Share‘Radical and innovative’: Cézanne’s love letter to a coastal French paradiseA painting of Paul Cézanne’s sanctuary represents the artist at the height of an ‘intense surge of creativity’ L’Estaque aux toits rouges by Paul Cézanne is one of the finest views of L’Estaque the Provençal fishing village where the artist forged a radical new way of depicting the world around him.  Exhibited in 1936 and hidden away ever since, this remarkable piece will finally come back on view as part of The Cox Collection: The Story of Impressionism taking place at Christie’s New York on 11 November While Cézanne is primarily associated with Aix-en-Provence the village of L’Estaque near Marseille was a place that he returned to again and again when he sought sanctuary His relationship with the village began when he holidayed there as a child with his mother when Cézanne left Paris to avoid conscription into the army following the start of the Franco-Prussian War Cézanne once again fled to L’Estaque to avoid the disapproval of his father who had discovered Cézanne’s semi-secret family life with his unwed partner Hortense and their illegitimate son L’Estaque aux toits rouges is one of the emblematic works of that time Cézanne transformed the landscape into planes and facets of colour Shadows are gone and the Provençal light is depicted through a brighter palette buildings and the flat blue sea vibrates at a perfect tension Head of Christie’s Impressionist and Modern Art department in New York says that the painting incorporates ‘warm Mediterranean light in its purest form’ as well as ‘the solid architectural forms that mark Cézanne’s career’ He describes it as ‘one of the key expressions that would lead ‘It is radical and innovative,’ says Carter. ‘What others in the Impressionist movement were doing was capturing the immediate effect of light, what Cézanne was doing was looking at how we perceive objects.’ This would have a profound effect on painters who followed Cézanne, as later visits to L’Estaque by artists such as Georges Braque show he breaks down the colour and the structures stroke by stroke ‘The Cubists took these explorations to their terminal conclusion.’ Photograph courtesy of Fonds Alain Mothe - Société Paul Cézanne The intense light and striking landscape of L’Estaque provided Cézanne with the path towards this artistic aim Now working predominantly from elevated viewpoints he began to capture nature in an increasingly simplified and monumental manner L’Estaque enabled Cézanne to reconsider how he portrayed the world. ‘It’s like a playing card,’ he wrote to his friend and mentor Camille Pissarro in 1876 ‘Red roofs against the blue sea… It’s olive trees and pines The sun here is so frightful that it seems to me the objects are silhouetted not in white or black but it seems to me that this is the opposite of modeling.’ a weekly newsletter delivering our top stories and art market insights to your inbox Cézanne was ‘coming into his own’ as a painter painterly works of his early career and refined his brushwork and approach — resolving questions of volume The series of paintings created by Cézanne in L’Estaque made the village ‘a site of proto-Cubism’ Carter adds: ‘Cézanne’s landscapes of the 1880s led Braque there.’ While L’Estaque aux toits rouges speaks for itself it started a conversation that would reverberate down the history of art Georges Braque (1882–1963), The Terrace at the Hôtel Mistral Lauder Cubist Collection © 2016 Artists Rights Society (ARS) l'Estaque was a modest Mediterranean port to the northwest of the industrial city of Marseille Of the many artists who spent time painting its scenic vistas none was better known than Paul Cézanne (1839–1906) It was partly in homage to this revered and recently deceased artist that Braque traveled to l'Estaque in the summer 1907 The influence of Cézanne's art can be seen in Braque's The Terrace at the Hôtel Mistral with its increasingly subdued palette and use of geometric forms to render the terraced park Braque's painting was titled simply La Terrasse when it was included in the artist's 1908 exhibition at Galerie Kahnweiler Twelve-and-a-half years later when it was auctioned at the first Kahnweiler sequestration sale it was listed as La Terrasse-L'Estaque It was not until 1949 that the painting was first identified as a view from the Hôtel Mistral a popular seaside establishment with a distinctive pedestrian bridge that connected it to a restaurant on the fishing port (FIG Braque's painting was likely based not on the Mistral but on the more luxurious Grand Hotel Château Fallet Originally constructed in the seventeenth century as a manor house the Château Fallet (which is extant although no longer a hotel) has views of the port and sea beyond the property included gardens and adjacent stands of pines The hotel management permitted artists to set up their easels on the terraces which may explain why its distinctive balustrade appears in paintings by not only Braque but also fellow-artists Raoul Dufy (private collection) …which the most celebrated is Houses at L’Estaque These works reflect the influence of Braque’s idol Cézanne; this influence is seen most obviously in the fact that L’Estaque was a favourite painting site for Cézanne but also in the fact that Braque emulated the older painter’s use of colourful tilted… Please enable JS and disable any ad blocker Paintings worth up to $613 million stolen in ParisThe Associated PressPARIS — A lone thief stole five paintings worth up to half a billion euros ($613 million) total including major works by Picasso and Matisse in a brazen overnight heist Thursday from a Paris modern art museum The paintings were reported missing early Thursday from the Paris Museum of Modern Art across the Seine River from the Eiffel Tower Investigators have cordoned off the museum in one of the French capital's most tourist-frequented neighborhoods A single masked intruder was caught on a video surveillance camera taking the paintings away according to the Paris prosecutor's office The intruder entered by cutting a padlock on a gate and breaking a museum window Their collective worth is estimated at as much as €500 million ($613 million) The stolen works were "Le pigeon aux petits-pois" (The Pigeon with the Peas) an ochre and brown Cubist oil painting by Pablo Picasso; "La Pastorale" (Pastoral) an oil painting of nudes on hillside by Henri Matisse; "L'olivier pres de l'Estaque" (Olive Tree near Estaque) by Georges Braque; "La femme a l'eventail" (Woman with a Fan) by Amedeo Modigliani; and "Nature-mort aux chandeliers" (Still Life with Chandeliers) by Fernand Leger where investigators were studying surveillance video Paper signs on the museum doors said it was closed for technical reasons On a cordoned-off balcony behind the museum police in blue gloves and face masks examined the broken window and empty frames The paintings appeared to have been carefully removed from the dissembled frames A security guard at the museum said the paintings were discovered missing by a night watchman just before 7 a.m The guard was not authorized to be publicly named because of the museum policy Museum officials and police would not immediately comment on reports that the alarm system had malfunctioned or been disabled Paris Mayor Bertrand Delanoe said in a statement that he was "saddened and shocked by this theft which is an intolerable attack on Paris' universal cultural heritage." « Nous voulons développer un projet d’école de l’économie bleue qui pourra se tenir sur le site et l’emprise du Grand port et qui voire des milliers de jeunes venant de nos quartiers nord qui veulent embrasser ce destin méditerranéen auquel nous voulons l’ouvrir » lançait Emmanuel Macron en juin 2023 Du haut de son estrade, sur l’esplanade du Mucem, la mer dans le dos, le président de la République était venu faire un point sur le plan Marseille en Grand ce projet est lancé au lycée professionnel de l’Estaque (16e) Mais d’un label délivré par le rectorat Aix-Marseille Le but étant de rendre plus visibles certaines formations de l’économie maritime « C’est le premier déploiement de quatre formations labellisées économie bleue autour de l’industrie maritime des métiers de la sécurité sous-préfète chargée du suivi et de l’animation du plan Marseille en Grand depuis janvier le rectorat et le lycée ne souhaitent pas communiquer à ce stade le rectorat a tenu plusieurs réunions avec les grands donneurs d’ordre dont le Grand port maritime de Marseille (GPMM) ou l’armateur CMA CGM sur les besoins de la filière locale Cette nouvelle appellation devrait aussi profiter de la marque « Marseille en Grand » et de sa « capacité d’agrégation » assure le préfet Christophe Mirmand Cette logique de labellisation « économie bleue » devrait concerner d’autres établissements du Département et de la Région prochainement Si le lycée de l’Estaque est « une première pierre » du dispositif le préfet des Bouches-du-Rhône évoque également la création de « formations d’enseignement général avec une dominante liée à l’économie de la mer » « C’est important de montrer qu’au niveau national il y a un engagement fort » toujours serein sur l’avenir du plan élyséen malgré l’instabilité gouvernementale de ces derniers mois No matter how many times she leads tours through the 10 galleries showcasing the Cleveland Museum of Art’s (CMA) blockbuster exhibition, “Impressionism to Modernism: The Keithley Collection,” CMA deputy director and chief curator Heather Lemonedes Brown never fails to marvel at the breadth it encompasses “Most exhibits are thematic or based on a single artist But there’s something for everyone here,” says Brown as she points to canvases by Henri Matisse Pablo Picasso and Andrew Wyeth displayed with porcelain vases and bowls that have remained pristine despite being more than 500 years old “is really about a pair of collectors who had eclectic tastes and a great love for many forms of art.” the Pier 1906 - artist Georges Braque">The Port of l'Estaque the Pier 1906 - artist Georges BraqueOn view through Sunday the exhibit is a treasure trove of more than 100 works of art amassed over two decades by Shaker Heights residents Joe and Nancy Keithley who donated their collection to CMA in 2020 and modern European and American paintings the couple’s benevolent gift also features a selection of watercolors European and American decorative arts and Chinese and contemporary Japanese ceramics The magnificent collection is valued at more than $100 million and represents the biggest single gift of art in monetary value received by the museum since the bequest of $34 million left by Leonard C. Hanna in 1958 “Part of the pleasure for me is seeing that everyone