The Age of Impressionism: Great French Paintings from the Clark, March 11–June 17, 2012
The Kimbell Art Museum, in Ft. Worth, Texas, presents the first-ever international touring exhibition of masterpieces from the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts.
The Clark is best known for its holdings in French Impressionist painting, which include over thirty works by Pierre-Auguste Renoir. The seventy-three paintings in the exhibition include twenty-one by Renoir, along with four by Edgar Degas, two by Edouard Manet, six by Claude Monet, two by Berthe Morisot, seven by Camille Pissarro, and four by Alfred Sisley. Accompanying these will be works by other prominent French painters of the period, including William-Adolphe Bouguereau, Camille Corot, Paul Gauguin, Jean-Léon Gérome, Jacques-Joseph Tissot, and Henri de Toulouse-Lautrec. Many are celebrated masterpieces that visitors will recognize from reproductions even if they have never made the pilgrimage to Williamstown to see them in the flesh.
The exhibition is touring for a period of three years (2011–14) and will be shown at major venues in Italy, France, Spain, the United Kingdom, Canada, Japan, and China. The Kimbell is its only American venue.
Sunday, December 11, 2011
Tuesday, August 30, 2011
Sweet!
It's going to be 106 today...why not cool off with some Gogo's Frozen Yogurt and Cupcakes and support CCS at the same time? We will earn 10% of ALL SALES! Tell all your friends to meet you there, or better yet, just round them all up and take them with you!!!!! Spirit night is from 6 p.m. to 9 p.m. Tuesday! See you there!
Gogo's is located at 2668 South 31st St., Temple, TX 76504 next to Schlotzky's.
Friday, August 26, 2011
Art Minute
The Sleeping Christ Child
Giovanni Battista Salvi da Sassoferrato
Born: August 25, 1609 – Died: August 8, 1685
For 2009, the USPS chose Sassoferrato’s Madonna and Sleeping Child as the image for its annual Christmas stamp.
Wednesday, August 24, 2011
Prayer for School Children
Autumn, painted in 1907 by Marianne von Werefkin, a Russian expressionist painter
Father of all mercies
We ask that you would bless
the youngest and littlest of learners,
the most helpless and powerless of persons,
with Your infinite and loving mercy,
granting them the strength to learn, concentrate,
and act in love towards
their teachers and fellow students.
We also ask that You would watch over them,
at home and at school
and give them proper direction
so that they may learn
of Your wonderful virtues.
We ask this in the name of Your Son, Jesus Christ. Amen
Friday, February 25, 2011
Junglescapes
All ten third grade artists recently completed "Junglescapes", inspired by His great works and the "primitive" French artist, Henri Rousseau. Their artwork is currently displayed in the Front Hall Gallery.
Sunday, February 13, 2011
Art Minute: Happy Birthday GRANT WOOD!
Grant Wood (February 13, 1891 – February 12, 1942) was an American painter, born in Anamosa, Iowa. He is best known for his paintings depicting the rural American Midwest, particularly the painting American Gothic, an iconic image of the 20th century.
Wood painted American scenes and subjects during the first half of the 20th century in a simplified style reminiscent of American folk art. Like poet Henry Wordsworth Longfellow, Wood wished to tell and preserve stories of the American Revolution.
Longfellow wrote his poem 88 years after the event when he found letters belonging to his grandfather, who had known Revere. Only a few people who had been children during the Revolution were still alive in 1860 when he wrote Paul Revere's Ride. Wood based his 1931 painting on Longfellow's heroic poem with no attempt to make it historically accurate.
Wood painted American scenes and subjects during the first half of the 20th century in a simplified style reminiscent of American folk art. Like poet Henry Wordsworth Longfellow, Wood wished to tell and preserve stories of the American Revolution.
The Midnight Ride of Paul Revere
Grant Wood, 1931
The Metropolitan Museum of Art, New York
The Metropolitan Museum of Art, New York
".....A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beat of that steed,
And the midnight-message of Paul Revere."
From the poem, The Midnight Ride of Paul Revere
by Henry Wadsworth Longfellow, 1860
Longfellow wrote his poem 88 years after the event when he found letters belonging to his grandfather, who had known Revere. Only a few people who had been children during the Revolution were still alive in 1860 when he wrote Paul Revere's Ride. Wood based his 1931 painting on Longfellow's heroic poem with no attempt to make it historically accurate.
