Find all the information you need—plus helpful tips—to plan your visit Explore the works in our collection and delve deeper into their stories Join us for a wide range of programs—there's something for visitors of all ages Claude Monet depicted a moody sky over a beach in Sainte-Adresse an affluent suburb of Le Havre in northern France but the region underwent dramatic change during his lifetime: in particular the expansion of the country’s rail network turned many rural fishing villages into seaside resorts for tourists placing a group of local fishermen and their boats in the foreground while drawing the eye to the red details in the outfit of a fashionable woman sitting beside her companion who idly watches the sailboats through a telescope as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel curatorial object file]; probably sold to Jean-Baptiste Faure by 1876 [per Wildenstein 1996; the Durand-Ruel Archives are unable to confirm Faure’s purchase see Paul-Louis Durand-Ruel and Flavie Durand-Ruel curatorial object file]; sold to Durand-Ruel for 7,000 francs [this and the following per Durand-Ruel curatorial object file]; sold to Henri Véver for 9,000 francs [per Galerie Georges Petit the Durand-Ruel Archives also confirms that the painting was “acheté à G Kohn (et non pas Kahn)”; see Paul-Louis Ruel and Flavie Durand-Ruel curatorial object file]; sold jointly to Durand-Ruel curatorial object file]; sold to Annie Swan Coburn see also a letter on Durand-Ruel letterhead verifying that Coburn purchased the painting from Durand-Ruel] Bequeathed to the Art Institute of Chicago Object information is a work in progress and may be updated as new research findings emerge. 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Information about image downloads and licensing is available here Please enable JS and disable any ad blocker Party General Secretary and State President To Lam on October 6 attended the inauguration of a memorial plaque honouring President Ho Chi Minh a national liberation hero and an outstanding cultural figure of Vietnam Paris (VNA) - Party General Secretary and State President To Lam on October 6 attended the inauguration of a memorial plaque honouring President Ho Chi Minh It is placed in the city's Masquelier Place in front of the house that President Ho Chi Minh used to live in which is now used as a place to organise community activities of the city The commemorative plaque is engraved with French and Vietnamese words saying that from 1911-1912 President Ho Chi Minh lived and worked in the city of Sainte-Adresse in the Masquelier area on his long journey for the future of Vietnam Lam highly valued the city's consideration of this plaque as a heritage site who have always strived to preserve historical sites that mark President Ho Chi Minh's journey to find a way to savage the country He highlighted that President Ho Chi Minh a shining example of Vietnamese people's spirit and characteristics a UNESCO-recognised Hero of National Liberation and a Great Man of Culture of Vietnam and the world left a precious heritage belonging to the common memory that all have the responsibility to honour and preserve The newly-inaugurated plaque will become a place of remembrance for Vietnamese people as well as for all peoples who strive for peace and independence This is also one of the pieces of evidence that link the historical relationship between Vietnam and France highlighting the growing relations between the two countries through the ups and downs in the history and the contributions by President Ho Chi Minh to the development of this ties He said he hopes Sainte-Adresse will conduct more exchange and cooperation activities with Vietnamese cities contributing to strengthening bilateral multifaceted cooperation at all levels and enhancing people-to-people and cultural exchanges between the two countries Sainte-Adresse Mayor Hubert Dejean de la Batie said that the memorial plaque aims to make a historical mark for not only Vietnam but also France It contributes to expressing the sentiments and solidarity of the people of Sainte-Adresse city in particular and French people in general towards President Ho Chi Minh and the Vietnamese people General Secretary and President Lam visited the Sainte-Adresse city hall and wrote on the memorial book there expressing his belief that on the basis of the common history and the noble human values left by President Ho Chi Minh the traditional ties and close cooperation between Vietnam and France in general and with the city of Sainte-Adresse in particular will be increasingly consolidated and developed./ Party General Secretary and State President To Lam had a meeting with the Vietnamese community in France on October 5 (local time) as part of the leader's trip to attend the 19th Francophonie Summit and pay an official visit to France Party General Secretary and President To Lam on October 5 attended a ceremony to hand over the Francophone Economic Forum (FFA) award to outstanding businesses where FPT Corporation of Vietnam was honoured Party General Secretary and State President To Lam and a high-ranking delegation of Vietnam laid flowers in tribute to President Ho Chi Minh at his statue in Montreau Park in Montreuil city The following is a list of selected news summaries reported last night by the Vietnam News Agency Stressing the importance of cooperation between the Senate of Kazakhstan and Vietnam’s National Assembly the two leaders agreed to promote collaboration increase delegation exchanges via parliamentary channels Party General Secretary To Lam praised the Vietnamese community in Kazakhstan for their integration into the local society as well as their solidarity and efforts to preserve the national identity Vietnam always values Sri Lanka’s invaluable support during its past struggle for national independence as well as in its ongoing renewal and international integration the full draft resolution on the supplementations and amendments to some articles of the 2013 Constitution and accompanying documents will be publicised for public comment Kazakh President Kassym-Jomart Tokayev was present at the airport to welcome the Vietnamese leader and delegation Sri Lanka regards Vietnam as a source of inspiration and encouragement in its own quest for progress and recovery Leaders of Vietnam and Sri Lanka discussed and agreed on key directions to uplift bilateral relations to the next level during the state visit to Vietnam by Sri Lankan President Anura Kumara Disanayaka on May 4-6 Sri Lankan President Anura Kumara Dissanayaka expressed his belief that the steadfast friendship and enduring partnership between Sri Lanka and Vietnam will pave the way for a brighter future for both nations The decision paves the way for the streamlining of the political system's organisational apparatus with revisions focusing on the role of the Vietnam Fatherland Front The Cambodian official highlighted the pride of marching alongside forces from Vietnam marking the first time a Vietnamese-hosted parade featured foreign troops – a meaningful gesture in today’s global challenges The following is a brief review of the day’s events as reported by the Vietnam News Agency Party General Secretary To Lam said that this session is addressing numerous crucial issues he stressed that any constitutional amendments must strictly adhere to legal procedures and ensure broad public consultation Vietnam actively participates in international forums and supports the universalisation of the convention Deputy Minister of Foreign Affairs Nguyen Minh Vu said Legislators will look into and adopt a resolution amending and supplementing several articles to the Constitution 2013 describing this a strategic task of both political and legal significance to institutionalise the Party’s major policies especially the reorganisation of the state apparatus towards a streamlined and efficient structure that is closer to the people and more responsive to reality Noting that Vietnam and Sri Lanka still have great potential in economic the two leaders vowed to take stronger measures to increase two-way trade and investment aiming for bilateral trade turnover of 1 billion USD and considering the possibility of negotiating and signing a bilateral free trade agreement when conditions permit PM Chinh reiterated the 2025 target of 8% GDP growth an economic size exceeding 500 billion USD Participants reviewed the historical significance of April 30 1975 - a pivotal turning point marking the complete victory of the Vietnamese nation in the cause of national liberation and reunification as well as a shared triumph of progressive humanity for justice and the right to self-determination of peoples worldwide President Cuong thanked Sri Lanka for supporting Vietnam in the past struggle for national independence and for cooperating closely with Vietnam in the current process of national construction The visits serve as additional important steps to implement the foreign policy of independence multilateralisation and diversification of external relations identified at the 13th National Party Congress 2008 by the Ministry of Information and Communications Email: vietnamplus@vnanet.vn Reproduction in any form is prohibited without written consent (VOVWORLD) - Governor of Saint Petersburg Aleksander Beglov on Tuesday signed a decree naming a square in the northern part of Russia’s second-largest city after President Ho Chi Minh An unnamed square on Prosveshcheniya Avenue will now be called "Ho Chi Minh Square" in honour of the great Vietnamese revolutionary leader The name also reflects the city's close ties with its sister city The square is located next to Ho Chi Minh Street Saint Petersburg now features a prominent complex dedicated to President Ho Chi Minh which includes Ho Chi Minh Street View upcoming auction estimates and receive personalized email alerts for the artists you follow MANCHESTER — One of Claude Monet’s most celebrated early paintings — Adolphe Monet in the Garden of Le Coteau at Sainte-Adresse — is now on view in the Currier’s European Gallery for a limited time which has been on public view only once in a museum remained in the artist’s family until 2004 and no future public showings are scheduled “This is a rare opportunity for visitors to experience the incredible talent one of the greatest French Impressionists just as he began to emerge as an innovator and before he became a seminal figure,” said Susan Strickler Adolphe Monet in the Garden of Le Coteau at Sainte-Adresse is an early painting (1867) of Monet’s father and was in the artist family for several generations Adolph Monet in the Garden of Le Coteau at Sainte-Adresse was painted two years before the Currier’s own early Monet The Seine at Bougival and a full seven years before the term Impressionism was coined in 1874 by a French art critic The two paintings are displayed together for the first time Impressionism reached its full maturity in the 1880s and was the dominant style for another decade in much of Europe Adolphe Monet in the Garden of Le Coteau at Sainte-Adresse depicts the artist’s father reading a newspaper under a canopy of shade trees The center of the composition provides a vista into a sunlit flowering garden on the estate Le Coteau in Sainte-Addresse two years ago in Paris at the Galeries nationales du Grand Palais in a major retrospective exhibition of Monet’s work The seeds of Impressionism are clearly evident in both paintings and the focus is on broad areas of light and shadow rather than the objects themselves the artist expresses the fleeting quality of sunlight passing through dappled clouds and the brushstrokes have become more pronounced and the application of paint thicker and more dynamic The Currier Museum of Art is located at 150 Ash St More information: www.currier.org or call 603-669-6144 x108 This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page Share‘The glory of the garden’ — reflecting on Monet’s painterly garden scenesFrom Sainte-Adresse to Giverny garden scenes are instantly recognizable within the canon of Impressionism Richard Thomson delves into these iconic pictures Claude Monet (1840-1926), Au Jardin, la famille de l’artiste. 1875. Oil on canvas. 23¾ x 31½ in (60.5 x 80 cm). Estimate: $12,000,000-18,000,000. Offered in the 20th Century Evening Sale on 11 November 2021 at Christie's in New York Claude Monet (1840-1926), La Terrasse à Sainte-Adresse, 1876. Metropolitan Museum of Art Monet had been pleasantly surprised by the central green spaces of Hyde Park and he continued this awareness of metropolitan gardens on his return to Paris looking down from an apartment on the rue de Rivoli and the Parc Monceau from its stately paths while painting on the Ligurian coast at Bordighera Monet came across the private garden of Francesco Moreno where he discovered exotic species such as mimosa and palms under the Mediterranean light This kind of experience — one might say — seeded in Monet a quasi-professional interest in horticulture in the ordering of garden spaces and the professional choice of plantings one that would blossom with his own enthusiasm for seed catalogues and specific blooms Claude Monet (1840-1926), Le Déjeuner, 1873. Musée d’Orsay, Paris Claude Monet, Nymphéas et Pont Japonais, 1899. Princeton University Art Museum. Richard Thomson F.R.S.E. is Research Professor in the History of Art at the University of Edinburgh, where he was Watson Gordon Professor of Fine Art 1996-2018. He was also lead curator of ‘Monet, 1840-1926’ at the Grand Palais from 2010-2011 Cameroon and Equatorial Guinea historically believed that ancestral relics hold great spiritual power their skulls were conserved in cylindrical bark containers and guarded by carved wooden heads or figures The fibres of this “Fang byeri” sculpture have been impregnated with a bituminous sludge to give it a black patina confirm that it depicts a male ancestor figure Described by scholars as a leading example of 19th-century African statuary it has been exhibited at the Musée du quai Branly in Paris numerous times and had its image reproduced most notably for an exhibition at the Centre de la Vieille Charité While Western colonisers used the Fang obsession with dead bodies to paint them as violent and backwards justifying their enslavement and subjugation this aspect of their culture and the art it produced also provided huge inspiration for European avant-garde artists of the 20th century The latter was the focus of the prolific dealer of African art who was the first female dealer in the category when she opened her Paris gallery in 1956 She acquired this work from Helena Rubinstein herself one of the most prominent collectors of “arts negres” as the category was termed when she was actively buying This work leads the first sale of Leloup’s private collection; a second volume of this sale will take place at Sotheby’s New York in 2024 La baie de Sainte-Adresse (1906) Courtesy Bonhams This Fauvist depiction of the French coast comes to the block from the collection of the French actor and sex symbol Alain Delon Delon won critical acclaim both in France and around the world for now-classic films such as Le Samouraï (1967) and The Leopard (1963) The landscape in La baie de Sainte-Adresse (the bay of Sainte-Adresse) was also a longstanding source of inspiration for Monet who painted the tiny Normandy commune at least 14 times Dufy painted this area of France repeatedly and an abstract version of the same beachscape sold for £187,500 at Christie’s Paris in 2020 the chief executive of Bonhams Cornette de Saint Cyr Delon’s collection has been built up over 60 years beginning with the purchase of his first painting in London at the age of 24 This cross-category and cross-period offering of sculptures and drawings includes works by Jean-Baptiste-Camille Corot and Eugène Delacroix is estimated to sell for between €4m and €5m Tête de Diego au col roulé (1951) Courtesy Sotheby’s Depicting arguably Giacometti’s most enduring sitter this sculpture is one of around a dozen examples of a painted bronze by the artist to have ever appeared at auction It was previously in the collection of Adrien Maeght Maeght is the chair of the Fondation Maeght in France established by his art dealer and publisher parents Aimé and Marguerite Maeght who helped