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Francis Bacon

Francis Bacon
Francis Bacon in his studio Francis Bacon (28 October 1909 – 28 April 1992) was an Irish-born British figurative painter known for his bold, graphic and emotionally raw imagery.[1] His painterly but abstracted figures typically appear isolated in glass or steel geometrical cages set against flat, nondescript backgrounds. Bacon began painting during his early 20s and worked only sporadically until his mid-30s. Unsure of his ability as a painter, he drifted and earned his living as an interior decorator and designer of furniture and rugs. He often said in interviews that he saw images "in series", and his artistic output typically focused on a single subject or format for sustained periods. During his lifetime, Bacon was equally reviled and acclaimed. Bacon's birthplace at 63 Lower Baggot Street, Dublin He had an older brother, Harley, five years his senior,[11] two younger sisters, Ianthe and Winifred, and a younger brother, Edward. On 1 June 1940 Bacon's father died.

Tableaux de Marc Chagall  Éternels Éclairs La Biographie Tableaux sélectionnés : Il est recommandé d'aller voir le site officiel. - Aussi : Des droits d'auteurs protègent les oeuvres ici présentes ; en cas de réclamation des ayants droit celles-ci seraient immédiatement retirées. Stéphen Moysan Anniversaire, par Marc Chagall Autoportrait aux sept doigts, par Marc Chagall Cimetière, par Marc Chagall L'Exode, par Marc Chagall La création de l'homme, par Marc Chagall La Crucifixion Blanche, par Marc Chagall La Crucifixion Jaune, par Marc Chagall La Cuillerée de Lait, par Marc Chagall La danse I, par Marc Chagall La danse II, par Marc Chagall Image en haute résolution non disponible La guerre, par Marc Chagall La madone du village, par Marc Chagall La mariée à l'éventail, par Marc Chagall La Tour Eiffel, par Marc Chagall La traversée de la mer rouge, par Marc Chagall Le cantique des cantiques I, par Marc Chagall Le cantique des cantiques V, par Marc Chagall Le cirque bleu, par Marc Chagall Le frappement du rocher, par Marc Chagall

Dada Dada (/ˈdɑːdɑː/) or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zurich, Switzerland, began in 1916, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915.[1] The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades.[2] Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.[3] Francis Picabia, Dame! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920 Overview[edit] Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! Dada was an informal international movement, with participants in Europe and North America. To quote Dona Budd's The Language of Art Knowledge, Zurich[edit]

Marc Chagall According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's preeminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra. Before World War I, he traveled between St. Early life and education[edit] Early life[edit] Chagall's Parents Marc Chagall was born Moishe Segal in a Jewish family in Liozna,[5] near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. Chagall was the eldest of nine children. Day after day, winter and summer, at six o'clock in the morning, my father got up and went off to the synagogue. Most of what is known about Chagall's early life has come from his autobiography, My Life. Art education[edit] Artistic inspiration[edit]

Tristan Tzara After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of Littérature magazine, which marked the first step in the movement's evolution toward Surrealism. He was involved in the major polemics which led to Dada's split, defending his principles against André Breton and Francis Picabia, and, in Romania, against the eclectic modernism of Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas Heart (1921) and Handkerchief of Clouds (1924). A forerunner of automatist techniques, Tzara eventually aligned himself with Breton's Surrealism, and under its influence wrote his celebrated utopian poem The Approximate Man. During the final part of his career, Tzara combined his humanist and anti-fascist perspective with a communist vision, joining the Republicans in the Spanish Civil War and the French Resistance during World War II, and serving a term in the National Assembly. Name[edit] S. Biography[edit] Birth of Dada[edit]

Un dossier technique complet sur l'aquarelle : Le Petit Monde de Chris Un dossier technique complet réalisé par Thierry de Marichalar Le mot de Thierry Marcel Janco Reunited with Vinea, he founded Contimporanul, the influential tribune of the Romanian avant-garde, advocating a mix of Constructivism, Futurism and Cubism. At Contimporanul, Janco expounded a "revolutionary" vision of urban planning. He designed some of the most innovative landmarks of downtown Bucharest. He worked in many art forms, including illustration, sculpture and oil painting. Janco was one of the leading Romanian Jewish intellectuals of his generation. Targeted by antisemitic persecution before and during World War II, he emigrated to British Palestine in 1941. Marcel Janco was the brother Georges and Jules Janco, who were his artistic partners during and after the Dada episode. Biography[edit] Early life[edit] Marcel Janco was born on May 24, 1895 in Bucharest to an upper middle class Jewish family.[2] His father, Hermann Zui Iancu, was a textile merchant. Swiss journey and Dada events[edit] "Two-speeds" Dada and Das Neue Leben[edit]

