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〔『Sunset, 1930』：『Gallery 393A』・ 『シカゴ美術館』（The Art Institute of Chicago）にて〕 Paul Klee：German, born Switzerland, 1879–1940 Sunset, 1930 Oil on canvas： 18 1/8 x 27 3/4 in. (46.1 x 70.5 cm) Signed, l.l.: "Klee" 【画面上でクリックして、拡大して御覧ください!】 シカゴ美術館の『クレー』（Paul Klee)：自らヴァイオリンに親しみ、幅広い音楽に対する深い理解と、 文学にも興味を持ち、それらを絵画及び芸術に対する考えや方向性を鍛え上げていく場として愛した画家・・・＾〜＾♪：『Modern and Contemporary Art』『Gallery 393A』・『シカゴ美術館』（The Art Institute of Chicago）〔2014.10.01〕 昨年10月に、『シカゴ美術館』（The Art Institute of Chicago）を 訪れた際の絵画を時々ご紹介できればと思います。 この美術館は、フラッシュを使わなければ個人的な撮影は 大丈夫です☆彡 今回は、スイスの首都・ベルン近郊のミュンヘンブーフゼーの 音楽一家に生まれ、自らヴァイオリンに親しみ、 バッハやモーツァルトらの古典音楽から ストラヴィンスキーやヒンデミットら現代音楽にまでも 幅広い音楽に対する深い理解と、 文学にも興味を持ち、創作に手を染めたこともあったが、 迷った末に音楽や文学ではなく絵の道を選び、 その後も、それを絵画及び芸術に対する考えや方向性を 鍛え上げていく場として愛した画家『パウル・クレー』（Paul Klee）の ５点の作品をお楽しみください・・・＾〜＾♪ . 【つづく】 〔訪問時期：2014.10.01〕 【パウル・クレー】（Paul Klee、1879年12月18日 - 1940年6月29日）は、 20世紀のスイスの画家、美術理論家。 ワシリー・カンディンスキーらとともに青騎士グループを結成し、バウハウスでも教鞭をとった。 その作風は表現主義、超現実主義などのいずれにも属さない、独特のものである。 父は音楽教師、母も音楽学校で声楽を学ぶという音楽一家であった。 クレー自身も早くからヴァイオリンに親しみ、11歳でベルンのオーケストラに籍を置くなど、 その腕はプロ級であり、1906年に結婚した妻もピアニストであった。 クレーの音楽に対する深い理解はバッハやモーツァルトらの古典音楽から ストラヴィンスキーやヒンデミットら現代音楽にまで幅広く及び、 クレーの作品の画題にはポリフォニーやフーガといった音楽用語が用いられているものもある。 その一方で絵画への関心も既に幼少の頃から芽生えていた。 また文学にも興味を持ち、創作に手を染めたこともあったが、 迷った末にクレーは音楽や文学ではなく絵の道を選ぶことになる。 ただ絵に専念することを決めた後も音楽や文学への関心は薄れることがなく、 一日にヴァイオリンを何時間も演奏したり、また詩を作って日記に記したりもしている。 18歳の頃から書き始めた日記は日々の出来事や創作した詩を書くだけのものに留まらず、 クレーの絵画及び芸術に対する考えや方向性を鍛え上げていく場となった。
Paul Klee: German, born Switzerland, 1879–1940
Paul Klee was an artist and teacher at the Bauhaus for most of that famed school’s existence. Initially head of the bookbinding department, Klee made his greatest contribution as a lecturer on the theory of form in art for the basic design course. There, he developed his ideas about the "polyphony" of painting—the simultaneous effect of formal elements that produces "a transformed beholder of art."Sunset, 1930 Oil on canvas: 18 1/8 x 27 3/4 in. (46.1 x 70.5 cm) Signed, l.l.: "Klee" Gift of Mary and Leigh Block, 1981.13 Modern and Contemporary Art:Gallery 393A Klee was also a trained musician and shared with many artists of the early twentieth century the idea that music was the key to producing a new, abstract form of art. He was interested in the temporal character of music and its possible translation into art. Works like Sunset reflect the principles of rhythm: linear structures, forms, and tonal values are orchestrated into a measured, vibrating image. To produce such a harmonious effect, Klee layered an intricate pattern of dots over a neutral background. Abstract, geometric, and overlapping shapes balance with recognizable forms, such as the schematic face in the upper left and the red sun and arrow in the lower right. The resulting composition—balancing stillness and movement, shallowness and depth— relates to Klee’s larger project of looking to music to produce an art that "does not reproduce the visible, but makes visible." — Entry, The Essential Guide, 2013, p. 273.
