Tag: claude monet

Camille Pissaro – Madrid – Spain

Camille Pissarro - Field of Cabbages, Pontoise - 1873 - Carmen Thyssen-Bornemisza Collection on deposit with the Museo Thyssen-Bornemisza, Madrid

Camille Pissarro – Field of Cabbages, Pontoise – 1873 – Carmen Thyssen-Bornemisza Collection on deposit with the Museo Thyssen-Bornemisza, Madrid


From 04 June to 15 September 2013 – Museo Thyssen-Bornemisza

The Museo Thyssen-Bornemisza presente the first monographic exhibition in Spain on the Impressionist painter Camille Pissarro (1830-1903). A key figure within Impressionism (he wrote the movement’s foundational letter and was the only one of its artists to take part in all eight Impressionist exhibitions from 1874 to 1886), Pissarro was nonetheless eclipsed by the enormous popularity of his friends and colleagues, in particular Claude Monet. Over 80 works – views of the Seine, Parisian perspectives, portraits and self-portraits –and among them the venerable with the long white beard – show how Pissarro was a gifted guardian of the temple. But he never dared the chromatic audacities Monet imagined or the virtuoso group scenes Renoir was so successful at.

Camille Pissarro - Self Portrait - oil on canvas - 1903 - 41 X 33 cm - Tate Britain

Camille Pissarro – Self Portrait – oil on canvas – 1903 – 41 X 33 cm – Tate Britain


T
he exhibition aim to restore Pissarro’s reputation and presenting him as one of the great pioneers of modern art. Landscape, the genre that prevailed in his output, will be the principal focus of this exhibition, which offers a chronologically structured tour of the places where the artist lived and painted: Louveciennes, Pontoise and Éragny, as well as cities such as Paris, London, Rouen, Dieppe and Le Havre. While Pissarro is traditionally associated with the rural world, to which he devoted more than three decades of his career, at the end of his life he shifted his attention to the city and his late output is dominated by urban views.

Museo Thyssen-Bornemisza


Impressionism: Sensation & Inspiration – Amsterdam – The Netherlands

, 1878. Oil on canvas, 174 x 101.5 cm © State Hermitage Museum, St Petersburg “]
Until the 13th of January 2013 –  Hermitage Amsterdam

The Hermitage Amsterdam present Impressionism: Sensation & Inspiration: the world-famous Impressionist paintings from the vast collection of the State Hermitage Museum in St. Petersburg, are presented in their artistic context.

, 1867. Oil on canvas, 82.3 x 101.5 cm © State Hermitage Museum, St Petersburg “]
M
asterpieces by pioneers like Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Camille Pissarro are accompanied by the work of other influential French painters from the second half of the nineteenth century, such as Eugène Delacroix and Jean-Léon Gérôme. The exhibition focus on contrasts between artistic movements. For instance, visitors can see and experience the sensational quality of Impressionism, the movement that heralded a new age.

, c. 1890–92. Oil on canvas, 92.5 x 73.5 cm © State Hermitage Museum, St Petersburg “]
A
ll the paintings, drawings, and sculptures come from the collection of the St. Petersburg Hermitage. Seldom has such a rich survey of this period been on display in the Netherlands.

 Hermitage Amsterdam


Turner-Monet-Twombly – Later Paintings – Stuttgart – Germany

Claude Monet (1840-1926) »London, Houses of Parliament. Burst of Sunlight in the Fog«, 1904, Musée d’Orsay, Paris. Bequest of Count Isaac de Camondo, 1911, © RMN (Musée d'Orsay)/Hervé Lewandowski


Until 28 May 2012 – The Staatsgalerie Stuttgart

The Staatsgalerie Stuttgart will present approximately seventy late works – some quite large in scale – by William Turner, Claude Monet and Cy Twombly. The outstanding loans will serve to illuminate similarities and interrelationships between the works and exemplify their common characteristics.

Cy Twombly »Quattro Stagioni« (A Painting in Four Parts), 1993-1995, Part II: Estate, Tate, Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002, Tate, London 2011, © Cy Twombly Foundation


The
Staatsgalerie will be the only venue in Germany to show the outstanding late works of three of the greatest painters of the last two centuries. The exhibition will not only unite works by William Turner, Claude Monet and the late Cy Twombly, but also offer the visitors new perspectives on the art of each, in and of itself.

In his landscapes and seascapes, the English painter William Turner (1775–1851) developed an abstract pictorial language which was adopted by the Impressionists.