seems to have a different favorite work of art in the exhibition,” Brown says. “Sometimes I’m surprised by what people really respond to. It might be a Milton Avery painting It could be a Japanese contemporary ceramic or an Impressionist painting or an Old Master Dutch drawing from the 1600s “Loving art is very subjective,” the curator adds “but I hope we’ve installed the show in juxtapositions that provoke comparison and connection.” • Yellow-Glazed Bowl: 1505-21 “The historical Chinese ceramics in the collection were driven by Nancy Keithley’s passion for them,” Brown says “It’s truly extraordinary that despite how thin the porcelain is The breathtaking color is known as ‘imperial yellow’ and ceramics of this quality were made for the imperial household The base has the seal of the Zhengde reign “This style of painting represents the cutting edge of modern art where color and paint are used very expressively and forms—such as the boats and mountains—are intentionally simplified Instead of covering the entire canvas with thick paint It’s not because he didn’t know how to paint with detail It’s because he’s letting the paint show itself as paint The hands of the artist really come through here so to have acquired this Braque is a great coup.” "Impressionism to Modernism: The Keithley Collection" runs through Sunday Tickets are $15 for adults; $12 for seniors aged 65 and older; $10 for adults groups of 10 or more; $8 for member guests Museum members and children under age five are free the French artist was the ultimate icon of seriousness touching works reveal the sly playful humour at the heart of his genius devastating showThis article is more than 2 years oldTate Modern It turns out he often let his little son use it This openness to child’s play says a lot about the man For Cézanne was the first western artist since the middle ages to claim a child’s freedom to depict things exactly as they pleased Look at the label and you’ll see this has been lent from the Musée National Picasso-Paris painted his breakthrough cubist canvases in 1908 in L’Estaque itself Yet it isn’t just in massing cubistic houses that Cézanne blows tradition apart in his patient takes so many liberties your brain gets dizzy Beyond the diamond-shaped factory chimney is a blue sea that seems as hard as quartz Painting can refashion the very substances of things Taking liberties … The Bay of Marseille Photograph: LWM/Art/AlamyCézanne the fun guy he was the ultimate icon of seriousness in art his paintings analysed as philosophical conundrums his legacy claimed by the most intense avant garde pioneers Yet there’s a sly playful humour at the heart of his genius Having a laugh … Still Life With Plaster Cupid (c1894) It looks as if he is playing boules in curved space-time with his apples And it is not only the laws of physics he makes jokes about Still Life With Plaster Cupid (c1894) not only features an apple refusing to roll down a steep slope but also two onions with long sprouting leaves positioned so they allude to the missing phallus of a plaster-cast Cupid for all the virtuosity and authority of Cézanne’s later art he was still the troubled bohemian he had been in his youth The show starts with a puzzle: one of Cézanne’s noblest mature still lifes is juxtaposed with an insecure looking at us weakly set against pink wallpaper Cézanne went to school with Émile Zola who went on to invent the naturalist novel And Cézanne’s own early art is just as raw In The Murder (1867-70) one large figure holds a woman down with fleshy arms while the other raises a knife to stab her It looks even more as if Cézanne might be processing psychological problems in The Eternal Feminine bleeding from her blinded eyes and surrounded by a grotesque crowd of male worshippers Young Cézanne expresses depraved thoughts about sex and death as freely as the poet and critic Baudelaire, who argued that “the painter of modern life” should be an observer of the contemporary. The Negro Scipio, a painting of a black male model from 1867, dwells on the man’s furrowed back in a way that artist Ellen Gallagher argues may be intended to suggest the flogged back of an enslaved man It’s conventional to tell a story of Cézanne’s development from such turbulent early work to his calm yet nudity never stopped fascinating him – and his images of naked people never did settle into sophistication A whole room of his later nudes shows him still obsessing over awkward visions of female flesh in his 1885-87 painting Five Bathers in which a group of women created by his imagination come together just for him in a fuzzy melting landscape A devastating finale … Mont Sainte-Victoire 1902-6 Photograph: TateThese are not real nudes but dreams forged in the midday heat of Provence Just as Cézanne’s seas are rock hard and his lemon floats in midair his bathers are his most intense assertion that art creates If Cézanne began by lashing out at reality with paint he ends up discovering that the only truth he can know is his own Each fractured brushstroke of the paintings of Mont Sainte-Victoire that are this show’s devastating finale is a document of the subjective way we all see and understand the world But the mountain itself is always there – a huge solid chunk of fact It obsesses him for reasons we can only guess touching thing about this artist is how he takes apart reality without ever ceasing to care about it This makes looking at his art one of the most heightened and extraordinary experiences you can have in a gallery – or anywhere At Tate Modern, London, from 5 October to 12 March. The Cleveland Museum of Art (CMA) announced today that it had received a gift and a promised gift from a local couple of more than 100 Impressionist, Post-Impressionist and Modern European and American paintings, drawings and prints and other coveted works that will enrich and transform the story it tells of the history of art. Valued at over $100m, the gifts from the couple, Joseph P. and Nancy F. Keithley, consist of 97 works donated outright and 17 that are promised. All are in the possession of the museum, however, which is scrambling to put a large sampling on display as early as next Tuesday, says William Griswold, the institution’s director. A major exhibition comprising the lion’s share or all of the gifts is planned in the fall of 2022 along with the publication of a catalogue, he adds. Griswold says the combined gifts are the largest to go to the museum since 1958, when the philanthropist Leonard C. Hanna Jr. made a stunning $38m bequest (today valued at $300m) that has bankrolled dozens of art purchases at the institution over the last six decades. Caillebotte, Chickens, Game Birds and Hares (around 1882) Promised Gift of Nancy F. and Joseph P. Keithley, 2020/Cleveland Museum of Art “It fills some interesting gaps,” Griswold says. “We had small holdings by the Nabis, for example, and this adds 25. The other thing is that it creates not only a possibility for new juxtapositions and dialogues but gives us depth in the work of individual artists.” “We had no landscape and no still life by Caillebotte–now we have both,” he says. And five paintings by Bonnard donated by the couple boosts the museum’s total by the artist to nine, he notes. (The Keithleys are also giving the museum five Bonnard drawings; before it had none.) Bonnard, Fruit and Fruit Dishes (around 1930) Nancy F. and Joseph P. Keithley Collection Gift, 2020/Cleveland Museum of Art “It’s important to understand how rare it is for us to accept a gift of so many works from a single collection,” Griswold adds. (The museum generally prefers to cherry-pick.) “Ours is primarily a collection that has been assembled one gift or purchase at a time.” He said that Joseph Keithley, who formerly led a company that manufactured advanced electrical testing instruments, and Nancy Keithley, who became a trustee of the museum in 2001, had consulted closely with the CMA in amassing their collection over the last two decades. “Their yardstick always was, ‘Was it good enough for the Cleveland Museum of Art?’” he said. Around 18 months ago, the couple asked the museum to compose a list of everything in their collection that the institution wanted, “and it was virtually everything,” Griswold says. “Then in November they came to my office and said they’d been thinking about it a lot and wanted to give us everything on the list.” “I think the Keithleys really saw it as a gift not only to the museum but to Cleveland.” run by the heirs of collectors Jane Lang Davis and Richard E has donated 19 works by artists including Bacon gallery6 April 2020Top five museum acquisitions of the monthOur pick of the latest gifts and purchases to enter international museum collections—from £1m flower pyramids to an enigmatic portrait of a young black woman This exhibition is made possible by The Florence Gould Foundation. Additional support is provided by an Anonymous Foundation. The exhibition is organized by The Metropolitan Museum of Art and the Museum of Fine Arts, Houston. Read, watch, or listen to stories about the exhibition on The Met website. Color became sticks of dynamite. They were primed to discharge light. A color for me is a force. My paintings consist of four or five colors which clash with one another expressively. When I apply green, that does not mean grass. When I apply blue, that does not mean sky. For nudes, I go every morning at six to the woods in the mountain with my wife who poses calmly; we have gone there a dozen times and have never been bothered. Watercolor materials are portable; they traveled well from beaches to the hillside and back. Today, Matisse’s watercolors are rarely seen, mostly residing in private collections. Although Matisse and Derain spent most of their days sketching and sometimes painting outdoors, they produced several remarkable portraits in the studio. Amélie Matisse was a willing model, as was their great friend, the artist Etienne Terrus, who lived in the nearby village of Elne. Overall, the portraits of Collioure are more about painting and the autonomy of brushwork than naturalism. Perhaps the most remarkable portraits from the summer of 1905 are the reciprocal likenesses Matisse and Derain painted of each other. Affirmations of their nourishing, productive partnership, these paintings bring to confident realization their many experiments in brushwork and color that summer. Dans un hangar du port de l’Estaque (16e) à Marseille, à l’abri des regards, repose un monument de la technologie sous-marine : le SAGA acronyme pour Sous-marin d’assistance à grande autonomie Créé sous la direction du commandant Jacques-Yves Cousteau ce géant des mers (28 mètres de long pour 300 tonnes) est le