The document discusses the author's love of art and how it is their life. It shares a quote about how an artist puts their soul into their work and does not need many people to understand them, just a kindred soul. The document also contains a saying that the love of art cannot be taught but only caught, hoping to make the topic of art contagious to the reader.
This document discusses the art of family and friends. It references a biblical verse about Chaldean figures sculpted on walls and quotes an artist saying that when you put your soul into your work, you will find others who understand you, which is all an artist could want. It concludes by saying the love of art cannot be taught but must be caught.
Pantomine is an online magazine focused on color, graphic design, art, and fashion. The magazine divides its content by color and its mission is to showcase visual beauty through color. It believes in using color and art to appeal to the soul in both a rational and irrational way.
The writer expresses their inability to celebrate their loved one's birthday together due to being separated by an ocean. They acknowledge they cannot bake a cake, throw a party, go to the theater, or take the person shopping. While they want to explore cities and beaches together, direct each day, and gift the moon and stars, the limitations of life and distance prevent it. However, the writer expresses their love as the one thing that can transcend the separation.
THE ART OF PISSARRO (Part 3)
THE ART OF PISSARRO surveys the long and productive life and paintings of JACOB CAMILLE PISSARRO. He was called the “Father of Impressionism” for his knowledge and support of those artists. He explored many subjects and a variety of aesthetic approaches in his paintings. He always glorified the landscapes and the people in his works. He said he saw “Beauty in spots where others see nothing.” (1893)
1) Laszlo Feszt's artwork originates from the subconscious and depicts spiritual forms that were uncovered through an excavation process of the depths of human consciousness.
2) His graphics document the development of his own psyche and freeze time in a way that patiently preserves the damages and traces of his excavation process.
3) Feszt is influenced by archeology and ancient cultures like Egypt, Sumer, and tribal arts, and aims to reveal forms from this world through his creative process of unearthing and arranging elements into a harmonious whole.
This document discusses different forms of art including visual arts, film, performance art, poetry performance, architecture, dance, literary art, theater, and applied arts. It provides descriptions of each art form, noting that visual arts appeal to sight and include mediums like painting and sculpture. Film is described as using sequences of still images to create the illusion of movement. Performance art uses the human body as a medium. Architecture creates beautiful buildings through structure, lines, and forms. Dance follows rhythmic music through movement. Literary art uses words to express emotions. Theater presents imaginary events with live performers. Applied arts increase the aesthetic value of everyday items.
Moon Rahman is a freelance artist from Bangladesh who paints her thoughts and inner fears onto canvas. She was unaware of her artistic talents until 2004 when she began experimenting with leftover paints while her husband was away. Her works depict biomorphic forms and everyday objects composed in a way that evokes hidden violence and fear. Living in Dhaka exposed her to many unknown faces and facts that may have influenced her disturbing aesthetic. Though largely self-taught, her pieces possess a quality that engages contemporary viewers in a spiritual dialogue about humanity's unsettling fears within the universe.
Artists have an innate ability to absorb and express their surroundings without fully understanding where things are headed, and they must understand and value this ability. Artists do not need to believe in inspiration but should use the energies and suggestions from different situations and experiences, even in unthinkable moments. Looking around and observing everything in the environment, like a garden which mirrors society and nature, provides a mythical space where artists and architects can collaborate freely using fantasy. Artistic invention is necessary for urban spaces which requires integrated work between sculptors and architects in a way that is interesting, stimulating, complex and challenging for both, and sculpture that transforms its location acts as a valuable record of its time by creating context to serve as a historical marker helping us
This document discusses the art of family and friends. It references a biblical verse about Chaldean figures sculpted on walls and quotes an artist saying that when you put your soul into your work, you will find others who understand you, which is all an artist could want. It concludes by saying the love of art cannot be taught but must be caught.
Pantomine is an online magazine focused on color, graphic design, art, and fashion. The magazine divides its content by color and its mission is to showcase visual beauty through color. It believes in using color and art to appeal to the soul in both a rational and irrational way.
The writer expresses their inability to celebrate their loved one's birthday together due to being separated by an ocean. They acknowledge they cannot bake a cake, throw a party, go to the theater, or take the person shopping. While they want to explore cities and beaches together, direct each day, and gift the moon and stars, the limitations of life and distance prevent it. However, the writer expresses their love as the one thing that can transcend the separation.
THE ART OF PISSARRO (Part 3)
THE ART OF PISSARRO surveys the long and productive life and paintings of JACOB CAMILLE PISSARRO. He was called the “Father of Impressionism” for his knowledge and support of those artists. He explored many subjects and a variety of aesthetic approaches in his paintings. He always glorified the landscapes and the people in his works. He said he saw “Beauty in spots where others see nothing.” (1893)
1) Laszlo Feszt's artwork originates from the subconscious and depicts spiritual forms that were uncovered through an excavation process of the depths of human consciousness.
2) His graphics document the development of his own psyche and freeze time in a way that patiently preserves the damages and traces of his excavation process.
3) Feszt is influenced by archeology and ancient cultures like Egypt, Sumer, and tribal arts, and aims to reveal forms from this world through his creative process of unearthing and arranging elements into a harmonious whole.
This document discusses different forms of art including visual arts, film, performance art, poetry performance, architecture, dance, literary art, theater, and applied arts. It provides descriptions of each art form, noting that visual arts appeal to sight and include mediums like painting and sculpture. Film is described as using sequences of still images to create the illusion of movement. Performance art uses the human body as a medium. Architecture creates beautiful buildings through structure, lines, and forms. Dance follows rhythmic music through movement. Literary art uses words to express emotions. Theater presents imaginary events with live performers. Applied arts increase the aesthetic value of everyday items.
