The document provides details on five paintings by Italian artist Amedeo Modigliani from 1917-1914. It includes Nude Sitting on a Divan, Madame Pompadour, Portrait of Chaim Soutine, Jacques and Berthe Lipchitz, along with background details on Modigliani's life and art style which was influenced by Italian Renaissance art and African art. Highlighted paintings include Nude Sitting on a Divan which set an auction record, and Portrait of Chaim Soutine which depicts the special friendship between the two artists.
This slideshow is licensed under Creative Commons. He is of our friend Bernard Hardy that has made a tremendous job with this series very well documented.
You can view the collection of 9 presentations on its space Slideshare here: http://www.slideshare.net/Bern7/
I thank him for his permission
This slideshow is licensed under Creative Commons. He is of our friend Bernard Hardy that has made a tremendous job with this series very well documented.
You can view the collection of 9 presentations on its space Slideshare here: http://www.slideshare.net/Bern7/
I thank him for his permission
This is an interactive power point that gives a brief history of the artist Joan Miro. It also provides various examples of his work throughout his career.
A presentation on Cubism with biographies of Pablo Picasso and Georges Brague. The presentation was created in Powerpoint 2010 and features transition effects.
Bits de inteligencia sobre la figura de Modigliani. Diseñados para imprimir y mostrar en aula impresos (por las dos caras). No son una presentación propiamente dicha.
This is an interactive power point that gives a brief history of the artist Joan Miro. It also provides various examples of his work throughout his career.
A presentation on Cubism with biographies of Pablo Picasso and Georges Brague. The presentation was created in Powerpoint 2010 and features transition effects.
Bits de inteligencia sobre la figura de Modigliani. Diseñados para imprimir y mostrar en aula impresos (por las dos caras). No son una presentación propiamente dicha.
Colonial Empires About 1900This map is really important .docxdrandy1
Colonial Empires About 1900
This map is really important in understanding how non-Western cultures would have a profound impact on art of the early 20th century. Africa, in particular, was divided among many nations with France taking a huge chunk. Many items would be imported into Europe and would inspire artists like Picasso and Matisse, as you will see.
HENRI MATISSE, Luxe, calme et volupté, 1904-5
Fauvism:
Bold colors of Van Gogh, but used them as complete artistic expression; figure was secondary to color, form, and line; combination of subjective expression and pure optical sensation
Called the fauves by critics who thought the artists like Matisse painted like wild beasts
Combination of Impressionism’s love of nature with Post-Impressionism’s love of expressive color; influenced by African art
Impression upon other coming of age avant-garde artists who were trying to take what Cézanne started even further
Not an entirely cohesive movement as the artists all had their own personal agendas
Henri Matisse first studied law, but in 1891 enrolled in art school and studied under Bouguereau (whose idea later rejected) then studied with Moreau in 1892 who encouraged him to follow his own direction. Later he would experiment with non-descriptive color. He met Andre Derain and Maurice de Vlaminck in 1900 who would also work in the fauvist style.
I’m showing you other works by Matisse so that you get a sense of how much he experimented during the first decade of the 20th century. This piece is a radical reinterpretation of French pastoral landscape painting. We have nudes who don’t have a care in the world, an idyllic female world. There are staccato brushstrokes and color straight from the paint tube applied in a rainbow of colors.
HENRI MATISSE, Blue Nude: Memory of Biskra, 1907
Influences of African art can be seen in the exaggeration of the female body, especially in the breasts and buttocks, and in the mask-like face. The extreme position of the body makes it look like the figure is composed of different people. The color is inherently Fauve in that it isn’t descriptive of nature. This is part of the odalisque tradition, but his painting isn’t seductive and erotic because Matisse believed that he was creating a picture, not a woman.
Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.