plus grand sous-marin civil jamais construit Grâce à son moteur Stirling à propulsion anaérobie « il pouvait rester jusqu’à 21 jours en opération sous l’eau permettant aux plongeurs de réaliser leurs paliers de décompression directement à bord Avant d’être ramenés à la surface en toute sécurité » ingénieur mécanicien du SAGA qui a navigué avec Cousteau à bord du navire Calypso Le célèbre commandant au bonnet rouge a imaginé et initié en 1966 la conception de cette « maison sous la mer autonome et propulsée » destinée à abriter les plongeurs et l’équipage du sous-marin dans la lignée des expériences Précontinent Jacques-Yves Cousteau l’appelle alors « Argyronète » en référence à cette araignée sous-marine qui forme une bulle d’air pour respirer En 1970, l’explorateur met le cap vers de nouveaux horizons américains, coupant court au projet. La Comex le reprend en 1983 pour travailler en lien avec l’industrie pétrolière Celle-ci récupère un certain nombre d’équipements dont la coque les équipements hydrauliques et la sphère largable Le SAGA est mis à l’eau en 1987 il bat le record du monde d’intervention par plongeur depuis un sous-marin civil établi à 317 mètres au Cap Bénat sous le commandement d’Henri Delauze et de Pierre Papon ancien président de l’Ifremer Il effectue également une plongée d’observation à 667 mètres ce rêve technologique s’est vite heurté à la hausse des coûts entraînée par le choc pétrolier LʼInstitut français de recherche pour l’exploitation de la mer (Ifremer) arrête sa participation au projet en 1990 Mais le vaisseau aquatique jaune n’est pas totalement tombé dans l’oubli. Si le sous-marin « crache-plongeurs » appartient aujourd’hui à la Ville de Marseille, l’association des Compagnons du SAGA dont certains ont participé à sa création et aux opérations Ceux-ci proposent des visites insolites du sous-marin tous les vendredis matin sur rendez-vous. Une visite virtuelle en ligne permet aux visiteurs de découvrir les différentes salles à l’intérieur du sous-marin tandis qu’une immersion avec des casques de réalité virtuelle est en cours de développement le président de l’association et ancien directeur commercial à la Comex ainsi que les passionnés qui l’entourent espèrent que ces initiatives permettront de « valoriser et transmettre » la mémoire de cette « capsule temporelle » Plus de 700 personnes sont venues (re)découvrir le SAGA lors des dernières Journées du patrimoine it seems only fitting to take a moment to look to the Museum's libraries to explore our own collection of source materials regarding early Modern art.» Watson Library's collection includes a large number of books related to Cubism and the artists who worked in the style Some of the newest and most notable treasures in our special collections include a number of the earliest publications on the topic The acquisition of these rare and valuable modern materials was made possible due to the generosity of the Friends of the Thomas J Lauder Cubist Collection © 2014 Artists Rights Society (ARS) Apollinaire expanded upon the ideas presented in this essay in his 1913 publication Les Peintres Cubistes he discusses the historical beginnings of the style as well as what he sees as the four main trends in Cubism He also discusses a number of artists associated with it—in particular Pablo Picasso Both of these titles were published as part of a series called Collection Tous Les Arts According to the back cover of Les Peintres Cubistes this series consisted of practical guides for art lovers While these books are significant as reference materials the Watson special collections copies are also notable for their present state Les Peintres Cubistes and Du "Cubisme" remain in excellent condition Uncut pages along the top edges of both books suggest that neither has ever been read Left: Cover. Right: Back. Kahnweiler, Daniel-Henry. Der Weg Zum Kubismus Left: Cover. Kandinsky, Wassily. Concerning the Spiritual in Art, and Painting in Particular. 1912. [A Version of the Sadleir Translation. The Documents of Modern Art. New York: Wittenborn, Schultz, 1947. Right: Cover. Kahnweiler, Daniel-Henry. The Rise of Cubism For more information about the Leonard A. Lauder Collection of Cubist Art, check out the Museum's microsite for the Leonard A. Lauder Research Center for Modern Art. [1] Flam, Jack, "The Birth of Cubism: Braque's Early Landscapes and the 1908 Galerie Kahnweiler Exhibition," in Cubism: The Leonard A. Lauder Collection, edited by Emily Braun and Rebecca Rabinow (New York: The Metropolitan Museum of Art, 2014), 22–27. I would like to be emailed about offers, events and updates from The Independent. Read our Privacy notice Also in this article: About the artist When it comes to presenting an apparition, a hallucination, a mirage, some kind of transparency or semi-vanishing seems the way to do it. You may associate these visual effects with trick photography's double exposures, or with trick stagecraft. But the traditional image technology of oil painting, with its super-dilute suspensions of pigment, its elusively gradual blurs, can handle dematerialisations masterfully. If it chooses to. But in fact, the older Old Masters don't do it much. There are one or two images – by Bosch and Tintoretto – where spirit phenomena are represented by bodies that have gone see-through or are partly fading away. But generally, a phantom or a vision is depicted as something solid. The dematerialised supernatural only becomes normal with Romantic art. After that, the spirit realm is almost always designated by being merely half-there. Turner is a great, but ambiguous performer in this mode. In his art, it's not just the occasional body but the whole world that goes into shimmering, gaseous meltdown. The earth, the sea and the sky disappear and blend in glare and haze and mist. Whether these fades and dissolves signify natural atmospherics or supernatural manifestations is a point that Turner usually leaves up in the air. Impressionism, on the other hand, blurs appearances thoroughly, but it doesn't indulge in any dematerialisation effects. Behind the loss of focus, the physical world remains substantial, opaque, secular. Though edges may get very fuzzy, there's no suggestion that things are fading away or fading into one another. But the painted fade-out has another high point in European art, in a body of paintings made by Pablo Picasso and Georges Braque between 1909 and 1911 – landscapes, still-lives and portraits, for which the standard name is Cubism. These pictures are full of dematerialisations. It's hard to see them as either optical or spiritual. Still, together with a profusion of short, sharp dividing lines, dematerialisation is Cubism's leading visual characteristic. But even as you describe this "scene", you lose it. You've already got too close. You're giving the picture a level of attention at which the thing you're trying to grasp – the huddle of separate buildings – begins to disperse and disintegrate. None of those hard-edged houses amounts to a complete solid. Their edges and planes don't fit together properly. Ground cuts into building. Near and far switch. Forms interpenetrate and dissolve. Like a traditional vignette, the whole image fades out at its perimeter, into the surrounding margin of blank canvas. And within the image, for every firm straight line that establishes an edge or a corner, there is a fade, in which one defined area blends into another – wall into roof, building into ground, ground into background. Not that these dissolves are executed seamlessly, imperceptibly. There's none of the "magic" of Turner's oil paint. Braque puts the paint on like a heavy-handed Impressionist, in patches of juddery dabs. When these patches dissolve, they do so by petering out into blankness, or by encroaching into one another like mingling flocks. The dematerialisations have a blunt, unmysterious, material obviousness. The picture surface is a field of pulsation, as the promise of a scene keeps being made and keeps being broken, as definition alternates with dissolve, as things go in and out of grasp, plain enough – but catching you every time. Join thought-provoking conversations, follow other Independent readers and see their replies You don't have permission to access the page you requested What is this page?The website you are visiting is protected.For security reasons this page cannot be displayed 07-19-2018DESIGN Here’s why art–and paintings in particular–are a surprisingly potent way to gauge the future of machine intelligence CloudPainter’s AI Imagined Portrait. [Image: courtesy Andrew Conru/Robotart] BY Jesus Diaz “I don’t know if you watch Westworld,” Andrew Conru says “but the artistic process may be a very simple algorithm.” So it’s reasonable to argue that the artistic process is also a set of pretty simple algorithms that can have complex outcomes The way artists look at and reinterpret the world result in a particular aesthetic–impressionism part of it is the artist’s physiology,” Conru says and the brain interact to introduce an element of unique randomness” in each brushstroke though they may cause powerful emotions in viewers Could machines ever create art that moves us Conru–who holds a PhD from Stanford in mechanical engineering and Robotart is a benchmark for gauging how close we are to that goal is judged both by a public voting system and a panel of art critics The critics weigh three criteria: originality and aesthetics; painting techniques like layering or blending of brushstrokes; and the art’s technical contribution to the field Some of the 100 artworks submitted by 19 teams this year were extremely convincing some human artists are taking advantage of robot “apprentices” to aid their output using the robot to do the heavy lifting before finishing it the same way many artists use studio assistants for these tasks today the entries suggest that we’re getting much closer to the moment when humans won’t be able to tell the difference between machine-generated art and human-generated art Saltz pointed out at one of his works and said “that doesn’t look like a computer made it.” But Saltz followed that apparent compliment with a major caveat: “That doesn’t make it any good.” emulating human sensibilities acquired through deep learning We’re light-years away from the sci-fi vision of AI that has the kind of consciousness upon which great art is made and Conru thinks that no matter how intelligent machines become human viewers will always respect human artists more than machine ones the same way human grand masters elicit more admiration than computer grand masters there’s room for plenty of debate–and imagination–when it comes to the future of AI would there really be any