Joseph Mallord William Turner (1775-1851) »War. The exile and the Rock Limpet«, exh. 1842 Tate. Accepted by the nation as part of the Turner Bequest 1856, © Tate, London 2011

Claude Monet (1840–1926) translated the motifs of that harbinger of abstraction into series with differing light atmospheres. With Cy Twombly (1928–2011) the exhibition will extend the spectrum to encompass the present: an important of exponent of Abstract Expressionism, the American developed the poetic pictorial language further in his monumental paintings.

Museum Hours


Renoir, The Early Years – Basel – Switzerland

Pierre-Auguste Renoir (1841-1919) En été, 1868 Staatliche Museen zu Berlin, Nationalgalerie bpk / Staatliche Museen zu Berlin, Nationalgalerie / Jörg P. Anders


From April 1 2012 to August 12, 2012  – Kunstmuseum Basel

The spectacular exhibition Renoir. Between Bohemia and Bourgeoisie: The Early Years at the Kunstmuseum Basel will focus on the underappreciated early work of the great painter Pierre-Auguste Renoir (1841–1919).
Fifty paintings—portraits, landscapes, and still lifes, among them masterworks from the collections of major museums such as the Musée d’Orsay, Paris, the National Gallery, London, the Metropolitan Museum, New York, and the Art Institute of Chicago, as well as virtually unknown works from private collections, form a magnificent panorama of the formative years of Renoir’s art.
Pierre-Auguste Renoir was among the French painters who founded Impressionism. With a light palette, loose brushwork, and motifs from modern urban life and leisurely amusements in natural settings, he and his fellow innovators wrote art history. The painter’s Impressionist period and his late work have subsequently tended to eclipse other parts of his oeuvre. He has been celebrated as the “painter of happiness,” but that has also been a cliché to which he was reduced..

Pierre-Auguste Renoir (1841-1919) Café concert ou La première sortie, 1876 ©The National Gallery, London. Bought, 1923


Th
e Kunstmuseum Basel now presents a grand survey exhibition, the first show ever to emphasize the artist’s outstanding and surprisingly complex early work, up to and including the eminent Impressionist paintings of the 1870s.
Renoir’s most important model during these first years of his career was his lover, Lise Tréhot. Their relationship lasted from 1865 to 1872. Lise sat for a series of important early works in which he staged her in a wide variety of roles and pictorial genres. This group of paintings constitutes a highlight of the exhibition. The two illegitimate children who issued from the relationship with Lise were given up for adoption—a fact that the artist kept secret throughout his life and that puts a new complexion on the ostensibly perfect idylls in his pictures of pairs of lovers and mothers with children.
Portraits of his friends and fellow artists Claude Monet, Frédéric Bazille, and Alfred Sisley form another distinct group. Renoir’s own contribution to Impressionism is most clearly apparent in his landscapes, especially those of the countryside around Paris, and in his scenes of la vie moderne. The period from the mid-1860s to the late 1870s is defined by extraordinary social, political, and artistic developments. The tensions between bohemia and the bourgeoisie, two milieus in which Renoir moved, are readily apparent in his oeuvre. He experienced the political sea changes from the conservative climate of the Second Empire to the revolution of the Paris Commune and hence to the Third Republic, even as he avoided involvement in these conflicts whenever possible. A young artist’s chances of achieving visibility depended on his work being shown in the Salon. Renoir and his fellow Impressionists rebelled against that institution by organizing exhibitions of their own. In the late 1870s, however, as his work slowly found official recognition, his attitude toward the Salon grew friendlier as well. Renoir’s early work lets us trace his evolution as an artist in fascinating paintings. Paintings from this period reflect the growing range of his pictorial imagination as he spent many days studying the paintings at the Louvre, but also took in the revolutionary innovations of his time: the realism of Gustave Courbet, the Barbizon school’s en plein air painting, and the inspirations he received from Édouard Manet and Claude Monet, his closest artistic associates at the time.

Museum Hours


Degas and the Nude – Paris – France

Edgar Degas (1834-1917)Woman drying her neck, after her bath1898Pastel on cardboardH. 62.2; W. 65 cmParis, Musée d'OrsayBequest of Count Isaac de Camondo, 1911© RMN-GP (Musée d'Orsay) / Hervé Lewandowski


From March 13 to July 1, 2012 – Musee d’Orsay

The first major monographic exhibition in Paris devoted to Edgar Degas (1834-1917) since the 1988 retrospective at the Grand Palais, Degas and the Nude contributes to the ambition of the Musée d’Orsay to show the recent progress in research regarding the great masters of the second half of the 19th Century, following the homage to Claude Monet (1840-1926) and more recently Edouard Manet (1832-1883).