to shape the careers of 20th-century titans such as Giacometti and Picasso The sculpture was also formerly owned by Jan Krugier a Polish-born Swiss collector who was one of the most prominent dealers of the last century it “epitomises the transition within Giacometti’s style after the Second World War from elongated stick-like figures towards more naturalistic and substantive depictions of human form” Here Diego is shown wearing a thick roll-neck jumper reflecting the studio’s ascetic conditions and also the artist’s renewed sense of realism This work is included in the inaugural Face Off auction at Sotheby’s London a curated evening sale focusing on portraiture from antiquity to the present day Tiffany Studios (around 1903) Courtesy Christie’s The Ann & Gordon Getty Collection: Temple of Wings The second instalment of the Ann & Gordon Getty Collection focused on 19th- and 20th-century furniture and design from the couple’s Greco-Roman-inspired Berkeley Hills home comes after a first instalment last year that totalled $150m Included in the three-part sale is this lamp from Tiffany Studios The market for Tiffany’s work has seen “upward momentum for the past eight to ten years” The world’s most expensive Tiffany lamp sold for $3.3m at Christie’s in 2018 While it is unlikely to break any auction records the Wisteria model—designed by Clara Driscoll—is a notable example of early-20th-century decorative art by a woman artist many of whom were overlooked in their time Mädchen mit Zopf (girl with braid) by the Russian painter Alexej von Jawlensky was last sold in 2007 at Christie’s New York for $5.1m against an estimate of $3.8m-$4.5m It is now offered at roughly the same price range suggesting a softening of Jawlensky’s market for which the $18.6m auction record was made in 2008; no sale from the past five years has made the artist’s top 20 prices at auction Most notably it comes from the collection of Clemens Weiler who wrote the first biography on Jawlenksy it was created in Jawlensky’s most in-demand period when he was a pivotal member of Der Blaue Reiter (the blue rider) the artist group formed in Munich that was a founding strand of the German Expressionist movement a first-century Roman cameo and a gilt bronze statue from Tibet analysis6 November 2023What makes a masterpiece? It depends who is selling…Traditionally reserved for an artist’s greatest works the term “masterpiece” now appears routinely in auction catalogues preview11 November 2021Highlights from November's auctions: from Picasso’s homage to friendship to Cy Twombly’s photographs Our pick of the works coming up for sale in Paris feature13 November 2024Auction houses expect this month's New York sales to bring in as much as $1.6bnThe most valuable lot of the week is a record-breaking Magritte with a third-party guarantee but the most talked-about is a conceptual still life by Maurizio Cattelan The US continues its tradition of acute individualism a small group of oilmen decided it was better for their individual fortunes to let the earth slip into climate degradation What could be a more powerful example of individualism gone awry than the possible destruction of our planet in favor of the personal gain of a few persons What if we had tackled climate change back then Let us examine American individualism before considering possible ways out of the wilderness and the survival of ourselves as individuals is essential we tend to extrapolate this principle of survival into other fields usually at the expense of the social dimension I loved riding my motorcycle across the Texas hill country forgetting that the urban structure and the layout of the streets were the result of past social and political decisions This freedom of movement felt like I was free to do anything within legal bounds Individual development implies that one must fully discover oneself must be optimal and possibly unconstrained by others The average age of the first marriage has increased from 23 to 30 years for males over the last fifty years one becomes primarily concerned and psychologically fit with oneself this ultimately leads to loneliness (Slater meritocracy is interpreted as justifying the individual My deeds and achievements are merit-worthy and those below them deserve their low-class jobs and lives I adore successful superstars and even rebels such as Elon Musk Social influencers have found a new way to be super individuals and have their place is compatible with the most exclusive forms of individualism The more successful individuals can indulge themselves in luxury I would have few friends and isolate myself the better—to be within the clan and find the opposition to malign Call them political parties: Democrats and Republicans and the legislature may become dysfunctional The political differences can turn into violence Office holders of extreme individualism can become authoritarian two significant socio-economic trends have emerged: disregard for the environment and the continued spread of armed conflict The highlight of environmental indifference is climate warming at least 150 ongoing armed conflicts have been recorded each year The ability or willingness to use diplomacy appears to be limited Recognizing this form of severe American individualism we must observe that reform may not be possible My idea is to use the inevitable phenomenon of climate warming as an opportunity to tame individualism Environmental adaptation after weather and climate-related disasters is obligatory and wildfires damage Republican and Democrat properties alike; we can agree on this The difficult measures involve mitigation; however continued investment in R&D is realizing the most cost-effective solutions in technologies that utilize renewable energy and the energy transition needs to be accelerated Working locally on environmental issues is also promising Green spaces offer widespread health benefits We can create more space by working with local authorities and contributing to tree planting Participation in planning our cities and neighborhoods is required if you want to be heard bipartisanship should be encouraged; we achieve more We need new spaces and organizations where different kinds of citizens can mingle Italy is attempting to create community centers for this Youth should be given more space in politics and education Teaching individualistic career development should be balanced with social participation Younger political candidates will help revive their interest in politics Greta Thunberg is still correct: we individualistic adults must do much more The Impressionists were among those pioneering artists who stepped out of their studios and painted en plein air They claimed to have discovered the eternal beauty in the streets of Paris and its suburbs in the authenticity of light and landscape Both made these regions legendary through their paintings Normandy holds a special place in the history of Impressionism being a source of inspiration to the artists at various points in their careers The harbour of Dieppe was painted by Pierre-Auguste Renoir and Eva Gonzales one of the few women among the Impressionists The coasts of the Cotentin were frequented by Jean-François Millet one of the founders of the Barbizon school Le Havre was also the subject of many paintings by Camille Pissarro and Raoul Dufy invited his painter friends to join him at the Ferme Saint-Siméon on the hill just outside Honfleur and Gustave Courbet belonged to this circle of Boudin’s group travelled to Normandy in search of fresh motifs together with his fellow artist Frederic Bazille Monet spent a long time painting the sea views of Saint-Adresse Having spent his childhood years in Le Havre region he had frequently visited the beach at Sainte- Adresse before as it stood just to the west of his father’s summer home Monet’s most famous work of that period was The Garden at Sainte-Adresse featured the members of the fashionable crowd relaxing by the seaside his colleague and friend Eugène Boudin also stayed in Trouville that summer and the two men occasionally painted side by side in the open air Monet turned his attention to the busy commercial port of Le Havre that became the main French point of entry for cargo and passengers traveling between France who had spent his childhood years and early youth (his family moved there when he was just five years old) in that part of France even when he was living in the Parisian suburb of Argenteuil that Monet painted his scandalous and seminal work Impression was completed in the same year (1872) and followed his Impression Paintings La Pointe de la Hève at Low Tide (Kimbell Art Museum Fort Worth) and its companion piece Mouth of the Seine at Honfleur (Norton Simon Museum Passadena) were shown by Monet at the Paris Salon in 1865 with one critic writing that the representation of the breeze in the painting “penetrates as in the open sea and the treatment is naive and young.” Furthermore some viewers confused Monet's signature with that of Édouard Manet When the latter got praised for the painting he had not produced Manet owned and intervened in the sale of several of Monet's seascapes actively and generously supporting his younger colleague during the difficult years of 1870s calling him “the Raphael of water.” La Pointe de la Hève later featured in the first one-man show devoted to Monet held by the dealer Paul Durand-Ruel in 1883 The painting was eventually bought by the famous baritone singer Jean-Baptiste Faure who owned a villa called "Les Roches" in Étretat The villa was a treasure trove holding his collection of paintings by Degas Faure also sat for multiple portraits by Édouard Manet and had a considerable collection of his paintings including the scandalous Le déjeuner sur l'herbe and The Fifer Faure was a great admirer of the northern French coast and is known to commissioned Claude Monet to paint the famous cliffs of Étretat at least forty times Monet stayed in Étretat for the first time accompanied by his wife Camille and their son Jean Monet stayed for long periods of time in this small seaside town he painted twenty views of the beach and three extraordinary rock formations in the area: the Porte d'Aval Monet made nearly fifty paintings of the Normandy coast It was at that time that he made his famous painting of the Porte d'Aval and a freestanding needle-like rock that attracted tourists and artists alike to the town of Étretat A sunset over the majestic cliffs of Étretat is inseparable from Claude Monet’s canvases and his romantic love for Alice Hoschedé his paintings were shown at the Durand-Ruel gallery on Boulevard de la Madeleine in Paris the article entitled "La vie d’un paysagiste," written by Guy de Maupassant introduced Monet to readers of the periodical Gil Blas Maupassant described how a year earlier he had met the artist on the cliffs of Étretat the falling sunbeams or the passing cloud.” The writer admired the artist as he “saw him catching a glittering fall of light on the white cliff and painting it with a flow of yellow tones that were strangely giving an amazing and fleeting impression of that elusive and blinding dazzle." (Guy de Maupassant was also among the favourite Monet’s haunts In addition to renting his studio across the street from the Rouen cathedral the artist made his famous series of thirty canvases capturing the imposing Gothic structure at different times of day and in different light conditions he selected what he considered to be the twenty best paintings from the series for display at his Paris dealer's gallery and sold eight of them before the exhibition was over Some of these views of Rouen can now be seen in the Rouen Musée des Beaux-Arts his many sketches of Rouen were finished in the artist’s Giverny studio He settled there with his second wife Alice Hoschedé and their children and stayed there until his death in 1926 The most striking of them was his famous Japanese garden with water lilies He seemed never tired of their beauty and produced approximately 250 versions of his water lilies and continued to explore the landscapes around Giverny This painting was part of the series of twenty-three paintings depicting the poplars which lined the left bank of the river Epte but Monet persuaded a wood merchant to buy them jointly with him on condition that they were left standing for a few more months to enable the painter to finish his series Then he borrowed a boat from fellow artist Gustave Caillebotte and painted the view of the poplars from the river only a few examples of Monet’s love of Normandy which always remained his source of inspiration 2024 provides plenty of opportunities to explore the history of Impressionism and the personal biographies of the artists associated with it The programme of this year offers a variety of experiences and insights into the rich history and enduring influence of Impressionist art Certainly, if you wish to see one of the best collections of the Impressionists, you should visit the Musée d'Orsay which houses the world’s most important collection of Impressionist paintings the Museum will also hold the exhibition entitled Gustave Caillebotte The Musée d'Orangerie presents the panoramic display of Monet’s Water Lilies in a monumental setting. The Musée Marmottan Monet unfolds a treasury of works by Claude Monet and Berthe Morisot The Normandy Impressionist Festival takes place in Normandy every two years between March and September the Festival Normandie Impressioniste has acted as the major point of attraction across the region it offers an exciting programme of over 150 cultural events (50% contemporary and 50% classical) highlighting the links between Impressionism and the region Expect to see stunning landscapes and works by such artists as Claude Monet The MuMa in Le Havre and the Musée des Beaux-Arts in Rouen boast France’s largest collections of Impressionist paintings outside Paris. This summer, MuMa in Le Havre is hosting until September 22, 2024, an intriguing exhibition called “Photographing in Normandy (1840-1890): A Pioneering Dialogue between the Arts.” Musée des Beaux-Arts de Rouen is running an exhibition focusing on the French and European connections of the American revolutionary artist and dandy James Whistler. “James Abbott McNeil Whistler, the Butterfly Effect” will run until September 22 The Musée des Impressionismes in Giverny presents annual exhibitions focusing on the Impressionist movement and its influences. Until November 3, 2024, it will run the exhibition called Hiramatsu Reiji. Water Lilies Symphony apparently an hommage to Monet’s Japanese garden In Honfleur, you can visit the exhibition entitled “In the Company of Eugène Boudin, 1824–1898," which will tell of the early stages of the Impressionist movement through the eyes of Eugène Boudin you should visit the National Gallery and the Courtauld Gallery with their collection of Impressionist paintings Both museums are also almost simultaneously running two new exhibitions from September onwards: Van Gogh: Poets and Lovers at the National Gallery will bring together Van Gogh’s paintings from across the globe They will be paired together with his extraordinary drawings This means that his ‘Starry Night over the Rhône’ (1888 Musée d’Orsay) and ‘The Yellow House’ (1888 Van Gogh Museum) will be displayed alongside the National Gallery London version of ‘Sunflowers’ (1888) and ‘Van Gogh's Chair’ (1889) Monet and London: Views of the Thames at The Courtauld Gallery in London will bring together Claude Monet's paintings of London for the first time in 120 years depicting the Thames and other London landmarks was created over three stays between 1899 and 1901 Darien Library is hosting a lecture Thursday from 7 to 8:30 p.m.inspired by the Metropolitan Museum of Art’s exhibition, Public Parks, Private Gardens: Paris to Provence From the Second Empire until the beginning of World War I France blossomed —literally and figuratively the country experienced a horticultural boom as a flood of new and exotic botanical specimens became available for both public and private gardens Claude Monet’s “Garden at Sainte-Adresse” (1867) Baron Haussmann’s spectacular transformation of Paris into a modern city of tree-lined boulevards and public parks encouraged people to spend their leisure time promenading in