuNh8PBhc51fOa-nOHKCfG_16fAP-X/s1600/Monet+sketchbook2.jpg" height="640" width="488" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><span class="irc_su" dir="ltr" style="text-align: left;">Woman With A Parasol</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJoyq_egHpbDJ4xwpiCCKe65a5ar_Kl2T75EJPARn163uZ0N026_newBx3NWTTJMFl7UvoxfXb0enNUgyJ5ooNzV0ayV7V8oLydiNOI2HBnLgL21AI1DNlHCY3-V9lL3L0tOR5Idfc8ElN/s1600/Monet+sketchbook3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJoyq_egHpbDJ4xwpiCCKe65a5ar_Kl2T75EJPARn163uZ0N026_newBx3NWTTJMFl7UvoxfXb0enNUgyJ5ooNzV0ayV7V8oLydiNOI2HBnLgL21AI1DNlHCY3-V9lL3L0tOR5Idfc8ElN/s1600/Monet+sketchbook3.jpg" height="640" width="466" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Tree Trunks At La Mare Eu Clere</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><span class="irc_su" dir="ltr" style="text-align: left;">Jean-Pierre Hoschedé and Michel Monet Drawing and Germaine Hoschedé Writing</span></span></td></tr>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-89304433979354995492015-02-11T00:00:00.000+01:002015-03-05T01:28:29.056+01:00Claude Monet<br />
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<br />
Claude Monet was the second son of Claude Adolphe Monet and Louise Justine Aubrée Monet. His parents were second-generation Parisians.<br />
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<tr><td class="tr-caption" style="text-align: center;">Monet’s Father Adolph</td></tr>
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Monet was drawing by the age of 5. His first drawings tended to be caricatures of the teachers that he had in school. He was known to fill entire school books with drawings instead of the assignments that were due. Over time, after his family moved to the community of Le Havre, Monet became famous in his own right for the drawings he would create of the town’s residents. His father hated all of the drawing and creativity. His goal was to have his son join in on the grocery business. His mother, however, completed supported every artistic endeavor Monet attempted. Monet’s mother Louise-Justine was an elegant woman and trained soprano who loved to paint and write poetry. "Mme Monet was a consummate hostess who filled their ornately decorated home with music and cultured guests.<br />
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On April 1, 1851, Monet entered Le Havre secondary school of the arts. Monet was a very bad student at school. He was drawing a lot of caricatures for his friends and teachers. His talent was highly appreciated and the drawings were sold well. Despite his interest in caricatures Monet couldn’t see himself as an artist until he met his mentor, Eugene Boudin who suggested that Claude should draw outdoors. The school of arts didn’t encourage Monet a lot as he didn’t share the educational views of teachers there and left the school soon.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxz64GadR2NK9pb5e9qfyO9A4zdY59-5MAKc4fE8aRPaJLHv2ePowuBIFZRZR9n6jOgyTXrVMtqnL9zjWIBIvCSZT4_LYaC1ym93-fPnT-8xLf1iP00UMT1-jUKhz4ZuEYp4STCSPZDgj8/s1600/Monets-Mother-Louise-Justine.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxz64GadR2NK9pb5e9qfyO9A4zdY59-5MAKc4fE8aRPaJLHv2ePowuBIFZRZR9n6jOgyTXrVMtqnL9zjWIBIvCSZT4_LYaC1ym93-fPnT-8xLf1iP00UMT1-jUKhz4ZuEYp4STCSPZDgj8/s1600/Monets-Mother-Louise-Justine.png" height="187" width="200" /></a>At the age of 17, Monet’s mother passed away and so he went to live with his aunt so that he could pursue an art education in Paris. Despite the opportunity to study art, Money decided to join the military in 1859. It was a 7 year assignment that he had agreed to serve, but in his second year of service, he contracted a bad case of typhoid fever. At the pleadings of his aunt, Monet was released from the military on one condition – he had to complete an art course at an accredited school.<br />
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After his mother died, Monet left school and went to live with Marie-Jeanne Lecadre, his widowed childless aunt.<br />
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<br />
In June 1861, Monet joined the First Regiment of African Light
Cavalry in Algeria for a seven-year commitment. However, after two years
later, he had contracted typhoid fever. The army agreed to release him
from his service commitment at the pleas from his aunt, but only if he
agreed to complete an art course at an art school.<br />
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In
1862, Monet met Pierre-Auguste Renoir, Frédéric Bazille and Alfred
Sisley while he was a student of Charles Gleyre in Paris. They discussed
