As the center of artistic interest, Paris attracted many foreign painters in the early 20th century, and within a few years of each other three Jewish émigrés, Chaim Soutine, Marc Chagall, and Amedeo Modigliani, had all arrived in the city. Though they became friends and gained inspiration from the recent innovations in art, they were each highly original artists and their paintings stand alone, defying categorization and imitation.
The three painters that we look at here were all born outside France, and they remained outsiders to the Parisian art scene for more than merely cultural reasons (Soutine and Chagall were both Russian, and Modigliani was Italian). These painters shared the isolation of being ``other'', never truly belonging to any group or adhering to a single manifesto.
Chaim Soutine, a passionate Expressionist
Chaim Soutine (1894-1943) came to Paris in 1913. He was the only painter in the city who was in the least like Georges Rouault, and as a Parisian Expressionist, he belonged to the ``School of Paris''. Soutine's style of applying thickly encrusted paint was quite different from Rouault's, but his wild, chaotic spirit, sorrowful and vehement, is like that of the Frenchman. Just as Rouault, despite his Fauvist connections, is seen as inherently Expressionist, so Soutine was a natural, though singular, Expressionist.
Soutine's religion was the earth. He painted the sacredness of the country with a passion that makes his art hard to read. Landscape at Ceret (c. 1920-21; 56 x 84 cm (22 x 33 in)) is so dense that it could be abstract, and it does take enormous liberties with the earthly facets, but when we do ``read'' it, hill and tree and road take on a new significance for us.
Список литературы
Для подготовки данной работы были использованы материалы с сайта http://www.ibiblio.org/louvre/paint/
Похожие работы
... frequent use of dashes, sporadic capitalization of nouns, off-rhymes, broken metre, unconventional metaphors have contributed her reputation as one of the most innovative poets of 19th-century American literature. Later feminist critics have challenged the popular conception of the poet as a reclusive, eccentric figure, and underlined her intellectual and artistic sophistication. Emily Dickinson ...
... the Great Barbecue. This same spectacle of post-bellum Winton which sickened fastidious Henry Adams and led even Whitman to optimist to pen the darker pages of Democratic Vistas, gave Mark Twain his first shining target for satire. Warner supplied conventional plot elements of romance, gentility, pluck and luck, harmonized with the theme of material success, which the novel debunks at one level ...
l texts of natural-scientific works and their translations do not differ much from this point of view. Here there is another case in the field of social-political literature. It is closely connected with the ideological society of the country with its history and its historical specifics and it can never be separated from country peculiarities and demands, political conditions, the events of ...
... clear and lucid language. There are some problems which are debated up to now, for example, «the reality of the perfective progressive». 1.3 The analysis of the stylistic potential of tense-aspect verbal forms in modern English by home linguists N.N. Rayevska [3; 30] is a well-known Ukrainian (Kiev) scholar who specialized in the study of English language and wrote two monographs: 1. The ...
0 комментариев