Moon Rahman is a freelance artist from Bangladesh who paints her thoughts and inner fears onto canvas. She was unaware of her artistic talents until 2004 when she began experimenting with leftover paints while her husband was away. Her works depict biomorphic forms and everyday objects composed in a way that evokes hidden violence and fear. Living in Dhaka exposed her to many unknown faces and facts that may have influenced her disturbing aesthetic. Though largely self-taught, her pieces possess a quality that engages contemporary viewers in a spiritual dialogue about humanity's unsettling fears within the universe.
Artists have an innate ability to absorb and express their surroundings without fully understanding where things are headed, and they must understand and value this ability. Artists do not need to believe in inspiration but should use the energies and suggestions from different situations and experiences, even in unthinkable moments. Looking around and observing everything in the environment, like a garden which mirrors society and nature, provides a mythical space where artists and architects can collaborate freely using fantasy. Artistic invention is necessary for urban spaces which requires integrated work between sculptors and architects in a way that is interesting, stimulating, complex and challenging for both, and sculpture that transforms its location acts as a valuable record of its time by creating context to serve as a historical marker helping us
The artist Amanda Claire draws from personal experiences, memories, and dreams for inspiration in her work. She uses animals, landscapes, and still lifes along with unrelated objects and symbols to represent these experiences in a conceptual way that leads the viewer to open-ended interpretations. While the narratives are important, Amanda focuses equally on the process of applying thick, luminous paint in layers to create spaces that welcome drips and pops of color standing in for light.
Sister Wendy Beckett, an art historian and author, praised the artist's painting "Tuscan Soul" for its intense understanding of the Italian landscape. She also said another of the artist's painting, depicting the Great Wall, was a tremendous and extraordinary work. Art critic David Cleveland described the artist William Kelley as having remarkable expressive powers and possessing a guileless authenticity that allows him to portray his personal passions through paint from his experiences as an expatriate American artist in Tuscany.
The document announces a dialogue forum titled "Beauty, Art, Nature and Chaos" hosted by CSEND Dialogue. [1] Professor John Briggs will present on how chaos theory and fractals can provide a new perspective on the relationship between beauty in nature and art. [2] Professor Raymond Saner will then dialogue with Professor Briggs to discuss applying chaos theory to understanding social system change and national development processes. [3] The event is free and open to the public, hosted by CSEND and the University of Geneva on May 19, 2008 from 5:30-7:00pm.
Liturgy is created as an art form to allow communities to encounter God and be shaped by that experience. There is a difference between creating liturgy as an art form, where the entire liturgy uses various artistic expressions as windows to encounter God, versus inserting art into an existing liturgy. When practicing liturgy as an art form, one should pay attention to how God is working as an artist within themselves and their community. The author encourages nurturing a passion for art and allowing that to shape worship design and leadership.
1. The document discusses different forms of art including paintings, sculpture, architecture, and music. It provides quotes and information about various famous artists like Da Vinci, Van Gogh, Michelangelo, Beethoven, and others.
2. The quotes discuss themes like art elevating the human mind, the power of art to shake people into new ways of seeing, creativity arising from limitations, and music bypassing rationality.
3. Architecture is discussed as being frozen music that people walk through and that influences activities. Different famous architectural works are also mentioned like St. Catherine's Palace, Park Güell, and the Colosseum.
The document discusses several abstract artists and their philosophies of abstractionism. It explains that abstract artists like Kandinsky, Mondrian, and O'Keeffe shifted away from representational art to focus on expressing emotions and revealing spiritual truths through arrangements of color, line, and form. The document also notes that abstractionism developed from earlier movements like Impressionism and Cubism and that abstract artists believed their work was a process, not an end goal, to uncover deeper understandings of the universe.
The document summarizes information about the Marko Cepenkov Center for Contemporary Art in Prilep, Macedonia (CCMA). It discusses how the CCMA was founded in 1957 and has since hosted numerous art exhibitions and attracted artists from around the world. It provides background on Marko Cepenkov, who the center is named after, and his contributions as a folklore collector. The summary also overviews some recent exhibitions held at the CCMA, including those by painters Zlatko Krstevski and Sonja Dimovska and sculptor Zarko Baseski. The CCMA aims to promote cultural exchange and appreciation of Macedonian art.
Collection of digital abstract art presented by Aleksandr Ryzhakov. The secret of the artwork is hidden behind the colors. Can you see love and anger, silence and noise or maybe you see a happy cat or another smiling creature?
Think deep and creative with this collection of digital abstract art. Contact the author if you want to get the art, to see more or have any questions regarding the artworks.
This document provides press quotes that summarize and review the photographic work of Andrew Klaus-Vineyard. The quotes praise Klaus-Vineyard for having a strong visual style, narrative tendencies, and highly trained artistic sensibilities. They describe his work as seductive yet confrontational, evoking beauty from the ugly, and stimulating, provocative, and challenging viewers.
The document discusses the art of the High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and readings for those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah of Jonah. It notes that the love of art cannot be taught but rather caught, and hopes to make the art of the High Holidays contagious to the reader.
This is a set of slides looking what constitutes a professional artist...there is much conjecture about artists and their identifies. This prsentation hopes to present some of the debate
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
1. The document discusses a woman who saw men sculpted on walls in vermillion, referencing a biblical verse from Ezekiel.
2. It then quotes an artist saying that painting and art enchant him and are his life, as putting his soul into his work allows him to find others who understand him, which is all an artist should wish for.