Thursday, February 3, 2011
Art Minute: Happy Birthday Norman Rockwell!
Norman Percevel Rockwell (February 3, 1894 – November 8, 1978) was a 20th-century American painter and illustrator. His works enjoy a broad popular appeal in the United States, where Rockwell is most famous for the cover illustrations of everyday life scenarios he created for The Saturday Evening Post magazine for more than four decades.
"As a commercial illustrator, he was peerless, and many people’s objections to his work have to do with the pieties they imagine he wanted to force-feed everyone. His sin was finding the beauty in mainstream culture, and casting a calm cool approving gaze over the ordinary things ordinary people did". -James Lileks
Sunday, January 23, 2011
Art Minute: Happy Birthday Édouard Manet!
Édouard Manet (23 January 1832 – 30 April 1883) was a French painter. One of the first 19th-century artists to approach modern-life subjects, he was a pivotal figure in the transition from Realism to Impressionism.
His early masterworks, The Luncheon on the Grass and Olympia, engendered great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.
Manet depicted many scenes of the streets of Paris in his works. The Railway was painted in 1873. The setting is the urban landscape of Paris in the late 19th century. Using his favorite model in his last painting of her, a fellow painter, Victorine Meurent, sits before an iron fence holding a sleeping puppy and an open book in her lap. Next to her is a little girl with her back to the painter, who watches a train pass beneath them.
Instead of choosing the traditional natural view as background for an outdoor scene, Manet opts for the iron grating which "boldly stretches across the canvas." The only evidence of the train is its white cloud of steam. In the distance, modern apartment buildings are seen. This arrangement compresses the foreground into a narrow focus. The traditional convention of deep space is ignored.
Historian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of 1874: "Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. Caricaturists ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today".
The critical resistance that did not abate until near the end of his career. Although the success of his memorial exhibition and the eventual critical acceptance of the Impressionists—with whom he was loosely affiliated—raised his profile by the end of the 19th century, it was not until the 20th century that his reputation was secured by art historians and critics.
Manet's disregard for traditional modeling and perspective made a critical break with academic painting's historical emphasis on illusionism. This flaunting of tradition and the official art establishment paved the way for the revolutionary work of the Impressionists and Post-Impressionists. Manet also influenced the path of much 19th- and 20th-century art through his choice of subject matter. His focus on modern, urban subjects—which he presented in a straightforward, almost detached manner—distinguished him still more from the standards of the Salon, which generally favored narrative and avoided the gritty realities of everyday life. Manet's daring, unflinching approach to his painting and to the art world assured both him and his work a pivotal place in the history of modern art.
His early masterworks, The Luncheon on the Grass and Olympia, engendered great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.
Manet depicted many scenes of the streets of Paris in his works. The Railway was painted in 1873. The setting is the urban landscape of Paris in the late 19th century. Using his favorite model in his last painting of her, a fellow painter, Victorine Meurent, sits before an iron fence holding a sleeping puppy and an open book in her lap. Next to her is a little girl with her back to the painter, who watches a train pass beneath them.
Le Chemin de fer
(The Railway)
Oil on canvas
1873
National Gallery of Art (Washington, DC, United States)
Art Renewal Center
(The Railway)
Oil on canvas
1873
National Gallery of Art (Washington, DC, United States)
Art Renewal Center
Instead of choosing the traditional natural view as background for an outdoor scene, Manet opts for the iron grating which "boldly stretches across the canvas." The only evidence of the train is its white cloud of steam. In the distance, modern apartment buildings are seen. This arrangement compresses the foreground into a narrow focus. The traditional convention of deep space is ignored.
Historian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of 1874: "Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. Caricaturists ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today".
The critical resistance that did not abate until near the end of his career. Although the success of his memorial exhibition and the eventual critical acceptance of the Impressionists—with whom he was loosely affiliated—raised his profile by the end of the 19th century, it was not until the 20th century that his reputation was secured by art historians and critics.
Manet's disregard for traditional modeling and perspective made a critical break with academic painting's historical emphasis on illusionism. This flaunting of tradition and the official art establishment paved the way for the revolutionary work of the Impressionists and Post-Impressionists. Manet also influenced the path of much 19th- and 20th-century art through his choice of subject matter. His focus on modern, urban subjects—which he presented in a straightforward, almost detached manner—distinguished him still more from the standards of the Salon, which generally favored narrative and avoided the gritty realities of everyday life. Manet's daring, unflinching approach to his painting and to the art world assured both him and his work a pivotal place in the history of modern art.