difference between the art humans create and the art those new life forms create Perhaps these new beings could push our human practice of art into an entirely original new phase and let us see the world through eyes that are not human The final deadline for Fast Company’s Brands That Matter Awards is Friday, May 30, at 11:59 p.m. PT. Apply today. Fast Company & Inc © 2025 Mansueto Ventures Fastcompany.com adheres to NewsGuard’s nine standards of credibility and transparency. Learn More The Museum Langmatt in Baden, Switzerland, has provoked an outcry with its intention to sell three paintings by Paul Cézanne. The works are among the more valuable pieces in its small collection and will be sold at Christie's New York in November. The museum houses the Impressionist art collection of Sidney and Jenny Brown—of around 50 works in total—in a villa designed for them, where the family lived for two generations. The collection and house were bequeathed to the city of Baden in 1987. The Browns earned their fortune in engineering and founded Brown, Boveri & Cie., which grew into the multinational corporation known today as ABB. The city of Baden and the Langmatt Foundation say they need to raise SFr40m ($44.4m) to keep the museum operating, and the foundation plans to use the revenue from the art sales to set up an endowment fund to secure its future. But critics say the paintings on offer at Christie’s 20th Century Evening Sale on 9 November are among the jewels of the collection, especially Cézanne’s Fruits et pot de gingembre (fruit and pot of ginger, around 1890-93). “It is outrageous,” says Tobia Bezzola, the president of the Swiss branch of the International Council of Museums (Icom). “For Icom, this is an absolute no-go. We have written an official letter to the foundation. They are selling off core elements of the collection to finance future operating costs.” Cezanne’s Quatre pommes et un couteau (four apples and a knife, 1885) © Christie’s Images Bezzola also warns that the sale could set “an enormously dangerous example” to other museums. “Cities and cantons in Switzerland are very often tempted to propose the sale of artworks to cover the operating costs of museums,” he says. “It is so very short-sighted.” Icom’s guidelines on deaccessioning objects from museum collections stipulate that “in no event should the potential monetary value of an object be considered as part of the motive for determining whether or not to deaccession.” Christie’s describes the format for the sale as “unique”, in that if the first lot, Fruits et pot de gingembre, fetches the target amount of around $44.4m, then the remaining two paintings will be withdrawn from the auction. The still life is estimated to fetch between $35m and $55m. The other two works on offer are Quatre pommes et un couteau (four apples and a knife, 1885) and La mer à L’Estaque (the sea at L’Estaque, 1878-79). Markus Stegmann, the director of the Museum Langmatt, concedes that the sale is “painful,” but says it is a last resort to save the museum after alternative efforts to raise funds to keep the Langmatt Foundation afloat failed. The museum is also in desperate need of renovation, which is to be financed by the city of Baden, the canton of Aargau and individual donors, with the foundation itself contributing some funds. Cezanne’s La mer à L’Estaque (the sea at L’Estaque, 1878-79) © Christie’s Images “The foundation is almost insolvent,” Stegmann says. “This is an emergency measure. I understand the reactions—the concern and the fears—but it is about the very existence of the museum and its collection. Our goal is to invest the money in a fund that will ensure us the income of SFr1m per year that we need to keep the museum going.” Alfred Sulzer, a former president of the board of the Langmatt Foundation and a great-nephew of the Brown couple, said he is convinced the planned sale violates the deeds of the foundation and goes against the conditions in the donor’s will. His lawyer wrote to Christie’s in early October, asking the company to inform potential buyers of his view that the sale is illegal. Sulzer says that if the sale proceeds he “will pursue this to the highest court in Switzerland”. But Stegmann says the foundation is confident that the sale is permissible under its rules. “The process of making this decision has taken several years,” he says. one of three Cézanne paintings included in the sale was found to have been sold under duress after the Nazis took power in Germany news17 September 2020Cranach, Courbet and Corot: a closer look at what the Brooklyn Museum is selling off The institution is deaccessioning its only Cranach and 11 other works to finance care of its collection news16 April 2025Monet riverscape could splash down for more than $30m during New York auctionsThe painting headed to Christie's was on display at the Museum of Fine Arts in Boston for more than 30 years Government places temporary export bar on Cézanne painting An important Cézanne landscape view of the Mediterranean which has been on public view in Cambridge for nearly 30 years is in danger of leaving the UK unless more than £13.5m can be raised The British government on Monday placed a temporary export bar on Cézanne’s Vue sur L’Estaque et le Château d’If Purchased by the industrialist Samuel Courtauld in 1936 and passed down through his family, it was on long-term loan to the Fitzwilliam Museum from 1985 until last year when a decision was taken to sell it That sale took place at Christie’s in February where as one of the highlights of its impressionist and modern art evening sale it sold to an anonymous overseas buyer for £13,522,500 said “this quietly beautiful painting” had adorned the walls of the Fitzwilliam “where it has been enjoyed by countless visitors” Vaizey said: “I hope that the temporary export bar I have put in place will result in a UK buyer coming forward and that the painting will soon be back on the walls of one of our great public collections.” a small fishing village next to Marseilles While there are 35 Cézanne paintings in British museum and gallery collections The recommendation to government was made by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest on the grounds of the painting’s “outstanding aesthetic importance” Committee member Aidan Weston-Lewis said the view from L’Estaque “inspired some of his [Cézanne’s] most ground-breaking pictures” of the 1870s and 1880s “This is a rare opportunity to fill a significant gap in the UK’s otherwise impressive holdings of Cézanne’s work.” The decision on whether to grant an export licence was deferred until 21 December and could be deferred for a further six months if a serious attempt to raise the funds is made © 2025 Advance Local Media LLC. All rights reserved (About Us) The material on this site may not be reproduced except with the prior written permission of Advance Local Community Rules apply to all content you upload or otherwise submit to this site YouTube's privacy policy is available here and YouTube's terms of service is available here Ad Choices Home » On Board the SAGA: The Long-Range Submarine Imagined by Captain Cousteau Imagined by Captain Cousteau and built for the oil industry by COMEX, the SAGA (formerly Argyronète) has been in a hangar in Marseille since the 1990s We had the chance to board and dive into the history of this innovative underwater technology gem which unfortunately did not achieve the commercial success it was hoped for The hangar housing the yellow submarine is only a few kilometers from DirectIndustry’s editorial office the SAGA (in French Sous-marin d’Assistance à Grande Autonomie) the Long-Range Assistance Submarine imagined by Jacques-Yves Cousteau in the late 1960s under the name Argyronète has been sleeping in L’Estaque The idea for an underwater habitat came from Jacques-Yves Cousteau in the 1960s The famous French oceanographer wanted to allow divers and scientists to live underwater at previously inaccessible depths The main objective was oceanography and the observation of aquatic biodiversity faced high costs and dependency on surface weather conditions leading Cousteau to propose a habitat attached to a submarine he asked the engineers at the Center of Advanced Marine Studies (CEMA) to develop a vessel that was not dependent on weather conditions and sea state This small aquatic spider is capable of living underwater thanks to its ability to create an air bubble for breathing Cousteau’s idea was to build an autonomous house under the sea that could function independently “Cousteau’s idea was to create a submarine in symbiosis with diving.” construction of the 28-meter-long submarine began and steel regulators were built and assembled in a hangar in L’Estaque some limitations were already pointed out: with only 28 meters in length the submarine was too small to carry surface-rechargeable batteries with a diesel engine doubts were raised about its ability to maintain energy throughout the planned missions the goal was to offer a solution for the oil industry rather than marine exploration as Cousteau had envisioned the submarine would be equipped with innovative technologies to make this solution competitive and efficient former Commercial Director of COMEX Africa and Mediterranean the offshore industry had high demands at that time Oil companies were seeking a vessel that would allow divers to work on oil fields down to -450 meters for extended periods The envisioned missions included maintenance of underwater wellheads construction activities like connecting flexible lines The submarine could also carry equipment like ROVs (Remotely Operated Vehicles) to inspect pipelines up to -600 meters There was also talk of missions in Antarctica since oil companies were planning to drill under the ice Daniel Balzano worked at the SAGA design office “We retrieved Cousteau’s plans and made new exterior and interior modifications With the innovative technologies we installed we tripled the vessel’s autonomy compared to the Argyronète It went from ten days of autonomy at 100 meters to three weeks of autonomy at 450 meters for diver interventions regardless of surface weather conditions.” now called SAGA (as Cousteau did not leave the rights to use the name Argyronète) was completed and inaugurated in October 1987 in the presence of the then French Prime Minister Jacques Chirac The first sea trials under real conditions began The objective was to prove that the submarine could indeed perform underwater work at great depths it commissioned an outfall at 185 meters depth off the coast of Monaco the SAGA carried out a three-week mission at 317 meters depth for an archaeological mission at Cap Bénat in front of the French