Edvard Munch - Jeunes filles sur la plage

 Edvard Munch 1863-1944

Edvard Munch  Jeunes gens sur la plage de la Frise Linde,1904.

Jugend am Strand;1904

huile sur toile - 90,5 x 135 cm

Edvard Munch - Stanislaw Przyszewski  écrivain polonais ,1895.

huile sur toile -

France Culture - Pourquoi tant de nus dans l'art

 

Bibliographie :

• Claire Maingon, L’œil en rut – Art et érotisme en France au XIXe siècle, éd. Norma, 2019
• Claire Maingon, Quand le patrimoine se met à nu, Paris, éd. Beaux-arts
• Claire Maingon, Les scandales érotiques de l’art, Paris, Beaux-arts éditions, 2016
• Nadeije Laneyrie-Dagen, L’Invention du corps, Flammarion, 2006
• Nadeije Laneyrie-Dagen, La Représentation de l'homme du Moyen-Âge à la fin du XIXe siècle, Galimard, 1997
• Régis Michel, Catalogue de l'exposition, Posséder et détruire : Stratégies sexuelles dans l’art d’Occident, RMN, 200
• Elisabeth Leibovici, L'Intime , direction d'ouvrage, éditions de l' École nationale supérieure des beaux-arts, 1998
• Elisabeth Leibovici, Femmes artistes/Artistes femmes : Paris, de 1880 à nos jours avec Catherine Gonnard, éditions Hazan, 2007
• Nienke Bakker, Isolde Pludermacher, Marie Robert, Catalogue de l'exposition, Splendeurs et misères. Images de la prostitution, 1850-1910, Flammarion, 2016
• Anne lafont, L’Art et la Race. L’Africain (tout) contre l’œil des Lumières, Les Presses du réel, 2019
• Collectif, Catalogue exposition, Le modèle noir, Le modèle noir De Géricault à Matisse, Coédition Flammarion / Musée d'Orsay et de l'Orangerie
• Clovis maillet, Les Genres fluides, Paris, Arkhé, 2020
• Claudine Cohen, La femme des origines : images de la femme dans la préhistoire occidentale, Paris, Belin Herscher, 2003 ; rééd. 2006
• Gil Bartholeyns, Pierre-Olivier Dittmar, Vincent Jolivet, Image et transgression au Moyen Âges, PUF (coll. Lignes d’art), 2008, 195 p. (Traduction italienne : Immagine e trasgressione nel Medioevo, Roma, Edizioni Arkeios, 2015

Joan Miro - Paysage catalan,1924.

 Joan Miro 1893-1983

Joan Miro - Payasage catalan, 1924.

huile sur toile - 65 x 100 cm

MOMA,New York

Mark Rothko

 Mark Rothko 1903-1970

Mark Rothko - Sans titre No 5 / No 22

Huile sur toile - 297 x 272 cm

MOMA,New York

Joan Miro - Femmes et oiseau dans la nuit,1947.

 Joan Miro 1893-1983 ( 90 ans )

Joan Miro - Femmes et oiseau dans la nuit,1947.

Private collection

Max Ernst - oeuvres années 1920

Max Ernst 1891-1976 (85 ans)

Dorothea Tanning (1910-2012) and Max Ernst with his sculpture Capricorn,1947.

Max Ernst - The elephant Celebes, 1921.

huile sur toile - 125 x 108 cm

Tate Modern, london

Max Ernst - Au rendez-vous des amis, 1922.

huile sur toile - 130 x 195 cm

musée Ludwig,Cologne

Max Ernst - Ubu imperator, 1923.

huile sur toile - 81 x 65cm

Centre Pompidou

Frederic Leighton - Flaming June

Frederic Leighton 1830-1896

Frederic Leighton - Flaming June,1895.

huile sur toile  - 120 x 120 cm

Museo,Puerto Rico

 

 

Frederic, Lord Leighton PRA, Greek Girls Picking up Pebbles by the Sea, 1871.

huile sur toile - 84 x 130 cm. 

The Pérez Simón Collection, Mexico

Gainsborough et sa famille

 Thomas Gainsborough 1727-1788 (61 ans )

Thomas Gainsborough - The painter's daughters chasing a butterfly.

oil on canvas

The National Gallery,London.

Thomas Gainsborough - The painter's daughters with a cat

oil on canvas

The National Gallery,London.

Thomas Gainsborough - Portrait of the painter with his wife and daughter.

oil on canvas

The National Gallery,London.

Gainsborough and the lay figure

 Thomas Gainsborough 1727-1788 (61 ns )

Le peintre utilisa des pantins ou mannequins articulés pour composer ces portraits:

Thomas Gainsborough - Heanage Lloyd and his sister Lucy,ca.1748-1750.

huile sur toile - 81x 64 cm

Fitzwilliam Museum,Cambridge

Bien que connu pour être un des meilleurs portraitistes de la société anglaise du XVIII ième siècle, Gainsborough lui-même avouait sa passion pour la peinture de paysage.