This exhibition explores Degas’s evolution in his practice of the nude, from the academic and historical approach of his early years down to the inscription of the body in modernity throughout his long career. A predominant element in the artist’s work, together with dancers and horses, nudes are presented through all of the techniques used by Degas, including painting, sculpture, drawing, printing and above all pastel, which he brought to its highest degree of achievement.
Organised in partnership with the Museum of Fine Arts, Boston, the exhibition takes advantage of the very rich collection of graphic works of the Musée d’Orsay, seldom shown due to its fragility, to which will be added exceptional loans from the largest collections, such as those of the Philadelphia Museum of Art, the Chicago Art Institute and the New York Metropolitan Museum.

Museum Hours


Monet to Picasso. The Batliner Collection – Vienna – Austria

Edgar Degas (French, 1834-1917). Two Dancers, ca. 1905. Pastel on card. Batliner Collection. Albertina, Vienna. Photo © Fotostudio Heinz Preute, Vaduz


14 March 2012 – 31 December 2012 – Albertina

In spring 2007, one of Europe’s greatest private collections of classical modern art came to the Albertina as a permanent loan from the Rita und Herbert Batliner Foundation in Liechtenstein.

The Albertina is now in a unique position to compensate for the major gaps in the Austrian state-run museums’ holdings of international modern art with key works of French Impressionism, Post-Impressionism, German Expressionism, Fauvism and the Russian avant-garde.

Pablo Picasso- Woman in a green hat, 1947 - Albertina, Vienna - Batliner Collection © Succession Picasso / VBK, Vienna 2011. Photo: © Fotostudio Heinz Preute, Vaduz

The Batliner Collection has received acclaim from museums and connoisseurs for decades. It includes outstanding works by Claude Monet, Pierre-Auguste Renoir, Paul Cézanne, Amedeo Modigliani, Henri Matisse, Pablo Picasso, Ernst Ludwig Kirchner, Alberto Giacometti and Francis Bacon. These masterpieces can be seen in a new permanent exhibition at the Albertina.

The Batliner Collection is augmented by works from the Forberg Collection in Switzerland, which was also transferred to the Albertina on permanent loan.

Herbert and Rita Batliner began collecting art nearly half a century ago. Due to their close friendship with the legendary art dealer Ernst Beyeler, French Impressionist and Post-Impressionist painting formed a cornerstone of the collection from the very beginning, along with the work of Alberto Giacometti. Exceptional works by Monet such as The Water-Lily Pond, Edgar Degas’ Two Dancers, or Cézanne’s Arc-Tal and Mont Sainte-Victoire landscapes attest to the couple’s passion for French art.

Pierre-Auguste Renoir - Portrait of a young girl (Elisabeth Maître), 1879 - Albertina, Vienna - Batliner Collection. Photo: © Fotostudio Heinz Preute, Vaduz

Picasso became an additional focal point. Today he is represented in the collection with over 40 works, including ten paintings and numerous drawings and one-of-a-kind ceramics.

In the course of his travels, Herbert Batliner gained familiarity with Russian avant-garde art. He and his wife were inspired by the works they saw in Amsterdam’s Stedelijk Museum, the Guggenheim Museum in New York, the Museum Ludwig in Cologne, and the Russian Museum in St. Petersburg, to build their own fine collection of Russian avant-garde art from 1905-35.

The focus of their acquisitions was on Marc Chagall, but they also sought out works by Natalia Goncharova, Liubov Popova und Mikhail Larionow. The collection includes a major work by Kazimir Malevich, painted as a defiant memory image immediately following the artist’s release from a Stalinist prison.

Kees van Dongen- Woman with Blue Eyes, 1908- Albertina, Vienna - Batliner Collection © VBK, Wien 2009. Photo: © Fotostudio Heinz Preute, Vaduz

The permanent exhibition spans the most fascinating chapters from more than 130 years of art history, from Impressionism to the most recent present. Paintings by Monet, Renoir, Cézanne, Matisse, Miró, Klee, Kandinsky, Chagall, and other masters offer a survey of French Impressionism and Post-Impressionism, the Fauves, Expressionism, and the Russian avant-garde. With late works by Picasso and exhibits by Rothko and Bacon, the exhibition leads over to the second half of the twentieth century, before it ends with works by contemporary artists such as Anselm Kiefer and Gerhard Richter.

Albertina opening hours


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