these new green spaces where they could “see” and “be seen,” and spurred a mania for both the cultivation and depiction of flower gardens — an announcement from Darien Library Offering myriad stylistic and chromatic possibilities this distinctive scenery of contemporary French life was taken up again and again by the most avant-garde artists of the late 19th and early 20th century Let’s celebrate the advent of spring by immersing ourselves in the joy of horticulture as seen through their eyes Can’t make the live event? Check out the video recording at DarienLibrary.tv Larissa Bailiff is a specialist in modern French art and social history she continues to offer tours and courses at the museum where she creates cultural content for virtual and mixed reality platforms One of nature’s oldest – but diminishing – beach mating rituals is about to begin its annual springtime cycle and The Maritime Aquarium at Norwalk needs volunteers to help document it New Canaan police say residents in that town reported a black bear Tuesday morning just north of the Merritt Parkway in the area of Old Stamford Road (Route 106) Enjoy a guided deep dive into the amazing world of octopuses June 14 as public radio’s “Science Friday” founder and host Ira Flatow celebrates “Cephalopod Movie Night” with a special lineup of films and experts at The Maritime Aquarium at Norwalk Volunteers along coastal communities are needed by The Maritime Aquarium at Norwalk to help collect data on a turtle whose population is of special concern in Connecticut New Canaan police say a cat abandoned amid freezing temperatures at an Interstate 95 rest stop is in need of surgery and rehabilitation Built with the Largo WordPress Theme from the Institute for Nonprofit News Gallery 819 «Is there such a thing as "late style" Does experience afford an artist a particular kind of wisdom or insight History is full of stories of painters cut down in their prime—Egon Schiele died at twenty-eight Théodore Géricault was only thirty-three—but what about those like Claude Monet (1840–1926) and who continued to expand his sensibility His early pictures of the French seaside resort town of Sainte-Adresse from the 1860s have a muted naturalism that dissolved into almost pure abstraction by the 1920s when he was painting at his property in Giverny.» What explains his gradual evolution? I spoke with art historian Kathryn Galley Galitz, a specialist on late eighteenth- and nineteenth-century French art and the author of Masterpiece Paintings at The Metropolitan Museum of Art and why Mark Rothko helps us see Monet's art more fully Pac Pobric: Part of what's so fascinating about Monet is how long he lived the world had changed radically since the first Impressionist exhibition of 1874 He started painting in the late 1850s and continued until his death in 1926 one who is constantly evolving and responding to what's going on around him By the time he did his magisterial late water lilies which are in the Musée de l'Orangerie in Paris When you look at those late water lily paintings you can absolutely sense a current of abstraction Pac Pobric: Is there a point at which late Monet begins Or is there something you think defines late Monet who's the great Monet scholar of our lifetimes He did a show called Monet in the '90s at the Museum of Fine Arts The 1890s were when Monet painted his series paintings sixteen years after the first Impressionist exhibition Then Tucker did a show called Monet in the 20th Century I don't know if there is a specific moment when Monet suddenly became late Monet but I would say the interests he pursued in the twentieth century started in the later 1880s Kathy Galitz: Let's look at Garden at Sainte-Adresse from 1867 He had a pregnant girlfriend in Paris and he was spending the summer with his aunt you see the seeds of Impressionism in his interest in capturing figures out-of-doors He's painting plein air light effects; it's a fleeting moment and you get a sense of where the sun fell at this particular moment on a late summer's day This is where the wind was blowing to animate the flags that was how it moved the smoke on the ships along the horizon So it's all there and you get a sense of how his brushwork is evolving especially when you look at the treatment of the flowers and the figures in the foreground versus the more static Then you look at a painting from two years later which means "frog pond." It was a popular leisure site on the banks of the Seine just outside Paris Monet and Renoir went there in the summer of 1869 Monet wrote to the artist Frédéric Bazille that summer that all he'd been able to do were some bad sketches La Grenouillère is one of those "bad" sketches—and it's now seen as an icon of Impressionism he saw this as a step along the way to a finished painting—but not as a finished painting he exhibited one of these "bad" sketches in the second Impressionist exhibition in 1876 So his perception of his own work had radically altered You look at the difference in the water from Garden at Sainte-Adresse to La Grenouillère and you can really see the emergence of that broken brushstroke that's synonymous with Impressionism La Grenouillère is about the fleeting moment recorded ostensibly in a single sitting We've done technical analysis of this painting and Monet worked on it on at least four separate occasions If he allowed a day's drying time between paint applications But you can look at areas where he's painting wet-on-wet where he's not allowing a layer to dry the white picks up the blue and he's painting wet-on-wet to convey rapidity Left: Claude Monet (French, 1840–1926). Garden at Sainte-Adresse (detail). Right: Claude Monet (French, 1840–1926). La Grenouillère (detail) Pac Pobric: Who is he talking with at this point in this career Kathy Galitz: He is just beginning to make a name for himself at this point and part of the reason the Impressionists had their first show in 1874 is that they kept getting rejected by the Salon The jury was very mercurial; sometimes you're in So the Impressionists formed their own exhibition group in part to have autonomy and not to be subject to the whims of the Academic painters who were controlling the Salon jury He was hanging out with Renoir and Bazille and they were experimenting with painting in the forest of Fontainebleau en plein air taking on the establishment at the Salon of 1863 with his Luncheon on the Grass which was rejected by the jury and shown at the infamous Salon des Refusés Manet was a kind of icon to these young avant-garde artists because they saw him challenging standards Pac Pobric: But Manet was more conservative than they were even though he didn't always get into the Salon Pac Pobric: What happens with Monet's work once he gets to the twentieth century Kathy Galitz: When he made Water Lilies from 1916 to 1919 he was doing studies of the pond at his garden in Giverny for large canvases he would then work on in his studio So he was not strictly painting outdoors anymore; he was making on-site studies and then reworking them in his studio We're moving so far beyond the notion of a painting as the capture of a fleeting moment This work is the product of sustained observation over a long period of time You can even see how different this looks than his earlier Impressionist brushwork We don't really see that broken brushstroke anymore We see some of the trees that line the pond reflected in the water We're looking at the surface of his water lily pond So we're talking about ideas that are very much twentieth-century ideas—and which verge on abstraction There's this idea that a painting is no longer simply a record of what is seen Pac Pobric: Is there some set of factors that leads him to think about painting in this new way Kathy Galitz: I think it's just evolutionary I don't think there was one moment where he suddenly said "I've got to do it differently." He was a commercial success If you look at his series paintings from the 1890s—the Haystacks Mornings on the Seine—all of the works where he took one motif and painted it under different lighting and atmospheric conditions at different times of day he was already reworking them in his studio These were already no longer the record of a particular moment in time So he was already seeing differently in the 1890s If you were an artist like Monet and had a show with a dealer like Paul Durand-Ruel Claude Monet (French, 1840–1926). Water Lilies Pac Pobric: When did those financial concerns begin to disappear Kathy Galitz: In 1890 he purchased his home at Giverny and three years later he bought the adjacent property where he painted the water lilies—which he had imported from Japan He invested in the garden and even got permission to redirect a little stream to create a pond over which he built a Japanese footbridge he was as much a horticulturalist as he was a painter He hired gardeners to help him maintain the property because it took a lot of work and he was an older man So that puts it into perspective—he had the financial means to do this Pac Pobric: And he had those means for quite some time Things have changed a lot in our lifetimes with the internet and the instantaneity with which we can communicate with anyone in the world Photography was invented just before he was born He experienced so much technological change in his lifetime the Industrial Revolution gave artists a whole range of pigments at their disposal so that's why the color of a Monet looks so different than an early nineteenth-century Delacroix So much of what happened in the twentieth century resulted from seeds sown in the nineteenth century Pac Pobric: But when it came to the twentieth century his contemporaries weren't necessarily interested in seeing his newest works works like Water Lilies have a strongly abstract quality Paintings like this languished in Mone's studio after his death and there was no interest in them until the mid-twentieth century the same time as Abstract Expressionism—artists like Jackson Pollock Water Lilies was first shown at The Met in 1963 Suddenly these late works took on a whole new resonance that's why we see Monet at the Museum of Modern Art [MoMA]: That's the modernist side of Monet and that's how he was perceived in the mid-twentieth century J. M. W. Turner is another artist for whom we talk about late works. I curated the Turner show here in 2008 and his interest in light and color at the expense of form in the 1840s made his work increasingly abstract MoMA did a show focused on late Turner after they'd acquired a color-field painting by Rothko suddenly people saw Turner through a new lens—through the lens of mid-twentieth century abstraction Pac Pobric: What happened to some of the other water lily paintings at the time of Monet's death Kathy Galitz: Monet was friends with Georges Clemenceau [the Prime Minister of France during World War I] and after the signing of the Armistice in 1918 Monet presented his water lilies to France as a bouquet of flowers while he was working in his studio in Giverny he could hear the trains going to the front Claude Monet (French, 1840–1926). Luncheon on the Grass Pac Pobric: What about the size of Water Lilies There is some precedent for Monet working at this scale I'm thinking of his Luncheon on the Grass from 1865–66 at the Musée d'Orsay but that was when he was trying to take on the Salon and Manet Manet's Luncheon on the Grass was a succès de scandale in 1863 but to paint it outdoors rather than in the studio You can see some of the figures aren't done being painted He blocked out an area for Bazille's legs—he's the guy sitting on the far right You can see the unpainted area in the bottom right corner where his feet and lower legs would have been so he just rolled it up and literally left it in a basement It suffered some damage from moisture and humidity and that's why it exists only in fragments The only full record of that work is a much smaller sketch at the Pushkin Museum in Moscow Kathy Galitz: He would have seen Pointillism later on because those artists were in the last Impressionist exhibition in 1886 and Neo-Impressionism—a lot of the earlier Impressionists wanted nothing to do with it the works were exhibited in separate rooms in 1886 because a number of artists said "I'm not having my painting alongside their painting." Pac Pobric: So is there a sense that Monet stays on his own track that he maintains his own sensibility and vision throughout Late in life he begins to talk about wanting to capture what he feels and that notion of feeling—or subjectivity—that's not what he was talking about in the 1860s when he was painting Garden at Sainte-Adresse or La Grenouillère Left: Claude Monet (French, 1840–1926). Rouen Cathedral: The Portal (Sunlight) Pac Pobric: So those earlier pictures are more scientific I wouldn't go so far as to say scientific But this element of subjectivity is something that enters into his art later It isn't there initially and it wouldn't have been He had formal artistic training in the Academy and that's not what they were talking about it was radical to paint outdoors and to have a finished painting made outdoors To paint a scene from modern life instead of a history painting Even landscapes—which were at the bottom of the hierarchy of genres as they had been defined by the French Academy since the seventeenth century—were radical Pac Pobric: That's very different from how we see Monet today we could see Monet through the lens of Jackson Pollock How we see art is inevitably colored by the moment in which we live and what we're seeing around us That's also why scholarship is evolving Gallery 826 in European Paintings Visitors can enjoy a full range of highlights from the artist's prolific years in France from portraits to still lifes to landscapes These masterpieces are often committed to exhibitions around the world special contributions and funds given or bequeathed by friends of the Museum along with Adolphe Monet (1800–1871) Reading in a Garden All three pictures feature Monet's father and flowering gardens of France's northern coast Adolphe Monet (1800–1871) Reading in a Garden A dashing duo may be seen in gallery 804: Jean-Léon Gérôme's Bashi-Bazouk a partial and promised gift of Kenneth Jay Lane hangs next to another painting of the same title by Gérôme which is a recent gift to the Museum by Jayne Wrightsman they vary in every detail but one—the extraordinary textile headpiece the artist liked so much that he had to paint it twice Left: Jean‑Léon Gérôme (French, 1824–1904). Bashi‑Bazouk Partial and Promised Gift of Kenneth Jay Lane Gustave Courbet's spirited hunting scenes find a companion in the artist's endearing depiction of a brown-and-white dog reprised from his groundbreaking A Burial at Ornans (1849–50; Musée d'Orsay Édouard Manet (French, 1832–1883). The Brioche Partial and Promised Gift of an Anonymous Donor these are destined to be fleeting; while some of the loans are long-term and Courbet are only on view until late August and the painting by Gérôme returns home at the beginning of September Related LinkNew York Times: "Summer Treats in the Met's European Galleries" (July 31 He led the way to twentieth-century modernism by developing a unique style that strove to capture on canvas the very act of perceiving nature and others in establishing an independent exhibition in 1874 one of Monet’s contributions to this exhibition drew particular scorn for the unfinished appearance of its loose handling and indistinct forms Yet the artists saw the criticism as a badge of honor and subsequently called themselves “Impressionists” after the painting’s title even though the name was first used derisively who often painted alongside their host (1976.201.14) Yet Monet’s paintings cast a surprisingly objective eye on these scenes which include few signs of domestic relations Monet’s asymmetrical arrangements of forms emphasized their two-dimensional surfaces by eliminating linear perspective and abandoning three-dimensional modeling He brought a vibrant brightness to his works by using unmediated colors and preparing canvases with light-colored primers instead of the dark grounds used in traditional landscape paintings Monet’s interest in recording perceptual processes reached its apogee in his series paintings (e.g. Rouen Cathedral [1894]) that