Conseils techniques pour l'aquarelle. - Peintures, photos et chevalets, voyage et aventure, le soleil des artistes. Mardi 28 novembre 2006 2 28 /11 /Nov /2006 11:30 La technique de l'aquarelle. L'aquarelle est une technique assez complexe alliant la couleur et l’eau. Préparation du support. Il existe en aquarelle 3 techniques de base : La technique du mouillé sur sec Les couleurs sont posées sur un papier sec, elles ne diffusent donc pas, ainsi les formes graphiques peuvent être définies avec précision. La technique du mouillé sur mouillé Le papier à grain moyen ou torchon est humidifié avant la pose des couleurs qui diffusent donc avec des contours flous. Les effets de couleurs Par souci de luminosité, il est malaisé dl’intensité de la couleur. La technique de la brosse sèche. A l’aide d’une brosse à peine humectée on pose une faible quantité de peinture sur un support sec. Cette matière se travaillant à l’eau on peut se servir de divers autres matériaux pour rendre des effets : Le sel Lorsque l’on met du sel en contact avec l’eau, celui ci l’absorbe, ce qui donne des effets surprenants en aquarelle. Astuces

Paul Cézanne Paul Cézanne (US /seɪˈzæn/ or UK /sɨˈzæn/; French: [pɔl sezan]; 1839–1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. Cézanne can be said to form the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. §Life and work[edit] §Early years and family[edit] Femme au Chapeau Vert (Woman in a Green Hat. Going against the objections of his banker father, he committed himself to pursuing his artistic development and left Aix for Paris in 1861. §Cézanne the artist[edit] §Optical phenomena[edit] §Death[edit]

Andy Kehoe Web Papers: Tristan Tzara - Dada Manifesto (23rd march 1918) The magic of a word - DADA - which for journalists has opened the door to an unforeseen world, has for us not the slightest importance. To launch a manifesto you have to want: A.B. & C., and fulminate against 1, 2, & 3, work yourself up and sharpen you wings to conquer and circulate lower and upper case As, Bs & Cs, sign, shout, swear, organise prose into a form that is absolutely and irrefutably obvious, prove its ne plus ultra and maintain that novelty resembles life in the same way as the latest apparition of a harlot proves the essence of God. His existence had already been proved by the accordion, the landscape and soft words. * To impose one's A.B.C. is only natural - and therefore regrettable. Everyone does it in the form of a crystalbluff-madonna, or a monetary system, or pharmaceutical preparations, a naked leg being the invitation to an ardent and sterile Spring. Every spectator is a plotter, if he tries to explain a word (to know!) If I shout: Ideal, Ideal, Ideal

Vive le potager au carré Organiser l’espace Nul besoin en effet de posséder beaucoup de terrain pour profiter de légumes à déguster en famille. La technique du potager en carré permet d’ailleurs de profiter « de tout un peu ». Elle se base sur de petites surfaces, de 1,20 m de côté permettant un entretien facile. Notez que les personnes handicapées ou âgées auront tout intérêt à recourir à des surfaces rehaussées, sur des palettes par exemple. Ces carrés trouveront ainsi leur place sur une pelouse, un patio, voire une terrasse ou un toit pour satisfaire les citadins. Semer ou planter En fonction des cultures envisagées, vous opterez pour l’achat de plants ou le semis. Faites un bon choix de variétés Privilégiez les formes qui ne prennent pas trop de place. Prenez de la hauteur Quelques bambous ou une trame de fer à béton bien fixée permettent de cultiver, au centre, des légumes grimpants comme les haricots à rame voire le haricot d’Espagne aussi joli en fleurs que délicieux en gousses. Des simples indispensables

Web Papers: Francis Picabia - Dada Manifesto (March 1920 ) The Cubists want to cover Dada with snow; it may surprise you, but it is so, they want to empty the snow out of their pipe on to Dada. Are you sure? Perfectly, the facts speak for themselves from great grotesque mouths. They think that Dada wants to stop them in their hateful trade: selling pictures at a high price. Art is dearer than sausages, dearer than women, dearer than anything. Art is as easy to see as God (see Saint-Sulpice). Art is a pharmaceutical product for idiots. Tables turn, thanks to the spirits; pictures and other works of art are like strong- box-tables, the spirit is within them and gets more and more inspired as the prices rise in the salerooms. Comedy, comedy, comedy, comedy, comedy, dear friends. Dealers do not like painting, they know about the hidden spirit.... Buy reproductions of signed pictures. Don't be snobbish; having the same picture as your neighbour doesn't make you any less intelligent. There will be some, all the same, but not quite so many.

Le potager en carrés : explication pour débuter Il suffit d'un petit coin de jardin pour cultiver quelques légumes. Avec le potager en carrés, vous pouvez vous faire plaisir rapidement et simplement, sans vous lancer dans le grand jardinage! Voici les grands principes... Un potager en carrés : qu'est-ce que c'est ? A tout seigneur, tout honneur : c'est un jardinier américain, Mel Bartholomew, qui a popularisé la technique du potager en carrés dans son ouvrage "Square Foot Gardening" publié pour la première fois en 1981. Les grands principes de cette méthode sont extrêmement simples. Les principaux avantages de cette nouvelle approche culturale... Pourquoi un potager en carrés Salade, betterave, bette... cultivées en carrés La motivation première doit être : le plaisir de jardiner, et de cultiver quelques légumes "soi-même", sans pour autant se lancer dans un potager de dimensions industrielles ! Sauf rares exceptions, le jardinier d'aujourd'hui ne cultive plus son potager pour assurer les besoins complets de sa famille.