Art Paintings Biography
Source:- Google.com.pkThere are lots of ways art museums and their curators can share art with the public. They can research and launch exhibitions, they can hang work from their collection, they can research and make acquisitions — and they can write books. A great example of a museum curator finding a new-ish way to share a great artwork is “Sargent’s Daughters: The Biography of a Painting,” by MFA Boston curator Erica E. Hirshler. It was published last year by the MFA, which owns the relevant painting, The Daughters of Edward Darley Boit (1882).
The book builds the painting’s “biography” by telling the stories of Sargent, Boit and Boit’s daughters, by putting them into the context of the American expatriate communities in which they lived, and in telling the story of the painting’s history as it moved from the Boit family to the MFA’s collection. Anyone who loves art history will find it a treat.
The book got me thinking: What other paintings lend themselves to similar treatment? Here’s a very partial list. I hope you’ll add to it in the comments.
1.) Jan Steen, The Dancing Couple, National Gallery of Art. Dutch genre scenes are full of people, hints at back stories…
2.) Henri Matisse, Blue Nude (Memory of Biskra), Baltimore Museum of Art. The most under-researched great painting in America.
3.) Pierre Bonnard, Nude in Bathtub, Carnegie Museum of Art. The woman in the tub is Bonnard’s wife. She is dead.
4.) Frans Hals‘ paintings of civic guards. Any of ‘em.
5.) Joseph Wright of Derby, An Experiment on a Bird in the Air Pump, National Gallery, London. The painting almost certainly inspired Darwin to pursue his interest in the natural sciences.
Jan Steen’s paintings encompass a wide range of moods and subjects, from intimate scenes of a family saying grace before a meal to festive village celebrations, yet all of his paintings elicit a warm reaction to the lives of ordinary people. All five senses are represented in this work in which two young musicians play for a dancing couple while other people in the vine-covered arbor flirt, eat, drink, or smoke, and children amuse themselves with their toys. The grinning figure on the left who caresses the chin of the woman drinking from an elegant wine glass is none other than Steen himself. Despite the apparent frivolity of the scene, Steen used emblematic references such as cut flowers, broken eggshells, and soap bubbles to warn the viewer about the transience of sensual pleasures.
Many of Steen’s greatest paintings are large, complex scenes of families and merrymakers containing witty evocations of proverbs, emblems, or other moralizing messages. His pictures, which are marked by a sophisticated use of contemporary literature and popular theater, often depict characters from both the Italian commedia dell’arte and the native Dutch rederijkerskamers (rhetoricians’ chambers). Steen, one of the most versatile and prolific Dutch painters of the seventeenth century, was apparently less adept in his other profession as a brewer and innkeeper because, legend has it, he drank too much of his own inventory and spent more money than he earned. The relative chaos and merry mood of his paintings gave rise to the Dutch saying "to run a household like Jan Steen," meaning to have a disorderly house.
One of the great pioneering masters of 20th-century art, Henri Matisse was a versatile and productive artist, tackling artistic media throughout his life from painting and drawing to sculpture and graphics.
Born in 1869 in Le Cateau-Cambrésis, northern France, Matisse studied law in Paris and worked as a court administrator for a while in his native town. He started painting in 1889 almost by accident after his mother bought him some art supplies as a diversion while he was convalescing from an attack of appendicitis.
In 1891, he moved to Paris to follow his developing artistic passion. He joined the Académie Julian, then a well-known art school, studying under the French symbolist painter Gustave Moreau and the French Academic painter William-Adolphe Bouquereau. While Matisse was influenced by the works of early French masters like Antoine Watteau, Nicolas Poussin, Antoine Watteau, and Jean-Baptiste-Siméon Chardin, he also drew from modern artists like Edouard Manet and the Australian painter John Peter Russell who introduced Matisse to the works of Vincent Van Gogh.
He started to embrace Fauvism, a new art movement that sought to convey extreme emotions through vivid and often dissonant colors. With Andre Derain, he became one of its leaders. His most famous work from the period was “Woman with the Hat,” exhibited at the Salon d’Automne in 1905. Gertrude and Leon Stein later bought it.
As he matured, Matisse continued to absorb new influences, such as Primitivism.
In 1917, he relocated to Nice in the South of France. His works started to take on a relaxed approach. By the 1930s, he was simplifying his works as seen in “Dance II,” which foreshadowed his use of a cutout technique. His renderings of human figures aimed to convey expression with anatomic details secondary.
In the 1940s, Matisse turned toward paper collage, developing a technique which he called “painting with scissors.” His “Blue Nudes” series, which has inspired many artists including Yves Klein, is a prime example of his later style.
In 1952, he set up the Matisse Museum in Le Cateau, which continues to have one of the largest collections of his works in France. His final commission was for the design for a stained-glass church window on the David Rockefeller estate, north of New York.
He died in Nice in 1954 having enjoyed international recognition throughout his lifetime amongst art critics, collectors, and other artists.
Pierre Bonnard (3 October 1867 – 23 January 1947) was a French painter and printmaker, as well as a founding member of Les Nabis.
Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine. He led a happy and carefree youth as the son of a prominent official of the French Ministry of War. At the insistence of his father, Bonnard studied law, graduating and practising as a barrister briefly. However, he had also attended art classes on the side, and soon decided to become an artist.
In 1891 he met Toulouse-Lautrec and began showing his work at the annual exhibition of the Société des Artistes Indépendants. His first show was at the Galerie Durand-Ruel in 1896.
In his twenties he was a part of Les Nabis, a group of young artists committed to creating work of symbolic and spiritual nature. Other Nabis include Édouard Vuillard and Maurice Denis. He left Paris in 1910 for the south of France.
Bonnard is known for his intense use of color, especially via areas built with small brushmarks and close values. His often complex compositions—typically of sunlit interiors of rooms and gardens populated with friends and family members—are both narrative and autobiographical. His wife Marthe was an ever-present subject over the course of several decades. She is seen seated at the kitchen table, with the remnants of a meal; or nude, as in a series of paintings where she reclines in the bathtub. He also painted several self-portraits, landscapes, street scenes, and many still lifes which usually depict flowers and fruit.
Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes.
In 1938 there was a major exhibition of his work along with Vuillard's at the Art Institute of Chicago. He finished his last painting, The Almond Tree in Blossom, a week before his death in his cottage on La Route de Serra Capeou near Le Cannet, on the French Riviera, in 1947. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's eightieth birthday.
Two major exhibitions of Bonnard's work took place in 1998: February through May at the Tate Gallery in London, and from June through October at the Museum of Modern Art in New York City.
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