This painting is more abstract. The use of color is very unconventional and gives the painting a sense of flatness. It is more decorative in surface patterning; a new pictorial space is defined by color and line. Matisse is doing something important here: he’s tell you that you’re looking at a painting, not an actual view of the world. By emphasizing the flatness of the surface, he’s emphasizing that it is a thing in and of itself.
Figure 24-6 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. M.
Colonial Empires About 1900This map is really important .docxcargillfilberto
Colonial Empires About 1900
This map is really important in understanding how non-Western cultures would have a profound impact on art of the early 20th century. Africa, in particular, was divided among many nations with France taking a huge chunk. Many items would be imported into Europe and would inspire artists like Picasso and Matisse, as you will see.
HENRI MATISSE, Luxe, calme et volupté, 1904-5
Fauvism:
Bold colors of Van Gogh, but used them as complete artistic expression; figure was secondary to color, form, and line; combination of subjective expression and pure optical sensation
Called the fauves by critics who thought the artists like Matisse painted like wild beasts
Combination of Impressionism’s love of nature with Post-Impressionism’s love of expressive color; influenced by African art
Impression upon other coming of age avant-garde artists who were trying to take what Cézanne started even further
Not an entirely cohesive movement as the artists all had their own personal agendas
Henri Matisse first studied law, but in 1891 enrolled in art school and studied under Bouguereau (whose idea later rejected) then studied with Moreau in 1892 who encouraged him to follow his own direction. Later he would experiment with non-descriptive color. He met Andre Derain and Maurice de Vlaminck in 1900 who would also work in the fauvist style.
I’m showing you other works by Matisse so that you get a sense of how much he experimented during the first decade of the 20th century. This piece is a radical reinterpretation of French pastoral landscape painting. We have nudes who don’t have a care in the world, an idyllic female world. There are staccato brushstrokes and color straight from the paint tube applied in a rainbow of colors.
HENRI MATISSE, Blue Nude: Memory of Biskra, 1907
Influences of African art can be seen in the exaggeration of the female body, especially in the breasts and buttocks, and in the mask-like face. The extreme position of the body makes it look like the figure is composed of different people. The color is inherently Fauve in that it isn’t descriptive of nature. This is part of the odalisque tradition, but his painting isn’t seductive and erotic because Matisse believed that he was creating a picture, not a woman.
Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.
This painting is more abstract. The use of color is very unconventional and gives the painting a sense of flatness. It is more decorative in surface patterning; a new pictorial space is defined by color and line. Matisse is doing something important here: he’s tell you that you’re looking at a painting, not an actual view of the world. By emphasizing the flatness of the surface, he’s emphasizing that it is a thing in and of itself.
Figure 24-6 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. M.
big and small, lined and soft, round and angular
of felt or velvet
adorned with fur, embroidery, gorgeous bird feathers, ribbons, stones according to the owner’s fortune
grands et petits, doublés et doux, ronds et angulaires,
en feutre ou en velours,
ornés de fourrure, broderies, plumes d'oiseaux magnifiques, de rubans, pierreries selon la fortune du propriétaire ...
Recognised as the most beautiful woman in the Mediterranean civilisations, hers was the face that launched a thousand ships and inspired the legends ...
Rückenfigur ... back figure in paintings.ppsxguimera
Wanderer above the Sea of Fog is perhaps the most iconic Rückenfigur in German Romantic painting …
Rückenfigur, the back-figure is a pictorial theme with significant power.
Rückenfigur ... back figure in paintings
Rückenfigur ... figure de dos dans la peinture.ppsxguimera
Le Voyageur contemplant une mer de nuages est probablement la Rückenfigur la plus emblématique de la peinture romantique allemande ...
Rückenfigur, la figure de dos est un thème pictural d'une grande puissance.
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Panier en osier dans la peinture européenne.ppsxguimera
A été représenté
dans les peintures mythologiques et religieuses, les natures mortes, vanités, allégories, dans la peinture de genre.
Du Caravage et Rubens à Millet, en passant par Vermeer, Delacroix, Manet, Moreau ...