Paul Klee： German, born Switzerland, 1879–1940
Directly affected by the Nazis’ ascent to power, Paul Klee was dismissed in 1933 from his teaching post at Dusseldorf Academy, where he had spent two years after leaving the Bauhaus. Exiled to Switzerland, Klee suffered physically and psychologically, and his artistic output diminished significantly. Between 1937 and 1940, however, Klee regained artistic momentum and produced several hundred paintings and over 1,500 drawings. In these later works, Klee continued to experiment with unusual media and techniques to produce multidimensional effects. Dancing Girl also reveals Klee’s limitless humor—his signature at the lower right was made by a monogrammed handkerchief, which he laid over the surface to begin his painting. Dancing Girl, 1940 Oil on cloth： 21 x 20 7/8 in. (53.3 x 51.2 cm) signed, l.r.: "P K" Gift of George B. Young, 1959.172 Modern and Contemporary Art — Permanent collection label
Paul Klee：German, born Switzerland, 1879–1940
出典： http://www.artic.edu/aic/collections/artwork/32590Schoolhouse, 1920 Oil on paper, on board： 14 1/2 x 12 1/2 in. (36.8 x 31.8 cm) Signed, l.l.: "Klee 19 20 23" Gift of Mary and Leigh Block, 1969.811 Modern and Contemporary Art
Paul Klee：German, born Switzerland, 1879–1940
In the Magic Mirror, 1934 Oil on canvas, on board： 26 x 19 3/4 in. (66 x 50 cm) none Bequest of Claire Zeisler, 1991.321
Modern and Contemporary Art
In the Magic Mirror reflects the disillusionment that colored much of Paul Klee's work following the Nazi takeover of Germany in 1933 and the artist's subsequent move to his native Switzerland. Gallery 393A Illustrating what Klee called his method of "taking a line for a walk," a meandering red line twists and turns down the center of the canvas, delineating the features of a face. The tight curves on the brow suggest the figure is concentrating, while the tension between the nose and mouth, which pull in opposite directions, conveys anxiety. In contrast to the cheerful pink cheeks, the figure's tear-shaped eyes communicate distress. The thinly painted, ghostly outline of the head and shoulders is in contrast to the crisp rendering of the face. Klee paints the heart, the true creative center, black, thereby suggesting the pall that settled over this figure, and by extension, the artist at this time.