the effects of light with broken color and rapid brushstrokes which is
the mark of Impressionism.<br />
<br />
Jacques-François Ochard gave Claude Monet his first drawing lessons.<br />
<br />
Eugène Boudin, an artist and Monet’s mentor, taught him to use oil paints and techniques.<br />
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<div style="text-align: center;">
Monet painted Impression, Sunrise (Impression, soleil levant) in 1872.</div>
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It depicts a Le Havre port landscape. In 1874 it hung in the first Impressionist exhibition. When art critic Louis Leroy read the painting’s titled, he coined the term “Impressionism”. Leroy meant his assessment to be negative, but the Impressionists at the time approved of description and it stuck.<br />
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The Woman in the Green Dress (La femme à la robe verte) was painted in 1866. This painting brought him recognition and was one of many works featuring his first wife, Camille Doncieux.<br />
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Camille Donieux was still in her teens when Monet met her around 1865. Although she was of humble origins and worked as a model, she was an attractive, intelligent girl with dark hair and wonderful eyes. Camille was seven years younger than Monet who was just a poor painter at that time. Camille became his girlfriend, mistress and model. Unfortunately, the couple lived in depressing poverty. Right up to her death she sat for him regularly, appearing frequently as a female figure in a rural landscape. Some of these canvases are among Monet's finest masterpieces. <br />
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Shortly before leaving Paris for Trouville, Camille and Claude were married in a civil ceremony performed at the town hall of the eighth arrondissement. The rebellious French painter Gustave Courbet was one of the witnesses. Camille's parents were present, and the affair was conducted with proper formality. All that marred the occasion was the absence of Monet's farther and aunt, who regarded the union as a disastrous misalliance. <br />
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Riding on his success (and his earnings) from Woman in a Green Dress, Monet quickly launched into his next major work: Women in the Garden. He planned to execute this project on a canvas that measured over eight feet in height, attempting to capture the effect of light falling through trees on a group of women enjoying a leafy, sun-filled garden. Camille again served as his model, posing for all four figures that appear in the painting, and as a result they all bear a strong resemblance to each other. Despite Monet’s effort, the Salon’s jury rejected Women in the Garden which he submitted in 1867. This was not a total surprise for Monet, though, as the Salon looked with disfavor on art that was outside of the academic standards of the time, which Monet’s clearly was.<br />
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After the failure of Women in the Garden, again on the brink of economic ruin, and with Camille pregnant, Monet had to return home to Le Havre to make peace with his family, who were threatening to cut off his allowance, and while he was away Camille gave birth to their first son, Jean. He also wrote desperate letters to his friends, among them Bazille, begging them to loan him money.<br />
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Monet tried to commit suicide by drowning in the Seine river after their first son’s birth having faced the financial difficulties that seemed overpowering that time. Claude’s father rejected him for the reason of Camilla’s unlawful pregnancy. Thanks to Edouard Manet, the fact of selling several paintings and Camilla’s support Claude Monet surpassed the troubles and obtained a new start in life.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: black; font-family: arial;">Water lilies, 1897-1899, Galleria Nazionale d’Arte Moderna</span></td></tr>
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<br />
Claude Monet painted the Weeping Willow series of works as a contribution to the fallen soldiers of France during the war.<br />
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Monet and his wife had two sons together, but when their second son was born in 1878, her health was not good. She was already suffering from tuberculosis and then she was diagnosed a little later on with uterine cancer. She passed away just a year later and Money painted his wife while she was on her deathbed. It may have been well over a century ago, but it is still one of the most intense paintings that anyone will ever see.<br />