Porquerolles islands We follow the companions of the SAGA aboard their yellow submarine It consists of three parts: an atmospheric pressure compartment housing the six crew members a hyperbaric chamber for up to six divers (intended for underwater missions on oil installations) and a detachable sphere to evacuate crew members and bring them to the surface in case of an emergency Divers were to be rescued using a turret to respect decompression stops A fiberglass hull (fairing) protected external equipment such as batteries The laminated ballast was a notable innovation This lightweight yet robust material allows the submarine to maintain its buoyancy The SAGA submarine features four main innovations “The propulsion system has been improved The submarine transitioned from a conventional diesel-electric system to an anaerobic Stirling engine Oxygen and fuel are supplied by cryogenics meaning they are stored in liquid form at very low temperatures The diameter of the gas cylinders has been increased and the pressure has been doubled from 200 bars to 400 bars A control computer has been installed to manage the submarine’s systems more efficiently.” Here is a detailed overview of these four major innovations The significant innovation of the SAGA lies in its great autonomy The SAGA has an energy autonomy comparable to a 2000-ton military submarine thanks to its two 75 kW anaerobic Stirling engines and liquid oxygen storage the engines operate by combusting fuel with pure oxygen in a pressurized combustion chamber using a thermodynamic cycle with helium to move the pistons The combustion gases are expelled into the seawater at different depths through a patented exhaust suppressor Conventional diesel-electric submarines operate as follows:  On the surface diesel engines recharge the submarine’s batteries the submarine uses battery power for operations since diesel engines cannot run without oxygen anaerobic Stirling engines operate in a closed circuit They do not require oxygen from the submarine’s habitat allowing for longer submerged periods without needing to surface to recharge the batteries the submarine can travel 1500 nautical miles underwater to reach the underwater work site the submarine’s autonomy depends on the amount of onboard oxygen One cubic meter of liquid oxygen provides approximately 845 liters of gaseous oxygen which is twice as much as high-pressure storage of the same volume The submarine has two external storage units each holding 3 cubic meters and capable of carrying 6500 kg of oxygen An evaporator converts the liquid oxygen into gas “Using liquid oxygen to power the engines was a first for a submarine there are Swedish submarines with engines powered by liquid oxygen.” The submarine featured high-pressure (400 bar) composite tanks made of a steel body reinforced with Kevlar Epoxy fibers double the mechanical strength with only a 15% increase in weight this material was not yet used in the underwater environment It was a significant advancement in terms of strength and durability.” The control and piloting functions of the SAGA were largely automated to allow for single-person operation This was crucial given the small crew size We start with the survival capsule on the roof designed to evacuate the six crew members in case of an emergency “The SAGA submarine was designed to operate in hazardous environments there are always standby ships for rapid rescue interventions The survivors would never have had to wait days for help.” We descend via a ladder into the submarine 600 sensors continuously monitored all vital parameters Philippe explains that the computer systems of that time are now comparable in capacity to an iPhone The pilot could steer the submarine using two cameras and an inertial navigation system that precisely located the position of the vessel used a joystick and sonar information to position the submarine on the seabed “He positioned the front jack and knew that 15 meters behind there was another jack to be placed.”  Philippe shares that before integrating all the equipment into the submarine and electricians then manufactured the components on-site Philippe points out one of these handmade components: the hull penetrations Their star-shaped copper design immediately evokes the Steampunk aesthetic of the Nautilus the futuristic submarine imagined by Jules Verne in Twenty Thousand Leagues Under the Sea Often called “mushrooms,” hull penetrations are openings on the submarine’s pressure hull “These passages are essential for allowing the passage of fluids The fluids or signals enter through these passages and exit to control various functions.” the divers are pressurized to the working depth A master chamber manages all diving parameters prepares the necessary gases for the depths The station integrates decoding systems to facilitate communication as the divers’ voices were distorted by the helium-based mixture they breathed and lighting to the divers when they are outside A precise system ensures that the diver does not ascend or descend incorrectly which could disrupt the decompression phase The hyperbaric chamber could accommodate six divers It was pressurized from the inside out and reinforced with isothermal and thermal protective coating This is where the divers live during their mission and where they must wait for several weeks after their mission to adhere to the decompression stages These stages depend on the time spent underwater and the depth reached the divers are slowly brought back to normal pressure at a rate of twenty-five meters per day It typically takes 12 days for divers who worked at a depth of 350 meters to return to the surface COMEX’s sales team began pitching to their target clients in the oil industry three years had passed since the project’s resumption and the proof-of-concept stage oil companies had developed offshore platforms and imagined ROVs (Remotely Operated Vehicles) for underwater maintenance missions These ROVs could tighten and loosen valves and reach great depths without needing decompression stops the industry no longer needed submarines with divers Another factor that indirectly affected the SAGA was the Gulf War which led to a decrease in investments from oil companies but the more promising work opportunities in the oil sector were in the North Sea particularly in Stavanger (Norway) and Aberdeen (Scotland) the projects became increasingly deeper and required less personnel the SAGA’s journey started too early with Cousteau and was resumed too late by COMEX It has been stationed in a hangar in L’Estaque since then Although the SAGA did not achieve the commercial success that was anticipated its innovative technologies for the time have left a mark on the industry “These engines have been integrated into various attack submarines Iran also launched three submarines equipped with Stirling engines The main advantage of the Stirling engine lies in its excellent energy efficiency making it viable for missions on Mars or the Moon Stirling engines are also used in energy farms.” maintain the memory of this Marseille submarine aims to preserve this maritime and underwater heritage They regularly organize visits to the vessel in L’Estaque upon request to raise awareness among young people and future engineers While the three works that Cézanne exhibited in 1874 at the first Impressionist exhibition were not fully in line with the Impressionist technique of quickly placing appliqués of pigment on the canvas he did eventually abandon his relatively dark palette in exchange for brilliant tones and began painting out of doors encouraged by the Impressionist painter Camille Pissarro (1830–1903) His Bathers (1976.201.12) of 1874–75 demonstrates a developed style and tonal scale in one of his first paintings of this theme The landscape of Bathers has the brilliance of plein-air painting drawn from the artist’s imagination (Cézanne rarely painted nudes from life) The complex process of drawing inspiration from these two sources The Fisherman (Fantastic Scene) (2001.473) while its subject recalls the themes of fantasy familiar from the 1860s; it too could be the product of two polar sources In his still-life paintings from the mid-1870s Cézanne abandoned his thickly encrusted surfaces and began to address technical problems of form and color by experimenting with subtly gradated tonal variations or “constructive brushstrokes,” to create dimension in his objects and Apples of about 1877 (29.100.66) shows Cézanne’s rejection of the intense contrasts of light and shadow of his earlier years in exchange for a refined system of color scales placed next to one another The light of Impressionism resonates in this work but signs of a revised palette are especially apparent in his muted tones Still Life with Apples and a Pot of Primroses (51.112.1) reveals Cézanne’s artistic evolution and mastery of this style of building forms completely from color and creating scenes with distorted perspectival space are rendered without use of light or shadow but through extremely subtle gradations of color In such still lifes as Dish of Apples (1997.60.1) of about 1876–77 Cézanne ignores the laws of classical perspective allowing each object to be independent within the space of a picture while the relationship of one object to another takes precedence over traditional single-point perspective especially Braque’s impressions of L’Estaque of about 1908 Cézanne began a series of five pictures of Provençal peasants playing cards Widely celebrated as among the finest figure compositions completed by the artist The Card Players (61.101.1) demonstrates his system of color gradations to build form and create a three-dimensional quality in the figures Continuing on this theme of the rural laborer Seated Peasant (1997.60.2) celebrates the dignity of working-class citizens of Third Republic France (1870–1940) and collectors Henry Osborne Havemeyer (1847–1907) and his wife Louisine Havemeyer (1855–1929) Posthumous exhibitions at Galerie Bernheim-Jeune and the Salon d’Automne in 1907 in Paris established Cézanne’s artistic legacy James VoorhiesDepartment of European Paintings “Paul Cézanne (1839–1906).” In Heilbrunn Timeline of Art History http://www.metmuseum.org/toah/hd/pcez/hd_pcez.htm (October 2004) More from the Timeline of Art HistoryView all C’est une première étape pour le réaménagement des plages de Corbières le principe de rachat d’une parcelle de 4 964 m2 à l’État (la Direction régionale de l’environnement de l’aménagement et du logement) Elle est située le long de la route départementale 568 la municipalité avait déjà approuvé le principe de « restructuration requalification et extension du site balnéaire de Corbières » avec