Panorama artistique

De belles imaginations.

“De tout temps il s’est glissé parmi les hommes de belles imaginations que nous venons à croire, parce qu’elles nous flattent, et qu’il serait à souhaiter qu’elles fussent véritables. […] Mais quand vous en venez à la vérité, et à l’expérience, vous ne trouvez rien de tout cela, et il en est comme de ces beaux songes, qui ne vous laissent au réveil que le déplaisir de les avoir crus.”
Molière. Le Malade imaginaire. III,3.

L’imagination maîtrisée.

Béralde, le frère d’Argan, essaie de le convaincre que les remèdes des médecins sont de “belles imaginations.”
L’imagination ne serait alors que tromperie ou illusion, une force négative pour l’esprit ?
L’imagination maîtrisée est cependant “une faculté positive qui permet à l’esprit de faire d’authentique découverte scientifique, littéraire ou artistique”. C’est même un signe de “santé mentale”, tant qu’on ne se laisse pas emporté par une imagination incontrôlable.

Un petit musée mentale. Cosa mentale.

“J’ai dit à Picasso que le vrai lieu du Musée imaginaire est nécessairement un lieu mental.”André Malraux. Une référence sans doute à Léonard de Vinci pour qui ‘la peinture est chose mentale’ (Claire Goble illus.)

Advertisements

Henry Ward Ranger. Tonalist Movement.

Impressed by the Barbizon School landscapes and a Corot he saw in New York, the young artist went to Paris where he was attracted to the works of Millet, Theodore Rousseau, and Adolphe Monticelli; neither the detailed manner of Bastien le Page nor the new Impressionism were of interest to him.

Join the Pinterest. of Histoire Art Cheycollectif.

pinterestpp

BROOKLYN BRIDGE, 1899.

IMG_4075

Deeply respectful of the old masters, Ranger improved his technical ability by copying paintings by Constable, Claude, and Hobemma at the Louvre.

He spent several important formulative years in The Netherlands studying with the Hague School masters Joseph Israels, the Maris brothers, and Van Gogh’s uncle, Anton Mauve, all artists that he admired for being “the lineal successors of the Barbizon School.” 

Musée : National Gallery of Art.

BIBLIOGRAPHY
1924
Earle, Helen. Biographical Sketches of American Artists. Lansing, Michigan, 1924: 261.
1943
Paintings from the Chester Dale Collection. Philadelphia, 1943:, unpaginated, repro.
1965
Paintings other than French in the Chester Dale Collection. National Gallery of Art, Washington, 1965: 45, repro.
1970
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 92, repro.
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 215, repro.
1992
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 270, repro.
1998
Torchia, Robert Wilson, with Deborah Chotner and Ellen G. Miles. American Paintings of the Nineteenth Century, Part II. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1998: 87-89, color repro.

 

High Bridge, New York. 1905.

One of the prominent figures in America of the late 19th and early 20th centuries. Ranger is considered a leader of the Tonaliste movement.

IMG_4057

Beginning in 1899, Ranger became a leading member of the artists’ colony at Old Lyme, Connecticut, where a group of painters influenced by the Barbizon and impressionist styles gathered in the summer at the home of Florence Griswold.

 

Gallery of the Louvre, 1831–1833.

There were no museums here, as yet, in the 1830s, and no color representations of paintings.”

Samuel F. B. Morse (1791-1872)

Terra Foundation for American Art.

Les pionniers d’un art américain.
Samuel Morse, John Singleton Copley, Charles Peales, Gilbert Stuart.

So he (Morse) was going to bring the culture of Europe — mainly the Renaissance Italian masterpieces in the Louvre collection — back to the United States for the benefit of his countrymen.”  David McCullough, The Greater Journey : Americans in Paris.

Continue reading

Tommies Bathing, 1918.

In 1918, Sargent received a commission from the British government for a monumental painting commemorating the joint efforts of American and British troops during World War I. That summer, he traveled to the western front in the valley of the Somme in search of a subject. He painted a number of informal watercolors, including these sketches of British soldiers bathing.

John Singer Sargent (American. 1856–1925)

Aquarelle et graphite. Metmuseum.

Continue reading

Susan Walker Morse (The Muse) 1836–37

Samuel Morse

The American Wing at The Metropolitan Museum of Art 

An ambitious farewell to his career as an artist. Stymied by a lack of financial success, he abandoned painting for science and inventing.

The painting shows the daughter of Samuel Morse at about the age of seventeen, sitting with a sketchbook in her lap and pencil in hand with her eyes raised in contemplation. This painting was first exhibited at the National Academy of Design in 1837, where it won enthusiastic praise.

The American Wing at The Metropolitan Museum of Art – Détails