3. The document concludes by saying it hopes to have made the art of being contagious.
THE ART OF PISSARRO (Part 2) surveys the long and productive life and paintings of JACOB CAMILLE PISSARRO. He was called the “Father of Impressionism” for his knowledge and support of those artists. He explored many subjects and a variety of aesthetic approaches in his paintings. He always glorified the landscapes and the people in his works. He said he saw “Beauty in spots where others see nothing.” (1893)
The document provides information about the Jewish holiday of Sukkot through descriptions, images, and explanations of various symbols and rituals associated with Sukkot, including: the four species; decorations for sukkah booths such as painted scenes, papercuts, and textiles; and decorative etrog containers and boxes for holding the citron fruit used during the holiday observances.
The document provides information on finalists for the Cliftons Art Prize 2011 located in various cities. It includes details about 12 artworks by 9 artists from Brisbane, including the titles, media, sizes, descriptions and artist bios. The artworks encompass various mediums like graphite drawing, soft sculpture, ink drawing and mixed media painting. The artists' bios describe their artistic practices and backgrounds.
THE ART OF CHAGALL (Part 1)
THE ART OF CHAGALL is a survey of the early life and art of this quintessential Jewish artist. From his birth in Vitebsk, an East European village (shtetl), he goes to St. Petersburg to study art and then to Paris. There he encounters the avant-garde aesthetics of Modernism. It has a powerful impact upon him and his future development. The beginnings of an exciting life!
The document discusses the idea that love of art cannot be taught, but can only be awakened within individuals through exposure to great works of art and artists. While some are naturally more receptive to art than others, regularly viewing and experiencing beautiful creations can inspire an appreciation and passion for art within most people.
The passage describes the ritual observance of the Passover feast as commanded by God to the Israelites before their exodus from Egypt. It details how they were to select an unblemished lamb on the 10th day of the month and slaughter it at twilight on the 14th day. They were to smear its blood on their doorposts and eat the meat that night while dressed for travel. This was to serve as a memorial meal commemorating God delivering them from bondage in Egypt when he struck down the firstborn of Egypt but passed over Israelite houses with lamb's blood on their doors.
This document provides an overview of the Jewish holiday of Purim, as told through the story in the Book of Esther. It discusses the historical context of the story, summarizes the key events, and explores how Purim is celebrated through traditional customs like reading the Scroll of Esther, wearing costumes, giving gifts to the poor, and enacting parodies of the story. The document also includes images from historical manuscripts and artworks depicting scenes from the Book of Esther and Purim celebrations.
The document discusses the biblical origins and importance of the Sabbath. It cites Genesis 2:1-3 which describes God resting on the seventh day and blessing it. It also cites Exodus 31:16, in which the Israelites are commanded to observe the Sabbath as a perpetual covenant. The document hopes to make the art of the Sabbath contagious to the reader.
This document is part three of an article about the art of Reuven Rubin by Myrna Teck, an independent scholar. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another. The author hopes that through this article, she has helped spread and make contagious the art of Reuven Rubin to the reader.
The artist Amanda Claire draws from personal experiences, memories, and dreams for inspiration in her work. She uses animals, landscapes, and still lifes along with unrelated objects and symbols to represent these experiences in a conceptual way that leads the viewer to open-ended interpretations. While the narratives are important, Amanda focuses equally on the process of applying thick, luminous paint in layers to create spaces that welcome drips and pops of color standing in for light.
Sister Wendy Beckett, an art historian and author, praised the artist's painting "Tuscan Soul" for its intense understanding of the Italian landscape. She also said another of the artist's painting, depicting the Great Wall, was a tremendous and extraordinary work. Art critic David Cleveland described the artist William Kelley as having remarkable expressive powers and possessing a guileless authenticity that allows him to portray his personal passions through paint from his experiences as an expatriate American artist in Tuscany.
The document announces a dialogue forum titled "Beauty, Art, Nature and Chaos" hosted by CSEND Dialogue. [1] Professor John Briggs will present on how chaos theory and fractals can provide a new perspective on the relationship between beauty in nature and art. [2] Professor Raymond Saner will then dialogue with Professor Briggs to discuss applying chaos theory to understanding social system change and national development processes. [3] The event is free and open to the public, hosted by CSEND and the University of Geneva on May 19, 2008 from 5:30-7:00pm.
Liturgy is created as an art form to allow communities to encounter God and be shaped by that experience. There is a difference between creating liturgy as an art form, where the entire liturgy uses various artistic expressions as windows to encounter God, versus inserting art into an existing liturgy. When practicing liturgy as an art form, one should pay attention to how God is working as an artist within themselves and their community. The author encourages nurturing a passion for art and allowing that to shape worship design and leadership.
1. The document discusses different forms of art including paintings, sculpture, architecture, and music. It provides quotes and information about various famous artists like Da Vinci, Van Gogh, Michelangelo, Beethoven, and others.
2. The quotes discuss themes like art elevating the human mind, the power of art to shake people into new ways of seeing, creativity arising from limitations, and music bypassing rationality.
3. Architecture is discussed as being frozen music that people walk through and that influences activities. Different famous architectural works are also mentioned like St. Catherine's Palace, Park Güell, and the Colosseum.
The document discusses several abstract artists and their philosophies of abstractionism. It explains that abstract artists like Kandinsky, Mondrian, and O'Keeffe shifted away from representational art to focus on expressing emotions and revealing spiritual truths through arrangements of color, line, and form. The document also notes that abstractionism developed from earlier movements like Impressionism and Cubism and that abstract artists believed their work was a process, not an end goal, to uncover deeper understandings of the universe.
