Word: sisleys
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Renoir, born in 1841 in Limoges, France, moved to Paris in 1861, where his collaboration with artists like Sisley and Monet led to the founding of the Impressionist movement...
Seurat was the wayward child of impressionism. Renoir and Sisley might seek to catch life on the fly; he would aspire to stasis. Their voluptuous brushstrokes were too imprecise, too sensational for this artist-scientist. Seurat worked dot by meticulous dot, woodpeckering the canvas with pricks of color that would fuse into meaning in the spectator's eye. So it is with the sculptor in Act II of Sunday in the Park with George. This George composes bit by bit, or byte by byte. He has created a computerized sculpture, Chromolume #7 (chromo-luminarism is an other critical term...
Paul Rosenberg & Co. is especially strong on 19th and early 20th century French art. It is wont to put on small retrospectives of such artists as Ingres and Sisley-a legitimate practice among dealers to boost the public interest in a particular artist as well as to provide a public service. Among living artists it represents are Kenneth Armitage, Karl Knaths and Graham Sutherland...
...number of major works of the past century form the core of the exhibition. Monet, Manet, Degas, Cezanne, Gaugin, Renior, Sisley, and Pissarro, and Toulouse-Lautrec are represented proportionate to their value on what must regrettably be called the art-historical market. Two of Monet's studies of Rouen cathedral are here, as is a small study by Manet after Valazquez, anticipating several later works. A self portrait by Van Gogh captures both the texture of the flesh and the introspection of the personality in precise but broad brush strokes moving inward towards the center of the composition. Van Gogh...
...upon the exhibition on display last week at Paris' Durand-Ruel Gallery, Critic Pierre Cabanne of the weekly Arts neatly summed up the fate of Impressionist Camille Pissarro. He is largely ignored, said Cabanne, "for not having the ardour of Cezanne, the sensuality of Renoir, the brilliance of Sisley, the visual sharpness of Degas, the fullness of Monet's conception." At first glance, Pissarro's work does seem to lack the dazzle of his colleagues', but after longer study, the full truth emerges. Far from lacking the virtues of the others, he had them all under...