dominate his output in the 1890s Monet painted the same site again and again recording how its appearance changed with the time of day Light and shadow seem as substantial as stone in his Rouen Cathedral (30.95.250) series Monet reports that he rented a room across from the cathedral’s western facade in 1892 and 1893 where he kept multiple canvases in process and moved from one to the next as the light shifted he reworked the canvases to their finished states Monet focused almost exclusively on the picturesque water-lily pond (1983.532) that he created on his property at Giverny His final series depicts the pond in a set of mural-sized canvases where abstract renderings of plant and water emerge from broad strokes of color and intricately built-up textures Shortly after Monet died (a wealthy and well-respected man at the age of eighty-six) the French government installed his last water-lily series in specially constructed galleries at the Orangerie in Paris Laura AuricchioDepartment of Art & Design Studies “Claude Monet (1840–1926).” In Heilbrunn Timeline of Art History http://www.metmuseum.org/toah/hd/cmon/hd_cmon.htm (October 2004) More from the Timeline of Art HistoryView all A visitor smelling a scratch-and-sniff painting at the spring 2015 MediaLab Expo visitors can only experience the artworks by viewing them Most museums work to make sure that galleries have neutral smells and sounds so that the visitor can focus on the artworks but those factors can alter the experience significantly and hearing—are a part of the museum experience.» a series of activities designed to create a more fulfilling museum experience visitors are strictly forbidden from having any physical contact with the art This inspired me to create Multisensory Met a series of activities designed to provide a museum experience that makes use of all the senses I believe that creating a multisensory environment will truly enhance the museum experience I initially thought of making a multisensory booklet for visitors to carry around as they view the art The booklet would feature pictures of artworks in the Met's collection that are equipped with touch-activated sounds and smells so that the visitor can view each artwork and interact with the corresponding activity in the booklet I wanted to touch and smell it mainly because of the variety of materials it includes (wood and shell) and the materials that were added to the figure during rituals like dirt from burial sites; white clay from riverbeds; and nails Power Figure (Nkisi N'Kondi: Mangaaka) touch-sensitive replica of the figure that would have its own smell and sound I used clay and nails similar to the materials used to make the sculpture I then put a little bit of essential oil on the top of the sculpture to simulate the original scent of the object Views of the clay replica of the Power Figure (Nkisi N'Kondi: Mangaaka) I also wired the inside of the sculpture so that it would produce a buzzer sound when touched I used Arduino tools to create a programmable microcontroller and to play wav The sound helped express and emphasize the power of the figure which added a lot to the overall interaction and experience Video of a user touching the multisensory sculpture The goal of creating this sculpture was to give visitors a better understanding of the original use of this figure and figures like it Even though they can't be a part of an actual Kongo ritual visitors can touch and smell the sacred object and imagine what it might have been like to experience it I received some useful feedback on the multisensory sculpture which was that making a replica is always risky because it never fully represents the actual work any small flaw or change of size would make the replica less authentic So I tweaked the idea by removing the replication process and letting the materials speak for themselves Material Book is a booklet that allows users to touch a small amount of materials that are similar to those that the Senufo peoples used to create their figures and sculptures Since visitors can't see the exact materials used to create the sculptures without taking a very close look having the materials in front of them is a much easier way to gain an understanding of what it would feel like to touch the artworks The Material Book for the Oracle Figure (Kafigeledjo) I created a page for the Oracle Figure (Kafigeledjo) that included wood I couldn't include bones and dirt in the page but I replaced them with clay and homemade Play-Doh Oracle Figure (Kafigeledjo) I then focused on how to make paintings a more interactive experience for the visitor and I came up with the idea of scratch-and-sniff paintings which I consider a very simple and effective way to add smell to an object these paintings are safe for the museum environment because the smell is trapped inside the object until the user activates it Some of the scented powders that were used to make scratch-and-sniff paintings Claude Monet (French, 1840–1926). Garden at Sainte-Adresse I later decided to continue experimenting with sound by creating touch-sensitive paintings, and I used another Monet painting, Jean Monet (1867–1913) on His Hobby Horse Claude Monet (French, 1840–1926). Jean Monet (1867–1913) on His Hobby Horse I created a switch for each element of the painting using tools similar to those used for the replica of the Power Figure (Nkisi N'Kondi: Mangaaka) so that they would produce a specific sound when touched The switch is made of two layers of copper sheets: one sheet is connected to the ground and the other to the Arduino's power pin I divided one of the layers into four pieces all cut in the shape of the painting's four elements: the horse I used four different sounds: an ambient nature sound for the bushes or devices that control the flow of electricity in a circuit between each piece to differentiate them so that when one of the four elements is pressed the specific switch is activated and it plays the corresponding sound A switch for Jean Monet (1867–1913) on His Hobby Horse I had the chance to collaborate with people from many different departments at the Museum and learn about new technologies including 3D printers and prototyping tools I was able to use my interests and expertise to create accessibility solutions and a more engaging and welcoming museum experience Multisensory Met started out as an idea based on my interest in creating multisensory experiences and became a new possibility for the Museum M&A Seminar on Preparing Your Company for Sale Presented by Maslon LLP and Northborne Partners This photo provided by The Metropolitan Museum of Art shows Claude Monet’s “Garden at Sainte-Adresse,” oil on canvas 1867 The work is part of the exhibit “Public Parks Private Gardens: Paris to Provence,” at the museum through July 29 in New York (Photo: The Metropolitan Museum of Art via AP) The Federal Reserve is expected to keep interest rates unchanged despite political pressure from President Tru[...] The Trump administration is swiftly remaking housing policy as the U.S Department of Housing and Urban Develo[...] construction job openings dropped by 38,000 in March signaling slowing labor demand amid tariffs Trump's trade demands stretch beyond tariffs is now an official city after a local vote Milwaukee Mitchell Airport will start a $95.2M international terminal project this summer after delays and ris[...] Sign up for your daily digest of Minnesota News Efforts to reform Minnesota zoning laws fail again as local opposition blocks a bill limiting parkin[...] will break ground this summer on The Dorian a 190-unit apartment complex in Lake Elmo af[...] The University of Minnesota plans to sell 60 acres at UMore Park for $8.1M to North Wind Test for a [...] The Federal Reserve is expected to keep interest rates unchanged despite political pressure from Pre[...] The Trump administration is swiftly remaking housing policy as the U.S Department of Housing and Ur[...] signaling slowing labor demand amid tarif[...] Trump's trade demands stretch beyond tariffs Performance contracting helps governments and schools cut energy costs Milwaukee Mitchell Airport will start a $95.2M international terminal project this summer after dela[...] Listen here analysis and commentary on Minnesota business We are the only independent daily newspaper dedicated to business reporting Get our free e-alerts & breaking news notifications Subscribe for access to the latest digital and special editions After quietly acquiring artwork over six decades French actor Alain Delon will auction off his collection at Bonhams in Paris last this month in a sale that could fetch as much as €5m one of France’s most prolific and celebrated actors is best known for starring in neo-noir classics like The Leopard (1963) and The Samurai (1967) “There are two things I regard as my legacy; my acting career and my art collection I am so proud of them both,” Delon said in a statement “People ask me if there is a thread that binds these pieces together and I say Delon has planned for several years to sell his collection during his lifetime She says her 87-year-old father is still in good health and wants to “feel the excitement of giving all this away to new owners” Raoul Dufy’s La baie de Sainte-Adresse (1906) leads the sale of French actor Alain Delon's art collection next month in Paris “People are very surprised at first that he's selling everything but are also happy to witness the work because most people know him as an actor but this is an art collection," Anouchka says "Maybe they’ll feel the same emotion he could have felt in front of one of those paintings or drawings.” She compared the sale to when Delon and his family attended the Cannes Film Festival in 2019, where Delon received the honorary Palme d'Or for lifetime achievement, amid controversy over comments Delon made about women and far-right politics in France “So many actors don't witness things like that before they pass,” Anouchka says “It was really important to him and to us.” The sale will be anchored by Raoul Dufy’s La baie de Sainte-Adresse (1906) a beach scene with a €600,000 to €800,000 estimate Anouchka says the seascape is “very representative of France” One of Delon’s favourite objects in his collection is a Rembrandt Bugatti panther sculpture that Bonhams estimates will fetch between €250,000 and €300,000 Delon is often portrayed as a panther or lion in French media and portrayals of big cats make multiple appearances in his art collection A sculpture of a panther by Rembrandt Bugatti Bonhams “I'm happy that he gets to show it to everyone and how it's going to go to a new family but it's also heartbreaking because it's like a member of the family,” Anouchka says pointing out that the texture of the panther sculpture is smoothed down along its spine from being petted so often A drawing of a ballet dancer by Edgar Degas hung in her childhood bedroom The drawing is estimated to sell for between €80,000 and €120,000 “It was like living in a museum," she says "I share the same passion for art with my father A drawing of a ballet dancer by Edgar Degas that once hung in Delon's daughter's childhood bedroom adding that he didn’t think of his collection as a financial investment or in relation to what was in fashion Anouchka says her father began collecting Dutch art after being introduced to it by his wife and her mother He was a fan of landscapes by artist Jan van Goyen (1596-1656) three of which are included in the auction You can feel the mist and the cold,” Anouchka says gesturing to a Van Goyen drawing of a man steering a boat through a village canal that has a €30,000 to €50,000 estimate from Bonhams Jan van Goyen's scene of a village canal Courtesy Bonhams The 84-lot sale will take place 22 June at Bonhams’ Paris salesroom in the 8th arrondissement and is estimated to sell for between €4m and €5m “He hopes it goes to a nice family because we feel this is more of an adoption than a sale," Anouchka says "You're so attached to each piece It's like selling your first apartment or your first car So you want people to love the art as much as you did." news16 November 2018Phillips and Bonhams see strong sales on smaller lotsThe auction houses' bottom lines suffered from unsold lots continuing a trend of top-lot discernment during New York’s fall sales news9 November 2023Late American broadcaster Barbara Walters’s collection nets $5m at BonhamsAll of the proceeds from Walters’s art collection—along with her jewellery and home décor—will go toward charitable causes your new go-to podcast to spice up your weekday mornings with relevant news and behind-the-scenes from Brussels and beyond From the economy to the climate and the EU's role in world affairs this talk show sheds light on European affairs and the issues that impact on our daily lives as Europeans Tune in to understand the ins and outs of European politics Dare to imagine the future with business and tech visionaries Deep dive conversations with business leaders Euronews Tech Talks goes beyond discussions to explore the impact of new technologies on our lives the podcast provides valuable insights into the intersection of technology and society Europe's water is under increasing pressure floods are taking their toll on our drinking water Join us on a journey around Europe to see why protecting ecosystems matters and to discover some of the best water solutions an animated explainer series and live debate - find out why Water Matters We give you the latest climate facts from the world’s leading source analyse the trends and explain how our planet is changing We meet the experts on the front line of climate change who explore new strategies to mitigate and adapt Ever wondered what classic works of art would look like with robots in the foreground Perhaps not - but we promise it's worth a look Famous paintings have been reimagined in a futuristic net-zero world to showcase the merits of engineering A new digital art exhibition has been unveiled by the Royal Academy of Engineering in celebration of 'This is Engineering Day.' The exhibition features famous works of art from the 18th and 19th centuries recontextualised to showcase the impressive tech needed for us to reach net-zero Pieces by world-renowned artists including Constable Pissarro and Van Gogh are included in the collection These four artists all entered the art world in the midst of an industrial revolution While technological advancements transformed the quality of living throughout the late 18th and early 19th centuries this progress also kick-started the steady rise of carbon emissions leading to what we now know as the cause of global warming and environmental destruction The Royal Academy of Engineering hopes to inspire a new generation of environmental and technological change The reworked creations reveal a utopian landscape that could be achieved through the development of engineering The first piece of the collection features the smoggy skyline of Clichy painted by Vincent Van Gogh The digital rendering replaces the stone factories with glass-roofed buildings and towers higher than the billowing smoke seen in the original work Assistant Chief Engineer of Electric Products at BAE Systems believes this 2050 painter would capture a wide variety of electric vehicles spanning across the view of Clichy "Heavy lift flying drones could also be used for transportation of goods or for emergency response," says Harker The net-zero carbon sky is a crystal clear blue that shines over the 'autonomous agbots,' a form of agricultural robotics we expect to see in the near future as developers continue to investigate precision farming which they hope can significantly reduce agricultural carbon emissions We also see a 'hyper-loop,' an electrically powered pod system that could transform how public transport is integrated into our landscape John Constable's Wheat Field depicts a valley in his hometown of Suffolk ploughmen and reapers harvesting bounties of wheat from the plains we see the same Suffolk fields in a whole new realm with "solar-powered pruning robots autonomous grass cutting machines and crop-monitoring drones." The planes seen deep in the horizon have been reshaped to maximise fuel efficiency and operate on hydrogen which promises an environmentally conscious form of travel "If