The document summarizes information about the Marko Cepenkov Center for Contemporary Art in Prilep, Macedonia (CCMA). It discusses how the CCMA was founded in 1957 and has since hosted numerous art exhibitions and attracted artists from around the world. It provides background on Marko Cepenkov, who the center is named after, and his contributions as a folklore collector. The summary also overviews some recent exhibitions held at the CCMA, including those by painters Zlatko Krstevski and Sonja Dimovska and sculptor Zarko Baseski. The CCMA aims to promote cultural exchange and appreciation of Macedonian art.
Collection of digital abstract art presented by Aleksandr Ryzhakov. The secret of the artwork is hidden behind the colors. Can you see love and anger, silence and noise or maybe you see a happy cat or another smiling creature?
Think deep and creative with this collection of digital abstract art. Contact the author if you want to get the art, to see more or have any questions regarding the artworks.
This document provides press quotes that summarize and review the photographic work of Andrew Klaus-Vineyard. The quotes praise Klaus-Vineyard for having a strong visual style, narrative tendencies, and highly trained artistic sensibilities. They describe his work as seductive yet confrontational, evoking beauty from the ugly, and stimulating, provocative, and challenging viewers.
The document discusses the art of the High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and readings for those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah of Jonah. It notes that the love of art cannot be taught but rather caught, and hopes to make the art of the High Holidays contagious to the reader.
This is a set of slides looking what constitutes a professional artist...there is much conjecture about artists and their identifies. This prsentation hopes to present some of the debate
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
1. The document discusses a woman who saw men sculpted on walls in vermillion, referencing a biblical verse from Ezekiel.
2. It then quotes an artist saying that painting and art enchant him and are his life, as putting his soul into his work allows him to find others who understand him, which is all an artist should wish for.
3. The document concludes by saying it hopes to have made the art of being contagious.
THE ART OF PISSARRO (Part 2) surveys the long and productive life and paintings of JACOB CAMILLE PISSARRO. He was called the “Father of Impressionism” for his knowledge and support of those artists. He explored many subjects and a variety of aesthetic approaches in his paintings. He always glorified the landscapes and the people in his works. He said he saw “Beauty in spots where others see nothing.” (1893)
The document provides information about the Jewish holiday of Sukkot through descriptions, images, and explanations of various symbols and rituals associated with Sukkot, including: the four species; decorations for sukkah booths such as painted scenes, papercuts, and textiles; and decorative etrog containers and boxes for holding the citron fruit used during the holiday observances.
The document provides information on finalists for the Cliftons Art Prize 2011 located in various cities. It includes details about 12 artworks by 9 artists from Brisbane, including the titles, media, sizes, descriptions and artist bios. The artworks encompass various mediums like graphite drawing, soft sculpture, ink drawing and mixed media painting. The artists' bios describe their artistic practices and backgrounds.
THE ART OF CHAGALL (Part 1)
THE ART OF CHAGALL is a survey of the early life and art of this quintessential Jewish artist. From his birth in Vitebsk, an East European village (shtetl), he goes to St. Petersburg to study art and then to Paris. There he encounters the avant-garde aesthetics of Modernism. It has a powerful impact upon him and his future development. The beginnings of an exciting life!
The document discusses the idea that love of art cannot be taught, but can only be awakened within individuals through exposure to great works of art and artists. While some are naturally more receptive to art than others, regularly viewing and experiencing beautiful creations can inspire an appreciation and passion for art within most people.
The passage describes the ritual observance of the Passover feast as commanded by God to the Israelites before their exodus from Egypt. It details how they were to select an unblemished lamb on the 10th day of the month and slaughter it at twilight on the 14th day. They were to smear its blood on their doorposts and eat the meat that night while dressed for travel. This was to serve as a memorial meal commemorating God delivering them from bondage in Egypt when he struck down the firstborn of Egypt but passed over Israelite houses with lamb's blood on their doors.
This document provides an overview of the Jewish holiday of Purim, as told through the story in the Book of Esther. It discusses the historical context of the story, summarizes the key events, and explores how Purim is celebrated through traditional customs like reading the Scroll of Esther, wearing costumes, giving gifts to the poor, and enacting parodies of the story. The document also includes images from historical manuscripts and artworks depicting scenes from the Book of Esther and Purim celebrations.
The document discusses the biblical origins and importance of the Sabbath. It cites Genesis 2:1-3 which describes God resting on the seventh day and blessing it. It also cites Exodus 31:16, in which the Israelites are commanded to observe the Sabbath as a perpetual covenant. The document hopes to make the art of the Sabbath contagious to the reader.
This document is part three of an article about the art of Reuven Rubin by Myrna Teck, an independent scholar. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another. The author hopes that through this article, she has helped spread and make contagious the art of Reuven Rubin to the reader.
The document discusses the art of Reuven Rubin and how the love of art cannot be taught but rather caught from exposure to art. It hopes to make the love of Rubin's art contagious to the reader through exposure to discussing aspects of his work and life as an artist.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught by being exposed to inspiring works. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the analysis in part two of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught or learned through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the discussion in part two of the article.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
The High Holidays consist of Rosh Hashonah (Head of the Year: 9/08-9/10) and Yom Kippur (Day of Atonement: 9/17-9/10). The 10 Days between the two holidays are called “The Days of Awe.” Jewish people apologize to anyone whom they may have offended and look within inward to be accepted into the Book of Life, which closes at the end of Yom Kippur. The High Holidays are the most important Holy days in the Jewish calendar, after the Sabbath.
THE ART OF THE HIGH HOLIDAYS is a chronological and geographic overview of visual art objects, synagogues, and their symbolism related to these two observances.
The document discusses the art of the Jewish High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and rituals associated with those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah reading from Jonah. The author hopes to make the art of the High Holidays contagious to the reader.