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<br />
Monet's later years were marked ith visual deterioration. He had to
undergo surgery for cataract removal that had hindered his sight for
about 10 years. During his work on Water Lilies, the most ambitious and
famous one his eyes were more and more immersing into darkness. Water
Lilies were painted from nature in his own hand made garden in Giverny.<br />
<br />
In 1890, Monet purchased the house
and land outright. After becoming the owner, he created the gardens
which he would spend the rest of his life painting. <br />
<br />
Monet wrote
designs and layouts for plantings for his gardener. Even though Monet
eventually hired seven gardeners, he still remained the architect.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikneJBtpICYQmKG_ZN1EeFireoaXsEoCRcy8JsyH5bscAQFIGBJC6k1WuC80-MIuEJjJx-SFl0K_KAS_L4C3TCTANPApu2nuTad4IQPnNKv3GqX4cPIXkC0BMIEP10eUN72bKkeWzS1ibN/s1600/Alice+Hosched%C3%A9+Monet..jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikneJBtpICYQmKG_ZN1EeFireoaXsEoCRcy8JsyH5bscAQFIGBJC6k1WuC80-MIuEJjJx-SFl0K_KAS_L4C3TCTANPApu2nuTad4IQPnNKv3GqX4cPIXkC0BMIEP10eUN72bKkeWzS1ibN/s1600/Alice+Hosched%C3%A9+Monet..jpg" height="320" width="219" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span class="irc_su" dir="ltr" style="text-align: left;">Alice Hoschedé Monet.</span></span></td></tr>
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In 1876, Ernest Hoschedé commissioned Monet to paint decorative panels for the Château de Rottembourg and several landscape paintings. According to the Nineteenth-century European Art: A Topical Dictionary, it may have been during this visit that Monet began a relationship with Alice Hoschedé and her youngest son, Jean-Pierre, may have been fathered by Monet.<br />
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After Camille Monet's death in 1879, Monet and Alice (along with the children from the two respective families) continued living together at Poissy and later at Giverny. Still married to Ernest Hoschedé and living with Claude Monet, the Le Gaulois newspaper in Paris declared that she was Monet's "charming wife" in 1880.<br />
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Ernest Hoschedé died in 1891 and Alice agreed to marry Monet in 1892 .<br />
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Alice Hoschedé helped Monet to raise his two sons, Jean and Michel, by taking them to Paris to live alongside her own six children.<br />
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In 1911, Monet’s second wife, Alice, died.<br />
<br />
In 1914, Monet’s oldest son Jean, died in 1914.<br />
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After his wife died, Alice’s daughter, Blanche, cared for Monet even as he developed the first signs of cataracts<br />
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On December 5, 1926, Monet died at the age of 86 and is buried in the Giverny church cemetery.<br />
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Monet had insisted that the occasion be simple; thus only about fifty people attended the ceremony<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJsK3zfVIaK4eM44Xa5oZg1XtEGXO6PGwiPJExwLgt8w3Qi6t9I7bFFubzsf-34yq41gZwR_4LyjMW8rJdm2XtkpJlmyCMVDFfC388tlgTkq2gBQWQf0bHhxc7LCJMC8ktWZZuK-J8vbRW/s1600/Monet,+right,+in+his+garden+at+Giverny,+1922..jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJsK3zfVIaK4eM44Xa5oZg1XtEGXO6PGwiPJExwLgt8w3Qi6t9I7bFFubzsf-34yq41gZwR_4LyjMW8rJdm2XtkpJlmyCMVDFfC388tlgTkq2gBQWQf0bHhxc7LCJMC8ktWZZuK-J8vbRW/s1600/Monet,+right,+in+his+garden+at+Giverny,+1922..jpg" height="640" width="466" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="color: black; font-family: arial;">Monet, right, in his garden at Giverny, 1922.</span></span></td></tr>
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His home, garden and waterlily pond were bequeathed by his son Michel, his only heir, to the French Academy of Fine Arts (part of the Institut de France) in 1966.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-55083390265206898402015-02-02T00:00:00.000+01:002015-02-05T00:08:11.590+01:00Cézanne's Studio at Les Lauves<br />
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After 1878, he spent much of the rest of his life painting in Provence. Relatively isolated from the Paris art scene, Cézanne pursued his own artistic path. While the Impressionists depicted changing light and atmospheric effects, he was more interested in studying the underlying structure of the landscapes he painted. He said, “I wanted to make of Impressionism something solid and enduring like the art in museums.” Few of his works sold and he did not show his art publicly for almost twenty years. <br />