Wednesday, January 19, 2011
Art Minute: Happy Birthday Paul Cezanne!
Born in Aix-en-Provence, France on Jan. 19, 1839, French painter, Paul Cezanne, was one of the greatest of the Post-Impressionists, whose works and ideas were influential in the aesthetic development of many 20th-century artists and art movements, especially Cubism. Cézanne's art, misunderstood and discredited by the public during most of his life, grew out of Impressionism and eventually challenged all the conventional values of painting in the 19th century through its insistence on personal expression and on the integrity of the painting itself. He has been called the father of modern painting.
By the late 1870s, Cézanne had devised his hallmark manner of applying color in short parallel strokes, no differently for objects than for empty space. Here the distinctive way in which the trees are rendered with jagged broken lines, along with the density of the sky, relates stylistically to paintings that he made in 1895 at a quarry near the Château Noir.
It was at the Château Noir, an unfinished and abandoned nineteenth-century building complex in the Gothic style, visible in the right background of the Kimbell painting, that Cézanne stored his art supplies beginning in 1887. Landscapes such as this, in which Cézanne shows corners of rural France with simple domestic buildings, were to be a major source of inspiration for Braque and Picasso, and by extension for Cubism and early twentieth-century art. -Notes from the Kimbell's web page
On a sunny day last October, CCS's upper grade students traveled to Ft. Worth and were fortunate to see this Cezanne painting during our tour of the Kimbell's permanent collection.
(Both photos were taken in the natural light diffused into the space by a series of baffles. Carter Wiseman, author of Louis I. Kahn: Beyond Time and Style, said that "the light in the Kimbell gallery assumes an almost ethereal quality, and has been the distinguishing factor in its fame ever since." So very true.)
Paul Cézanne, French (1839–1906)
Maison Maria with a View of Château Noir c. c. 1895
Oil on canvas , 25-5/8 x 31-7/8 in.
Kimbell Art Museum, Ft. Worth, Texas
Provençal buildings with stucco walls and red-tiled roofs—often, as here, observed from a road turning into the picture—formed one of Cézanne’s favorite subjects.Maison Maria with a View of Château Noir c. c. 1895
Oil on canvas , 25-5/8 x 31-7/8 in.
Kimbell Art Museum, Ft. Worth, Texas
By the late 1870s, Cézanne had devised his hallmark manner of applying color in short parallel strokes, no differently for objects than for empty space. Here the distinctive way in which the trees are rendered with jagged broken lines, along with the density of the sky, relates stylistically to paintings that he made in 1895 at a quarry near the Château Noir.
It was at the Château Noir, an unfinished and abandoned nineteenth-century building complex in the Gothic style, visible in the right background of the Kimbell painting, that Cézanne stored his art supplies beginning in 1887. Landscapes such as this, in which Cézanne shows corners of rural France with simple domestic buildings, were to be a major source of inspiration for Braque and Picasso, and by extension for Cubism and early twentieth-century art. -Notes from the Kimbell's web page
On a sunny day last October, CCS's upper grade students traveled to Ft. Worth and were fortunate to see this Cezanne painting during our tour of the Kimbell's permanent collection.
(Both photos were taken in the natural light diffused into the space by a series of baffles. Carter Wiseman, author of Louis I. Kahn: Beyond Time and Style, said that "the light in the Kimbell gallery assumes an almost ethereal quality, and has been the distinguishing factor in its fame ever since." So very true.)
Thursday, January 13, 2011
Art Minute: Happy Birthday John Singer Sargent!
Carnation, Lily, Lily, Rose
John Singer Sargent
Tate Gallery, London, England
68.50 inch wide x 60.50 inch high
John Singer Sargent (January 12, 1856 – April 14, 1925) was the most successful portrait painter of his era, as well as a gifted landscape painter and water colorist. Sargent was born in Florence, Italy to American parents.
Sargent studied in Italy and Germany, and then in Paris under Emile Auguste Carolus-Duran.
Sargent studied in Italy and Germany, and then in Paris under Emile Auguste Carolus-Duran.
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