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DAILY ART FIX: David Lynch’s Art Peers Behind the Facade

Art world links which caught my eye… David Lynch “Boy Lights Fire” Even though he is best known as a film director, David Lynch got his start as a …

DAILY ART FIX: David Lynch’s Art Peers Behind the Facade
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DAILY ART FIX: Secret of the world’s most famous barmaid: It’s the priceless Manet everyone knows ✨

Art world links which caught my eye… Édouard Manet “A Bar at the Folies-Bergère” 1882 When I was in art school in the 1980s, and a class reviewed a …

DAILY ART FIX: Secret of the world’s most famous barmaid: It’s the priceless Manet everyone knows
Famous Artist

Jeanne Hébuterne (1898-1920) French artist-painter, last companion of Amedeo Modigliani:

Jeanne Hébuterne (1898-1920) French artist-painter, last companion of Amedeo Modigliani:

Nicknamed “Coconut” because of her milky white complexion and brown hair with red highlights, she is known nowadays for her romantic relationship with Amedeo Modigliani.

She settles down with Modigliani, right next to the Colarossi Academy, in a workshop that hires them Léopold Zborowski, the painter’s agent, who then combats to sell his paintings.
Convinced of Modigliani’s talent, Zborowski sent the couple to rest at Nice on November 29, 1918, Jeanne gave birth to a little girl, Giovanna Hébuterne (1918-1984). Modigliani will recognize her belatedly to give her his name ; She will become the biographer of his father.

In the fall of 1919, the couple returned to Paris, Jeanne Hébuterne gradually ceased all artistic activity after having taken photographs, created jewelry and clothing. From new pregnant, she’s the model from painter.
But the state of health by Modigliani and stops worsening, suffering from pleurisy since childhood, then tuberculous meningitis, he has been abusing drugs and alcohol for too long. He died at 35, on the evening of January 24, 1920.
Jeanne’s parents then welcome her with her child but, two days later, around four in the morning, escaping the vigilance of her brother, Jeanne, desperate to have lost the love of her life, is thrown out the window of the 5th. floor of her parents’ apartment.

Chantal Quenneville, who was her friend at the Académie Colarossi, reports the following facts :

“The dislocated body had been branched out into the yard by a worker who had transported it just to the shield of the fifth floor, where the appalled parents had shut the door in his face. The body was then transported by the same worker, in a stroller, at the workshop of the Grande Chaumière, or the porter had refused, declaring that “was not an official tenant”. At the end, this worker went to the police station where he was told to bring him back, by order of the police, on rue de la Grande-Chaumière. The body remained there, I left, all morning.”

On January 27, 1920, Modigliani was buried with the Père-Lachaise cemetery, accompanied by the artists of Montmartre and Montparnasse. Jeanne, for her part, is buried in the next day, at dawn, in the cemetery of Bagneux in privacy.

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(PARIS) Louvre Art Exhibition Report: Islamic art will be held in 18 cities over the next four months. Each of the 19 invited artists is an international artist from Algeria, Iran, Turkey, and Egypt #AceNewsDesk report

#AceNewsReport – Sept.26: The Louvre museum is organizing exhibitions of Islamic art to combat rising Islamophobia. The initiative, headed by the Louvre, seeks to foster a more nuanced understanding of Islam. 18 art exhibitions dedicated to Islamic art will be held in 18 cities over the next four months. Each of the 19 invited artists are international artist from Algeria, Iran, Turkey, and Egypt.


Islamic art at the Louvre Museum: a superb exhibition of Muslim art to fight Islamophobia
Louvre Museum- Department of Islamic Art – Poetic jousting – Ceramic – Iran (Isfahan) – Mid-17th century © MOSSOT

The idea is to demonstrate that Islam has long been an important part of French heritage, according to Yannick Lintz, who heads the Louvre’s Islamic department. The French education and culture ministers are expected to make an announcement on 2021, November 20,  that will reveal the simultaneous opening of 18 art exhibitions that are dedicated to Islamic art in 18 cities.

Louvre Museum- Department of Islamic Art – Poetic jousting – Ceramic – Iran (Isfahan) – Mid-17th century © MOSSOT

September 25, 2021: Added Sep 22, 2021 – 2 minutes read

Over the course of these four months, the Louvre will be lending around 60 of its most important pieces. These graphic works will be on display next to works that came from local and national museums, libraries, and churches. Additionally, Yannick Lintz is looking to overthrow established clichés about Islamic culture, particularly as it pertains to the Arab world. She demonstrates that “the culture is both religious and profane, more diverse than the Arab civilization, and includes depictions of people, even the Prophet Muhammad.”Each exhibition is accompanied by a short film that shows places and monuments linked to the featured works of art. Discussion forums will be provided for students and others, which will be jointly administered by associations and religious organizations. Each of the nineteen invited artists are international artists from Algeria, Iran, Turkey, and Egypt, and they are participating in the project to show their works. Strasburg, France, also established an even more ambitious show for Islamic art in its city museums.

