Visualizzazione post con etichetta Musée d'Orsay. Mostra tutti i post
Visualizzazione post con etichetta Musée d'Orsay. Mostra tutti i post
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Claude Monet | Le Déjeuner sur l'herbe, 1865-1866

From: Musée d’Orsay, Paris
This fragment, there is a second also in the Musée d'Orsay, is one of the remaining parts of the monumental Luncheon on the Grass by Monet. The work was started in the spring of 1865 and measured over four metres by six. It was intended to be both a tribute and a challenge to Manet whose painting of the same title had been the subject of much sarcasm from the public as well as the critics when it was exhibited in the Salon des Refusés in 1863. But the project was abandoned in 1866, just before the Salon where Monet intended to show it, opened.

In 1920, the painter himself recounted what had happened to the picture: "I had to pay my rent, I gave it to the landlord as security and he rolled it up and put in the cellar. When I finally had enough money to get it back, as you can see, it had gone mouldy". Monet got the painting back in1884, cut it up, and kept only three fragments. The third has now disappeared.

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Pierre-Auguste Renoir | Champ de bananiers, 1881

Starting in 1881 the art dealer Paul Durand-Ruel regularly bought paintings from Pierre-Auguste Renoir.
The painter then undertook all the trips he had previously been unable to afford and which would complete his artistic training.
His first trip took him to Algeria, in the footsteps of Delacroix whom he admired. Renoir's visual experience there was as intense as it had been for the older artist.
Seduced by the colours and the "incredible wealth" of nature here, he produced several pure landscapes, quite rare in his oeuvre. This field of banana trees is in the Essai garden in Hamma, created in 1832 in Algiers.

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Eugenè Burnand | Apostles Peter and John hurry to the tomb on the morning of the Resurrection, 1898

"Peter therefore went out, and the other disciple [John], and were going to the tomb. So they both ran together, and the other disciple outran Peter and came to the tomb first. And he, stooping down and looking in, saw the linen cloths lying there; yet he did not go in.
Then Simon Peter came, following him, and went into the tomb; and he saw the linen cloths lying there, and the handkerchief that had been around His head, not lying with the linen cloths, but folded together in a place by itself.
Then the other disciple, who came to the tomb first, went in also; and he saw and believed. For as yet they did not know the Scripture, that He must rise again from the dead. Then the disciples went away again to their own homes" - John 20:3-10.

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Alfred Sisley | Boat in the Flood at Port Marly, 1876

In 1874, Alfred Sisley (French Impressionist painter, 1839-1899) moved to Marly-le-Roi and became the chronicler of this village situated a few kilometres to the west of Paris.
His most beautiful motif was when the Seine burst its banks and flooded the neighbouring village of Port-Marly in the spring of 1876.
The artist produced six paintings of this event. He captured the great expanse of water with moving reflections that transformed the peaceful house of a wine merchant into something mysterious and poetic. Two of these paintings are in the Musée d'Orsay.

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Edgar Degas | Repasseuses / Le Stiratrici, 1884-1886

Degas often made portraits of his family and friends but he was also an attentive observer of the working world in millinery workshops or laundries.
Only Daumier before him had taken an interest in washerwoman, who became one of Degas's favorite subjects between 1869-1895.
At first he painted single figures seen against the light, picked out sharply against the white linen.
Then, about 1884-1886, he dwelled more heavily on the subject, this time depicting two women in a laundry.

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Vincent van Gogh | Starry Night Over the Rhone, 1888 | Musée d'Orsay, Paris

Vincent van Gogh | Starry Night Over the Rhone, 1888

"The sight of the stars always makes me dream in as simple a way as the black spots on the map, representing towns and villages, make me dream.
Why, I say to myself, should the spots of light in the firmament be less accessible to us than the black spots on the map of France?
Just as we take the train to go to Tarascon or Rouen, we take death to go to a star’, wrote Vincent to his brother Theo in 1888.

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Lucien Lévy-Dhurmer | Le Silence, 1895 | Musée d'Orsay

"Le Silence", a picture that Levy-Dhurmer🎨 kept throughout his life, is without doubt one of his most fascinating works.
It has the suggestive power of an icon, an image that is all the more compelling for being presented as an enigma: fixed in a hieratic pose, with eyes hidden in shadow, the figure eludes all explanation.
Solid and immobile, it keeps what we imagine to be the secret of its mourning to itself.
The long, falling folds, enhanced by the vertical format, cannot but evoke both physical gravity (from which it is impossible to escape) and moral gravity.

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Édouard Sain | Excavations at Pompeii, 1865

Édouard Alexandre Sain (13 May 1830 - 26 June 1910) was a French painter🎨 whose works included historical and genre subjects as well as portraits.
Sain was strongly interested in antiquity.
He first settled at Écouen, where he painted various rustic scenes in the plein air style, but experimented with other styles. His paintings from this period include Vénus et l'Amour, a group of chimney sweeps and a historical painting of the period of Louis XV.