The document discusses Reuven Rubin, a 20th century artist, and is presented by an independent scholar, Myrna Teck. Teck hopes to make the art of Reuven Rubin contagious to the reader through her discussion, believing a love of art cannot be taught but can only be caught or inspired in others. She presents the first part of her discussion on Rubin's art.
This short document discusses the art of persuasion and suggests that while it cannot be taught directly, the art can be learned through exposure, similar to how ideas or behaviors can be "caught" from others. It acknowledges attempting to make the art of persuasion contagious or infectious to the reader through the document.
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
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1. The Art of Part Four: FAMILY and Friends MYRNA TECK, PH.D. INDEPENDENT SCHOLAR
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38. Painting, art in general, enchants me. It is my life. What else matters? When you put all your soul into a work, all that is noble in you, you cannot fail to find a kindred soul who understands you, and you do not need a host of such spirits. Is that not all an artist should wish for? (Letters to his son, Lucien) November 20, 1883
39. it is said that the love of ART cannot be TAUGHT It can only be CAUGHT!
40. So, I hope I’ve made The Art of Contagious to you today!
Editor's Notes
Letters to His son Lucien. In Schirrmeister, A. (1982). Camille Pissarro . NY: Metropolitan Museum 1830: Jacob Camille Pissarro born on July 10 th in St. Thomas, Virgin Islands 1842-47: Studied in France 1855: Returned to France permanently 1859: Salon accepted one of his landscapes 1860: Became friendly with Ludovic Piette and with Julie Vellay 1863: On February 20 th , their son Lucien was born 1864: Visited Piette in Montfoucault 1865: Daughter, Jeanne-Rachel was born 1868: Salon accepted two of his Pontoise landscapes 1870: Salon accepted two landscapes and He and Julie married in London 1871: Sold two paintings to Paul Durand-Ruel; their son Georges was born 1872: Settled in Pontoise with Cezanne 1873: His paintings brought high prices at various auctions 1874: 1 st Impressionists exhibit; daughter Minette died; son Felix was born 1875: spent fall at Piette’s in Montfoucault 1876: Showed 12 works in the 2 nd Impressionist exhibition 1877: His works brought very low prices at auction; Ludovic Piette died 1878: Son Ludovic-Rodolphe was born 1879: Pissarro showed 38 works in 4 th Impressionist Exhibition 1880: Sent 11 paintings and etchings to the 5 th Impressionist exhibition 1881: Participated in 6 th Impressionist Exhibit; daughter Jeanne is born 1882: Sent 36 canvases to the 7 th Impressionist Exhibition 1884: Left Osny for Eragny; Paul Emile was born; financial problems 1886: Exhibited 20 ‘divisionist’ paintings in 8 th Impressionist Exhibition 1887: Durand-Ruel refused pointillist paintings; Financial straits 1889: Suffered from chronic eye infection 1890: Abandoned divisionism 1892: Durand-Ruel organized very successful retrospective 1897: In November, son Felix died in England at age 23 1901: Camille died of blood poisoning from an abcess of the prostate 1905: Lucien wrote to his mother: “ Don’t worry about father, HE WILL NEVER BE FORGOTTEN… .when he does come up, it will be for good . (Custom: MAY HIS MEMORY BE FOR A BLESSING!)
MAP Rothkopf, K. (2007). Pissarro: Creating The Impressionists Landscape. Baltimore: Philip Wilson Publishers, Ltd These are some of the sites around Paris where Pissarro painted 1855-57: moved to France 1858: Set up studio in Paris 1863: Moved to La Varenne-saint-Hillaire, near Marne river 1866: Moved to L’Hermitage, a small hamlet in Pontoise 1869: Moved to Louveciennes, a suburb of Paris 1870: Franco-Prussian war began 7/19. Dec.-moved to London 1871: Returned to Louveciennes; house wrecked by soldiers 1872: Moved back to Pontoise 1874: Visited Piette at Montfoucault; earliest peasant paintings 1882: Left Pontoise for Eragny and stayed until death
ARTIST’S MOTHER (RACHEL) -Camille Pissarro, Paris, 1856 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Pencil. Formerly Collection Lucien Pissarro, London His parents made important contributions These were to the Hebrew Congregation and the St. Thomas community Pissarro was born in The family home at 14 Dronningens Gade It still stands and bears the name “Pissarro building”
MADAME PISSARRO SEWING-Camille Pissarro, 1858 Cogniat, R. (1975) Pissarro. New York: Crown publishers Oil. 6 1/4” x 4 3/8” Ashmoleum Museum, Oxford 1865-Frederick (Camille’s father) died He left an unusual beque st He left an equal sum to the synagogue and the Protestant church The reason(s) are not known—but open to much speculation He did not include Camille in his will! A central concept throughout Pissarro’s life was FREEDOM! He rejected sentimentality in art He also rebelled against anything that stood in the way of “ ART” and especially, art seen through our “ SENSATIONS”
PORTRAIT OF JEANNE-RACHEL (Minette) 1866? Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Pastel. 8 ½ x 5 ¼” (21 x 14.5 cm) Collection Robert Ettinger Jeanne-Rachel was just a toddler when her father did this portrait Pissarro used pastel on a sheet of blue paper His sketch approach captures the freshness of her youth Perhaps he worked quickly because she wouldn’t sit still they may’ve been outside, since she wears a kerchief
JEAN-RACHEL (Minette) HOLDING FLOWERS -Camille Pissarro, 1872 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 28 1/8” x 23 1/8” Yale University Art Gallery. John Hay Whitney Collection (PV193) 1865: Daughter, Jeanne-Rachel is born Pissarro was always wary of sentimentality He did not want his figures to say too much He was horrified at “orange-blossom” art It made delicate women swoon He thought sentimental art was the most corrupt There is a hint of sadness in the eyes of the girl Perhaps Pissarro had a foreboding This child died only two years later April 1874, daughter Jeanne-Rachel (Minette) dies at age 9
PORTRAIT OF JEANNE WITH A FAN- Camille Pissarro, c. 1873 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 21 7/8 x 18 1/8” (56.1 x 46.5 cm) Ashmolean Museum, Oxford (PV232) It is interesting to note that the shape of the fan is repeated It is found in the opening to the stove on the right Repetition of horizontals, verticals and diagonals draws the viewer One’s eye is directed toward the strongest contrast That is the white of Jeanne’s blouse against her dark blue dress The curve of the fan is also repeated in the curve of her back Her wide searching eyes hold unfathomable question Her openess make these paintings deeply touching
SELF-PORTRAIT -Camille Pissarro, 1873 Ascheroni, A. (1991). Pissarro. Milan: Gruppo Editoriale Fabbri S.p.A. Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 21 ½” x 18” (55 x 46 cm) Musee d’Orsay, Paris (PV200) This is the first of four self-portraits It shows him at the age of 43 His face is not smiling His face and jacket are painted in dark colors They contrast with the lighter background It seems to isolate him His long beard and pose bring to mind a biblical figure Was he familiar with Ezekiel 23? Did he use the warm, rosy vermillion from this phrase?