Constable were to walk in the British countryside in 2050 he’d see smaller fields with strips of different coloured crops and less productive fields rewilded with trees wildflowers and shrubs to boost biodiversity and pollination," explains Kit Franklin a senior lecturer in agriculture engineering at Harper Adams University The Seashore at Sainte-Adresse by Claude Monet captures the shoreline in the affluent city of Le Havre this area was undergoing a dramatic transformation from a traditional fishing village to a developed city that is seen in the depths of the horizon with factories billowing smoke into the city Monet's series of paintings from Sainte-Adresse reveal the contrasts of a bourgeoisie industrial revolution and the simpler tools of workmen across the nautical backdrop worked with the digital artists on this project to help accurately imagine Sainte-Adresse in 2050 Gourvenec specialises in emerging technologies in the field of ocean resilience engineering "If Monet was to paint The Seashore at Sainte-Adresse in 2050 his famous seascape might feature offshore energy farms generating renewable energy through wind turbines or tidal power," says Professor Gourvenec "This could be used to power homes or produce green hydrogen and to refuel ocean-going cargo vessels offshore which would not only capture carbon but also provide coastal protection and improve the coastal ecosystem and habitat for wildlife." The building seen added along the left-hand side of the painting uses thermochromic windows which generate solar power and cool down the house to reduce carbon emissions and maximise the efficiency of the space Camille Pissarro's Rue Saint-Honoré captures the famous Parisian road in the late 19th century under a shower of afternoon rain with carriages lining the buildings and bundles of pedestrians dotted in between The series launches the viewer into a Parisian depiction of 2050 with revolutionised transport systems including an electric monorail vertical taxi station and underground metro links "If Pissarro were to travel to Paris in 2050 he might find buildings that have been designed to take full advantage of their environment," says Professor Chris Wise RDI FREng “As we see increased rainfall and flooding in the future cities will have replaced concrete pavements with more permeable materials and greenery.” The works are also available to view online via Google Arts and Culture Artlyst Unearthed: New Details Of Claude Monet’s Planning Struggle In Creating Giverny The Royal Academy of Arts will be presenting a new exhibition exploring  ‘Painting the Modern Garden: Monet to Matisse’ this major exhibition will examine the role of gardens in the paintings of Claude Monet and his contemporaries the exhibition will span the early 1860s to the 1920s, a period of tremendous social change and innovation in the arts, and will include Impressionist PostImpressionist and Avant-Garde artists of the early twentieth century It will bring together over 120 works from public institutions and private collections across Europe and the USA including 35 paintings by Monet alongside rarely seen masterpieces by Paul Klee Gustav Klimt and Wassily Kandinsky.  Claude Monet was arguably the most important painter of gardens in the history of art He was also an avid horticulturist who cultivated gardens wherever he lived a symbiotic relationship developed between his activities as a horticulturist and his paintings of gardens a relationship that can be traced from his early years in Sainte-Adresse to his final months at Giverny ‘I perhaps owe it to flowers’ A rich selection of documentary materials including horticultural books and journals as well as receipts for purchases of plants and excerpts from letters, will be included in the exhibition. Highlights of the exhibition will include a magnificent selection of Monet’s water lily paintings including the great Agapanthus Triptych of 1916 – 1919 Kansas City; The Cleveland Museum of Art St Louis) works that are closely related to the great panorama that he donated to the French State in 1922 and that are now permanently housed in the Musée de l’Orangerie in Paris For example, Monet’s monumental triptych of waterlilies will be on view for the first time in the UK During preparation for the exhibition, original documents about the case were unearthed by Ann Dumas co-curator of the Royal Academy’s Painting the Modern Garden: Monet to Matisse exhibition.”There was a protest from local farmers who were very suspicious of these strange aquatic plants that Monet wanted to plant because they they would poison their water and kill their cattle,” she said. Monet had been able to buy land on the other side of a railway line that bordered his house. It was here he wanted to create his water garden by diverting the river Epte a tributary of the Seine. Dumas said Monet acquired planning permission for his garden “after a lot of difficulty”. “The farmers were suspicious of Monet anyway,” she added “He kept himself to himself so they saw him as an outsider When they got wind that he wanted to make a water garden they complained.” This exhibition will be among the first to consider Monet’s Grandes Décorations as a response to the traumatic events of World War I and the first to juxtapose the large Water Lilies with garden paintings by other artists reacting to this period of suffering and loss. Other highlights will include Monet’s Lady in the Garden St Petersburg); Auguste Renoir’s Monet Painting in His Garden at Argenteuil 1873 (Wadsworth Atheneum Museum of Art Hartford); Monet’s Le bassin aux nymphéas Paris); Monet’s Le jardin de l’artiste à Giverny Le Havre); Wassily Kandinsky’s Murnau The Garden II 1910 (Merzbacher Kunststiftung) and Pierre Bonnard’s Resting in the Garden Vincent van Gogh, Gustav Klimt, Emil Nolde and Edouard Vuillard will also feature. As the nineteenth century drew to a close and German Expressionists embraced more subjective approaches by imagining gardens as visionary utopias; many turned to painting gardens to explore abstract colour theory and decorative design.  The monumental canvases of his garden at Giverny anticipate major artistic movements that were to come such as American Abstract Expressionism. The exhibition will be arranged thematically leading visitors through the evolution of the garden theme, from Impressionist visions of light and atmosphere to retreats for reverie and dreams signifiers of a world restored to order – a paradise regained Framing the paintings in the context of broad artistic movements as well as social and political events will offer unprecedented paths for understanding the garden as a multifaceted Home & Garden Panna MunyalOctober 05 Park Han-sol delves into the workings of the fine art world — biennales, exhibitions, fairs and auctions — while shining a spotlight on its key players, with a special focus on Seoul. Before joining The Korea Times, she spent a year at ABC News Seoul Bureau, contributing to coverage of major Asia-Pacific events, including the U.S.-North Korea summit and the stories of North Korean defectors. Recommended Contents For YouTaboola 후원링크 .st1{fill-rule:evenodd;clip-rule:evenodd;fill:#2a2a2a}By Steven Litt, cleveland.comCLEVELAND, Ohio - You'd think that the rise of modern art around 150 years ago would have been raked over so thoroughly by now that it's hardly worth digging any deeper Not so. The Cleveland Museum of Art and the Royal Academy of Arts in London have put together a lovely bouquet of a show theorizing that the innovations of modernism were at least partially rooted - pardon this and other puns - in the gardens of leading artists who cultivated new ideas about art along with peonies "Painting the Modern Garden: Monet to Matisse," which debuts Sunday at the Cleveland museum and runs through Tuesday "Painting the Modern Garden: Monet to Matisse." call 216-421-7340 or go to clevelandart.org With 107 paintings from before the Franco-Prussian War in 1870 to the beginnings of World War II in 1940 the show is packed with Impressionist garden classics by Claude Monet Camille Pissarro and less widely known contemporaries such as Gustave Caillebotte Seeing their works together makes the point that gardening was something of an obsession Their passion spilled over to their friends and jumped beyond France to England America and the European continent around the turn of the 20th century including a bold and gaudy 1911 portrait by the Spanish artist Joaquin Sorolla of Louis Comfort Tiffany in a white three-piece suit painting flowers on his Long Island estate On loan from the Hispanic Society of America The German-Jewish Impressionist Max Liebermann completed more than 200 paintings of the garden at his suburban villa on Lake Wannsee outside Berlin before his death in 1935 The show includes three remarkably fresh and robust examples glistening strokes of paint that still look wet is represented by two piercingly beautiful painted in 1903 and 1905 in electric hues that approach hallucinatory intensity in the art and lives of more famous modernists before and after World War I Organized by William Robinson, the Cleveland museum's curator of modern European painting and sculpture, and by Ann Dumas of the Royal Academy, the show is a hybrid of art history and the recent literary genre of microhistory which explores grain-of-sand topics that reveal big truths One example of the latter would be Dava Sobel's fascinating 1995 book "Longitude," which showed how the development of an accurate and seaworthy chronometer enabled the world's naval powers to hasten globalization and imperialism readable catalog explores the explosion of horticultural knowledge at the end of the 19th century that was driven by the work of such scientists as Gregor Mendel and Charles Darwin Adolphe Monet in the Garden of Le Coteau at Sainte-Adresse The late 19th century also saw the rise of a middle class able to afford gardens at European villas or country homes or in "garden cities" that sprang up along commuter rail and streetcar lines in England and America Planners and landscape architects such as Frederick Law Olmsted endowed rapidly growing industrial cities with parks and pleasure grounds democratizing public space and creating places where social classes could mix books and horticultural expos fed the new enthusiasm All of this was catnip for artists - particularly for Monet He dominates the exhibition from beginning to end with more than two-dozen canvases gemlike images painted in the 1860s and '70s "en plein air," or outdoors to a panoramic trio of unified water lily paintings which together envelop viewers in a bath of colored light reflected on the surface of the pond Monet created at his property in Giverny the Nelson Atkins Museum of Art in Kansas City the three big paintings were finished in 1926 Reunited in Cleveland for the first time since 1980 they are joined together to form a single image measuring 41 feet across and 6.5 feet high The exhibition is organized roughly in chronological order which underscores the fact that Monet's career spanned and leapfrogged the garden-inspired developments of his contemporaries in movements such as Pointillism Monet's ability to portray natural light and weather with uncanny acuity unfolded with a steady evolution that makes it possible to tell the year in which he completed his paintings simply by looking at his brushstrokes reading a newspaper on a bench in the Sainte Adresse garden of the artist's aunt confetti-like strokes that fit together tightly almost like tiny tiles in a mosaic to capture the brilliant light of a seaside town Monet was painting in a way that anticipated American Abstract Expressionism While the show uses Monet's career as its spine wild-looking gardens in vogue in late 19th-century England whose socialist sympathies led him to paint market gardens as a salute to common is represented by a quartet of delightful if minor paintings Rose," which shows children lighting paper lanterns in a garden at dusk wouldn't lend it either to Cleveland or the Royal Academy because the middle section of the exhibition could have used one or two additional counterweights to Monet the show convincingly demonstrates the internationalism of the garden painting movement in unexpected ways Outstanding in this regard are a trio of elaborate landscapes by Pablo Picasso's Barcelona friend Santiago Rusinol whose somber scenes of Spanish royal gardens communicate the decline of his country's imperial reach after the Spanish-American War revealed in part through biographical details such as Monet's patriotic refusal to leave his Giverny garden and studio in the fall of 1914 even though German troops were closing in on Paris including the Cleveland museum's own "Interior With an Etruscan Vase," painted in Nice on the French Riviera in 1940 which depicts a pretty woman seated at a table covered with fruit and surrounded with potted plants Henri Matisse: "Interior with an Etruscan Vase," 1940 As the show's catalog and labels point out the window in the room is blacked-out as a precaution against bombing; the luminous rectangle behind the seated woman is actually a painting the garden has moved inside the artist's apartment because the world outside has become too dangerous The painting has become a garden for the mind which seems the inevitable outcome of the trajectory traced by the show Cleveland is certainly lucky to have such a big vibrant and stimulating exhibition in its newly renovated and expanded museum after having spent nearly a decade on its physical renewal the museum is focusing again on one of its most important tasks: assembling exhibitions that no other institution in Ohio could attempt or afford Use of and/or registration on any portion of this site constitutes acceptance of our User Agreement, (updated 8/1/2024) and acknowledgement of our Privacy Policy, and Your Privacy Choices and Rights (updated 1/1/2025) © 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 \n m_gallery = \"cma_debuts_painting_the_madern\";\n m_gallery_id = \"18926707\";\n m_gallery_title = \"CMA debuts Painting the Modern Garden its big fall show\";\n m_gallery_blog_id = \"4501\";\n m_gallery_creation_date = \"Thursday 2:19 PM\";\n m_gallery_permalink = \"http://photos.cleveland.com/4501/gallery/cma_debuts_painting_the_madern/index.html\";\n m_gallery_json = \"https://blog.cleveland.com/photogallery/4501/18926707.json\";\n m_gallery_pagetype = \"embed\";\n m_gallery_type = \"photo\";\n <\/script>\n Gallery: CMA debuts Painting the Modern Garden historienne de l’art spécialiste de Monet actuellement en charge du catalogue raisonné de ses pastels présentait dans un essai du catalogue de l’exposition une première biographie du frère méconnu À la faveur de trois années de recherche supplémentaire elle lui consacre aujourd’hui une exposition monographique au Musée du Luxembourg photographies et documents d’archives ont été réunis dessinant l’état actuel de la jeune connaissance de Léon Monet Cinq sections thématiques poursuivant un fil globalement chronologique étayent les jalons biographiques déjà mis en exergue à Rouen – l’implication dans l’industrie cotonnière rouennaise à partir de 1870 et la constitution d’une collection impressionniste particulièrement précoce – et mettent en évidence les plus récentes découvertes – l’établissement du répertoire complet de la collection et l’activité de chimiste en couleurs pour la société suisse Geigy & C° implantée à… Pour avoir accès à ce contenu, vous devez vous abonner à La Tribune de l’Art. 