Impressionism Broadway

Here are some more information for Impressionism Broadway:

1. Garçon à la Pipe by Pablo Picasso ($ 104,100,000)

Garçon à la Pipe is painted during Picasso's famous Rose Period, a period in which Picasso preferred cheerful orange and pink colours. The oil on canvas painting, measuring 100 × 81.3 cm (slightly over 39 × 32 inches), depicts a Parisian boy holding a pipe in his left hand.

The record price paid for this painting in an auction at Sotheby's New York on May 4, 2004, was a bit of a surprise. While aesthetically pleasing, the painting is not made in the Cubist style that Picasso is so renowned for. Many even state that the record price was more due to the artists name than the quality of the painting.

2. Portrait of Dr. Gachet by Vincent van Gogh ($ 82,500,000)

This painting by the Dutch Impressionism master Vincent van Gogh suddenly became world-famous when Japanese businessman Ryoei Saito paid $82.5 million for it at auction in Christie's, New York. Saito was so attached to the painting that he wanted it to be cremated with him when he died. Saito died in 1996 but the painting was saved.

Vincent van Gogh actually painted two versions of Dr Gachet's portrait. You can view the other version, with a slightly different color scheme, at the Musée d'Orsay in Paris.

3. Au Moulin de la Galette by Pierre-Auguste Renoir ($ 78,000,000)

Bal au moulin de la Galette, Montmartre is an 1876 painting by French artist Pierre-Auguste Renoir. On May 17, 1990, it was sold for $ 78,000,000 at Sotheby's in New York City, New York to Ryoei Saito, who bought it together with the Portrait of Dr Gachet.

4. Massacre of the Innocents by Peter Paul Rubens ($ 76,700,000)

This painting by Peter Paul Rubens, painted in 1611, is the only one painting in this list which was not painted in the 19th or 20th century. It was sold to Kenneth Thomson, 2nd Baron Thomson of Fleet for $ 76,700,000 at a 2002 Sotheby's auction.

5. Portrait de l'Artiste sans Barbe by Vincent van Gogh ($ 71,500,000)

Portrait de l'artiste sans barbe ("Self-portrait without beard") is one of many self-portraits by the Dutch painter Vincent van Gogh, that he painted in Saint-Rémy-de-Provence, France in September 1889. The painting is a oil painting on canvas and is 40 cm x 31 cm (16" x 13").

Van Gogh painted this just after he had shaved himself. This is an uncommon painting since his other self-portraits show him with a beard. The self-portrait is one of the most expensive paintings of all time since it was sold for $71.5 million in 1998 in New York.

6. Rideau, Cruchon et Compotier by Paul Cézanne ($ 60,500,000)

This painting by Paul Cézanne, painted in ca. 1893-1894, sold for $ 60,500,000 at Sotheby's New York on May 10, 1999 to "The Whitneys". Whitney, born into one of America's wealthiest families, was a venture capitalist, publisher, Broadway show and Hollywood film producer, and philanthropist.

7. Femme aux Bras Croisés by Pablo Picasso ($ 55,000,000)

This painting, painted in 1901, was a part of Picasso's famous Blue Period, a dark, sad period. The painting depicts a woman with her arms crossed staring at the endless nothing. The beautiful different tones of blue ofcourse are typical for the period Picasso was in.

Femme aux Bras Croisés was sold for $ 55,000,000 November 8, 2000, at Christie's Rockefeller in New York City. With four paintings by Picasso in the top ten, we can name him without a doubt the most expensive painter ever.

8. Irises by Vincent Van Gogh ($ 53,900,000)

With 3 paintings in this top ten, van Gogh is also a main supplier of expensive paintings. Vincent van Gogh painted this at Saint Paul-de-Mausole in Saint-Rémy-de-Provence, France in 1889, only one year before his death. In 1987, it became the most expensive painting ever sold, though this record has since been surpassed. It was sold for $ 54,000,000 to Alan Bond.

9. Les Noces de Pierrette by Pablo Picasso ($ 51,670,000)

Les Noces de Pierrette was also painted in Picasso's Blue Period, a period in which he suffered from poverty and depression. This painting was sold to a rich Chines businessman for $ 51,670,000 at Binoche et Godeau in Paris, France, on November 30, 1989.

10. Femme Assise Dans Un Jardin by Pablo Picasso ($ 49,500,000)

The only painting in this list by Picasso that is actually painted in his world-famous Cubism style. Pablo Picasso painted it in 1938, only a few years before World War II broke out. The woman he painted was one of his mistresses, Dora Maar.

Femme Assise Dans Un Jardin by Pablo Picasso was sold at on November 10, 1999, for $ 49,500,000 at New York City's Sotheby's. The auction was very hectic because three anonymous phone bidders tried to win the painting.

2005 Artinthepicture - http://www.artinthepicture.com

(You are free to distribute this article as long as you retain a working link to our website)

American Impressionism. Part 1

In the last quarter of the nineteenth century, the land in Branchville, Connecticut, was too uneven and rocky for profitable farming, and the transportation routes between this small town and the state capital of Hartford or New York City were not yet adequate for daily commuting. But the landscape proved to be ideal for a group of artists who were distilling the influences of both European and American painters and developing a style that came to be known as American Impressionism. They were invited to this New England countryside by Julian Alden Weir (1852-1919), a gregarious man who achieved considerable success with his paintings and who befriended some of the greatest artists of his day.