<br />
In November 1901 the artist, then 61, bought a plot of land at Les Lauves, an area of open countryside in the hills north of Aix. A simple two-storey house was built, and on 1 September 1902 Cézanne started working there.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQlWqPHQDxilMnC68D7x0QblSBWdo_WjyV2ibWkrALAZv4KWkiSCRuOQvCyDmi8zkbnB3D53h5rhQ2YjMd0kMLzLCImPHmBvN2esrCdpqYAQfRPw1D5XlZWnNDd307IPgwMkmfFbKu9c1/s1600/cezanne+studio5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQlWqPHQDxilMnC68D7x0QblSBWdo_WjyV2ibWkrALAZv4KWkiSCRuOQvCyDmi8zkbnB3D53h5rhQ2YjMd0kMLzLCImPHmBvN2esrCdpqYAQfRPw1D5XlZWnNDd307IPgwMkmfFbKu9c1/s1600/cezanne+studio5.jpg" /></a></div>
<br />
Each morning he would rise very early and walk the 1.2km / 0.7 miles up the hill to the studio. He'd work there from about 6am to 10.30am, return to Aix for lunch, then go back to paint until 5.30pm, either in the studio or further up the hill at a vantage point offering superlative views of the Mont Sainte Victoire.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61M5mN1b4ufstYyHiGlqMQZoYT2x22oD5sWCgvRCIogjyAHH7NcMdNTf6-oXcJxWOeU2qpJdTQHhh8k0T2TSvxnSIk46SE58afsg73909QcH4YC08fA-u2cD0dIkyR7c6C3yQB558JAUo/s1600/Cezanne.Studio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61M5mN1b4ufstYyHiGlqMQZoYT2x22oD5sWCgvRCIogjyAHH7NcMdNTf6-oXcJxWOeU2qpJdTQHhh8k0T2TSvxnSIk46SE58afsg73909QcH4YC08fA-u2cD0dIkyR7c6C3yQB558JAUo/s1600/Cezanne.Studio.jpg" height="502" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Interior of Cezanne's Studio</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOvSL9_54AwyG3HKOF_Hc11b9r3eujCp1wlKOrKhqHWjbQ3Hj5-1MZkvOVtijbIpX3jaoVYRAxnIBSuaec-LZ48PWyFx03SAaEN59-mL2w0l7K3rgD7RvgfAbXGjYGJn6a1a_79idp6Bqf/s1600/Cezanne's+studio+The+back+wall+of.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOvSL9_54AwyG3HKOF_Hc11b9r3eujCp1wlKOrKhqHWjbQ3Hj5-1MZkvOVtijbIpX3jaoVYRAxnIBSuaec-LZ48PWyFx03SAaEN59-mL2w0l7K3rgD7RvgfAbXGjYGJn6a1a_79idp6Bqf/s1600/Cezanne's%2Bstudio%2BThe%2Bback%2Bwall%2Bof.jpg" height="418" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">The Back Wall of Cezanne's Studo</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMq8LDPAW9dHzFEsx20ddkY_r1hgyRo0WaxJ5IEe5TRRO9MWIIjY6ZUOf5FXlZleLFazgFOhywuQiQVBDneY0ocguKEt9ACvLCB0SZgyIcd5AnVnTeEI5soQ8p1xq3qS1DdV0TZwMMLD-0/s1600/CezannePaintBox.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMq8LDPAW9dHzFEsx20ddkY_r1hgyRo0WaxJ5IEe5TRRO9MWIIjY6ZUOf5FXlZleLFazgFOhywuQiQVBDneY0ocguKEt9ACvLCB0SZgyIcd5AnVnTeEI5soQ8p1xq3qS1DdV0TZwMMLD-0/s1600/CezannePaintBox.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Cezanne's Paint Box</span></td></tr>
</tbody></table>
<br />
Cezanne's studio at Les Lauves: facade and terraceIt was up here, in autumn 1906, that Cézanne got caught in a rainstorm and was taken home unconscious in a laundry cart. He rose again early the following day to work on a portrait of Vallier, his gardener.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYwVBMdkTdBSBz3kc7_jPo1M-PmJtBKIqi8TldmijqF9x6n8c685DcJpjf8JqRslTl4BzjUPH0IvsbxMp0UZtfzGtetE5kCoA95_0s8s2rbYBw5lTmQG0sJmKt4meP7w0faY_69toJtTMc/s1600/Cezanne+exiting+his+studio+with+a+chair.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYwVBMdkTdBSBz3kc7_jPo1M-PmJtBKIqi8TldmijqF9x6n8c685DcJpjf8JqRslTl4BzjUPH0IvsbxMp0UZtfzGtetE5kCoA95_0s8s2rbYBw5lTmQG0sJmKt4meP7w0faY_69toJtTMc/s1600/Cezanne+exiting+his+studio+with+a+chair.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="irc_su" dir="ltr" style="text-align: left;">Paul Cézanne, Exiting his Studio 1906 - by Gertrude Osthaus</span></td></tr>
</tbody></table>
<br />
But his condition worsened and he died of pleurisy six days later during the night of 22-23 October. "I have sworn to die painting," Cézanne had written only a few days earlier. And he did.<br />
<br />
The studio remained empty for 15 years. It was bought in 1921 by one Marcel Provence, who lived there until his own death in 1951.<br />