Paul Klee：German, born Switzerland, 1879–1940
Paul Klee’s artistic skills were diverse: he was a painter, printmaker, critic, and theoretician. He taught at the Bauhaus for most of the famed school’s existence; initially head of the bookbinding department, he also supervised the glass-painting workshop. His greatest influence, however, was as a lecturer for the basic design course on the theory of form in art. In lectures, Klee developed his ideas about the "polyphony" of painting, which was based on his interest in simultaneous sensational effects that could be created by various layered formal elements. He believed that this type of creative experimentation could "issue forth a transformed beholder of art" and thus pave the way for total abstraction. Fleeing Ghost, 1929 Oil on canvas： 35 1/4 x 25 in. (89.5 x 63.5 cm) Signed, u.l.: "Klee" Bequest of Claire Zeisler, 1991.1500 Modern and Contemporary Art Gallery 393A — Permanent collection label |
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〔『Birth, 1911/12』：『Gallery 392B 』・ 『シカゴ美術館』（The Art Institute of Chicago）にて〕 Marc Chagall: French, born Vitebsk, Russia (present-day Belarus), 1887–1985
Oil on canvas
【画面上でクリックして、拡大して御覧ください!】44 5/8 x 76 7/8 in. (113.4 x 195.3 cm) Signed, dated and inscribed, l.l.: "M. chagall/Paris/1911", inscribed l.c.: "Naissance" 出典： http://www.artic.edu/aic/collections/artwork/76258 シカゴ美術館の『シャガール』（Marc Chagall)：妻への愛や結婚をテーマとした作品を多く製作し、「愛の画家」と呼ばれた画家・・・＾＾ｖ：『Modern and Contemporary Art』『Gallery 392B』・『シカゴ美術館』（The Art Institute of Chicago）〔2014.10.01〕 昨年10月に、『シカゴ美術館』（The Art Institute of Chicago）を 訪れた際の絵画を時々ご紹介できればと思います。 この美術館は、フラッシュを使わなければ個人的な撮影は 大丈夫です☆彡 今回は、生涯、妻を一途に敬愛し、 妻への愛や結婚をテーマとした作品を多く製作し、 「愛の画家」と呼ばれる『シャガール』（Marc Chagall)の 作品から、『Birth, 1911/12』（誕生）と 物乞いに、金を払って彼の父の祈りの衣服を着せ、 黒と白に制限した色彩で描いた『The Praying Jew, 1923』（祈りユダヤ人）との ２点をお楽しみください・・・＾〜＾ｖ . 【つづく】 〔訪問時期：2014.10.01〕 【マルク・シャガール】（Marc Chagall, イディッシュ語: מאַרק שאַגאַל, 1887年7月7日 - 1985年3月28日）は、 20世紀のロシア（現ベラルーシ）出身のフランスの画家。 1887年7月7日、帝政ロシア領ヴィテブスク（現ベラルーシ・ヴィツェプスク）に生まれた。 故郷ヴィテブスクは人口の大部分をユダヤ人が占めているシュテットルで、 シャガール自身もユダヤ系（東欧系ユダヤ人）である。 生涯、妻ベラ（ベラ・ローゼンフェルト）を一途に敬愛していたこと、 ベラへの愛や結婚をテーマとした作品を多く製作していることから別名「愛の画家」と呼ばれる。 Many artists of the so-called School of Paris were of Eastern European and Jewish heritage,and many lived for a time in the ramshackle studio complex called La Ruche (The Hive). Marc Chagall, in fact, moved there in 1911 and lived near Amedeo Modigliani and Fernand Léger. "In La Ruche," Chagall once said, "you either came out dead or famous." Liberated from the often-strict training of their homelands, these artists found vibrant artistic interchange and unparalleled exhibition opportunities. Chagall, for example, merged new, modern styles like Cubism, Expressionism, and Futurism with personal visions and native traditions. The results of this stimulating interchange can be seen in Birth. — Permanent collection label Marc Chagall： French, born Vitebsk, Russia (present-day Belarus), 1887–1985 The Praying Jew, 1923 (one of two versions after a 1914 composition) Oil on canvas： 46 x 35 3/16 in. (116.8 x 89.4 cm) Signed, l.r.: "MArc / ChAgAll" Joseph Winterbotham Collection, 1937.188 Modern and Contemporary Art：Gallery 392B In his 1931 autobiography, My Life, Chagall related how, while visiting Vitebsk (present-day Belarus), the city in which he was born, he realized that the traditions in which he had grown up were fast disappearing and that he needed to document