In keeping with the spirit of camaraderie Weir established, American Artist invited ten artists to gather at the farm last September to paint the grounds and buildings that comprise Weir Farm, which was recently designated a National Historic Site. The artists painted together for two days and returned individually to complete their pictures. The resulting works are presented in this sixteen-page article and in the profiles on Peggy Root and Joan Griswold that follow. (G. Remak Ramsay, one of the artists who painted at the farm, was not able to complete a painting in time for this article because he was performing in a play on Broadway. His work will be featured in a future issue of the magazine.)

These ten artists were chosen for three reasons: First, they are comfortable painting outdoors; second, they have a strong interest in the history of American landscape painting; and third, like the Impressionists, they are painters of everyday life.

The artists whom Weir hosted at his farm around the turn of the century were coming to terms with the growing influence of the French Impressionists. When Weir first saw the work of Monet and Renoir in Paris in 1876, for example, he described the exhibition as "worse than the Chamber of Horrors." But by 1891, Weir's style--his use of broken outlines, loose and patchy brushwork, and thick application of oil color--owed so much to the Europeans that critics who saw his exhibitions labeled him an Impressionist.

Unlike the previous generation of Hudson River painters who searched for the most spectacular occurrences in nature, the American Impressionists concentrated on the effects of sunlight on uneventful stretches of land. They were more interested in meadows than canyons and would rather have spent an afternoon watching the glow of light in an apple orchard than join an expedition to South America.

SPERRY ANDREWS

Visitors who take advantage of the Thursday morning tours at Weir Farm are often given a personal tour of the grounds and studios by Sperry and Doris Andrews. They have a wealth of both statistical information and amusing anecdotes about the generations of artists who have lived and worked at the site. But there is just as much to enjoy in seeing and hearing about the art Sperry and Doris have created since they purchased the original Weir home in 1957. The house and studios are filled with prints, drawings, watercolors, and oils the two have created during their long and productive careers.

Sperry was particularly helpful to the magazine's invited guests in directing them to the spots where Weir and his friends painted a hundred years earlier. He led members of the group along the overgrown path to the pond Weir had put in and through the fields surrounding the house inherited by Cora Weir Burlingham, one of Weir's two daughters.

Sperry Andrews studied at the National Academy of Design in New York City, where Weir had been an active member and served as president from 1915 to 1917. The academy owns portraits Weir painted of his friends Albert Pinkham Ryder, Childe Hassam, Olin Levi Warner, and Robert Minor. Weir also sat for portraits by fellow academy members Warner and John Singer Sargent.

Some of the artists who recently set their easels up along the wooded paths in Branchville are clearly working within the tradition begun by the French and American Impressionists. Their palette, brushwork, and choice of subject matter have certainly been influenced by Monet, Childe Hassam, William Merritt Chase, Twachtman, Weir, and others. If the artists had not been influenced by such work, the landscape around Weir Farm would have seemed dull and inappropriate for their paintings: It does not offer views of cascading waterfalls or snow-capped mountains, but, rather, it presents an intimate New England space, occupied by empty clotheslines, rust-red barns, and gnarled fruit trees.

WEIR FARM

Julian Alden Weir grew up in West Point, New York, where his father taught drawing at the military academy. He was planning to build a summer residence further north in Keene, New York, until an extraordinary opportunity presented itself in 1882. Erwin Davis, an art collector for whom Weir had made astute purchases in Europe, offered to sell the artist a farm in Branchville for the price of $10 and one painting. The farm--with its one hundred fifty acres of land and buildings--quickly became the focal point of Weir's personal and professional life. Many historians believe he created his best paintings and prints out in the fields and in the small studio there.

The main house and grounds were inherited by Weir's daughter Dorothy, who was a painter and the wife of sculptor Mahonri M. Young. Young, a grandson of Brigham Young, built a second, larger studio on the property in order to execute a monumental sculpture project commissioned by the state of Utah. In 1957, the homestead was purchased by Young's friend and colleague Sperry Andrews, who, with his wife, Doris, still lives in the Weir house and uses both of the studios on the property.

The couple and Weir's descendants undertook the long and tedious process of having the farm named an official National Historic Site (to be managed by the National Park Service); the federal government accepted it in 1990. They also established a private trust to support activities at the farm. It is the intention of all who are concerned with the project that Weir Farm be made available to artists for painting and exhibiting their work, and, toward that end, an artist-in-residence program is being developed there. Both Sperry Andrews and the 1992-1993 visiting artist, Gerard Doudera, joined the outing hosted by American Artist.

ds-dom.ru

About the Author

Ремонт, дизайн интерьера , планировка и дизайн квартир от Д-Стайл

Latin jazz mainstay portrays Cuba orchestrally
Rebeca Mauleón loves to mix it up musically. A sterling San Francisco pianist and composer who's been a central figure on the Latin jazz scene since the 1980s, Mauleón writes music that merges sacred and secular Afro-Cuban sounds with flamenco, jazz harmony...

Thanks for visiting!