Dish with peacock in the “saz” style. Louvre Museum – Department of Islamic Art © Marie-Lan Nguyen

City mayors were delighted by the project’s response, according to Yannick Lintz. “It turned out there were more candidates than we’d anticipated, so we had to select one,” she says.

Traditionally, large-scale cultural events are very rare in France, as most of the country’s cultural venues are located in the nation’s capital. This plan was formed by President Emmanuel Macron’s statement to a Paris audience last October, where he condemned “the radical Islamic tendencies” and suggested that the state foster a different type of Islamic culture.

Gunpowder horn. Louvre Museum – Department of Islamic Art © Marie-Lan Nguyen

 The rise in anti-Islamic sentiment following recent terrorist attacks has been dramatic. Further adding to the anxiety are preparations for the next presidential election in April. Overall, there was a 22% decrease in racist attacks in France, according to the National Consultative Commission on Human Rights, but double on the Muslim community.

More information (in french): 18 exhibitions 18 cities, from Nov. 20, 2021 to March 27, 2022

#AceNewsDesk report ………Published: Sept.26: 2021:

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ART Louis Marie de Schryve .

Louis Marie de Schryve .

Après l’averse; – place du Théâtre-Français
Oil on canvas
28 ¼ x 36 ¼ inches
Signed and dated ’89

Possibly, Paris Salon, 1889, #2438
Shortly after Louis Marie de Schryver’s birth, the Impressionists began using the life of Paris for their artistic compositions.  Everyday life of Paris was not a new subject, but what was introduced during the latter half of the nineteenth century was a growing interest in its fashionable streets and the city people who wandered through them.  As the century came to a close, fashionable cafes, large-scale department stores, and World’s Fairs, such as that of 1900, invited Parisians to step outside of their homes and interact with one another in the fashionable and creative center of the arts.  Artists, such as Louis Marie de Schryver, became intrigued by the life along the streets and certainly with the fashionable upper society.

Louis Marie de Schyrver was born in Paris on October 12, 1862.  His father was a well-established journalist, but his son did not follow the same path.  From an extremely young age de Schryver recognized his precocious artistic capacities and began training for his career as an artist by twelve.  He was so talented that he exhibited his first works at the Salon (1876) at the age of thirteen: Marguerites et Chrysanthèmes (Marguerites and Chrysanthemums) and Violettes et Fleurs Printanières (Violets and Spring Flowers), two still life paintings.  What is perhaps even more unusual was that at this time, he was apparently not studying under any master – his entry in the Salon catalog does not denote any specific teacher, though he may have been informally studying under an artist.

The following year he continued his exhibitions at the Salon while studying under Philippe Rousseau, a still life and genre painter.  It was unusual, though not unheard of, for a student of such a young age to enter the school of a master, where his fellow students may have been more than a decade older than he was.  He remained under the tutelage of Rousseau for a very short period, since by the next Salon he had already left his atelier and was again without a teacher.  Three years later, at the age of 17, he won a bronze medal at the World’s Fair of Sydney for his painting entitled Lilas (Lilacs).  De Schryver was clearly on a path to establish himself in not only the art world of Paris, but internationally, with themes that were attractive and appropriate for the time.

He continued diligently submitting to the annual Salons, relying heavily on still lifes but also introducing portraits and genre scenes.  By 1886 he had turned his attention to the daily life of Paris and began receiving commissions to paint portraits of society people.  The depictions of contemporary daily life had become increasingly popular during the period of La Belle Époque as artists began to depict the bustling life and the various activities taking place in Paris, recording everything from the fashionable women of the period to the architectural subtleties of the city.  At the Salon of this same year he submitted Mes Derniers Fleurs (My Last Flowers), a fitting title for his transitioning thematic choice, and Le Premier Jour de Printemps (The First Day of Spring), receiving an honorable mention.  Two years later he became a member of the Société des Artistes Français.  