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Les avantages et les conditions de cet abonnement, qui vous permettra par ailleurs de soutenir La Tribune de l’Art, sont décrits sur la page d’abonnement Si vous êtes déjà abonné, connectez-vous that was like a final masterpiece of his career to celebrate himself and the artists he loved and put together The spectacular auction sale was entrusted to the prestigious Bonhams Cornette de Saint Cyr house in Paris-Alain Deloin was a world-renowned and international artist was the round of presentation wanted before the auctioning of the collection The traveling exhibition to showcase the works toured 3 continents with stops in New York 2023 with proceeds of more than 8 million euros far more than the 4/5 estimated at the beginning Alain Delon: 60 Years of Passion was the title of the auction and the time reference is from the actor’s first purchase in London in 1969 at the age of 24 (at the time he was in a relationship with Romy Schneider whom he met on the set of The Pure Lover): a drawing depicting a beetle by Albrecht Dürer from 1505 purchased for 700,000 francs (a figure that marked a world record for the purchase of a drawing) sculptures and other drawings placed between the Italian Renaissance and 19th-century French for six decades “Over the years,” Alain Delon said at the time These works have accompanied me for many years and have been part of my life There are two things I consider my legacy: my acting career and my art collection People ask me if there is a common thread that ties these pieces together and I say C’est moi.” This is how Alain Delon considered his art collection enough to understand its value and the exploit of the sale’s countervalue compared to expectations So much so that Bonhams Cornette de Saint Cyr’s president declared at the time “it was an unprecedented success His taste and eye have been acclaimed all over the world It was a great honor for Bonhams Cornette de Saint Cyr to present this sublime collection and it is not surprising that it attracted such passionate bidding at this exceptional sale.” Delon’s acting career began in the late 1950s 1970s and 1980s that he won audiences over in such films as Rocco and His Brothers (1960) Klein (1976) and Notre Histoire (1984) for which he won the French equivalent of an Oscar Delon worked with the leading directors of his time He was awarded the Legion of Honor in 1991 and was awarded a Golden Bear for Lifetime Achievement in Berlin and a Palme d’Or for Lifetime Achievement at the Cannes Film Festival His collection put up for sale last year focused more on modern art and the auction’s main lot was a painting by Raoul Dufy entitled La baie de Sainte-Adresse The initial sale estimate was 600-800,000 euros The collection was rich in sculptural works and with a fine body of Italian Renaissance drawings and rare folios by the great French masters of the 19th century But his was not a form of investment as much as it was personal passion accompanied by expertise and eye: “His instinctive eye,” said Arnaud Cornette de Saint Cyr in presenting the works “guides him unerringly to masterpieces from the earliest ancient drawings to the great modern masters He ignores fashions; he listens only to his emotion to the intimate dialogue that takes place with these great designers the closest thing to the artist’s thought and this creative outpouring he brought together the greatest painters and sculptors through his choices.” Among the notable sales was that for Eugène Delacroix’s Arabian Horse Tied to a Stake at €775.100 and three works by Rembrandt Bugatti: a bronze statuette of a crouching Lioness that “demonstrates how the artist succeeded in capturing in bronze the beauty of animals and at the same time the sense of their vulnerability,” as the catalog read (estimated at €250,000-300,000 and then a Panther sold for €508,400 and a Lion sold for €483 thousand Also among the major works was a Landscape (1914-1915) by Albert Gleizes (1881-1953) "illustrating the new Cubist tendencies embraced by Gleizes after the publication in 1912 of his work Du Cubisme written together with Jean Metzinger." It sold for €356,000 Two works by Jean-François Millet (1814-1875) fetched high prices and surprised: a painting titled Paysannes au repos sold for €241,700 and La Laitière normande a charcoal drawing estimated at between €100 thousand and €150 thousand a delicate oil on canvas from 1834) by Camille Corot (1796-1875) Eugène Delacroix ’s painting Cheval arabe attaché à un piquet (estimated between 400,000 and 600,000 euros was sold for 775,000 euros; the 16th-century pen-and-ink drawing by Paolo Caliari Saint George Slaying the Dragon estimated between 40,000 and 60,000 euros was fetched almost 83,000 euros the work illustrates the new Cubist tendencies embraced by Gleizes after the 1912 publication of his work Du Cubisme Estimate: €200,000-300,000 sold for €356,000 A charcoal and chalk on paper by Degas with a dancer taken from behind sold for 191 thousand euros Several works by Jan van Goyen (1596-1665) including two Winter Landscapes both sold for over 50 thousand euros The brand new apartment development in Penarth Sainte Adresse – currently in its construction phase – will this week launch its website to coincide with renowned artist located on the headland behind the iconic Customs House is so-called because of its links with Monet and his former French holiday retreat the founder of impressionism painted many works of art in the small historical town including Jardin à Sainte-Adresse which he created in 1867 after spending the summer there with his family The South Wales apartment complex is situated on the land of the former Northcliff manor house lodge and summer house which was built for Ernest Plisson who traded between Penarth and Sainte-Adresse in the early 1900s “Plisson was a pioneer and managed one of the largest coal exporters pitwood importers and colliery agents in the Bristol Channel at the time a small coastal suburb just two miles north west of the city He actually named his ship after the seaside town and we thought it was apt to celebrate both Plisson and the area that Monet found so inspiring.” Monet’s long list of artworks based on the beautiful area include La plage de Sainte-Adresse La côte de Sainte-Adresse and La mer à Sainte-Adresse Several of his stunning pieces can be found in the National Museum of Wales and the contemporary collection of apartments made up of 24 two-bedroom suites and 6 three-bedroom duplex apartments has been designed by Penarth architectural practice staggered based on the natural site levels communal space and parking areas are innately integrated into the cliff top Every apartment comes with its own floor to ceiling window offering breath-taking views of Cardiff The award-winning Scimitar Homes has been charged with bringing the spectacular development to life Apartments start from £350,000 and will be available to reserve in spring 2019 with completion set for summer 2020 As well as providing the detailed specifications about the apartments the website allows users to express interest and be the first to find out the latest news about the complex Please visit http://www.sainteadresse.co.uk/ for more information attack or quietly obliterate previous lives Jackie Wullschläger’s Monet: The Restless Vision (Allen Lane as it falsely claims and many reviewers have blindly repeated Charles Mount published Monet with Simon & Schuster in 1966 It’s doubtful that Daniel Wildenstein’s Catalogue raisonné (Paris 2,580 works) includes—as this book also claims to use in another self-puff—“three thousand letters by Monet.” This biography has 50 handsome color plates (though many of them immediately fell out of the loose binding) and 85 useful textual illustrations a stylish writer and the usually sharp-eyed art critic of the Financial Times is livelier than the academic art historians She describes Monet’s beautiful subjects and techniques thin cultural background and intellectual content cathedrals and water lilies become rather dull and her detailed discussion of a great many tedious pictures blurs the focus and clogs the narrative Monet in African uniform is wearing a képi (not a fez); his wife’s Green Dress is stunning (not absurdly opulent); the viewer cannot tell if she “gazes at Monet with curiosity and confidence”; the maid in The Luncheon is opening the cupboard (not “half-crushed into it”); the tranquil and soothing Water Lilies do not express the “chaos and dissolution” of wartime France — they are a monument to peace created in wartime France; Manet’s Olympia is vivid and sexy (not sickly); Seurat’s Grande Jatte portrays a promenade (not a picnic) born in Paris but taken to Le Havre at the age of five sophisticated Parisians Edouard Manet and Edgar Degas He did not have a complex character nor a fascinating life he had a gargantuan appetite and a huge belly to match “It’s a real joy just to think about eating a cutlet with you Monet—who lived through coups and revolutions a civil war and World War I—saw military service in Algeria “nothing attracted me so much as the endless cavalcades under the burning sun In Algeria I spent two really charming years I incessantly saw something new.”  He asserted morally and from all points of view,” but he also insisted it was a torment “that left me with so many awful memories” After returning from the powerful sun of North Africa Monet abandoned the sombre colours of traditional landscapes attempted to see his subjects in a new light and felt “as if he had been born blind and had suddenly been granted his sight” In seeking to capture his vision of reality he explored more countries than any of the Impressionists and traveled from Algeria to Norway he wrote many shameless and humiliating letters begging for and even demanding funds: “I need a bit of money I never thought you’d abandon me like this May you never know such moments of misery.”  After stretching friendships to the limit He believed his art conferred a right to good living and he enjoyed fine things”—including pleated shirts trimmed with lace cuffs and a gold-headed cane “Slow rises worth by poverty oppressed.”  A titanic worker Monet earned 12,000 francs in 1872; 100,000 in 1891; 227,000 in 1899; 271,000 in 1904 In the 1920s a single picture sold for 50,000 and he earned 40,000 annual interest on savings of one million francs “the near-destitute widower of 1879 had fought indefatigably and had won all the prizes: [his second wife] Alice a position as the leading painter of his day.”  Even when he had everything: health “I am very unhappy,” which contradicted the joie de vivre of his work Monet’s life changed decisively with three different women freed him for romance with Alice; after her death in 1911 her daughter a striking contrast to his oxygenated plein air work suggest the storm and stress of his marriage to Camille misinterprets one of his most revealing works and writes that Camille “passes outside the French windows of the house: a fleeting figure with an expression between poignancy and blankness.”   But in this painting Camille framed by the wispy curtains and stark windows of a barren interior isolated and frozen (not fleeting) in the snow Protectively clutching the blood-red cape that covers her fur-trimmed dark jacket and skirt she stops and looks wistfully into the house that cruelly and dramatically excludes her She had suffered great hardships while he sacrificed their life for his art and he’d begun his affair with Alice when Camille lay dying he portrayed her as morbidly brown-skinned head slightly raised on a mound of pillows and a bunch of roses on her chest She’s covered by a black shawl and her face is enclosed from crown to chin by a nun-like wimple The high pillows and bedcovers are painted with frantic slashes and swirls of funereal bluish-grey streaked with black and yellow and set against a sombre background His emotional portrait (unusual in Monet) is both a valediction and severance from the woman he’d once loved Camille’s corpse has no “verge of a smile” the 18th-century Scottish artist Allan Ramsay admitted that when his infant son died he instinctively recorded how he looked on his deathbed became absorbed in the task and forgot he was painting his own dead child: “While thoroughly occupied thus I felt no more concern than if the subject had been an indifferent one.” Camille Monet sur son lit de mort by Claude Monet (1879) The impressive heroine of this biography is Alice Hoschedé a wealthy department-store owner and avid collector of Monet’s art moved with his wife and six children into Monet’s modest house on the Seine He then was mostly absent in Paris while trying in vain to recover his fortune competent and reassuring,” Alice cared for the mortally ill Camille and Monet’s two young sons accustomed to luxury and reduced to degrading poverty gave piano lessons and drudged in the kitchen Deeply humiliated by the descent from the glories of her château and by the financial disasters of her husband Alice sought emotional and physical comfort with Monet and they married after Ernest’s death in 1892 she stayed close to him—even in a rocking Venetian gondola—while he painted after dining on Aline Renoir’s excellent bouillabaisse she recalled that “your wishes were realised as you were forming them.”  As she lay dying in 1911 her main concern was to spare Monet the pain of her death where Camille (not Claude) Pissarro became his closest friend in exile They “shared political and artistic sympathies books [which?] and visits to the National Gallery” His second journey in 1901 was more fruitful He watched Queen Victoria’s funeral with Henry James who spoke perfect French and was charming; rediscovered the Turners while minimising their influence on his own work; and destabilised the steel bridges over the Thames into “weightless phantoms.”  In The Decay of Lying (1902) Oscar Wilde paradoxically observed that Nature imitates Art: “Where do we get those wonderful brown fogs creeping down our streets blurring the gas lamps and changing the houses into monstrous shadows The extraordinary change that has taken place in the climate of London during the last ten years is entirely due to this particular school of Art.” and Monet too began to lose his sight around 1920 “I am almost blind and should give up all work.”  But three cataract operations strong spectacles and eye drops improved his vision and he bravely soldiered on toward the blurred series of Water Lilies He “asked only to live to be one hundred” but managed 86: the last survivor—Degas died in 1917 Renoir in 1919—of the comrades who had struggled for recognition in the early days of Impressionism Ingres had insisted “however skillful it is displayed their  brushstrokes and lacked finish They emphasised the fleeting moments and transient effects of nature When working on his series of haystacks and poplars Monet sometimes painted only a few strokes on the canvas before the light transformed the scene to capture the dancing instant of illumination His art opposed the invasive industrialized and mechanized urban life with scenes of calm and leisure Monet’s art is limited by the absence of people or entirely missing from the empty landscape in the absurd costume and tilted pose of La Japonaise The dance of the fans on the back wall is more interesting than Camille As Wullschläger notes a serious defect: “whoever he depicted was playing a part in a composition not a psychologically considered or independent person.”  A comparison of Manet’s Berthe Morisot with a Bouquet of Violets and Monet’s Camille with a Bouquet of Violets shows Manet’s clear superiority in depicting humanity Berthe Morisot With a Bouquet of Violets by Edouard Manet (1872) Portrait de Camille au bouquet de violettes by Claude Monet (1877) worked demonically hard (sometimes from 5 a.m and was willing to endure severe climates and extreme hardships in order to capture the violence of storms at sea He followed the stoical example of the Renaissance sculptor Luca della Robbia who (Giorgio Vasari records) when sketching at night in the cold would warm his feet by placing them in a basket of wood shavings wore three overcoats and managed to hold his brush with gloved hands As the critic John House wrote of his perilous struggles with nature when he had mistimed a session of painting on the beach after misreading the tide tables; in the gales at Belle-Ile his easel had to be tied to the rocks; in snow and ice his beard grew icicles and he had himself fastened to the ice [like Ulysses lashed to the mast] with a hot-water bottle to keep his hands warm enough for him to paint.” Renoir recalled that Monet was given special permission to paint the Gare du Nord: “the trains were halted; the platforms were cleared; the engines were crammed with coal so as to give out all the smoke Monet desired.”  