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-20286351778649933132015-01-29T23:00:00.000+01:002015-01-29T23:00:04.669+01:00L'œuvre by Emile Zola<div style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis9zCyZzKeqK_QI4PyXzIt2TZDQ8apxs5YBH05kljapYhQi5rRTadUiTlsN5Apd09uCJfoTsrarsjOlhiOJgRYXHY7iwgpQVvt-6DRruvYlcp9HJxNpS4PMJL0YmrcQ8PayyYCCnOVi5wz/s1600/Paul_C%C3%A9zanne_-_Paul_Alexis_L%C3%AA_um_Manuscrito_a_Zola.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis9zCyZzKeqK_QI4PyXzIt2TZDQ8apxs5YBH05kljapYhQi5rRTadUiTlsN5Apd09uCJfoTsrarsjOlhiOJgRYXHY7iwgpQVvt-6DRruvYlcp9HJxNpS4PMJL0YmrcQ8PayyYCCnOVi5wz/s1600/Paul_C%C3%A9zanne_-_Paul_Alexis_L%C3%AA_um_Manuscrito_a_Zola.jpg" height="520" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://en.wikipedia.org/wiki/Paul_C%C3%A9zanne" title="Paul Cézanne">Paul Cézanne</a>, <i><a href="http://en.wikipedia.org/wiki/Paul_Alexis" title="Paul Alexis">Paul Alexis</a> reading to Émile Zola,</i> 1869–1870, <a href="http://en.wikipedia.org/wiki/S%C3%A3o_Paulo_Museum_of_Art" title="São Paulo Museum of Art">São Paulo Museum of Art</a></td></tr>
</tbody></table>
<br />
L'œuvre is a fictional account of Zola's friendship with Paul Cézanne and a fairly accurate portrayal of the Parisian art world in the mid 19th century. Zola and Cézanne grew up together in Aix-en-Provence, the model for Zola's Plassans, where Claude Lantier is born and receives his education. Like Cézanne, Claude Lantier is a revolutionary artist whose work is misunderstood by an art-going public hidebound by traditional subjects, techniques and representations. Many of the characteristics ascribed to Claude Lantier are a compound taken from the lives of several impressionist painters including Claude Monet, Édouard Manet, as well as Paul Cézanne. Zola's self-portrait can be seen in the character of the novelist Pierre Sandoz.<br />
<br />
The book is often blamed for ending the friendship between Cézanne and Zola. The story of a groundbreaking artist unable to live up to his potential must have seemed intensely personal to Cézanne; no correspondence exists between the two after a letter in which Cézanne thanks Zola for sending him the novel.<br />
<br />
The novel covers about 15 years, ending in 1870. Besides depicting the
bohemian art world of 19th-century Paris, L'œuvre explores the rise of
Realism, Naturalism and Impressionism in painting. Zola also looks at
contemporary sculpture, literature, architecture, music and journalism,
as well as the commodification of art. In creating his portrayal of the
Parisian art world Zola includes several characters who are composites
of real-life art world related figures; artists, writers, art dealers,
and friends that he knew.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e6/ZOLA_1902B.jpg/330px-ZOLA_1902B.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="ZOLA 1902B.jpg" border="0" data-file-height="1941" data-file-width="1402" src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e6/ZOLA_1902B.jpg/330px-ZOLA_1902B.jpg" height="305" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Emile Zola</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgohrrzD9IRPuInOpk0AgqWoS_RaFV7y8YzavH1al4jy_aSxjFfLRYTk6yajIANg8dctFpVZlN2XhzXMnEcoCxSWhrHfV9Bx2PgKZT4P6alkCx7-4GaQbRZ-N3Xlx4Ot5kkG7Gz3E_5xtvh/s1600/l-oeuvre-412377.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgohrrzD9IRPuInOpk0AgqWoS_RaFV7y8YzavH1al4jy_aSxjFfLRYTk6yajIANg8dctFpVZlN2XhzXMnEcoCxSWhrHfV9Bx2PgKZT4P6alkCx7-4GaQbRZ-N3Xlx4Ot5kkG7Gz3E_5xtvh/s1600/l-oeuvre-412377.jpg" height="320" width="224" /></a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-62519836661886100162015-01-26T23:00:00.000+01:002015-01-27T02:30:17.634+01:00Madame Cezanne: Muse or Object? <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="640" id="imghttps___media2_wnyc_org_i_1161_1500_l_80_1_1_Red_Armchair_jpg" src="https://media2.wnyc.org/i/200/0/l/80/1/1.Red_Armchair.jpg" style="margin-left: auto; margin-right: auto;" title="Paul Cézanne, Madame Cézanne in a Red Armchair, about 1877" width="496" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="image-caption">
<span class="caption">Paul Cézanne, Madame Cézanne in a Red Armchair, about 1877</span>
<span class="credit">
(Museum of Fine Arts, Boston)
</span>
</div>
</td></tr>
</tbody></table>
<br />
Hortense Fiquet is a mystery in the art world.<br />
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</div>
<br />
She sat for 29 paintings by her husband Paul Cezanne, more than any
other model, and smiles in none of them. She was ignored by the French
artist's family, friends, and hidden for 17 years before they got
married, even though she was the mother of his only son Paul.<br />
<br />
In this interview, art critic Deborah Solomon said Madame Cezanne is the opposite of what we think of as a <a href="http://www.wnyc.org/story/used-and-abused-life-muse/" target="_blank">muse</a>
She is always portrayed at home, with her hair parted in the middle and
her dress buttoned up. She looks sad, bored. "She was not created for
the male gaze, you cannot turn her into a sex symbol," she said.
