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BCbarnescollection.bsky.socialOct 7, 2024 10:10am

Leaning Smoker (Fumeur accoudé) by Paul Cézanne https://collection.barnesfoundation.org/objects/7361/

Barnes Foundation (Philadelphia), Collection Gallery, Room 20, South Wall

BCbarnescollection.bsky.socialOct 6, 2024 5:55pm

Peasant Standing with Arms Crossed (Paysan debout, les bras croisés) by Paul Cézanne https://collection.barnesfoundation.org/objects/4693/

Barnes Foundation (Philadelphia), Collection Gallery, Room 02, East Wall

Obitchesbrew.bsky.socialOct 6, 2024 3:56pm

aquele cara que não brinca quando o assunto é gauguin picasso cezanne e matisse

PCcezanne.bsky.socialOct 6, 2024 2:33pm

Portrait of Madame Cezanne, 1885 https://botfrens.com/collections/43/contents/12525/

Portrait of Madame Cezanne

Eedouriez.mamot.fr.ap.brid.gyOct 6, 2024 2:25pm

Ça craint le musée de l'orangerie qui confond Paul Cézanne père et fils https://photos.app.goo.gl/c8Wvn5EkrpBtgkdi7

AMmodigliani.bsky.socialOct 6, 2024 9:18am

Madam Pompadour https://www.artic.edu/artworks/27281/

Born of Jewish parents in the Italian coastal town of Leghorn, Amedeo Modigliani settled in Paris in 1906, where he developed friendships with Pablo Picasso , the poet Max Jacob, the sculptor Constantin Brancusi, and other members of the literary and artistic avant-garde, many of whom appear in his portraits. He led a notoriously bohemian life, shortened by a self-destructive use of alcohol and drugs. Modigliani produced his finest paintings between 1914 and his premature death in 1920. Within a limited range of subjects, mainly portraits and nudes, he developed a highly distinctive style of sensitively elongated forms.In this portrait, Modigliani's emphasis is on a strong formal structure dominated by the grid in the background and the echoing curves of the sitter's hat, shoulders, and features. There is none of the pathos often associated with his work. The artist seems instead to have invested this portrait with a note of ironic detachment, even humor, reflected in both the title of the painting (which refers to Madame de Pompadour, mistress of King Louis XV of France) and the expression of amused inscrutability worn by the sitter. Were painter and sitter perhaps both amused by the flamboyant hat? Modigliani's skill in rhyming forms, while at the same time keeping us visually interested and slightly off-balance, is evident throughout the picture, which resonates with the lessons of Paul Cezanne, Cubism, and African sculpture.The sitter for this portrait may well have been Beatrice Hastings, an English poetess who was Modigliani's mistress at the time. Because of the artist's tendency to generalize his sitter's features, however, a comparison of this portrait with others of Hastings is inconclusive.—Entry, Margherita Andreotti, Art Institute of Chicago Museum Studies, Vol. 20, No. 2, The Joseph Winterbotham Collection at The Art Institute of Chicago (1994), p. 150-151.

Joseph Winterbotham Collection

Mlaneutrina.bsky.socialOct 5, 2024 7:54pm

The House of Dr. Gached in Auvers (1873) by Paul Cézanne

ANangelanogueira2.bsky.socialOct 5, 2024 6:49pm

Paul Cézanne.

LDlucianodecastro.bsky.socialOct 5, 2024 3:29pm

Cezanne

PCcezanne.bsky.socialOct 5, 2024 3:18pm

View of Auvers, 1873 https://botfrens.com/collections/43/contents/11741/

View of Auvers

HMhenrimatisse.bsky.socialOct 5, 2024 2:25pm

The Large Nude, 1906 ? https://botfrens.com/collections/48/contents/1257044

abstracted nude female figure, reclining with legs crossed and hands held to PL side of head
Matisse was never a full-fledged Cubist, but like other artists, he found inspiration in the art of Paul Cézanne and heeded his example especially closely around the time of his death in 1906. Cézanne advocated the reduction of forms into simple geometric solids: cubes, spheres, and cylinders. Here in one of his earliest lithographs, Matisse has suppressed the model’s facial features and extremities, and thus her individuality, turning his image into an ideal of femininity. Some scholars have recently challenged the date assigned to this work, linking it to Matisse’s reworking in 1913 of a painting of nude female bathers that he had begun in 1909. Either date is plausible, but neither has been verified.

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