In a fascinating recurrent pattern he paved the public road near his garden so that dust from the traffic would not settle on his flowers When an oak he’d been depicting burst into leaf Halfway through the Poplars series he heard they were about to be cut down so he bought the entire grove along the river bank in order to finish his work He diverted the river Epte to form his own pond His special gardener (one of six) working from a boat and solely responsible for the water lilies soaked every pad to remove the dust and cleaned the surface of the pond Monet was the first and perhaps the only artist in history to invent a landscape in order to paint it The sinuous lilies echoed the lines of Art Nouveau and eventually lapsed into abstraction His pictures captured the elusive atmosphere of the pond which seemed to disappear into his flowery waters and watery flowers (Four Poplars on the Banks of the Epte River near Giverny) Many artist-friends criticised the dead-end repetition of the series pictures Pissarro thought they did “not represent a highly developed art” Degas believed the beautiful decorations were “made to sell” Renoir found them retrograde and called the large lilies “marvelous targets for firing practice!”  Even the loyal Alice was glad when Monet painted “something other than the eternal water lilies” Yet Georges Clemenceau — President of the Third Republic and his closest friend after helping to create the future of postwar Europe at the Versailles Peace Conference — found time to arrange the donation to France of the enormous water lily paintings and to create a special site in L’Orangerie to display them The floating island-pads expose their coloured flowers to the sky The Water Lilies – Setting Sun by Claude Monet (1920–1926) More could be said about Monet’s major works He painted the Terrace at Sainte-Adresse (1867) at his aunt’s seaside house outside Le Havre the gentlemen carry walking sticks; one of them wears a panama the distance between the top of the fence and the horizon of the sea is exactly the same as between the horizon and the bottom of the fluttering flags that frame and focus the seascape The figures are surrounded by red flowers on three sides of the terrace the white terrace and umbrella are in the foreground and they all match the tricolor of the flying French flag The pointed jib of the nearby sailboat echoes the point of the red and yellow pennant; and the puffs of smoke from the steamboats drift into the striated clouds Jardin à Sainte-Adresse by Claude Monet (1866 – 1867) fence and roof is illuminated by a brilliant winter sun in a grey sky the only living creature in the bleak scene ominously perched on the crooked gate and surveying the blankness Wullschläger ignores the physical and folklore significance of the black bird associated with witchcraft and—as with Brueghel’s Magpie in the Gallows (1568)—with death sings a whining song and is buffeted by a desolate climate Morning Effect (1882) portrays the serpentine life that seems to be slithering out of the sea and surging up the steep jagged red-streaked cliff A Poesque church with five pointed roofs (which was actually a hundred yards back from the edge of the cliff) is precariously perched on its wavy crest and seems about to topple over and crash into the sea The spectacular Manneporte (“great portal”) had been created in Normandy by the ferocious pounding of the waves that punched a hole through the rock yet striding through the turbulent surface of the sea Hokusai’s print Fuji Seen from the Seashore (c.1847) has the same rocky form and huge natural hole as Monet’s Manneporte The Manneport at High Tide by Claude Monet(1885) Wullschläger could have said more about the fruits of Monet’s 1895 winter trip to Norway   She does not quote Saul Bellow’s brilliant description of Monet’s Sandviken 1895) in Humboldt’s Gift (1975): “There was one Norwegian winter landscape by Monet that we always went to see straightaway: a house Through the covering snow came the pink of the house was lifted effortlessly by the astonishing strength of the light The Rouen Cathedrals (1894) were Monet’s most successful series: “To see the façade close up looking out through the window from a cramped makeshift studio in a millinery shop.” Surrounding himself with his work-in-progress Monet raced back and forth between these canvases just as a silent film director rushed from scene to scene almost exactly contemporary with the Lumière brothers’ first displays of moving images the flow of action from one scene to another and What's this for? 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Register here Please enter your registered email address below and we will send you a link to reset it By proceeding, you agree to our Terms & Conditions and our Privacy Policy If an account exists for this email address please check your Junk Mail folder and add info@thearticle.com to your safe list the great film icon of the 1960s and 1970s and one of the leading sex symbols of all time was sold at auction at Bonhams Cornette de Saint Cyr in Paris The sale of the 83 lots auctioned (and awarded 98 percent of them) brought in a total of 8 million euros against a pre-sale estimate of 4 million euros buyers competed with great participation for the big names passionately collected by Alain Delon.Delon was a discerning and passionate art collector but it was mainly between the 1960s and 1970s that he achieved great success in films such as Rocco and His Brothers (1960) or The Leopard (1963) until he reached Notre Histoire (1984) for which he won the César Award for Best Actor Delon is also celebrated for his skill as an actor and has worked with the leading directors of his time He was awarded the Legion of Honor in 1991 and received an honorary Golden Bear and an honorary Palme d’Or focusing mainly on names inmodern art but not disdaining some old masters as well The main lot was a painting by Raoul Dufy (1877-1953) which sold for 1,016,400 euros (pictured below) against an initial estimate of 600-800,000 euros Also worth mentioning is Eugène Delacroix ’s (1798-1863) Arabian Horse Tied to a Stake and three outstanding works by Rembrandt Bugatti (1884-1916) namely a bronze statuette of a crouching Lioness that demonstrates how the artist managed to capture in bronze the beauty of animals and at the same time a sense of their vulnerability (estimated 250.000-300,000 and then a Panther sold for €508,400 and a Lion sold for €483,000 which illustrates the new Cubist tendencies embraced by Gleizes after the publication in 1912 of his work Du Cubisme two works by Jean-François Millet (1814-1875) sold for astonishing prices: a painting titled Paysannes au repos sold for €241,700 and La La Laitière normande a charcoal drawing estimated between €100,000 and €150,000 a delicate oil on canvas from 1834 by Camille Corot (1796-1875) There are also many Italian artists in Delon’s collection A small pen and watercolor drawing by Domenico Beccafumi depicting St Anthony on the recto and Kneeling Women on the reverse sold for €241,700 Also passed in the auction were a drawing by Veronese (a St a drawing depicting a Christ on the Cross by Guercino a drawing by Grechetto (The Family of Darius in front of Alexander) and a Study of Two Orientals by Giovanni Battista Tiepolo president of Bonhams Cornette de Saint Cyr in Paris which has been admired from Hong Kong to New York to Paris and humble farms around Woodstock reignited Bellows’s interest in landscape painting its composition dictated by precepts of Dynamic Symmetry and his daughters playing on improbably sharp peaks Courtesy The Peabody Art Collection and The Baltimore Museum of Art “Garden at Sainte-Adresse,” Claude Monet Oil on canvas from the collection of The Metropolitan Museum of Art “The Harbor at Lorient,” Berthe Morisot Oil on canvas from the Ailsa Mellon Bruce Collection focusing his art on the pageant of America he roamed the bustling streets of New York sketching all manner of activities among all classes His powerfully painted portrayals of skinny kids swimming in filthy rivers excavation sites for buildings and vignettes of pugilists duking it out in Manhattan clubs captured the excrdf_Descriptionent and energy of life in the Big City Bellows’s violent “Stag at Skarkey’s,” 1909 is considered by many to be the greatest boxing painting of all time and helped make him famous John Sloan and others of the Ashcan School reflecting the gritty realities of contemporary urban existence becoming — at age 26 — the youngest member ever elected to the National Academy of Design He found time as well to help organize and display his own paintings in the trailblazing Armory Show of 1913 that introduced European modernism in America Bellows married fellow art student Emma Story in 1910 They established a home/studio at 146 East 19th Street in Manhattan today a private home marked with a Bellows plaque on Monhegan Island (where he painted the power of the sea) and around Camden (where he painted construction of a ship and views of his family) Outraged by the atrocities committed by German invaders of Belgium in World War I hard-hitting depictions of the brutalities of war Bellows first came to Woodstock to visit Elsie and Eugene Speicher the latter a painter who had studied under Henri at the Chase School recognizing its potential for landscape painting and liked the presence of so many other artists in the town’s growing art community he rented the commodious home of Dr James Shotwell with grand mountain views and space to entertain artists and other friends Bellows built a home on what is now Bellows Lane in a compound of houses owned by his artist friends Charles Rosen and Speicher Utilizing Jay Hambridge’s theory of Dynamic Symmetry which he also applied to composing paintings The result is immortalized in a beautiful oil “By the time he came to Woodstock in 1920 [at age 38] he was no longer a brash young painter of urban scenes,” writes Mecklenburg “but a contemplative man seeking something more profound more universal than the crowded streets and shifting light of a fast-moving city.” A man of boundless energy and restless creativity Bellows explored many subjects and styles and to the end was always searching for ways to improve his art Woodstock was well on its way to becoming an important mecca for creative people wealthy heir Ralph Radcliffe Whitehead had established the Byrdcliffe Arts and Crafts colony and the spin-off Maverick art community was also underway The summer school of the Art Students League attracted a steady stream of artists to Woodstock which was formed just before Bellows arrived The WAA exhibited both traditional and avant-garde styles Speicher and Leon Kroll adhered to more conventional work Andrew Dasburg and Henry Lee McFee led the modernist contingent the exhibition includes examples of work by others in Woodstock The highlight is German-born Cramer’s “Barns and Corner Porch,” 1922 a colorful masterpiece of cubism applied to a rural scene Bellows enjoyed philosophizing and discussing art with his fellow painters and often went on sketching excursions with Rosen and Speicher sketched during frequent poker games at the Rosen house reflect the camaraderie among the close-knit art colonists Bellows completed two of his finest portraits: “Anne in White,” 1920 a tenderly poignant likeness of his 9-year-old daughter seated in a house with a Catskill Mountains view over her shoulder contrasting the perky youth of his younger daughter in a white dress Aunt Fanny (Elinor) gestures toward Jean in a pose reminiscent of Old Master paintings “Emma and Her Children,” 1923 humble farms and farm animals around Woodstock reignited Bellows’s interest in landscape painting presaged many of his later depictions of the area are “Trout Stream and Mountains,” “The White Fence,” “Hudson at Saugerties” and “Pigs and Donkeys.” The brilliantly hued “Autumn Brook,” 1922 recently acquired by the Memorial Art Gallery served as the foreground for a more expansive landscape Shady Valley (Bogg’s Road),” painted in October 1922 provided the setting for the enigmatic surreal masterwork “The White Horse,” completed in November 1922 The latter is a fascinating panorama featuring a white horse gazing at a dramatic horizon in which light streams through white clouds They “stand as mute and mysterious observers of a landscape’s unfolding evocative power,” according to art historian John Wilmerding Another puzzling painting with surreal touches its composition dictated by precepts of Dynamic Symmetry bird’s-eye view of Woodstock’s scenic Cooper Lake wife Emma laying out a picnic and his daughters playing on improbably sharp peaks Woodstock,” showing the painter’s substantial white home nestled below Overlook Mountain the scene is suffused with the vivid colors of autumn Writer Joyce Carol Oats has noted that the painting “seems literally to glow with a pale yellow light.” “These works,” writes co-curator Netsky “…contain a vibrancy of color and an urgency of stroke indicative of an artist with an undiminished need for new challenges.” At the same time Bellows was ambivalent about some of the directions in which avant-garde art seemed to be heading while Bellows “clearly maintained his interest in realism [and in depicting the life around him] his Woodstock landscapes reveal an artist searching for a new direction.” The same search can be discerned in Bellows’s Woodstock portraits “Mr and Mrs Phillip Wase,” completed in September 1924 and “Two Women,” finished in October 1924 The Wases are presented as an aging couple seated on a Victorian loveseat that came from the painter’s mother’s home in Columbus “an elderly married couple who appear to inhabit contiguous but not intersecting emotional worlds.” This is a static “Two Women,” showing a nude female sitting on the Victorian loveseat next to a fully clothed woman with identical features It appears to be modeled on Titian’s celebrated “Sacred and Profane Love,” although set in Bellows’s Woodstock house romantic quality of this canvas makes one wonder what portraiture lay ahead for the artist had he lived longer he embraced the aesthetic theories of Hambridge and Hardesty Maratta which they felt curbed his instinctive authenticity Bellows created well over 100 paintings in Woodstock Many were executed in conformity with Maratta’s color theories a complex system involving blends of primary and secondary colors They also incorporated Hambridge’s Dynamic Symmetry a compositional system involving orderly grids dividing the picture plane Other observers never flagged in their high regard for Bellows’s Americanness and ability to communicate his art to the man in the street his popularity remained high in his last years — and thereafter his animated painting “Polo Crowd” was sold to Microsoft Chairman Bill Gates for the highest price ever paid at auction for the work of an American artist Curator Searl suggests that in his Woodstock years Bellows was coming to “terms with the tensions and bonds of youth and age the erotic and the platonic.” She writes that “Having staked his claim as an urban realist when he was much younger now was the time to reassess where he had been and where he was heading; now was the time to consider some of the bigger questions of life to respond to them and to move his work to a new plane.” After suffering from what was thought to be “chronic indigestion” during the summer of 1924 Bellows returned to New York where he busied himself with pressing projects he died in January 1925 of complications from a ruptured appendix There is no telling to what heights Bellows’s art would have gone had he lived longer He was clearly moving in fresh and exciting directions blending Old Master discipline with modernist tendencies after 1920 Bellows established himself as one of America’s finest painters He will always be remembered for his down-to-earth depictions of life in New York his stirring portrayals of boxing contests — and now for the bold landscapes and masterful portraits of his final years fully illustrated catalog is attractive and informative It includes chapters by co-curators Searl and Netsky and by Bellows authorities Mecklenburg and Mark Andrew White this valuable contribution to scholarship about American art is available for $29.95 The Terra Museum of American Art is at 664 North Michigan Avenue In keeping with Beaudelaire’s admonition the painter early on sought to capture the spectacle of life around him in Paris with