The Art of Rain_The beauty of rain in paintings..ppsxguimera
The beauty of rain in paintings.
expected or feared, delicate or stormy, metaphorical or very real, the rain has often entered the imagination of artists ...
L’art de la pluie_La beauté de la pluie dans la peinture..ppsxguimera
La beauté de la pluie dans la peinture.
espérée ou redoutée, fine ou orageuse, métaphorique ou bien réelle, la pluie s’est souvent invitée dans l’imaginaire des artistes ...
Medea and the beautiful Argonaut,
the first human Cain
Romulus and Remus nursed by the same she-wolf,
Vulcan who loves Venus who loves Mars
Eve and the Apple of the Tree of Temptation
and
the most human of emotions that inspired the painters
La jalousie dans la peinture européenne.ppsxguimera
Médée et le bel Argonaute,
le premier humain Caïn
Romulus et Remus nourris au sein de la même louve,
Vulcain qui aime Vénus qui aime Mars
Ève et la pomme de l'arbre de la tentation
et
la plus humaine des émotions qui a inspiré les peintres
créatures mi-hommes, mi-chevaux, habitant les forêts et les montagnes
violents et sauvages, avec une morale brutale, et un amour immodéré pour le vin et les femmes
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
16. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington
While many of Modigliani's portraits are
either stylized and impersonal—with eyes
often left blank—or almost caricatural, this
painting seems to be both particular and
sympathetic. Soutine sits with tumbling
hair and ill-matched clothes, his hands
placed awkwardly in his lap, his nose
spreading across his face as he stares out
of the frame. The half-closed eyes, one
slightly higher than the other, might
suggest Soutine's despair and
hopelessness, attitudes with which
Modigliani could identify as a poor artist in
Paris. Modigliani's treatment of Soutine
may also reflect the special place that
Soutine had won in the older artist's
affections.
17. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington
18. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington
19. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington
20. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington
23. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz (detail)
1917
Oil on canvas, 81 x 54 cm
Art Institute of Chicago, Chicago
24. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz (detail)
1917
Oil on canvas, 81 x 54 cm
Art Institute of Chicago, Chicago
25. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz (detail)
1917
Oil on canvas, 81 x 54 cm
Art Institute of Chicago, Chicago
26. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz (detail)
1917
Oil on canvas, 81 x 54 cm
Art Institute of Chicago, Chicago
27. MODIGLIANI, Amedeo , Featured Paintings in
Detail (1)
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28. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz
This double portrait of Jacques Lipchitz and his wife, Berthe, exemplifies Modigliani's talent for eliciting the inner life of his subjects. Although his stylized method of painting presents two
mask-like faces, they reveal subtle clues about the personality of each sitter. Berthe has an open, kindly face, conveyed by the brightness of the paint and downward tilting eyes. Jacques, with
his small, compressed features sloping inward, appears calculating and suspicious. Wanting to pay his friend Modigliani as much as possible for his work, Jacques Lipchitz insisted on further
changes after its completion; as a result, the painting took nearly two weeks to finish.
https://en.wikipedia.org/wiki/Jacques_and_Berthe_Lipchitz
29. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine
The 11th child of a Russian Jewish tailor, Chaim Soutine (1894–1943) was rescued from poverty and abuse by a rabbi who recognized his talent and sent him to art school—first in
Minsk, then in Vilna. Soutine arrived in Paris at the age of 17 in 1911–1912 and met Modigliani in Montparnasse in about 1914. They developed a close friendship, and Modigliani painted
Soutine's portrait several times. Soutine's unruly, spontaneous manner of painting was alien to his Italian friend, who, to describe his own state of drunkenness, once quipped,
"Everything dances around me as in a landscape by Soutine." The elegant Modigliani felt protective of the uncouth Soutine, 10 years his junior. In 1916 Modigliani introduced his friend
to his dealer, Leopold Zborowski, and urged him to handle Soutine's work, which he began to do. Shortly before Modigliani died, he told Zborowski, "Don't worry, I'm leaving you
Soutine."