BIBLICAL CITATION-EZEKIEL 23: 14 -- (1985). TANAKH. The Jewish Publication Society. Philadelphia Strong, J. (n.d.) Exhaustive Concordance of the Bible . Peabody, MA: Hendrickson Publishers Pissarro may not have known this phrase from the prophet Ezekiel But, then again, looking at his use of vermillion, maybe he did
PORTRAIT OF PIERRE PAPEIL -Camille Pissarro, date? Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Pastel. 21 ½ x 18” (55 x 46 vm) Private collection (PV1523) This portrait is titled, but there is no information about this person He looks to have been a contemporary of Pissarro at this time They were both probably in their mid-40s He is well dressed and sports a shapely mustache Yet, his identity is a mystery He appears to be an official in a typically bourgeois interior He discreetly displays a red ribbon It is a symbol of the Legion d’Honneur Pissarro developed rich color subtlety in his handling of the skin He did so as well in the background It is a lush and sensitive treatment
PORTRAIT OF MADAME ESTUALL -Camille Pissarro, c. 1874 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Pastel. 18 x 111/8” (46 x 29 cm) Collection Achim Moeller Fine Art, New York (PV 1521) This pastel portrait was done the same year as the previous one Yet her identity is also a mystery Pissarro handled her image in a much looser technique You can see the strokes of his pastel in the hatching on her cheek The contrast between her blue bow and dark blouse is clear Contrast between the blue background and striped chair is softer
THE ARTIST AND HIS WIFE , Pontoise, 1873 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd On November 22, their 3 rd child, a son-Georges is born This photograph appears to be taken in the springtime The bench was in his garden at Pontoise They both appear relaxed and comfortable Because of his white beard, Pissarro appears older than 43 Camille’s mother withdrew her denial of consent to a wedding She suggested that they: “ wait until all these events [probably a reference to the Franco-Prussian War] are over, then you could go to London and there marry without my consent and without anyone knowing about it. I will supply you with the money for this trip. God willing.” Julie pressured Camille to marry her and legalize their union In Montfoucault, She gave birth to Adele-Emma on October 21 st The infant died three weeks later, on November 15 Pissarro’s mother feared the Prussian army and left for London She sent a condolence note to her son Two weeks later their 7-month stay in London came to an end They returned to Louveciennes
MADAME JULIE PISSARRO- Camille Pissarro, 1883 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Pastel. 23 3/4 x 18 1/4” (61 x 47 cm). Private collection. (PV1565) He met Julie Vellay in 1859 1860-She became pregnant with his child That pregnancy ended in a miscarriage, or possibly a stillborn His parents vehemently opposed this liaison with a servant 1865- Camille and Julie already had a two-year old child, Lucien Julie was again pregnant with their first daughter, Jeanne-Rachel She was called Minette and died at the age of 9 1871-They were wed 1873-Pissarro depended on his mother for financial support He was 43 years old! Pissarro made few portraits of Julie She was not a willing sitter Pissarro wrote about this work in a letter to his son, Lucien He complained about the personal reaction of the sitter She thought it did not look like her She said it looks too old, too red, and not delicate enough
PISSARRO PAINTING OUTSIDE-Ludovic Piette, 1874-76 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. Private collection, Paris. 1873: His paintings bring high prices at various auctions He and Monet organize independent exhibitions opposed to Salon 1874: 1 st exhibition of “Impressionists” dubbed by ironic critic In April, daughter Jeanne-Rachel (Minette) dies at age 9 In July, son Felix is born 1875: spends fall at Piette’s in Montfoucault 1876: Shows 12 works in the 2 nd Impressionist exhibition Piette painted this while Pissarro visited him at Montfoucault There the artist made about 20 paintings They include some of his earliest paintings of peasants In September, his son Ludovic-Rodolphe was born He was named in memory of his friend Ludovic Piette Naming an infant in honor and memory is a great Jewish tribute Camille had met Ludovic at the Academie Suisse around 1860 Camille went to Montfoucault during the Franco-Prussian War He and his family took refuge with Ludovic Piette and his family There is no paintings of Montfoucault during his 4-month stay there They remained friends until Piette’s death on April 15, 1878 Before they came, Piette wrote to Pissarro: “… .we have to live with wolves: living in a land of prejudice. I am forced to accept it in order to avoid gossip. Consequently, as the rule goes, I must pretend that you are married, and you have to let them believe it: this will cut short all the ramblings….This is stupid but necessary.”