them. He paid a beggar to pose in his father’s prayer clothes and then painted him, limiting his palette primarily to black and white, as befit the solemnity of the subject. This portrait is noteworthy for the simplicity of its execution; nonetheless, its striking patterns, abstract background, and the slightly distorted features of the model demonstrate Chagall’s absorption of modern trends, especially Cubism. Chagall often painted variants or replicas of works he particularly loved. The Art Institute’s Praying Jew is one of three versions of this composition. He painted the original canvas in 1914, and when he traveled back to Paris in 1923, he took this painting with him. He learned upon his return that much of the work he had left in France had been lost during World War I. This prompted him to make two versions of The Praying Jew before it left his studio: they are the present work and another in the Ca’ Pesaro, Venice; the original is now in the Kunstmuseum, Basel. The later compositions differ from the original only in small details. — Entry, Master Paintings in the Art Institute of Chicago, 2013, p.121. Together with Birth of 1911 and White Crucifixion of 1938, this painting forms the nucleus of The Art Institute of Chicago's outstanding group of works by Marc Chagall. This masterful portrait shows that Chagall, although best known for works of a lyrical exuberance and color as in the Art Institute's Juggler of 1943, could excel with a much more limited palette and invest his images with great dignity and power. This painting is one of two copies the artist made in 1923 before parting with the original, which had been painted in 1914 during a visit to his home town of Vitebsk (in present-day Belarus). The original is now in a private collection in Switzerland and the other copy is in the Museo d'arte moderna in Venice. As Chagall explained in his autobiography, the model for The Praying Jew was an old beggar whom the artist invited to sit for the painting, wearing his father's prayer clothes. These consist of a tallis—a fringed shawl with black bands—and phylacteries—two small square leather boxes containing passages from the scriptures, which were bound with leather straps to the head and left arm of Jewish men during prayer. Chagall used the white-and-black color scheme and geometric patterns characterizing this ritual garb as the basis for a dazzling composition of highly abstracted shapes bearing witness to his assimilation of early modernist movements (such as Cubism, Orphism, and Expressionism). What is remarkable is that the artist did so without sacrificing any of the portrait's emotional impact. The abstract shapes that swirl around the figure contribute to transforming this portrait into an icon or symbol for an entire world, the Jewish world of Chagall's youth. In painting this and other pictures of Jewish life, the artist was clearly motivated by a desire to preserve a tie to a past that was threatened for him both by the passage of time and by geographical distance (Chagall had intended to return to Paris after his 1914 visit to Vitebsk, but was detained in Russia until 1923 by the outbreak of World War I and events connected with the Russian Revolution). From the perspective of the late twentieth century, this image is all the more moving, since we know that this world and its people were to face a far greater threat than Chagall could have possibly imagined in 1914. —Entry, Margherita Andreotti, Art Institute of Chicago Museum Studies, Vol. 20, No. 2, The Joseph Winterbotham Collection at The Art Institute of Chicago (1994), p. 148-149. |