While many of Modigliani's portraits are either stylized and impersonal—with eyes often left blank—or almost caricatural, this painting seems to be both particular and sympathetic.
Soutine sits with tumbling hair and ill-matched clothes, his hands placed awkwardly in his lap, his nose spreading across his face as he stares out of the frame. The half-closed eyes, one
slightly higher than the other, might suggest Soutine's despair and hopelessness, attitudes with which Modigliani could identify as a poor artist in Paris. Modigliani's treatment of
Soutine may also reflect the special place that Soutine had won in the older artist's affections.
30. MODIGLIANI, Amedeo
Madame Pompadour
This is one of the most famous portraits created by Modigliani. The painting is of a woman named Beatrice Hastings, who had a love affair with the artist for over two years, and sat
for many of his paintings. This portrait illustrates the artist’s style of turning the face into a mask-like image, and the elongation of the form of the body, in this case an
exaggeratedly long and thin neck. The subject is also perhaps a bit of a social critique, as the pompadour is also in his stylized, exaggerated form of simple lines, using a traditional
image to steer away from the traditional style of painting.
31. MODIGLIANI, Amedeo
Nude Sitting on a Divan (The Beautiful Roman Woman)
This oil on canvas painting depicting a partially draped woman seated with crossed legs against a warm red background. The work was one of a series of nudes painted by
Modigliani in 1917 that created a sensation when exhibited in Paris that year. On November 2, 2010, the painting sold at a New York auction for $68.9 million, a record price for an
artwork by Modigliani.
The several dozen nudes Modigliani painted between 1916 and 1919 constitute many of his best-known works. The nudes of this period are "displayed boldly, with only the faintest
suggestion of setting.... neither demure nor provocative, they are depicted with a degree of objectivity. Yet the uniformly thick, rough application of paint— as if applied by a
sculptor's hand— is more concerned with mass and the visceral perception of the female body than with titillation and the re-creation of translucent, tactile flesh".
This series of nudes was commissioned by Modigliani's dealer and friend Leopold Zborowski, who lent the artist use of his apartment, supplied models and painting materials, and
paid him between fifteen and twenty francs each day for his work.
32. MODIGLIANI, Amedeo
Modigliani was born in Livorno, Italy, into a family of Sephardic Jews who had little money but a rich cultural life.
When he arrived in Paris at the age of 22, he had had eight years of academic training behind him, and possessed
a great respect for the old masters and a passionate interest in literature, especially poetry.
He settled in Montmartre, entered the private Academy of Colorossi, and frequented gatherings of avant-garde
artists and poets. Even though he is reported to have had high esteem for Matisse and Picasso, his art, according
to scholars, never had any affinity to either the Fauves or the Cubists. Modigliani admired 14th century Italian art
(especially the Siena School of painting), and was interested in primitive art in general and African art in
particular. African art was an avant-garde craze at the time, and it is quite probable that Modigliani saw the
exhibition of African art displayed at the Trocadero in 1906.
In the autumn of 1907, Modigliani met a young physician, Dr. Paul Alexander, who bought most of his early
paintings. The doctor invited him to work at the artists' colony he had established on rue de Delta. They soon
became friends and shared their interest in literature and poetry.
Modigliani's art may be considered a personal version of expressionism. The expressionistic aspects of his work
were the thematic choice of profound, often painful aspects of human life, extensive use of sharp outlines, and
masterly yet intentionally strident or dissonant color combinations. He developed a highly personal style of
extremely elongated, simplified forms endowed with a sense of rhythmic vitality and linear grace.
Modigliani died of tuberculosis aggravated by alcoholism and drug addiction in January 1920, at the age of 37.
The art dealers, who are assumed to have kept the prices of Modigliani's painting low during his lifetime, began
negotiating a new price level at his funeral.