PORTRAIT OF THE ARTIST’S SON LUCIEN- Camille Pissarro, 1874 Lithograph. New York Public Library (Avery Collection) This image is a print, made by the lithography process An oily crayon was used to make the drawing It was done in reverse on a lithographic stone The stone was then wet, but the oily image remained dry The image was then inked with a brayer (or roller) Dampened paper was placed on top of the stone The stone was placed in a printing press A print was printed under press This image has a free and sketchy appearance It is fresh and alive with possibility Lucien was Camille and Julie’s first son He was born in 1865 He was 9 years old when his father created this image
PAUL CEZANNE (seated) and CAMILLE PISSARRO (standing) in PISSARRO’S GARDEN AT PONTOISE, 1877 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams The small boy in the back is Camille’s son, Lucien The two other men are unidentified They may be the friends from Cuba in the next photo This is the same bench of the photograph of Pissarro with Julie
PHOTOGRAPH OF CEZANNE (center), PISSARRO (standing) with 2 Cuban friends, 1873 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. The details are obscure of the visit of these two Cuban friends Did they come to visit because Cezanne was there? Or were they friends of Pissarro’s?
PORTRAIT OF CEZANNE -Camille Pissarro, 1874 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 28 ¼ x 23 ¼” (73 x 59.7 cm) Collection Laurence Graff (PV293) 1870s-Backgrounds became important components of Pissarro’s portraits This background includes two caricatures: Left: Adolphe Thiers, the premier Upper Right: Courbet from LE HANNETON, looking down on Cezanne Lower Right: a painting by Pissarro himself ROUTE DE GISORS: THE HOUSE OF PERE GALLIEN -Pontoise The juxtaposition of caricature and painting shows the humor of the scene Pissarro and Cezanne created art concerned with destroying conventions They might have asked: Why test the self-righteous pontificators if one cannot have irony towards oneself and best friends?
PHOTOGRAPH OF PISSARRO (seated) with SONS LUDOVIC-RODOLPHE, LUCIEN, AND FELIX AT KNOCKE, 1894 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Pissarro had a headstrong (stiff-necked/Jewish) courage and tenacity He undertook and sustained his work He was stubbornly unmoved by current fashions and market trends He was somewhat isolated from his well-to-do family He had an extremely precarious financial situation He displayed a profound belief in “enthusiasm” and “ardor” He had an unshakable conviction that he had made the right choice He remained committed to his values These endowed him with a known mark of integrity It made others willingly turn to him for advice
FELIX-Camille Pissarro, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil. 21 1/4” x 18 1/8” Tate Gallery, London. (PV 550) In July 1874: their son Felix is born He was 9 years old when his father did this painting His body language indicates a shy, quiet, and retiring personality Indicated by his hair, curved shoulders and arm, hat and neckerchief 1897: In November, son Felix dies in England at age 23
PORTRAIT OF THE ARTIST’S SON LUDOVIC-RODOLPHE -Camille Pissarro, 1885-88 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Watercolor 12 1/4 x 9 5/8 (31.1 x 24.6 cm) Private Collection 1878: In September, his son Ludovic-Rodolphe is born Ludovic’s confident glance at his father, the painter, is telling He appears to be a confident young boy at 9 or 10 years old Notice the light, translucent, fresh, and watery handling of paint This is DEFINITELY a painting and not an attempt to RE-present The integrity of the paint is dominant This is an approach called modernism 1939: Ludovic-Rodolphe and Lionello Venturi published a Catalogue Raisonne
PORTRAIT OF THE ARTIST’S SON, PAULEMILE -Camille Pissarro, c. 1894 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 13 ½ x 10 ½” (35 x 27 cm) Private collection. (PV865) Pissarro’s aesthetic is clear in this painting His approach is to emphasize the dominance of the paint The work has a ‘painterly’ appearance There is a clear effort to keep it fresh and alive It reflects his approach of showing ‘truth to materials’ This is a Modernists’ Aestetic Unity of composition results from the repetition of curves These are in the chair, back of head, chin, etc. This may have been Pissarro’s intuitive use of design elements
SELF-PORTRAIT -Camille Pissarro,1888 Pen and Ink. New York Public Library (Avery Collection) This Self-Portrait drawing was done with a similar aesthetic Pissarro sees himself staring at the viewer (in a mirror?) A sketchy application, allows the handling of material to dominate Pissarro used hatching, a series of parallel lines to create tone He used them diagonally on the shadow side of his face He also used them to darken his hat and jacket He used them vertically in the background
SELF-PORTRAIT- Camille Pissarro,1890 Schirrmeister, A. (1981). Camille Pissarro . NYC: The Metropolitan Museum of Art Etching, third state, 7 3/8 x 7 in. (18.7 x 17.8 cm) Courtesy, Museum of Fine Arts, Boston. Lee M. Friedman Fund This print was done when Pissarro was 60 years old It is a print, called an etching The image was created in the following manner: A metal plate was coated with a waxy/oily substance A needle scratches through this substance exposing the metal The metal is placed into an acid bath, which ‘bites’ the plate The covering substance is removed Ink is applied to the plate and goes into the ‘bitten’ lines It is put on a press and covered with damp paper The press forces the ink onto the paper Voila! A hand pulled print
HEAD OF NINI, THE ARTIST’S NIECE -Camille Pissarro, about 1890 Rewald, J. (1963) Pissarro. NY: Abrams Pencil. Collection of Mr. And Mrs. T. Lawrence Herring, New York This drawing was done in pencil Pissarro probably used a very soft lead to obtain those fuzzy lines He emphasized the curve of her forehead, check and chin on the left He also drew attention to her nose and right eye This was all done by varying the pressure on the pencil