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〔『Self-Portrait, 1887』(自画像）：（訪問時は、『インディアナポリス美術館』へ貸し出し中） 『シカゴ美術館』（The Art Institute of Chicago）にて〕 【画面上でクリックして、拡大して御覧ください!】 シカゴ美術館の『ゴッホ』（Vincent Willem van Gogh)：日本でも人気の感情の率直な表現、大胆な色使いで知られるポスト印象派の代表的画家：『シカゴ美術館』（The Art Institute of Chicago）〔2014.10.01〕 昨年10月に、『シカゴ美術館』（The Art Institute of Chicago）を 訪れた際の絵画を時々ご紹介できればと思います。 この美術館は、フラッシュを使わなければ個人的な撮影は 大丈夫です☆彡 今回の作品は、『フィンセント・ファン・ゴッホ』（Vincent Willem van Gogh）。 日本でも人気のオランダ出身でポスト印象派（後期印象派）の画家。 彼の作品から、数点を御紹介いたしますので、 ゆっくりお楽しみください。 . 【つづく】 〔訪問時期：2014.10.01〕 Vincent van Gogh：Dutch, 1853-1890 Terrace and Observation Deck at the Moulin de Blute-Fin, Montmartre, early 1887 Oil on canvas, mounted on pressboard 17 1/8 x 13 in. (43.6 x 33 cm) Helen Birch Bartlett Memorial Collection, 1926.202 Faille, de la 272; Hulsker 1183; Hulsker 370 Medieval to Modern European Painting and Sculpture Gallery 241 — Permanent collection label Vincent van Gogh： Dutch, 1853–1890 The Drinkers, 1890 Oil on canvas 23 3/8 x 28 7/8 in. (59.4 x 73.4 cm) Joseph Winterbotham Collection, 1953.178 Faille, de la Medieval to Modern European Painting and Sculpture Gallery 241 — Permanent collection label Vincent van Gogh： Dutch, 1853-1890 Fishing in Spring, the Pont de Clichy (Asnières), 1887 Oil on canvas 19 7/8 x 23 5/8 in. (50.5 x 60 cm) Gift of Charles Deering McCormick, Brooks McCormick, and Roger McCormick, 1965.1169 Medieval to Modern European Painting and Sculpture
Not on Display
In technique, Fishing in Spring is a testament to Vincent van Gogh’s friendship with Paul Signac. Van Gogh had seen works by Signac and Georges Seurat in the spring of 1886 at the final Impressionist exhibition. Signac was an eloquent spokesman for Seurat’s pioneering Neo-Impressionism, explaining it as a natural development of Impressionism. Under Signac’s influence, Van Gogh’s palette brightened, his brushstrokes became more varied, and his subject matter expanded. The setting of this work is the Seine River at the Pont de Clichy, near Asnières, where Van Gogh and Signac painted together on several occasions. — Permanent collection label Vincent van Gogh： Dutch, 1853-1890 The Bedroom, 1889 Oil on canvas 29 x 36 5/8 in. (73.6 x 92.3 cm) Helen Birch Bartlett Memorial Collection, 1926.417 Medieval to Modern European Painting and Sculpture Gallery 241 — Permanent collection label Vincent van Gogh： Dutch, 1853-1890 Grapes, Lemons, Pears, and Apples, 1887 Oil on canvas 18 1/4 x 21 3/4 in. (46.5 x 55.2 cm) Gift of Kate L. Brewster, 1949.215 Faille, de la 382; Hulsker 1337 Medieval to Modern European Painting and Sculpture Gallery 241 — Permanent collection label Vincent van Gogh： Dutch, 1853-1890 The Poet's Garden, 1888 Oil on canvas 28 3/4 x 36 1/4 in. (73 x 92.1 cm) Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.433 Medieval to Modern European Painting and Sculpture Gallery 241 【Medieval to Modern European Painting and Sculpture：Gallery 241】 【フィンセント・ファン・ゴッホ】（Vincent Willem van Gogh、1853年3月30日 - 1890年7月29日）は、 オランダ出身でポスト印象派（後期印象派）の画家。 主要作品の多くは1886年以降のフランス居住時代、 特にアルル時代（1888年 - 1889年5月）と サン＝レミの精神病院での療養時代（1889年5月 - 1890年5月）に制作された。 彼の作品は感情の率直な表現、大胆な色使いで知られ、ポスト印象派の代表的画家である。 フォーヴィスムやドイツ表現主義など、20世紀の美術にも大きな影響を及ぼした。 ゴッホは、1853年、オランダ南部のズンデルトで牧師の家に生まれた。 