Solomon said she sees madame Cezanne as the the anti-Mona Lisa. "Mona
Lisa has always intrigued us because nobody knows why she is smiling.
But in the case of Madame Cezanne we don't know why she is frowning."<br />
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<img alt="" class="mcePuppyImage" src="https://media2.wnyc.org/i/620/780/l/80/1/2.Conservatory.jpg" /><br />
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<div class="image-caption">
Paul Cézanne, Madame Cézanne (Hortense Fiquet, 1850–1922) in the Conservatory, 1891</div>
<div class="image-credit">
(The Metropolitan Museum of Art, Bequest of Stephen C. Clark, 1960)</div>
<div class="image-credit">
</div>
</div>
</div>
<br />
Cezanne and Fiquet met in Paris in 1869, when she was 19 and he was
30. The painter kept their relationship secret for 17 years, mostly out
of fear of his banker father. It's believed he finally married her to
make his son Paul a legitimate heir of the family fortune.<br />
<br />
Philippe Cezanne, the great grandson of Paul and Hortense Cezanne,
was in New York City for the opening of the show and he said Fiquet is
now seen differently in the family. “I think she was much more important
for Cezanne than usually, you know, art history says,” he said.<br />
<br />
Cezanne said she took care of the painter, and accepted everything.
“In Paris they changed about 20 times of apartment, or flat, so she
never know where she was,” he said.<br />
<br />
Solomon said the show is fascinating, because it offers a glimpse on
the birth of modern art, through 20 years of paintings by Cezanne. "Over
that time you can see how he was experimenting with what he called
visual sensations. He wasn't interested in capturing her personality,
rather he wanted to reflect how she appears to him as he changes angles
and moves around a room," she said.<br />
<br />
Solomon said the Madame Cezanne paintings show that Cezanne saw Fiquet more like an object than a muse, the opposite of <a href="http://www.wnyc.org/story/two-galleries-one-picasso-face-/">Picasso's paintings of his last wife Jacqueline Roque</a>. "Cezanne had no interest in glamorizing the individual, he was interested in form, rather than flesh," she said.<br />
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<div class="embedded-image">
<img alt="" class="mcePuppyImage" src="https://media2.wnyc.org/i/620/812/l/80/1/3.Red_Dress_MMA.JPG" /><br />
<div class="image-metadata">
<div class="image-caption">
Paul Cézanne, Madame Cézanne (Hortense Fiquet, 1850-1922) in a Red Dress, 1888-90</div>
<div class="image-credit">
(The Metropolitan Museum of Art, The Mr. and Mrs. Henry Ittleson Jr. Purchase Fund, 1962)</div>
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</div>
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<div class="embedded-image">
<img alt="" class="mcePuppyImage" src="https://media2.wnyc.org/i/524/640/l/80/1/Yokohama.jpg" /><br />
<div class="image-metadata">
<div class="image-caption">
Portrait of Madame Cézanne in a Striped Dress, ca. 1883‐85</div>
<div class="image-credit">
(Yokohama Museum of Art)</div>
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</div>
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<div class="embedded-image">
<img alt="" class="mcePuppyImage" src="https://media2.wnyc.org/i/526/640/l/80/1/Philadelphia2.jpg" /><br />
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Portrait of Madame Cézanne, ca. 1890‐92</div>
<div class="image-credit">
(Philadelphia Museum of Art, The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986)</div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8002097675041922995.post-24395718156766529002015-01-16T00:00:00.000+01:002015-01-22T03:54:24.519+01:00Paul Cézanne<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKf3KUpDDX4V4C4G2DgFajOzVkSYgGPW2BLhviFOEgtpQepyK0-JuclGE8tGUQRw2aXUkSgK7IGs9Yf7wVOurl7BakQ4fLMWY2gSBtBjR-a5LB79oh_nbwFVuyLwM3Hh_ARYDA24-2GtuQ/s1600/800px-Paul_C%C3%A9zanne_157.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKf3KUpDDX4V4C4G2DgFajOzVkSYgGPW2BLhviFOEgtpQepyK0-JuclGE8tGUQRw2aXUkSgK7IGs9Yf7wVOurl7BakQ4fLMWY2gSBtBjR-a5LB79oh_nbwFVuyLwM3Hh_ARYDA24-2GtuQ/s1600/800px-Paul_C%C3%A9zanne_157.jpg" height="640" width="494" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paul Cezanne - Self Portrait </td></tr>