NINI, THE ARTIST’S NIECE -Camille Pissarro, About 1890 Rewald, J. (1963) Pissarro. NY: Abrams Charcoal. Collection Mrs. Ralph M. Coe, Cleveland This is a charcoal drawing of Pissarro’s niece, Nini Charcoal for drawing is made by removing the water from wood This is usually done by a slow ‘cooking’ process Charcoal sticks or vines were used in the 19 th century The sticks produce a rich, soft line The charcoal does not crumble and can be varied by pressure Pissarro also used hatching (parallel lines to create a tone) He applied multiple layers for deep rich blacks Here he emphasized the round, fullness of her body Light comes from the right creating a shadowy 3-D figure
SELF-PORTRAIT -Camille Pissarro,1898 Pencil Collection of John Newberry Pissarro used a rough paper for this drawing Minimal lines and varied pressure draw attention to his eyes This is not surprising since his visual ‘sensation’ was of such importance He used hatching in the background, on his cheek, nose, shoulder
PISSARRO’S STUDIO-Eragny, 1890s Notice that the painting of Cezanne by Pissarro is on the upper shelf The open door and wide windows gave the best Northern working light
PHOTOGRAPH OF CAMILLE PISSARRO IN HIS STUDIO-Eragny, 1897 Once again, the strong light is coming from the left It casts his working surface in complete light Pissarro was 67 years old when this photograph was taken
PISSARRO WITH HIS WIFE, HIS SON PAUL-EMILE AND HIS DAUGHTER JEANNE IN THEIR GARDEN AT ERAGNY, 1897 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Like the other Impressionists, Pissarro liked to paint outdoors This was called their ‘plein-aire’ painting His easel with attached worktable and storage was portable What a good idea to add wheels to this contraption!
CAMILLE PISSARRO-1895 Goodman, S. (2001) (Ed.). The Emergence of Jewish Artists in 19th c. Europe . NY: The Jewish Museum Acculturated French Jews were not calling for specifically religious art They expressed subjects of a general order with universal interest Pissarro’s approach ran into the racial culture of his day The Impressionists were accused of being color blind This was a malady held to affect Jews disproportionately at that time In the 1890s, the Dreyfus Affair polarized public opinion Pissarro was for Dreyfus He was proud to see a fellow Jew argue that “race is a fiction” At his death, Jewish publications worldwide mourned his passing
PORTRAIT OF JEANNE-Camille Pissarro, 1898 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 25 ¼ x 21” (65 x 54 cm) Foundation Rau pour le Tiers-Monde. Zurich (PV1065) Pissarro’s second daughter was born in 1881 She was 17 years old when Pissarro painted this portrait She was also called Jeanne Notice that the placement of the flower draws your eye to her face The curve of the round back chair is repeated in her coiffure
PORTRAIT OF PAULEMILE- Camille Pissarro, c. 1899 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas. 25 1/4 x 21” (65 x 54 cm). Collection Joel and Carol Honigberg, Chicago The Pissarro children are often depicted reading Pissarro himself was an avid reader of political philosophy and literature Could this orientation come from Pissarro’s background? Books and reading are highly valued in the Jewish culture Pissarro subscribed to numerous journals and periodicals Pissarro did not associate reading and painting He said that painting is not illustrating a text, or a context He also believed that writing about painting is an almost impossible task
JEANNE READING -Camille Pissarro, 1899 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on Canvas. 21 1/2 x 25 1/2” (551 x 654 cm). Private collection (PV 111) Jeanne is shown again the following year Here she is one component of an avant-garde composition Notice the multiple repeated abstract patterns Asymmetrical composition reflects modernists aesthetics Pissarro shared his passion for reading with his children He once wrote to Mirbeau: “ Every day I rest by reading. I find that my eyesight is all the better after having gone through a book that I enjoyed.”
PORTRAIT OF CAMILLE PISSARRO -Camille Pissarro, c. 1900 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Oil on canvas 13 ½” x 12 ½ “ (35 x 32 cm) Private collection (PV1114) One can see marks of self-depreciation in Pissarro’s portraits There are also gentle signs of self-irony, tenderness and doubt What do you think?
PISSARRO PAINTING -Camille Pissarro, 1900 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abram Oil on canvas. 20 ¼” x 12” (52 x 31 cm). Dallas Museum of Art. The Wendy and Emery Reves Collection (PV 1115) Pissarro’s work constructed his life The paintings he did of his children set the tempo of his biography He painted with his pulse throbbing, but without sentimentality
SELF-PORTRAIT -Camille Pissarro, 1903 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abram Oil on canvas. 16” x 13” (41 x 33 cm) The Tate Gallery. London (PV 1316) This was created in his apt. in Paris overlooking the Poont-Neuf It reinforces his image He was likened to a biblical prophet by his contemporaries. This may have been due to his long flowing white beard He endows himself with the force of personality He developed that over a lifetime….
LETTER TO LUCIEN-Nov. 20, 1883 Pissarro, L.& Rewald, J. (Ed.) (1981). Letters to His son Lucien. Nov. 20, 1883, p. 38. In Schirrmeister, A. (1982). Camille Pissarro . NY: The Metropolitan Museum “ Painting, art in general, enchants me. It is my life. What else matters? When you put all your soul into a work, all that is noble in you, you cannot fail to find a kindred soul who understands you, and you do not need a host of such spirits. Is that not all an artist should wish for?”