Signac
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| Author | : Paul Signac |
| Publisher | : Metropolitan Museum of Art |
| Total Pages | : 354 |
| Release | : 2001 |
| Genre | : Neo-impressionism (Art) |
| ISBN | : 0870999982 |
This book, the catalogue of the first retrospective of the work of the French Neoimpressionist artist Paul Signac to be held in nearly forty years, accompanies the 2001 exhibition organised by the Reunion des Musees Nationaux/Musee d'Orsay, Paris, the Van Gogh Museum, Amsterdam, and The Metropolitan Museum of Art, New York. This long overdue tribute to Signac's power of expression and artistic influence features some two hundred paintings, drawings, watercolours, and prints from public and private collections worldwide. Fully illustrated in colour and discussed in individual entries, these works offer an unprecedented overview of Signac's fifty-year career. Signac's artistic development began with the luminous plein air paintings he made in the early 1880s which reveal the lessons he absorbed from Monet, Guillaumin, and other leading Impressionists. From 1884 until 1891 Signac's close association with Georges Seurat encouraged his explorations of colour harmony, contrasts, and Neoimpressionist technique. In the scintillating works of his maturity the rigours of Pointillism gave way to richly patterned, decorative colour surfaces. In a series of essays the exhibition's curators disc
| Author | : George Szabo |
| Publisher | : Metropolitan Museum of Art |
| Total Pages | : 56 |
| Release | : 1977-12-01 |
| Genre | : Art |
| ISBN | : |
Paul Signac and Georges Sureat were the founders and the chief proponents of the Neo-Impressionist group of artists, the most prominent force in French art from 1886 until 1891. This exhibition represents the complete holdings of Paul Signac's work in the Metropolitan Museum of Art, the majority of which are in the Robert Lehman Collection. Parallel to this show, drawings and oil sketches of Seurat from New York collections are exhibited in the galleries of the Department of Drawings. Robert Lehman was very fond of Signac's art. He appreciated the dignified serenity and exact organization of the compositions, and he admired the free-flowing arabesques of line and the brilliance of the colors. Mr. Lehman acquired several oils and dozens of watercolors by Signac during the long years of his collecting. Many of these were given to museums and friends, but a considerable group of the artist's works remained in the collection at the time it entered the Metropolitan Museum. Therefore, it seemed natural that as part of our program of making available to the public larger segments of the Robert Lehman Collection, an exhibition of Paul Signac's works should be organized. Furthermore, for the first time, we have included in this exhibition the Signac holdings of other departments of the Museum. The drawings and oils sketches of Georges Seurat from the Robert Lehman Collection are naturally all included in the Seurat exhibition.
| Author | : Vojtech Jirat-Wasiuty?ski |
| Publisher | : University of Toronto Press |
| Total Pages | : 337 |
| Release | : 2007-01-01 |
| Genre | : Social Science |
| ISBN | : 0802091709 |
The Mediterranean is an invented cultural space, on the frontier between North and South, West and East. Modern Art and the Idea of the Mediterranean examines the representation of this region in the visual arts since the late eighteenth century, placing the 'idea of the Mediterranean' - a cultural construct rather than a physical reality - at the centre of our understanding of modern visual culture. This collection of essays features an international group of scholars who examine competing visions of the Mediterranean in terms of modernity and cultural identity, questioning and illuminating both European and non-European representations. An introductory essay frames the analysis in terms of a new spatial paradigm of the Mediterranean as a geographic, historical, and cultural region that emerged in the late eighteenth century, as France and Britain colonized the surrounding territories. Essays are grouped around three vital themes: visualization of the space of the new Mediterranean; varied uses of the classical paradigm; and issues of identity and resistance in an age of modernity and colonialism. Drawing on recent geographical, historical, cultural and anthropological studies, contributors address the visual representation of identity in both the European and the 'Oriental, ' the colonial and post-colonial Mediterranean.
| Author | : Marina Bocquillon-Ferretti |
| Publisher | : |
| Total Pages | : 136 |
| Release | : 2000 |
| Genre | : Art |
| ISBN | : |
Katalog wystawy w Arkansas Arts Center, Litle Rock, 19 luty - 9 kwiecień 2000.
