Paul Delvaux

Paul Delvaux 1897-1944

 Paul Delvaux, Les nymphes se baignant 1938

«Trois Nus dans la forêt» (1908) de Ernst Ludwig Kirchner

Ludwig Kirchner 1880-1938

«Trois Nus dans la forêt» (1908) de Ernst Ludwig Kirchner (1880 - 1938).

«Le Rêve» (1910) d'Henri-Julien-Félix Rousseau

Henri Rousseau 1844-1910

«Le Rêve» (1910) d'Henri-Julien-Félix Rousseau (1844 - 1910).

«Les Grandes Baigneuses» (1906) de Paul Cézanne

Paul Cezanne

«Les Grandes Baigneuses» (1906) de Paul Cézanne (1839 – 1906).

Oil on canvas
82 7/8 x 98 3/4 inches (210.5 x 250.8 cm)

This is the largest, the last, and in many ways, the most ambitious work from Cézanne’s lifelong exploration of the time-honored theme of nudes in a landscape. It is also, perhaps, in its unfinished state, the purest and most serene witness to the man whom Paul Gauguin described as spending “entire days on mountaintops reading Virgil,” dreaming of wooded glades populated with beautiful figures who, if not exactly participants in a narrative as such, are full of animation and interaction. Perhaps it is its grand nobility—its authority as something beyond time, “like art in the museums,” as Cézanne said—that made it so attractive to many artists.

Near the end of his life Paul Cézanne painted three large canvases of female nudes disporting in a landscape. They derive in part from pastoral images of female bathers, such as the goddess Diana and her maidens, long favored in French art. These works seem to have been, for Cézanne, the culmination of a lifetime of exploration on the nude, his final testament within the grand tradition of French narrative painting on the nature of the human condition. They differ greatly from one another, these three paintings (the others are in the Barnes Foundation, Merion, Pennsylvania, and the National Gallery, London). The Philadelphia version, perhaps because of its unfinished state, is both the most exalted and the most serene. The women command a great stage, very much like goddesses in some grand opera production, with the arched trees acting as the proscenium. They are completely at ease, and for all the motion and activity there is a profound sense of eternal calm and resolution, as well as a quality of monumentality achieved through the most lucid and unlabored means. Joseph J. Rishel, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 211.

Estate of Paul Cézanne, 1906; purchased by Ambroise Vollard, Paris from Cézanne's son, 1907; Auguste Pellerin (1852-1929), Paris, by 1923; by descent to his son Jean-Victor Pellerin, Paris, 1929-1936 [1]; with Wildenstein & Co., New York, acting as agent for Pellerin, 1936 [2]; sold to the City of Philadelphia for the W. P. Wilstach Collection, July 6, 1937 [3]. 1. Lent by M. and Mme. Pellerin to the 1936 exhibition "Cézanne", Musée de l'Orangerie, Paris, no. 107. 2. Provenance per John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné, New York, 1996, no. 857. See also Joseph Rishel, Cézanne in Philadelphia Collections, Philadelphia, 1983, p. xvi. 3. Copy of dated receipt in registrar file.

Ambroise Vollard

Ambroise Vollard 1866-1939

Brassai -Ambroise Vollard dans son bureau avec son chat,1934

Howard Hodgkin

 Howard Hodgkin 1932-...  site officiel
 

 Howard Hodgkin - Where Seldom is Heard a Discouraging Word. 2007

Howard Hodgkin -  Where Seldom Is Heard a Discouraging Word, 2007-2008. 
Oil on wood, 80 1/8 x 105 inches, 203.5 x 266.7cm

Howard Hodgkin - Rain, 2011
2011
25 3/4 x 30 1/8", 65.4 x 76.5cm
Painting

Mary Cassatt

Mary Cassatt 1844-1926

Mary Cassatt
 53 x 45 cm Musée d'Orsay

Edward Hopper

Edward Hopper 1882-1967

Edward Hopper - Blackhead, Monhegan,1919

23.81 x 33.02 cm

 Whitney Museum of American Art, New York, USA

Edward Hopper - Cape Cod Morning
1950
Edward Hopper
Born: Nyack, New York 1882
Died: New York, New York 1967
oil on canvas
34 1/8 x 40 1/4 in. (86.7 x 102.3 cm.)
Smithsonian American Art Museum
Gift of the Sara Roby Foundation
1986.6.92
Smithsonian American Art Museum
1st Floor, South Wing

Édouard Manet

Édouard Manet 1832-1883

 

 A detail from Edouard Manet's portrait of Mademoiselle Claus, 1868.

 Oxford museum succeeds in campaign to keep in Britain 

painting regarded as a key impressionist work.

Edouard Manet (1832-1883)

Portrait de Fanny Claus, 1868
Huile sur toile - 111 x 70 cm
Interdit temporairement de sortie
du Royaume-Uni
Photo : Ashmolean Museum

 Le Balcon

1868-1869 (170 x 124 cm)
Musée d'Orsay, Paris.

Camille Pissaro

Camille Pissaro 1830-1903

Printemps, pruniers en fleurs, Pontoise, 1877 

(Paris, musée d'Orsay)

Camille PISSARRO 1830-1903

- "Les Baigneuses"

- Huile sur toile 35 cm x 27 cm

- Peint en 1895

- Localisation: collection privée

Camille Pissarro
French (1830-1903)

The Road: Rain Effect (The Versailles Road at Louveciennes)
1870
Oil on canvas
15 7/8 x 22 3/16 in. (40.3 x 56.3 cm)
Signed and dated lower left: C. Pissarro 1870
Sterling and Francine Clark Art Institute,

Pierre-Auguste Renoir: Girl with a Fan, c. 1879

Pierre-Auguste Renoir

Pierre-Auguste Renoir: Girl with a Fan, c. 1879

Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA

Victor Charreton (French, 1864–1936)

Victor Charreton ( 1864–1937)

 Victor Charreton - Chapelle sous la neige

Victor Charreton -Les bords de la Veyre

 Victor Charreton, Au bord de la Veyre
  Coll. Musée d'Art Roger Quillot, Cermont-Ferrand

Victor Charreton - Avenue Longchamp

- Huile sur toile 67 cm x 82 cm
- Date inconnue
- Localisation: collection privée