1869年、画商グーピル商会に勤め始め、ハーグ、ロンドン、パリで働くが、 1876年、商会を解雇された。 その後イギリスで教師として働いたりオランダのドルトレヒトの書店で働いたりするうちに 聖職者を志すようになり、1877年、アムステルダムで神学部の受験勉強を始めるが挫折した。 1878年末以降、ベルギーの炭坑地帯ボリナージュ地方で伝道活動を行ううち、 画家を目指すことを決意した。 以降、オランダのエッテン（1881年4月-12月）、ハーグ（1882年1月-1883年9月）、 ニューネン（1883年12月-1885年11月）、ベルギーのアントウェルペン（1885年11月-1886年2月）と移り、 弟テオドルス（通称テオ）の援助を受けながら画作を続けた。 オランダ時代には、貧しい農民の生活を描いた暗い色調の絵が多く、 ニューネンで制作した「ジャガイモを食べる人々」はこの時代の主要作品である。 1886年2月、テオを頼ってパリに移り、 印象派や新印象派の影響を受けた明るい色調の絵を描くようになった。 この時期の作品としては「タンギー爺さん」などが知られる。 日本の浮世絵にも関心を持ち、収集や模写を行っている。 1888年2月、南フランスのアルルに移り、 「ひまわり」や「夜のカフェテラス」などの名作を次々に生み出した。 南フランスに画家の協同組合を築くことを夢見て、 同年10月末からポール・ゴーギャンを迎えての共同生活が始まったが、 次第に2人の関係は行き詰まり、12月末のゴッホの「耳切り事件」で共同生活は終焉した。 以後、発作に苦しみながらアルルの病院への入退院を繰り返した。 1889年5月からはアルル近郊のサン＝レミの精神病院に入院した。 発作の合間にも「星月夜」など多くの風景画、人物画を描き続けた。 1890年5月、精神病院を退院してパリ近郊のオーヴェル＝シュル＝オワーズに移り画作を続けたが、 7月27日、自ら銃を撃ち、29日死亡した。 もっとも、自殺という一般の理解に対しては異説もある 。発作等の原因については、癲癇、統合失調症など様々な仮説が研究者によって発表されている。 生前に売れた絵はたった1枚「赤い葡萄畑」だったと言われているが、 晩年には彼を高く評価する評論が現れていた。 彼の死後、回顧展の開催、書簡集や伝記の出版などを通じて急速に知名度が上がるにつれ、 市場での作品の評価も急騰した。 彼の生涯は多くの伝記や『炎の人ゴッホ』に代表される小説・映画などで描かれ、 「情熱的な画家」、「狂気の天才」といった幻想的イメージをもって語られるようになった。 |
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〔『A Sunday on La Grande Jatte — 1884, 1884/86』：『Gallery 201』・ 『シカゴ美術館』（The Art Institute of Chicago）にて〕 Georges Seurat : French, 1859-1891 Oil on canvas : 81 3/4 x 121 1/4 in. (207.5 x 308.1 cm) Inscribed at lower right: Seurat Helen Birch Bartlett Memorial Collection, 1926.224 de Hauke 162 Medieval to Modern European Painting and Sculpture Gallery 201
【画面上でクリックして、拡大して御覧ください!】 シカゴ美術館の『スーラー』（Georges Seurat)：『A Sunday on La Grande Jatte — 1884, 1884/86』(グランド・ジャット島の日曜日の午後)：『Gallery 201』・『シカゴ美術館』（The Art Institute of Chicago）〔2014.10.01〕 昨年10月に、『シカゴ美術館』（The Art Institute of Chicago）を 訪れた際の絵画を時々ご紹介できればと思います。 この美術館は、フラッシュを使わなければ個人的な撮影は 大丈夫です☆彡 今回の作品は、『ジョルジュ・スーラ』（Georges Seurat）の 生涯最大の大作で代表作でもある 『グランド・ジャット島の日曜日の午後』です。 大きさは、207.5 x 308.1 cmで、とても巨大な作品。 グランド・ジャット島に集う50人ほどの人物を点描で描き出した この大作は、1886年の第8回印象派展（最後の印象派展）に 出品されて話題となった。 「新印象派」という名称は、 この作品を見た批評家フェリックス・フェネオンが 同年発表した雑誌記事の中で最初に使ったものである。 この作品の題材となったグランド・ジャット島は、 セーヌ川の中洲で、パリ北郊のクールブヴォア付近にある。 では、僕のお気に入りの作品をお楽しみください。 . 【つづく】 〔訪問時期：2014.10.01〕 In his best-known and largest painting, Georges Seurat depicted people relaxing in a suburban park on an island in the Seine River called La Grande Jatte. The artist worked on the painting in several campaigns, beginning in 1884 with a layer of small horizontal brushstrokes of complementary colors. He later added small dots, also in complementary colors, that appear as solid and luminous forms when seen from a distance. Seurat's use of this highly systematic and "scientific" technique, subsequently called Pointillism, distinguished his art from the more intuitive approach to painting used by the Impressionists. Although Seurat embraced the subject matter of modern life preferred by artists such as Claude Monet and Pierre-Auguste Renoir, he went beyond their concern for capturing the accidental and instantaneous qualities of light in nature. Seurat sought to evoke permanence by recalling the art of the past, especially Egyptian and Greek sculpture and even Italian Renaissance frescoes. As he explained to the French poet Gustave Kahn, "The Panathenaeans of Phidias formed a procession. I want to make modern people, in their essential traits, move about as they do on those friezes, and place them on canvases organized by harmonies of color." Some contemporary critics, however, found his figures