festive leisure scenes and “be of one’s time and paint what one sees.” Manet became independent and financially secure The following year he married Dutch-born Suzanne Leenhoff but did try to adapt Old Master compositions to portrayals of contemporary life In “Dejeuner sur l’herbe (The Picnic),” 1863 based on Raphael’s picture of mythological figures he showed a naked woman picnicking with two clothed men The modernity of this canvas shocked many viewers criticized it for using Old Master imagery for a current scene That same year Manet painted “Olympia,” inspired by Titian’s “Venus of Urbino,” 1538 A firestorm of criticism erupted when the modern version was exhibited in 1865 Today one of the greatest treasures of the Musée d’Orsay in Paris — a major repository of Manet’s art — this portrayal of a very real model in a challenging pose and mood was condemned for its forthright nudity and brazen subject During this period Manet was vilified by the French art establishment for mocking traditional art for his unconventionally candid images and for the harshness of his painting technique he was regarded by many as the leader of the avant-garde It was a low point for a young artist anxious for the respect and esteem of the art-loving public Having been rebuffed and castigated at the Salon of 1864 Manet set out to regain public respect by painting a contemporary event of historic significance He chose the naval engagement between two protagonists in the American Civil War that had recently been fought off the coast of France recognizing that its small navy was no match for that of the North sought to demoralize the Union by devastating its merchant fleet Several armed Confederate raiders roamed the high seas boarding unprotected Union commercial vessels seizing cargo and often sinking the ships was commanded by the flamboyant Captain Raphael Semmes Semmes and his ship gained worldwide celebrity for sinking 65 Union merchant vessels in 22 months When Alabama stopped in Cherbourg harbor for repairs and supplies leading to the battle just outside French territorial waters The superior marksmanship and maneuverability of the Union vessel carried the day; after an intense duel witnessed by many spectators from the shore with eyewitness reports augmented by diagrams of the battle but relied on press reports and depictions in illustrated newspapers to quickly compose his celebrated “The Battle of the USS Kearsarge and the CSS Alabama,” 1864 now a prized possession of the Philadelphia Museum of Art So anxious was the artist to capitalize on the event that less than a month after the fight his large canvas of it was exhibited in a Paris gallery This magnificent painting is especially significant for its great expanse of foreground water its high horizon line and the seemingly haphazard placement of the vessels The brilliant greens of Manet’s sea add to the drama of the innovative composition As Alabama sinks in front of Kearsarge in the upper left ships to the left and right speed to rescue survivors Manet visited the victorious Kearsarge as it lay at anchor off Boulogne-sur-Mer and recorded several interesting views of the scene “The Kearsarge at Boulogne,” 1864 in the collection of the Metropolitan Museum of Art shows the Union ship in profile and off-center It and related seascapes by Manet stand out for their bird’s-eye perspective elevated horizons and reduction of sea and sky to flat bands of color Manet’s paintings of the battle and its aftermath were the subject of an absorbing exhibition “Manet and the American Civil War,” earlier this year at the Met Many of the marinescapes from that show are stars of the expanded exhibition on view in Chicago The first exhibition devoted to an important but little-studied aspect of his career “Manet and the Sea” examines the artist’s seascapes – created between 1864 and 1881 – and their role in the evolution of marine painting Using Manet’s boldly innovative canvases as a point of departure the show traces complex interrelationships that link Manet to such predecessors as Eugéne Delacroix and Gustave Courbet and to contemporaries and successors like Claude Monet Berthe Morisot and James McNeill Whistler “Manet and the Sea” unites 40 marinescapes by Manet with examples of works on similar subjects by other painters “Manet and the Sea” will be at The Art Institute of Chicago through January 19 and then travels to the Philadelphia Museum of Art (February 15-May 30) and the Van Gogh Museum in Amsterdam (June 18-September 26) the exhibition is curated by Douglas Druick Gisela and Dennis Alter senior curator of European painting and sculpture assistant curator of European painting and sculpture Leading Manet authority Juliet Wilson-Bareau is consulting curator for the show and a major contributor to the catalog Dutch painter Johan Barthold Jongkind and Frenchman Eugéne Boudin were exploring fresh ways to capture the atmosphere of light and air around ships in harbors and views of social life at such French coastal resorts as Trouville and Deauville New rail lines linking Paris and the shore made the seaside accessible to middle-class as well as affluent vacationers was more interested in the power of the ocean which he conveyed through thickly painted canvases of churning water When Whistler accompanied Courbet to Trouville in 1865 the young American used a high horizon line flat planes of color and simplified outlines of boats an approach suggesting his debt to his friend Manet and Japanese aesthetics Both Manet and Whistler were captivated by Japanese prints which influenced the spatial organization unscripted placement of objects and flattened surfaces in their work The exhibition offers interesting comparisons among Manet’s “Departure from Boulogne Harbor,” “The Kearsarge at Boulogne” and “Steamboat Leaving Boulogne,” all 1864 and Whistler’s “Crepuscule in Flesh Colour and Green: Valparaiso” and “Trouville (Gray and Green Claude Monet was the artist who was most influenced by the sea the Impressionist leader said he “remained faithful to the sea in front of which I grew up.” Although Manet was initially annoyed when Monet’s marine paintings at the Salon of 1865 were mistakenly identified as his own the two soon became friends and admirers of each other’s work Each had an impact on the other’s art After spending time with Monet in the early 1870s Manet employed a brighter palette applied with fragmented brushstrokes in his work Both painters shared an interest in depicting the movement of the ocean docks and other harbor structures and seashore visitors It is hard to tell which of the two painters created Manet’s “The Steamboat and Monet’s “The Green Wave,” circa 1866-67 so closely do they resemble each other in composition Monet’s “The Beach at Trouville,” 1863 and Manet’s “The Jetty of Boulogne-sur-Mer,” 1868 reflect the presence of increasing numbers of vacationers on the coast It is generally agreed that Monet’s exposure to the vivid hues and lofty horizon of Manet’s “Kearsarge” paintings encouraged Monet to employ similar methods in his memorable glorious “Garden at Sainte-Adresse,” 1867 was prompted to paint outdoors and to use more brilliant colors by his association with Monet whom he called the “Raphael of water.” This is most vividly reflected in Manet’s gorgeously hued Another artist who encouraged Manet to paint out of doors and whose art he greatly admired was Berthe Morisot Her Impressionist canvases utilizing loose brushstrokes to capture the atmosphere effects of light and water in coastal subjects such as “The Harbor at Lorient,” 1869 The exhibition concludes with two versions of Manet’s “The Escape of Rochefort,” 1881 immortalizing the rescue of the famous journalist-politician from the French prison colony on New Caledonia in the Pacific Depicting a small boat being rowed across a wide expanse of ocean toward a distant ship its sense of isolation is heightened by the artist’s gestural brushwork and bright palette These unforgettable canvases were completed with great difficulty by Manet a degenerative disease of the spinal chord that weakened his control over muscular movements The bedridden artist had a gangrenous leg amputated in 1883 with Monet and writer Èmile Zola among the pallbearers It not only sheds new light on Manet’s innovative approaches to marine painting but also provides tangible evidence of his influence on the sea-inspired works of his contemporaries With the assistance of the exhibition catalog the show offers glimpses into rivalries and friendships among a stellar group of Nineteenth Century painters whose dialogue helped transform and modernize the tradition of marine painting Manet’s paintings marked a turning point in the history of art and paved the way for Impressionism As art historian Gilles Neret has written “The great adventure of modern painting The 260-page catalog is exceptionally well done It contains chapters by Wilson-Bareau and other leading scholars that illuminate and place in context the sea paintings of Manet and his followers There are 110 color and 70 black and white reproductions in this volume published by the Philadelphia Museum of Art The Art Institute of Chicago is at 111 South Michigan Avenue The Philadelphia Museum of Art is on Benjamin Franklin Parkway at 26th Street Another current Manet show is worthy of note Manet’s deft engraved illustrations for Stéphane Mallarmé’s 1875 translation of Edgar Allen Poe’s “The Raven” are featured in an intriguing exhibition at the Baltimore Museum of Art “Haunting Visions of Poe: Illustrations by Manet Matisse & Gauguin” is on view through January 11 It offers prime examples of the graphic art of these three titans of French art The Baltimore Museum of Art is at 10 Art Museum Drive Valuable images and documents about President Ho Chi Minh while in France were displayed at the Museum of Living History in France in an exhibition opened on May 28 Paris (VNA) – Valuable images and documents about President Ho Chi Minh while in France were displayed at the Museum of Living History in France in an exhibition opened on May 28 provided by the President Ho Chi Minh Historical Relic Site highlighted the Vietnamese leader’s imprints in different places of France such as Sainte Adresse town as well as his friendly visit to France in 1946 his meetings with many delegations of the French Communist Party and French politicians and his interviews with French reporters in Hanoi as the head of the state of the Democratic Republic of Vietnam (now the Socialist Republic of Vietnam) They give visitors an insight into a great man with a strong will and a burning desire to find freedom for the people and independence for the Fatherland Director of the President Ho Chi Minh Historical Relic Site said that the the exhibition is to recall the most vivid memories of President Ho Chi Minh's years of vibrant activities his tireless efforts for peace and progress in the world and his endeavours to build and preserve friendly and cooperative relations between Vietnam and France President Ho Chi Minh's activities in France helped many members in the French Government French people and international public pay attention to and understand clearly about the country and people of Vietnam about the desire for independence and peace of Vietnamese people turning the majority of French people into friends of the Vietnamese people supporting Vietnam's independence and sincere and equal cooperation between the Vietnamese and French peoples She expressed her hope that the event will contribute to strengthening the friendship and cooperation between the two peoples providing visitors with a better understanding on the common history between the two peoples and build a better future showed her excitement to explore the places that President Ho Chi Minh passed in his journey in France said that the exhibition helps enrich the Ho Chi Minh space in the museum which expects a large number of visitors during the Olympic Paris 2024./ which features President Ho Chi Minh’s desire for national independence in coordination with the Ho Chi Minh National Academy of Politics (HCMA) organised a seminar in Rome on May 21 on President Ho Chi Minh – a symbol of peace for the Vietnamese people and the world Argentina’s Acercandonos Cultura website has recently published an article on the revolutionary path and great contributions of President Ho Chi Minh to the national liberation of Vietnam and the world on the occasion of his 134th birth anniversary (May 19 This year marks the 20th UN Day of Vesak Celebrations with Vietnam having hosted the event four times A highlight of the 2025 event is the ceremonial enshrinement of the historical Buddha’s relics symbolising Buddhist harmony and its peaceful message 1975 will forever be a milestone in Vietnam’s history and the beginning of a new era of independence said Vietnamese Ambassador to France Dinh Toan Thang They are asked to issue legal documents within their jurisdiction to implement cuts and reassign the authority of settlement at the district level For procedures requiring government decrees ministries must submit them to the Ministry of Justice for review by May 10 and to the Government for approval by May 30 Progress on the work must be reported to the PM by May 10 Vietjet passengers traveling on domestic flights departing from Terminal 1 at Noi Bai International Airport can now complete check-in and boarding procedures using biometric authentication (eKYC) via the VNeID app About 500 Vietnamese expatriates recently gathered in Moscow to welcome their homeland’s military delegation preparing for the Victory Day parade marking Russia’s 80th anniversary of the Great Patriotic War triumph once turned into a “hell on earth” by the colonialists and imperialists to suppress Vietnamese patriots and revolutionaries became a sacred historical place and epitomised the fighting spirit and ardent patriotism of the Vietnamese people The newly formed localities are expected to better harness the region's potential and advantages to accelerate development The activities will feature the participation of hundreds of ethnic minority representatives currently living and working at the village along with delegations from 11 provinces and cities Events included the ceremonial opening of a relic viewing of the Buddha’s sarira The two-hectare range broke ground in July 2024 supported by a grant of over 700,000 USD from the US Government and a calibration zone for mine clearance equipment Uzbekistan and Vietnam have enjoyed a long lasting relationship More than 3,500 Vietnamese students have studied at educational institutions in Uzbekistan and played an important role in strengthening the friendship between the people of the two countries./ a total of 8,056 inmates have been granted early release under this year’s amnesty the Government has effectively connected provinces rich in human resources with key economic hubs A Mexican scholar has praised Vietnam as a notable model of success not only for Asia but also for developing nations across Latin America amid the economic volatility in the 21st century Hanoi has launched a wide range of cultural and entertainment activities to attract tourists during the five-day national holiday Vietnam Railways Corporation (VNR) said the two services which departed from Hanoi (SE1) and HCM City (SE4) on April 29 were more than just a special service to mark the Liberation of the South the invaluable lessons drawn from the Route 9–Southern Laos and Lam Son 719 victories continue to inspire the heroic traditions of both armies remain highly relevant and meaningful to both Vietnam and Laos as they move forward in a new era Vietnam's struggle for independence and freedom ended in the spring of 1975 with President of the Republic of Vietnam Duong Van Minh and his cabinet appearing at Saigon Radio station to announce unconditional surrender on April 30 A total of 221 Vietnamese citizens detained in Myanmar for breaching immigration regulations returned home on April 28-29 Ho Chi Minh City contributes over 20% of the national GDP It proposes and implements groundbreaking institutional reforms from renovating administrative procedures and attracting foreign direct investment (FDI) to piloting special mechanisms Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page.