Degas to Matisse - download pdf or read online
By John L. O'Brian
Maurice Wertheim, a graduate of Harvard university (Class of 1906), approached the accumulating of paintings with disciplined enthusiasm. even though he didn't buy an incredible portray till 1956, whilst he had already grew to become fifty, inside or 3 years he had made himself an immense contender within the box. within the subsequent decade and a part he succeeded in assembling the most impressive and concentrated collections of contemporary eu artwork during this kingdom. At his dying in 1950, Maurice Wertheim bequeathed his assortment to Harvard for «the gain and use of the Fogg artwork Museum.» when you consider that 1974 the gathering has been completely put in within the museum, the place it has given excitement and guide to various scholars and students in addition to to many viewers. In reputation of the significance of the intense work and sculptures within the assortment, the galleries the place they're put in have been thoroughly redesigned in 1986 to supply a extra spacious and congenial environment during which to be noticeable.
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Extra info for Degas to Matisse
Pp. 9—10; Riviere, 1877B, p. 301; Zurich, 1919; Deudon. 1920. p. 307; Geffroy, 1922, p. 92; Rene-Jean, 1923, p. 472; Paris, 1925, no. 47; Courthion, 1926, pp. 42, no. 220; Paris. 1937. no. 374; Frankfurter, 1937. 45; Amsterdam. 1950, repr. p. 11; Yenturi. 1939. Frankfurter. 1946. I. p. 152 and p. 64, repr. p. II, p. 312; New York. 19456, no. 24; 28; Cambridge. 1946. pp. 12-15. re P r 108; Quebec. 1949. no. Reutersward, 1948, p. 281, repr. p. 16: Seitz. i960, pp. 29, 106—107; Raleigh, i960, p. 15; p.
Ovine, 1 two preceding leit in black paint, Claude Monet 77 than praise of Monet's paintings: "In one of the biggest paintings the is Wertheim painting] the train has just pulled in, and the engine going to leave again. Like an impatient and temperamental beast, exhilarated rather than tired by the long haul it shakes its mane of smoke, it has just performed, which bumps against the glass roof of the great hall. Around the monster, men swarm on the pygmies the feet of a giant. Engines at rest wait on the other side, sound at asleep.
265). The on at stylistic grounds likelihood of a later reworking is sup- ported by several disparate bits of evidence. First, a study relating to the central figure has been dated by Lillian Browse to 1878 (Browse, 1949, pi. 69, p. 361), although it is possible that the study executed after the painting. Second, a study of one of Degas's notebooks, in use from 1877 fied by Theodore Reff painting (Reff, 1976, violinist in as a violinist (fig. 2) in to 1885, has been identi- corresponding in pose to the violinist in the I, pi.
Degas to Matisse by John L. O'Brian