le déblocage d’une enveloppe de 350 000 euros pour financer les études et travaux préalables au réaménagement Sur ce terrain mi-boisé mi-parking (voir le plan ci-dessous) les études devraient arriver à leur terme début 2025 avant de passer l’étape des marchés publics Il reste aujourd’hui à approfondir des enjeux réglementaires et de sécurité pour les inscrire au cahier des charges Récupérer ce parking permet d’abord à la municipalité de réduire le nombre d’interlocuteurs dans le dossier certaines zones du littoral nord appartiennent à la Ville de Marseille au Grand port maritime de Marseille (GPMM) ou encore à la Métropole Enlever l’un des propriétaires conduit ainsi à « simplifier les démarches » assure la Ville qui selon nos informations pourrait aussi mettre la main sur le parking de la plage du Fortin (plan ci-dessus) vise à redonner de l’accessibilité aux plages nord de Corbières notamment pour les personnes en situation de handicap et pour les secours La municipalité va donc y réorganiser le stationnement et créer une voix d’accès pour les véhicules de secours et de services Pour aller plus loin dans sa démarche la Ville souhaiterait qu’une nouvelle ligne de navette maritime soit mise en place au départ du Vieux-Port Mais les navettes maritimes sont de la compétence de la RTM et la Métropole les services métropolitains assurent que ce sujet n’est pas d’actualité le niveau de desserte actuel (navette maritime à l’Estaque et bus) étant jugé suffisant Le terrain de 5 000 m2 en question fait partie d’une volonté politique plus globale d’agrandissement des plages de Corbières, dont le maire de Marseille, Benoît Payan, nous a fait l’annonce en avant-première en juin 2022 « Un secteur où il y a la plus forte densité urbaine et le moins de plages » La Ville souhaite ainsi relocaliser et moderniser la base nautique de Corbières cette infrastructure est « trop petite le bâtiment est mal isolé… » Le nouveau site devrait déménager entre le tunnel du Rove et le port de Saumaty Sur le quai de la Lave, le GPMM avait lancé un appel à projets en 2018 pour offrir une seconde vie au site Mais les différents interlocuteurs (Métropole GPMM…) peinent encore à se mettre d’accord sur le zonage et les choix des activités « J’espère que le bon sens va l’emporter » « L’arrivée du Belem nous a montré la vivacité du tissu associatif au nord en aviron et en canoë qui ont participé à la parade » ajoute l’écologiste pour qui le rééquilibrage entre le nord et le sud presse What underworld connoisseur ordered this impeccable crime Henri Matisse's La Pastorale (1905) is an important step in his discovery of an idyllic world of pure colour and unshackled eros The calmly posed nudes listening to pan pipes in a bright woodland are closely related to his masterpiece Le bonheur de vivre The thieves have stolen Arcadia itself – this beguiling vision of a free untroubled life goes to the heart of what makes Matisse the 20th century's most gracious dreamer Georges Braque's 1906 painting L'olivier pres de l'éstaque shows him under the influence of Matisse and the so-called "wild beasts" or Fauves whose release of savage colour was the revolutionary artistic discovery of the mid-1900s It is an intense and fiery landscape that makes you feel the heat – and perhaps that physical impression of the sunburnt air is telling for Braque would soon create in collaboration with Picasso a far more tangible carnal art than that of the ethereal Fauves Pablo Picasso's Le pigeon aux petits-pois (spring 1912) is a formidable manifestation of their earthy "cubism" the world is taken apart as a hungry diner might decompose the carcass of a bird: like bones sticking out of unrecognisable meat fragments of objects and letters – a candle a claw – emerge from planes of brown and white pigment Lines slashed through space or across flatness give you not the sight but the actual weight and texture and taste of the world It is a still life attacked by Michelangelo's chisel – what a great work of art It is a measure of the quality of this haul that in comparison with these three precious works by the three greatest masters of the last century the paintings by Modigliani and Léger are lesser works But that is not to dispute their very great beauty Modigliani and Léger are part of the same story the earlier paintings tell: both were shaped by cubism both turned it into something more decorative and gorgeous than Picasso ever intended Modigliani's 1919 portrait La femme à l'eventail mixes cubist style with his legacy as an Italian steeped in Renaissance beauty Léger's Nature-mort aux chandeliers (1922) is one of those almost art deco paintings by him that distil the excitement and strangeness of the modernist age in a way that just makes you want to get on a train to Paris and run up the Eiffel tower These five works together add up to a better choice of the best art of the 20th century than you could find in most modern art museums A fine collection has been robbed in the most intimate and horrible way of its treasures we must hope – lost sight of some of the truly great works of the modern age Use the ← and → keys to navigate Simply sign up to the Life & Arts myFT Digest -- delivered directly to your inbox The painter of the future will be such a colourist as has never been,” Van Gogh predicted That painter would operate in l’atelier du midi – the imagined laboratory of artistic experimentation that Van Gogh tried so unsuccessfully to launch Van Gogh was sure that “the whole future of modern art is to be found in the south” achieved his goal of liberating colour from representational constraint leading to a new painterly expressiveness that would ultimately take Matisse to the borders of abstraction another lonely experiment – Cézanne’s transformation of the landscape around his native Aix-en-Provence the chestnut tree park the Jas de Bouffan and the dark Bibémus quarry the sphere and the cone” – paved the way for cubism Rachel Spence reports on how contemporary artists such as Charles Avery are using their work to tell stories These are modernism’s canonical stories but they have never been more comprehensively amplified taking place this summer at Marseille’s splendidly refurbished fantastically elaborate Second Empire Palais de Longchamp opening with Van Gogh’s scorched wheat fields and interior of his Yellow House inaugurated by Cézanne’s “La Montagne Saint-Victoire” and “Maison sous les arbres” concentrates on form – so sharply delineated in the southern sunlight that the effects provoked artists to explore new abstracting or chromatic approaches was typical of the many northern painters whom the Midi astonished into incoherence multicoloured barques,” he stuttered to Vlaminck on arriving at Collioure Everything I’ve done up to now strikes me as stupid.” in the strident red “Le Port de Collioure” and the pink/mauve cliffs of “Paysage au bord de la mer” Derain’s colourist daring outstripped even Matisse’s The Fauve breakthrough is superbly chronicled The swarming dots and stabs of divisionism radiant in Paul Signac’s “Femmes au puits” in Henri-Edmond Cross’s “Le retour du pêcheur” and “La barque bleue” are given weight as the 1890s bridge from impressionism (Signac was Matisse’s first buyer) The individual characters of the Fauve accomplices are detailed: Othon Friesz’s swirling arabesques; Albert Marquet’s cooler tonality and calligraphic flatness which would develop into cityscapes saturated with damp atmosphere such as “Port de Marseille sous la pluie” and “La Place du gouvernement à Alger”; Braque’s shift from Fauve to cubist l’Estaque’ (1918) by Albert Marquet Also arriving from northern France Braque symbolically went for a different port: L’Estaque not Collioure “There is something about the light that makes the sky of the Midi look higher much higher than it does in the north,” he noted: in “Paysage de Provence L’Estaque” and “Le Viaduc à L’Estaque” the horizon seems free-floating landscape becomes malleable as Braque isolates features – mountain peaks recalling Cézanne and heralding cubism’s rhythmic series of planes Modernism’s canonical stories have never been more comprehensively amplified Le Grand Atelier celebrates not only the pioneering moments of 1905-1914 but also the aftermath as classic modernism was assimilated the surrealists made the Mediterranean a playground or stage set – Dalí’s sun-baked landscape “Moment de Transition” Man Ray’s nonsense film about two travellers following the roll of dice By contrast the meditative Bonnard folds together form and colour wrapping elusive figures in chromatic veils (“Paysage du Midi et deux enfants” distant hills and sea slip in and out of focus in a sunny haze until in “Baigneurs à la fin du jour” (1945) figures evaporate poignantly into abstract blobs in the twilight Matisse famously said that “in order to paint my pictures I need to remain for several days in the same state of mind and I do not find this in any atmosphere but that of the Côte d’Azur” The billionaire’s swamp of overbuilding that is now the French Riviera may not resemble Matisse’s Midi but the bright serene light is unchanged – still pouring through the shutters of a hotel room as in the languid artifice of the outer/inner spaces in his 1920s paintings “Le Divan” la sieste” and Montreal’s marvellously considered “Femme assise It informs equally the startling pink nude within a landscape “Nu assis/Nu rose” (1909) the staccato blue paper-cut bather who imitates her pose in “Baigneuse dans les roseaux” (1952) and “Porte-fenêtre à Collioure” (1914) – a black rectangle fringed by vertical grey and blue bands so austerely simplified that it was never shown in Matisse’s lifetime pour faire rentrer les clients au Caravane café Nicolas et Florian s’affairent pour concocter des bols de ramen Ce restaurant de l’Estaque (16e) intimiste a été sauvé par les habitants du quartier « Quand Julie Biereye et Pascal Reneric m’ont dit qu’ils fermaient cet établissement habitant et directeur du cabinet d’architecte éponyme « Et ça fonctionne » Avec d’autres Marseillais, comme Raoul Michel, le cofondateur du supermarché coopératif Super Cafoutch (2e) il a persuadé 120 citoyens de les rejoindre : chacun s’engageant à mettre 100 euros dans un pot commun les sociétaires ont obtenu un emprunt pour racheter le fonds de commerce en novembre 2023 Les murs restant la propriété des anciens patrons Cette mise de départ a permis d’investir dans du matériel et de réaménager l’espace La vaisselle et le mobilier ont été offerts par les sociétaires ou chinés aux Puces (15e) à deux pas « Un vendeur a trouvé l’histoire tellement belle qu’il nous a donné le porte-manteau et les présentoirs » « Je voulais absolument vendre à des gens