</tbody></table>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgygSrxPTZs0_7MR5HifKemK8fst0Y7ypm30snuzHeQVCJ_CAkbCUVm9pmAkpDv5nqc-VX8exy8dWWS7GpRexJNDRE3S9UORqTFb0rAe37MN1fbl4TtJ13mTzFPb8Pg0omPJg7mm1Tg8csZ/s1600/Pissarro-portrait.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><br />
Paul Cézanne French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century.<br />
<br />
Paul Cézanne was born to a wealthy family in Aix-en-Provence, France.
His father was a successful banker whose riches assisted Cézanne
throughout his life and his mother was a romantic who supported her
son's career.<br />
<br />
In 1852 Cézanne entered the Collège Bourbon where he met his good
friends Émile Zola and Baptistin Baille. The three were famously close
for a long period of time. After a classical education in
Aix-en-Provence Paul Cézanne's father wished him to become a lawyer.
However after attending law school for two years (whilst receiving art
lessons) he could not bear the thought of continuing his education and
left for Paris.<br />
<br />
In Paris Paul Cézanne spent a large period of his time with Émile Zola, a
French writer. He enrolled at the Académie Suisse, which is where he
met his mentor, Camille Pissarro. After five months of trying to work as
a painter in Paris, France, to no critical success, Cézanne returned to
Aix-en-Provence at his father's request.<br />
<br />
In his home town Paul Cézanne enrolled at the local art school and
attempted to work as a banker but was also unsuccessful in this venture.
Consequently in 1862 he returned to Paris to work as a painter.
Disappointingly he failed the entrance exam to the Ecole des Beaux-Arts
but continued to work between Paris and Aix-en-Provence and submitted
many of his works to the Salon jury.<br />
<br />
In 1869 Cézanne Met Mrie-Hortense Fiquet at an art school in Paris called Académie
Suisse. Fiquet's
main job was as a bookseller or bookbinder, but she combined this with
part-time work as a model. They started a relationship and when the
Franco-Prussian War broke out in 1870, they left Paris together for
L'Estaque in the south of France. Afraid of offending his father,
Louis-Auguste Cézanne, a well-to-do banker, and compromising his
allowance, he went to great lengths to conceal his liaison with Fiquet.
The existence of their child Paul, born in 1872, was kept from
Louis-Auguste for some years.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWdKYc3RM6V5RN6yWliZNmtTAz00pJ4UYSDvmH8598Yl-7yzWpmfMTdNVckx6WvvViBdzFKHGYaNnckCf_3Q7qL2f8Z3blt2zltSsdCdXpNLrSNcUB-VEBevjZ1__f1iTK6_4fdtHo9y5/s1600/portrait-of-the-artist-s-son-1885-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWdKYc3RM6V5RN6yWliZNmtTAz00pJ4UYSDvmH8598Yl-7yzWpmfMTdNVckx6WvvViBdzFKHGYaNnckCf_3Q7qL2f8Z3blt2zltSsdCdXpNLrSNcUB-VEBevjZ1__f1iTK6_4fdtHo9y5/s1600/portrait-of-the-artist-s-son-1885-1.jpg" height="320" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Portrait of the Artist's Son - Paul Cezanne</td></tr>
</tbody></table>
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Paul Cézanne's work was misunderstood by his contemporaries. A shy man who worked a great deal in Aix-en-Provence, the home town where he was born and raised, Cézanne moved Paris when he was young and, despite his father's wishes, pursued a career in art rather than law.<br />
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Cézanne was a modern artist whose work was a precursor for Cubism and Fauvism. His compositions were usually dark in tone and he often chose to work inside rather than en plein air.<br />
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Cézanne didn't receive critical acclaim until very late in his life and after his first solo exhibition. He never formed close friendships with many of his fellow artists but before he died there was a great deal of interest in his works. <br />
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Paul Cézanne's modern style and technique was avant-garde and therefore misunderstood for many years. Even the other breakthrough artists of his era, the Impressionists, were dismissive of Cézanne's progressive style and method. After the first Impressionist exhibition many of them petitioned to have him banned from the other shows because Cézanne's compositions were too controversial.<br />
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<tr><td class="tr-caption" style="text-align: center;">Camille Pissarro</td></tr>