De Schryver’s views of Paris began attracting a great deal of attention, not only for his technical abilities, but for the spontaneity of the scene.  His depictions of flower vendors, horses and carriages and the elegant people of Paris, as well as his portrayal of street sweepers and washers were imbued with a realism and light that placed Schryver at the highest level of the Belle Époque artists.  Gérald Schurr, in his book Les Petits Maîtres de la Peinture 1820 – 1920(Paris: Éditions de l’Amateur, 1986), had the following to say about Schryver’s work (pg. 173)

Some of his garden spots vaguely touch on or could be compared with the Nymphéas by Claude Monet …Schryver demonstrates accents of passion, outbursts of pure color and tones which ring true.  His scenes of Paris are often bathed in a light of rare subtlety – in shades of gray: the large canvas hanging in the white room at the Cambrai City Hall – Le marchand des quatre-saisons (Paris Salon 1895), is a masterpiece of sensibility. 

By 1891, de Schryver had entered the atelier of Gabriel Ferrier (1847-1914), a genre and still life painter, after having taken a substantial hiatus from formal training.  To this year’s Salon he exhibited one painting entitled La Fin d’une Rêve (The End of a Dream), which earned him a third-class medal, his first medal received at the Parisian Salons.

Throughout this period and until 1900, Schryver maintained a studio in Paris on the rue Pergolèse, giving him ample opportunity to step outside to find his new subject matter.  His work submitted to the Exposition Universelle of 1900 earned him a gold medal.  This same year he left Paris and built a home in Neuilly, coinciding with a shift in his work wherein he turned to portraiture and costume painting featuring elegant men and women from a bygone era, dressed in their silks and satins.  As with his earlier Paris street scenes, these paintings found a ready clientele both at home and abroad.  In 1901 he exhibited Lesbiennes (Lesbians) at the Salon, a painting that many claimed was a brilliant work of art, but one that created such a scandal that it had to be removed from the show.

During the early 1900s he became enamored with automobile races frequenting the popular race tracks and began to capture these images on canvas.  Schurr remarked that (pg. 173):

… his work for the Salon of 1907, L’arrivée du vainqueur au Premier prix de l’Automobile Club … shows him to be a forerunner of the Futurist artists Giacomo Balla and Carlo Carra: the viewer gets the same flashing impression as a driver would get of the thrill of color before a large crowd – the sensation of speed and the rush of air is knowingly created by the soft light of the surroundings, by the power and suspense, by the trembling, by the touch of jolts cutting through the wheels.

What Schurr fails to mention was that this work was shown more specifically at the Salon des Artistes Indépendants, one of the exhibitions which tried to provide artists with an outlet besides the annual Salon for the display of their work.  These exhibitions were more progressive and showed an appreciation of new artistic trends that were often not recognized by the annual Salons (des Artistes Français).

These works also were linked to the increasing interest in photography during the period, which could capture what would not be discernible to the naked eye.  Artists began using photography more and more not only for models, but also to pique their interest in the physical action, that could now be documented and studied.  Many of Schryver’s automobile works were captured in a more impressionistic style with beautiful color and quick brushstrokes, but he found little acceptance for them in the market place. By 1910, for financial reasons, he returned to his successful images of Paris at the turn or the century.

Between 1919 and 1925 he traveled to the Rhineland to study and paint the landscape of this occupied territory.  He returned to Neuilly many times and, from time to time, would go back to Paris; he died there on December 6, 1942 at the age of 80.

De Schryver continued to exhibit at the Salons, albeit sporadically, until the end of his life.  Throughout his career he had been witness to the fluctuating artistic temperament of the art world of Paris, but he had maintained similar themes throughout his career; beginning early on with still lifes and portraiture, finding his greatest success with his Parisian scenes, dabbling for a short time in the culture of the automobile, but then returning to his popular Parisian scenes after also working with landscapes.  Louis Marie de Schryver’s images contributed to the interest in contemporary scenes of Parisian life that remained popular throughout the majority of his lifetime.

His work can now be found in the following museums:

Cambrai: Le marchand des quatre saisons, 1895
Musée de la Voiture, Compiègne: L’arrivée du vainqueur au Premier prix de l’Automobile Club
Musée de l’Armée, Paris: Le drapeau
Musée d’Art Moderne de la Ville, Paris: Porte de Paris
Musée Tavet-Delacour, Pontoise: Nature morte 1879
Tourcoing: Mes dernières fleurs 1886

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Knabe Vor Zwei Stehenden Und Einem Sitzenden Mädchen, 1918, Otto Mueller

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Hello ~ ART


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    Art ~ Australian

    Hugh Sawrey Prints. A non Indigenous Australian who was fond of painting pictures of Aboriginal issues and lifestyle, among other things.

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    The two-sided statue of Mephistopheles and Margaretta (19th Century) at the Salar Jung Museum in India. The sculpture is carved out of a single log of sycamore wood. Artist unknown

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      Art ~ By Zurab Martiashvili

      In Search of the Promised Land

      By Zurab Martiashvili