qui allaient perpétuer l’âme du lieu », confie Julie Biereye, comédienne et chanteuse de rue, qui a « grandi et voyagé dans une caravane ». Elle a créé ce restaurant pour faire découvrir la cuisine du monde aux habitants La caravane est toujours solidement accrochée au mur Le volatile en papier s’envole au Pays des Merveilles où le lapin blanc d’Alice connu dans le livre de Lewis Carroll pour son retard légendaire est représenté sur une fresque de l’artiste marseillais Pierre Pab Conserver ce décor unique était une volonté chère aux habitants qui vont et viennent pour donner un coup de main quand ils le peuvent « Il nous faut huit bénévoles par semaine pour faire tourner le restaurant On a un WhatsApp commun et Joël a même créé une application pour s’organiser » Mais pas question « d’imposer » des jours car « ça reste du bénévolat » dont l’un est salarié à temps complet et l’autre à mi-temps Ils achètent autant que possible « du bio Le thé provient de la Cave de la Plaine (6e), le café est sourcé à la brûlerie aixoise Richelme le jus de fruit au Super Cafoutch (2e)… On peut aussi boire du vin issu de l’agriculture biologique « qu’on ne peut trouver nulle part ailleurs à l’Estaque » Les menus à la carte sont les mêmes toute la semaine pour faciliter la gestion des stocks un brunch est proposé le samedi midi entre 10 et 15 euros selon l’appétit avec une assiette salée et sucrée Le restaurant est rentable à partir de 30 assiettes par jour pour un panier moyen de 15 euros par client « Je crois en ce modèle et je veux qu’il se duplique » déterminé à convaincre les Marseillais des avantages de ce système alliant les bons produits aux prix abordables sans investisseurs ni gros donneurs d’ordre des ateliers seront organisés le mercredi où chacun pourra donner des cours de cuisine ou de musique… Des chefs locaux viendront aussi se relayer en cuisine au début de la semaine pour concocter un menu qu’ils transmettront au Caravane café La transmission est en effet une mission fil rouge du lieu organise une soirée festive ce soir « On va cuisiner un plat italien avec une tarte au St-Nectaire et en dessert celle qui garde un amour intact pour ce restaurant We use some essential cookies to make this website work We’d like to set additional cookies to understand how you use GOV.UK remember your settings and improve government services We also use cookies set by other sites to help us deliver content from their services You have accepted additional cookies. 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You can change your cookie settings at any time Freedom of Information releases and corporate reports An important Cézanne painting that has been on long-term loan to the Fitzwilliam Museum Cambridge for almost 30 years is at risk of being exported unless a UK buyer can be found to match the £13,522,500 asking price In order to provide a last chance to keep it in the UK Culture Minister Ed Vaizey has placed a temporary export bar on the painting Vue sur L’Estaque et le Château d’If (View of L’Estaque and the Château d’If) For almost 30 years this quietly beautiful painting has adorned the walls of the Fitzwilliam Museum where it has been enjoyed by countless visitors I hope that the temporary export bar I have put in place will result in a UK buyer coming forward and that the painting will soon be back on the walls of one of our great public collections This painting is a vibrant treatment of one of Cézanne’s favourite subjects the Bay of L’Estaque on the Mediterranean at Marseilles and is the only example of a view of L’Estaque executed in vertical format Cézanne painted at L’Estaque from the 1870s and the landscapes he executed in the early ’80s from high vantage points overlooking the bay are among his calmest and most magisterial evocations of the Mediterranean Whilst there are 35 paintings by Cézanne in British museums and galleries there are no paintings of the Bay of L’Estaque among them and consequently a vital aspect of Cézanne’s achievement is missing from our great public collections The painting was acquired in 1936 by Samuel Courtauld (1876-1947) and descended in his family until its sale in February of this year Courtauld assembled the greatest collection of impressionist and post-impressionist art formed in this country and was instrumental in bringing these movements to the wider attention of the British public Vue sur L’Estaque et le Château d’If was the last of twelve Cézanne canvases Courtauld acquired and has subsequently become well-known to the British public during the twenty­ nine years (1985 to 2014) it hung on long-term loan at the Fitzwilliam Museum Culture Minister Ed Vaizey took the decision to defer granting an export licence for the painting following a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA) The RCEWA made their recommendation on the grounds that it is of outstanding aesthetic importance it has a close association with our history and national life and it is significant for the study of Cézanne’s painting Cézanne was a painter whose art was forged out of prolonged meditation on familiar motifs the village of L’Estaque and the Bay of Marseilles beyond was a view he returned to repeatedly during the 1870s and 1880s and it inspired some of his most ground-breaking pictures of these decades This is a rare opportunity to fill a significant gap in the UK’s otherwise impressive holdings of Cézanne’s work The decision on the export licence application for the painting will be deferred for a period ending on 21 December 2015 inclusive This period may be extended until 21 June 2016 inclusive if a serious intention to raise funds to purchase the painting is made at the recommended price of £13,522,500 (plus VAT which could be reclaimed by an eligible institution) Organisations or individuals interested in purchasing the painting should contact RCEWA on 0845 300 6200 The Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest is an independent body which advises the Secretary of State for Culture Media and Sport on whether a cultural object is of national importance under specified criteria develops and invests in artistic and cultural experiences that enrich people’s lives We support a range of activities across the arts museums and libraries – from theatre to digital art brings us together and teaches us about ourselves and the world around us we plan to invest £1.1 billion of public money from government and an estimated £700 million from the National Lottery to help create these experiences for as many people as possible across the country.www.artscouncil.org.uk Don’t include personal or financial information like your National Insurance number or credit card details as if draped in his own colours: Braque-brown It was said of his hero Cézanne that he did not paint "Look at me" but "Here it is" who thought nothing of meditating on a painting for 10 years or more His boldness was as deceptive as his slowness At the official opening of the exhibition Picasso and Braque: Pioneering Cubism at the Museum of Modern Art in New York members of the Picasso family could be heard asking: "But where is Braque?" He is resistant to the stock assimilations This is partly a matter of the company he kept and partly the distance he travelled Late in 1907 Braque embarked on a serial treatment of a little place called L'Estaque in the south of France (its houses which evolved over the next few months into a style of painting that had no name no code and no precedent - painting that left his peers breathless and his critics stunned The L'Estaque landscapes were not so much traditionally conceived landscapes as variations on the idea of landscape Each element nested in context; but the sense of place was increasingly evanescent Instead of receding tidily into the background the forms in Braque's paintings advanced disconcertingly towards the viewer as though bearing witness to some underground volcanic activity or process of erosion Matisse observed that Braque's houses (or the signs representing them) were employed formally "to let them stand out in the ensemble of the landscape" In the beginning there was still a vestige of sky The following summer the sky disappeared altogether in favour of an "all-over" background with pictorial protrusions Traditional landscape space met the same fate as traditional perspective Keen to make the strongest possible showing at the 1908 Salon d'Automne in Paris Braque submitted six of his L'Estaque landscapes the rules of the Salon allowed each member of the jury to "retrieve" one rejected work; Guérin and Marquet alone elected to do so who withdrew them all and laid the blame at Matisse's door The critic Louis Vauxcelles later recounted how Matisse told him: "Braque has just sent in a painting made of little cubes." The painting in question was almost certainly Houses at L'Estaque (1908) as yet unexhibited but neither unseen nor unheard Matisse remembered it as "really the first picture constituting the origin of cubism.. about which there were many discussions." Later still Picasso had borrowed it to study and to learn Matisse and Picasso knew well enough that there was a third man in town - a new gun - slower Braque's rebellion had shattering implications propelled him into partnership with Picasso He was the only artist ever to sustain such a relationship with that ravenous genius They entered into an intense collaboration - at times almost cohabitation - legislating the future The relationship lasted at least six years (1908 to 1914) on what might be called the conjugal model and the rest of their lives (another 50 years) in remission Its nature is not well understood: it was longer more intimate and more evenly balanced than is often supposed Picasso's famous riff on Braque as his wife or ex-wife ("the woman who loved me best") has set the tone for much subsequent commentary But Picasso should not be taken too literally Many of his most celebrated remarks had a convenient reversibility On one occasion when Braque was in hospital "The nurse wouldn't let me into his room," he fumed She didn't realise that I am Madame Braque." It was Picasso who pursued Braque - more assiduously than any woman - and not the other way around "Why doesn't Braque come and join me?" he asked a friend "I always keep a floor for him." Picasso's needs were visceral and overwhelming His encounter with Braque was in some measure the most satisfying relationship of his life Picasso was jealous of the marches Braque had stolen - Fruit Dish and Glass (1912) the first papier collé (pasted paper or collage) complete with mock wood wallpaper purchased in a shop in Avignon while Picasso was away in Paris - and of their claim on posterity He was jealous