Art is a journey into the most unknown thing of all - oneself. Nobody knows his own frontiers… I don’t think I’d ever want to take a road if I knew where it led.

Louis Kahan
By Vuillard View from the window.
    Who speaks of art speaks of poetry. There is not art without a poetic aim. There is a species of emotion particular to painting. There is an effect that results from a certain arrangement of colours, of lights, of shadows. It is this that one calls the music of painting.
“The Nape of Misia’s Neck,” oil on board mounted on cradled panel, 13.5 by 33 inches, 1897-9, private collection via
Vuillard tenant son appareil Kodak, et Renée Description : Fonds Pierre Bonnard Printemps 1900. Le Grand-Lemps. Renée Terrasse (1894-1985) : 3ème enfant de Claude et Andrée Terrasse Auteur : Bonnard Pierre (1867-1947) rmn
Misia Natanson par Vuillard (Misia and Thadeo Natanson, 1897) Misia Sert (nom de son troisième époux) est le modèle de la princesse Yourbeletieff de A la Recherche du Temps perdu de Marcel Proust here Thanks to Yvette Gauthier. also
Vuillard tenant son appareil Kodak Description : Fonds Pierre Bonnard Auteur : Bonnard Pierre (1867-1947) rmn Kodak CameraOnce Vuillard discovered the Kodak camera, in 1895, he used snapshots as studies for his paintings, allowing him to experiment further with perspective. Sometimes he would combine figures from different photographs and combine them on one canvas. Other times he would take snapshots of a place he intended to paint and refer to them whilst producing his paintings. He also frequently snapped pictures of compositions he had painted earlier; not literally but compositionally and temperamentally. His photographs can be divided into three, corresponding to the three women who dominated Edouard Vuillard’s life: Misia Natanson (Thadee’s wife) in 1890, Lucy Hessel in 1900 and his mother throughout his entire career. His intimate scenes of family and friends define a whole genre within post-impressionistic painting, and layered his photographs with pigment and meaning. Evolving in Different DirectionsVuillard used photography as a means to express an intimacy and immediacy that he failed to capture in paint. In a way he created a cinematic connection between featured actors in a scene. There is a similarity to his paintings in that he was present through feeling rather than physical existence; he was always the pivotal but invisible actor around whom the drama revolved. An example of this is a series of photographs he took in Restaurant Normandy. He is seated with a group of friends (Roman Coslos, Tristan Bernard, Marcelle Aron, Lucy Hessel) of whom only one, Lucy, acknowledges his presence. Her gaze into the lens turns something observed into something participated. This style he also adopted when taking snapshots of his mother. She is placed on her bed, bald and toothless, in a somewhat blurry manner which reflects how the room would look without her presence. These images confirm how his photography and painting styles evolved in differing directions.Vuillard’s decision to adopt a new medium of expression, photography, helped give the viewer insight into the otherwise private world of an artist. The spontaneous nature of the snapshots was never reflected in his orchestrated painted compositions…(http://www.gupmagazine.com/articles/296-snapshot-at-van-gogh-edouard-vuillard)
Vuillard dans le train pour l’Espagne Auteur : Bibesco Emmanuel, Prince (1877-1917) rmn
Jean Édouard Vuillard (1868-1940) and Madame Misia Godebska Natanson 1899                                           By Vuillard via
Edouard Vuillard (1868-1940) (Artist Vallotton chez les Natanson 1897)
Vuillard, Edouard, Woman Sweeping, 1899-1900, Oil on cardboard; 17 3/8 x 18 5/8 in.; 44.1325 x 47.3075 cm. Acquired 1939. Paintings, 2016, French. On display in House, Main Gallery, South.
1 2 3 4 5 Next »
concept theme
powered by tumblr