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Cézanne worked with thickly placed layers of paint and undefined forms and attempted to simplify everything into shapes that could be broken down. Although he was close with the Impressionist Camille Pissarro, and influenced by Pissarro's en plein air style of painting Cézanne was not an Impressionist. He was a highly modern artist who did not fit into any one category of painting style. His style was a precursor for the fauvism and cubism movements. <br />
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In 1872 Paul Cézanne was living in Pontoise, France with Hortense Fiquet and his newborn son Paul (whom his father did not know about). Cézanne was still enthusiastically working on his paintings and was spending time outside with his idol, Camille Pissarro.<br />
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In Pontoise Paul Cézanne met Dr Paul Gachet, who was an admirer of his work and thus spent the years of 1872 to 1874 living at Gachet's home in Auvers-sur-Oise.<br />
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In 1873 Cézanne met Vincent van Gogh and in 1874 he exhibited at the Impressionist's first showcase. Cézanne's work was highly criticized along with the Impressionist's paintings but Cezanne's paintings were disliked by the other painters too. Cézanne's compositions from this period of working close to Camille Pissarro reveal that he was slightly influenced by the Impressionist's en plein air style of painting.<br />
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In 1877 Cézanne showcased 16 of his paintings to a great deal of scorn from critics and vowed never again to show his work at an Impressionist's exhibition. Although still influenced by Pissarro's Impressionist style Cézanne continued to work inside his studio and didn't believe in always painting from nature.<br />
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<tr><td class="tr-caption" style="text-align: center;">Emile Zola </td></tr>
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In March 1878, Cézanne's father found out about Hortense and threatened
to cut Cézanne off financially, but, in September, he relented and
decided to give him 400 francs for his family. <br />
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In the early 1880s Cezanne started to move even further away from the Impressionist's style of painting. The year 1886 was a turning point for the family. Cézanne married Hortense and He fell out with Emile Zola because of his interpretation of Zola's novel, L'Oeuvre, and the two never saw each other again. In 1886 Cezanne married his mistress and inherited a large estate from his father, meaning he never had to worry about making money from his art. <br />
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In November 1895 Paul Cézanne held his first solo exhibition in Paris
and Ambroise Vollard bought every artwork. He then moved to
Aix-en-Provence permanently.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrR2GfxZuXjL2BCs79A8c_8aN6-CuYb1ojmMqCDZGioskE4-gcyZecJ-ytlZ3UO_2m5z646F6VPDIxeuA0UBZdUDNw2P2x-lcAUjVQiY-C6ysh8Xt3AFjKvWZRErU7RZZjoLOIMtExXgXV/s1600/Salon_d'Automne,_1904,_Ambroise_Vollard,_Salle_C%C3%A9zanne.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrR2GfxZuXjL2BCs79A8c_8aN6-CuYb1ojmMqCDZGioskE4-gcyZecJ-ytlZ3UO_2m5z646F6VPDIxeuA0UBZdUDNw2P2x-lcAUjVQiY-C6ysh8Xt3AFjKvWZRErU7RZZjoLOIMtExXgXV/s1600/Salon_d'Automne%2C_1904%2C_Ambroise_Vollard%2C_Salle_C%C3%A9zanne.jpg" height="358" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="mw-mmv-title">View of the 1904 Salon d'Automne, photograph by <a href="http://en.wikipedia.org/wiki/Ambroise_Vollard" title="Ambroise Vollard">Ambroise Vollard</a>, Salle Cézanne (Victor Choquet, Baigneuses, etc.)</span></td></tr>
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In the early 1900s his work was shown all around Europe to wide critical acclaim but throughout his life Cézanne was shy and hostile towards other painters and he maintained this attitude. He died in October 1906 of pneumonia and is buried in the cemetery in Aix-en-Provence.<br />
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<a href="http://www.artble.com/artists/paul_cezanne">Sources: Wikipedia and Artable</a><br />
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