| Author | : Paul Signac |
| Publisher | : |
| Total Pages | : 64 |
| Release | : 1977 |
| Genre | : Neo-impressionism (Art) |
| ISBN | : |
| Author | : ?stein Sj?ad |
| Publisher | : Routledge |
| Total Pages | : 190 |
| Release | : 2017-07-05 |
| Genre | : Art |
| ISBN | : 135157793X |
Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists? rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. C?nne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist?s body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art. With a methodological framework drawn from the semiotics of text and image, the author introduces a much-needed fine-tuning to the classic terms index, symbol, and icon. The concept of the tache as a ?crossing? of sign-types enables finer distinctions and observations than have been available thus far within the Peircean tradition. The ?sign-crossing? theory opens onto the whole terrain of interaction between visual art, art criticism, literature, philosophy, and psychology.
| Author | : Floyd Ratliff |
| Publisher | : |
| Total Pages | : 342 |
| Release | : 1992 |
| Genre | : Art |
| ISBN | : |
Paul Signac and Color in Neo-Impressionism is a groundbreaking examination of the artistic technique of "divisionism" in terms of modern scientific theory of color. Truly interdisciplinary in his approach, Floyd Ratliff treats the evolution of both color theory and artistic practice in an integrated way. Signac was the principal advocate for the new movement launched by Georges Seurat in the 1880s. The book is handsomely illustrated with both Neo-Impressionist paintings and scientific drawings and diagrams. Ratliff's five-part essay provides an extended introduction to a translation of Signac's monograph, From Eugene Delacroix to Neo-Impressionism, widely regarded as the basic document of the movement, but never before available in English. This will be an invaluable reference for scholars in art and design, as well as students of the psychology and neurophysiology of color vision and those interested in the relation between the arts and the sciences. Its clarity of style also makes it accessible to the general reader interested in art history, painting, or the perception of color, particularly with its glossary of technical and art terms, index, and bibliography.
| Author | : Jan de Heer |
| Publisher | : 010 Publishers |
| Total Pages | : 250 |
| Release | : 2009 |
| Genre | : Architecture |
| ISBN | : 906450671X |
This book is an account of a significant aspect of Le Corbusier's work - the relationships between form and colour. The book relates the way in which he arrived at a personal architectonic polychromy in the early 1920s and how his theories relating to Purism developed.
| Author | : Paul Signac |
| Publisher | : |
| Total Pages | : 98 |
| Release | : 1986 |
| Genre | : Art |
| ISBN | : |
| Author | : Robyn Roslak |
| Publisher | : Routledge |
| Total Pages | : 232 |
| Release | : 2017-07-05 |
| Genre | : Art |
| ISBN | : 1351556541 |
In Neo-Impressionism and Anarchism in Fin-de-Si?e France, Robyn Roslak examines for the first time the close relationship between neo-impressionist landscapes and cityscapes and the anarchist sympathies of the movement's artists. She focuses in particular on paintings produced between 1886 and 1905 by Paul Signac and Maximilien Luce, the neo-impressionists whose fidelity to anarchism, to the art of landscape and to a belief in the social potential of art was strongest. Although the neo-impressionists are best known for their rational and scientific technique, they also heeded the era's call for art surpassing the mundane realities of everyday life. By tempering their modern subjects with a decorative style, they hoped to lead their viewers toward moral and social improvement. Roslak's ground-breaking analysis shows how the anarchist theories of Elis?Reclus, Pierre Kropotkin and Jean Grave both inspired and coincided with these ideals. Anarchism attracted the neo-impressionists because its standards for social justice were grounded, like neo-impressionism itself, in scientific exactitude and aesthetic idealism. Anarchists claimed humanity would reach its highest level of social and moral development only in the presence of a decorative variety of nature, and called upon progressive thinkers to help create and maintain such environments. The neo-impressionists, who primarily painted decorative landscapes, therefore discovered in anarchism a political theory consistent with their belief that decorative harmony should be the basis for socially responsible art.