 

Thomas Gainsborough - Landscape with a pool.

huile sur toile

Fitzwilliam Museum,Cambridge

Thomas Gainsborough -Converstion in a park; ca. 1740.

huile sur toile

Louvre,Paris

Thomas Gainsborough - Mary,ciuntess Howe

 Thomas Gainsborough  1727-1788 (61 ans)

Thomas Gainsborough - Mary,countess Howe,c1764.

huile sur toile - 244  152 cm

Kenwood House,London

Berthe Morisot - Julie manet and her greyhound Laerte,18893

 Berthe Morisot 1841-1895

Berthe Morisot - Julie manet and her greyhound Laerte,1893

Rodin Muse Whistler nue,bras coupés

 Auguste Rodin 1840-1917 (77 ans )

Auguste Rodin - Muse Whistler nue,bras coupés , 1908.

Le modèle est Gwen John,peintre,amante de Rodin 1876-1939

Alexander Calder - praying mantis,1936

 Alexander "Sandy" Calder 1898-1976 (78ans)

Study for Lobster trap and fish tail

Lobster trap and fish tail,1939

The museum of modern art ; New York

 

Alexander Calder - praying mantis,1936

 

José de Ribera - Saint Jérôme et l'ange

 José de Ribera 1591-1652

José de Ribera - Le martyre de Saint Philippe,1639

huile sur toile - 234x 234 cm

Musée du Prado

 José de Ribera - Madelaine pénitente,1609-1611

huile sur bois - 50 x 39 cm

Collection particulière

José de Ribera - Saint Jérôme et l'ange,1626

huile - 164 x 262 cm

Musée Capodimonte,Naples

Giovanni Bellini

 Giovanni Bellini  v.1435-1516

Giovanni Bellini -Annonciation,vers 1464-1465

Tempera et or sur bois

Museo Thyssen - Bornemisza,Madrid

El Greco - Saint Francis receiving the stigma,1590-1595.

El  Greco 1541-1614

El Greco - Saint Francis receiving the stigma,1590-1595.

Oil on canvas - 

The National Gallery of Ireland,Dublin

El Greco - Saint Francis receiving the stigma,1585-1590.

Oil on canvas - 102 x 97 cm

Walters Art Museum,Baltimore

Caravaggio 1571-1610 ,A contemporary of El Greco :

Caravaggio’s ‘remarkable’ Saint Francis of Assisi in Ecstasy, c1595. © 

Wadsworth Atheneum Museum of Art

Aelbert Cuyp

 Aelbert Cuyp 1620-1691

Dordrecht

Claude Lorrain

Aelbert Cuyp - lady and gentleman on horseback,1655.

oil on canvas - 123 x 172 cm

National Gallery of Art, Washington DC

Metropolitan Museum of Art

Avenue at Meerdervoort

Suzanne Valadon

 Suzanne Valadon 1865-1938

Suzanne Valadon - La chambre bleue,1923.

huile sur toile - 90 x 116 cm

Suzanne Valadon - Portrait de famille,1912.

huile sur toile - 98 x 73,5 cm

Musée d'Orsay

Suzanne Valadon - 

huile sur toile

The Metropolitan Museum of Art,N.Y.

Henri de Toulouse Lautrec - La grosse Marie

Venus de Montmartre

( Suzanne Valadon comme modèle)

Suzanne Valadon - Adam et Eve

huile sur toile

Il s'agit de Suzanne Valadon et de son amant 

le peintre André Utter de 20 ans son cadet.

Suzanne Valadon -Marie Coca et sa fille,1913.

huile sur toile

Paul Cezanne - Bathers '(les grandes baigneuses)

 Paul Cezanne 1839-1906

Paul Cezanne- Bathers ( les grandes baigneuses)

Oil on canvass- about 1894-1905

The National Gallery,London

Around 200 of Cézanne’s works depict male and female nude bathers, either singly or in groups, in a landscape. The earliest dates from the 1870s. This large painting is one of three pictures of female bathers that Cézanne worked on during the final decade of his life. The largest of all his paintings, they represent the culmination of his lifelong investigation of this subject and the climax of his entire career. They were hugely influential on early twentieth-century modern art, particularly Cubism, and had a lasting impact on Picasso and Matisse.

The precise dating of the pictures is difficult. It’s possible that Cézanne worked simultaneously on all three canvases, beginning in the mid-1890s and continuing until his death in 1906, as each shows evidence of reworking. The first of the three, possibly begun in 1895 and of a similar size to the National Gallery’s picture, is now in the Barnes Foundation, Philadelphia. The National Gallery’s painting is generally acknowledged to be the second to have been started. It may date from 1898–9 and was finished in 1905. As he worked on the picture, Cézanne decided to reduce the area of sky and folded the top of the canvas over the stretcher on which it was mounted, which only became apparent when the picture was re-stretched long after his death. The third picture is now in the Philadelphia Museum of Art and relates most closely to the work in the National Gallery. Perhaps painted relatively quickly in the last months of Cézanne’s life, it was left unfinished with areas of canvas still showing through.