of the tricks Braque continued to turn Whenever Picasso visited the connoisseur Douglas Cooper he would go and study Studio VIII (1954-55) hanging in pride of place above Cooper's bed he would mutter to himself: "Don't understand in the first of his variations on the most celebrated of all studios But he could not match the elemental strangeness the total envelopment achieved by Braque in those hallucinatory canvases Late Braque is work of supreme distinction to rank with the late work of Bach or Rembrandt or Rilke either to the painter's own career or to the common stock of cultural reference That Braque could do what he could not was a puzzle and a provocation That Braque could be what he could not was a regular torment Braque had a stature that was beyond rivalry "Few people can say: I am here," he reflected wisely "They look for themselves in the past and see themselves in the future." He had an almost mystical aura about him Tales of the mature Braque have a Zen-like ring to them He was always suspicious of "talent" and insisted he had none "Painting is an answer to everything," he told Nicolas de Staël He won for himself the kind of glory beautifully described by Paul Valéry: "To become for someone else an example of the dedicated life pictured and placed by a stranger in a sanctum of his own thoughts a hallowed mentor." Picasso would not be Picasso without Georges Braque He has been cast as the great corroborator In the end he corroborates no one but himself "Who is Georges Braque?" at Tate Modern Malgré les récentes émeutes à Marseille et partout en France l’incontournable feu d’artifice marseillais sera bel et bien tiré au-dessus du plan d’eau du Vieux-Port le public pourra admirer ce spectacle pyrotechnique Un défilé militaire composé en autres du Bataillon des Marins-Pompiers de Marseille de Terre et d’autres sections viendront marcher dans le centre-ville et sur le Vieux-Port C’est sur la Place de l’Escalet à 21h que débutera le feu d’artifice accompagné d’un bal du Comité des Fêtes animé par l’orchestre Bleu Azur Music Une symphonie et de la pyrotechnie se dispersera dans l’air pour satisfaire petits et grands La commune d’Istres voit les choses en grand avec plusieurs évènements pour le 14 juillet notamment une prise d’armes à 19h30 et son défilé à 20h au départ du collège Pasteur le bal avec Jerry’s live devant la mairie et le concert de Clifden sur les allées Jean Jaurès continueront à rythmer la soirée l’incontournable feu sera tiré sur les rives de l’étang de l’Olivier avec En raison de forte sécheresse auxquelles sont confrontées plusieurs communes dans la région Trets et Fuveau ont décidé d’annuler leur feu d’artifice le 13 juillet En amont des festivités se tiendra une cérémonie commémorative à 11 h place au feu d’artifice tiré depuis le port de Cassis mélangeant des musiques à thèmes avec les explosions pyrotechniques Certaines entreprises proposent de visiter les Calanques de Cassis pour ensuite contempler le feu sur un bateau C’est devenu un rituel pour les Martégaux de se rejoindre dans le centre-ville de la commune pour profiter ensemble du spectacle pyromélodique qu’offre la ville À 18h30 débutera le défilé avant la performance de deux groupes musicaux à 21h Lancé à partir de 22h30 depuis l’Etang de Berre le feu d’artifice sera visible de la plage de Ferrières jusqu’à Sainte-Anne la soirée de la fête nationale sera rythmée à 21h30 par un bal dansant avec Patricia Magne et son orchestre Le public pourra admirer le feu d’artifice au cœur du centre-ville à 22h le feu d’artifice est maintenu à 22h15 et tiré depuis le stade Savine un repas-concert sera proposé par le Comité des fêtes ainsi qu’un bal spécial années 80 Un groupe de danse et chants sera également de la partie pour ambiancer le centre-ville Comment parler de feux d’artifices et de défilés militaires sans parler de celui de Toulon Au son de la musique des équipages de la flotte les autorités militaires passeront en revue les troupes à 18h c’est à partir de 22 heures dans le thème « Kaleïdoscope » polychrome que le spectacle s’ouvrira comme une explosion de couleurs aux fusées multicolores Une fan zone sera mise en place pour contenir les manifestations « En raison des risques d’incendies accrus et d’une forte sécheresse la ville a pris la décision d’annuler son feu d’artifice » peut-on lire sur les réseaux sociaux de plusieurs communes pour le feu d’artifice du 14 juillet plusieurs évènements sont organisés et maintenus pendant la soirée dans ces villes Michel Bourhis est le président de l’association les Compagnons du SAGA Comme tous les autres membres qui chouchoutent l’engin au quotidien il est un passionné de l’histoire de l’exploration sous-marine pas de doutes : « l‘histoire du SAGA est celle de la technologie sous-marine Par ses innovations technologiques au niveau de l’énergie embarquée il a permis de développer un nouveau concept de sous-marin à grande autonomie qui peut rester 21 jours sous l’eau ! » Il en tire d’ailleurs son patronyme : Sous-marin d’Assistance à Grande Autonomie (SAGA) C’est le plus grand sous-marin civil du monde avec 27 mètres de long Il pouvait descendre à 600 mètres de profondeur et permettait des sorties plongeurs à jusqu’à 400 mètres sous la surface (la plus profonde fût réalisée à 317 mètres) Il fallait un fou des mers pour lancer un tel projet Jacques-Yves Cousteau a initié en 1966 la conception de cette « maison sous la mer autonome et propulsée » selon les termes de Michel Bourhis Le célèbre commandant au bonnet rouge l’appelle alors « Argyronète » en référence à cette araignée sous-marine qui forme une bulle d’air pour respirer Un projet difficile à faire aboutir technologiquement et économiquement malgré le concours de l’Institut Français du Pétrole et Office français de recherches sous-marines Il est abandonné en 1970 alors qu’un certain nombre d’équipements dont la coque les régleurs en acier sont achevés Ils seront récupérés par la Comex qui reprend le projet en 1981 en le renommant SAGA Mis à l’eau en 1987, le plus grand sous-marin « crache-plongeurs » a réalisé plusieurs plongées en saturation Mais également une plongée d’observation à 667 mètres avant qu’en 1990 lʼIfremer partenaire de la Comex arrête sa participation au projet Il est depuis au repos dans le hangar de l’Estaque qui l’a vu naître, et Les Compagnons du Saga organisent des visites. Les champs obligatoires sont indiqués avec * mon e-mail et mon site dans le navigateur pour mon prochain commentaire Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" In a grand announcement, Christie’s, in collaboration with the Foundation Langmatt Sidney and Jenny Brown, recently unveiled a trio of masterpiece paintings by the renowned artist Paul Cezanne These extraordinary artworks are set to take centre stage at Christie’s 20th Century Evening Sale as part of New York’s Fall Marquee Week The paintings in question are “Fruits et pot de gingembre,” “Quatre pommes et un couteau,” and “La mer à L’Estaque.” This exceptional collection finds its origins in the illustrious Museum Langmatt in Baden home to a treasure trove of Impressionist art passionately curated during the early 20th century by the renowned collectors Sidney and Jenny Brown At the forefront of this remarkable trio is the exquisite “Fruits et pot de gingembre,” with an estimated value ranging from $35 million to $55 million This iconic painting belongs to a select group of canvases that Cezanne created in the late 1880s and early 1890s Cezanne reaches new heights of sophistication in his approach to still life demonstrating a profound complexity in his treatment of colour and space This painting is a vital component of Cezanne’s celebrated series of still-life compositions now recognized as his signature artistic achievements The subjects within “Fruits et pot de gingembre” seem to engage in a captivating dialogue It is believed that this work was painted in Cezanne’s studio located on the outskirts of Aix-en-Provence at his parents’ estate—the very place where he created his renowned “Card Players” series “Quatre pommes et un couteau,” is valued between $7 million and $10 million This artwork delves into one of Cezanne’s most beloved and iconic subjects—the apple While the apple was relatively absent from his earlier work in the 1860s it gradually became intrinsically linked to the artist’s identity making frequent appearances in his compositions from the 1870s onwards In contrast to the spontaneity and broken brushwork of classic Impressionism here Cezanne adopts a distinct and meticulously “constructed” painting style embracing a more structured approach to formal rendering The final masterpiece of this trio is “La mer à l’Estaque,” valued between $3 million and $5 million this oil on canvas captures the growing boldness of Cezanne’s artistic style during his time gazing upon the picturesque vistas of L’Estaque a charming fishing village nestled along the Mediterranean coast It is within this setting that Cezanne crafted some of his most innovative landscape compositions The Museum Langmatt in Baden, Switzerland holds a significant place in the world of Impressionist art originally built in 1900-01 as a family home was transformed into a public museum and cultural institution It now proudly houses the invaluable Impressionist art collection of Sidney and Jenny Brown The collection was privately amassed between 1908 and 1919 with a few additional acquisitions in subsequent decades the Museum Langmatt regularly hosts contemporary art exhibitions and public programs the museum has faced the challenge of maintaining its ageing physical facilities depleting the resources of the Langmatt Foundation the foundation initiated the “Future Langmatt” campaign—a public capital campaign aimed at finding solutions to secure the museum’s future along with assistance from the canton and other stakeholders pledged contributions for the restoration of the property the foundation committed to ensuring a long-term and financially sustainable basis for the museum’s operations This ambitious project was officially approved on June 18 by an overwhelming 80% majority vote in Baden The Museum Langmatt is set to receive substantial funds from the City of Baden and the Canton Aargau for the renovation and restoration with the foundation Langmatt now tasked with raising CHF 40 million These funds are crucial to securing the museum’s long-term future and ensuring its continued contribution to the world of art and culture Salon Privé Magazine on Google News Salon Privé Magazine is operated and managed by Salon Privé Group Ltd registered under Company Number 12126898 with VAT Number 410499115 Cookie Policy | Privacy Policy | Terms | About Us HTML Sitemap