to be less a nod to earlier art history than a commentary on the posturing and artificiality of modern Parisian society. Seurat made the final changes to La Grande Jatte in 1889. He restretched the canvas in order to add a painted border of red, orange, and blue dots that provides a visual transition between the interior of the painting and his specially designed white frame. — Permanent collection label Georges Seurat： French, 1859-1891 Oil Sketch for "La Grande Jatte", 1884 Oil on panel： 6 1/8 x 9 9/16 in. (15.5 x 24.3 cm) Gift of Mary and Leigh Block, 1981.15 de Hauke 93 Medieval to Modern European Painting and Sculpture Gallery 240 — Permanent collection label Georges Seurat： French, 1859-1891 Final Study for "Bathers at Asnières", 1883 Oil on panel： 6 1/4 x 9 7/8 in. (15.8 x 25.1 cm) Inscribed lower right: Seurat Gift of the Adele R. Levy Fund, Inc., 1962.578 Medieval to Modern European Painting and Sculpture Gallery 240 — Permanent collection label |
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〔『Cliff Walk at Pourville, 1882』：『Gallery 240』・ 『シカゴ美術館』（The Art Institute of Chicago）にて〕 Claude Monet French, 1840-1926
Oil on canvas： 66.5 x 82.3 cm (26 1/8 x 32 7/16 in.)
【画面上でクリックして、拡大して御覧ください!】 シカゴ美術館の『モネ』（Claude Monet)：『Cliff Walk at Pourville, 1882』：『Gallery 240』・『シカゴ美術館』（The Art Institute of Chicago）〔2014.10.01〕 昨年10月に、『シカゴ美術館』（The Art Institute of Chicago）を 訪れた際の絵画を時々ご紹介できればと思います。 この美術館は、フラッシュを使わなければ個人的な撮影は 大丈夫です☆彡 日本では、特に多くの『睡蓮』を描いた作品で有名な フランスの画家『クロード・モネ』（Claude Monet)。 その彼の多くの作品の中でも、僕が最もお気に入りの作品が、 この『Cliff Walk at Pourville, 1882』。 作品の構図や構成、色彩などの表現が 綿密に計算・考察されている上に、 同時期は彼の人生にとってのも重要な時であったに違いません。 では、僕のお気に入りの作品をお楽しみください。 . 【つづく】 〔訪問時期：2014.10.01〕 In February 1882, Claude Monet went to Normandy to paint, one of many such expeditions that he made in the 1880s. This was also a retreat from personal and professional pressures. His wife, Camille, had died three years earlier, and Monet had entered into a domestic arrangement with Alice Hoschedé (whom he would marry in 1892, after her husband's death). France was in the midst of a lengthy economic recession that affected Monet's sales. In addition, the artist was unenthusiastic about the upcoming seventh Impressionist exhibition—divisions within the group had become pronounced by this time—and he delegated the responsibility for his contribution to his dealer, Paul Durand-Ruel. Disappointed in the area around the harbor city of Dieppe, which he found too urban, Monet settled in Pourville and remained in this fishing village until mid-April. He became increasingly enamored of his surroundings, writing to Hoschedé and her children: "How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies!" He was able to do so in June, when they joined him in Pourville. The two young women strolling in Cliff Walk at Pourville are probably Marthe and Blanche, the eldest Hoschedé daughters. In this work, Monet addressed the problem of inserting figures into a landscape without disrupting the unity of its painterly surface. He integrated these elements with one another through texture and color. The grass—composed of short, brisk, curved brushstrokes—appears to quiver in the breeze, and subtly modified versions of the same strokes and hues suggest the women's wind-whipped dresses and shawls and the undulation of the sea. X-radiographs show that Monet reduced the rocky outcropping at the far right to balance the proportions of sea and sky. |