Nicolas Poussin - La fuite en Egypte

 Nicolas Poussin 1594-1665

Nicolas Poussin - La fuite en Egypte,1657-58

huile sur toile - 98 x 133 cm

Lyon,musée des beaux arts

Manet -Argenteuil

 Edouard Manet 1832-1883

Edouard Manet -Argenteuil,1874.

huile sur toile - 149x114 cm

Tournai,Belgique

Argenteuil correspond à une des premières toiles impressionniste de l'artiste.

Un journaliste Du Figaro dit:" Au fond, une marmelade d'Argenteuil sur un fleuve d'indigo."

Johannes Vermeer Diana and her Nymphs c. 1653-1654 Non visible

Johannes Vermeer 1632-1675

Johannes Vermeer - Diana and her nymphs,1653-1654

oil on canvas - 98 x 105 cm

Mauritshuis,The Hague

Johannes Vermeer painted Diana and Her Nymphs around 1653-1654, just after joining the painters’ guild in Delft. The scene emanates a salutary atmosphere of tranquillity. Five women have gathered in a clearing in the woods, each one absorbed in her own thoughts. Diana is seated in the centre, recognisable by her standard attribute of a crescent moon on her head. The kneeling woman is solicitously washing Diana’s feet, watched by the dog on the left. The woman in the red blouse beside Diana is rubbing her foot. The woman who is standing, dressed in black, gazes at the ground. The fifth woman, on the left, has her back to us. Although the subject matter, the large figures filling the picture plane, and the warm colouring of this painting all differ from Vermeer’s later interiors, its subdued, dreamy atmosphere does strike a similar chord.

In classical mythology, Diana is a daughter of Jupiter and Leto and Apollo’s twin sister. She is the virginal and youthful moon goddess and the goddess of hunting. She is usually depicted in the open countryside, accompanied by her devoted nymphs. Painters would often depict the story about the huntsman Actaeon, who unintentionally comes upon Diana and her nymphs while bathing. To punish him for looking at her she changes him into a stag, after which his own dogs kill him. Another popular tale focuses on the discovery that one of Diana’s nymphs, Callisto, is pregnant (by Jupiter). The chaste Diana punishes the pregnant nymph by turning her into a bear. We do not encounter any such violent, emotional scenes in Vermeer. The women depicted here are taking a moment’s repose.

There has been much speculation about why the young Vermeer, whose fame today rests on his interior scenes, should have begun his career by painting a number of history pieces. The answer may perhaps be found in seventeenth-century handbooks on art, which always discuss history pieces with especial esteem. Before painting a history piece – whether it represented a story from classical mythology, the Bible, or history – the artist had to read the story, choose a particular episode to depict, devise a good composition, and finally render the events with all due decorum. In other words, he would have to give a great deal of thought to his work before picking up the paintbrush.

The picture’s intimate character is heightened by the dark, enclosing background. That this was the artist’s intention did not become clear until the most recent conservation treatment of the painting in 1999–2000. Until that time, blue sky and clouds filled the upper right section of the canvas. Technical research has shown that this sky could not have been original, since the paint was found to contain the pigments Prussian blue and chrome green, which were not available in Vermeer’s day. It must therefore be a later overpainting. It was decided to reconstruct the original state by covering the blue sky with a thin, neutral overpainting in a dark brow  tone in keeping with the rest of the background. Now that the sky at the upper right is obscured, the light falling onto the figures from the left gains in importance, clearly revealing how Vermeer played with light and colour. It was also discovered that the canvas had been cropped approximately 12 centimetres on the right hand side. The woman kneeling at the lower right must have appeared fully in the picture, making the composition more balanced and placing the focus on Diana’s foot-washing.

Diana and Her Nymphs was purchased at a Paris sale on 4 May 1876 for the relatively modest price of 10,000 French francs. The painting was attributed at the time to Nicolaes Maes, a pupil of Rembrandt’s. During restoration work in 1885 it was discovered that the monogram of Nicolaes Maes, ‘N.M.’, was a forgery, and that the signature ‘J VMeer’ lay underneath it.

(this is a reworked version of a text published in in: P. van der Ploeg, Q. Buvelot, Royal Picture Gallery Mauritshuis: A princely collection, The Hague 2005)

clara peeters

Table with Cloth, Salt Cellar, 

Gilt Standing Cup, Pie, Jug,

 Porcelain Plate with Olives and Cooked Fowl

Clara Peeters

Oil on panel, 55 x 73 cm

c. 1611

Madrid, Museo Nacional del Prado

Nicolas Poussin - The finding of Moses,1651.

 Nicolas Poussin 1594-1665 

Nicolas Poussin - The finding of Moses,1651.

oil on canvas - 116 cm x 176 cm

National Gallery, London

Nicolas Poussin - The finding of Moses,1638.

( Moise sauvé des eaux )

oil on canvas - 93.5 cm x 121cm

Musée du Louvre, Paris

Lucian Freud - Isobel reading,1997

 Lucian Freud  1922-2011

Lucian Freud - Isobel reading,1997