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PAINTERS :
6 - PABLO RUIZ PICASSO
Pablo Ruiz Picasso (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist and theatre designer who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture,[8][9] the co-invention of collage, and for the wide variety of styles that he helped develop and explore.
Pablo Ruiz Picasso (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist and theatre designer who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture,[8][9] the co-invention of collage, and for the wide variety of styles that he helped develop and explore.
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1913-14 - CARD PLAYER
Museum of Modern Art, New York
oil on canvas 89 x 108 cm
Synthetic cubism (1912–1919) was a further development of the genre of cubism, in which cut paper fragments – often wallpaper or portions of newspaper pages – were pasted into compositions, marking the first use of collage in fine art. It was around this time that Picasso painted "L'Homme aux Cartes" in his home in Paris, which is currently exhibited at the MOMA.
Synthetic cubism (1912–1919) was a further development of the genre of cubism, in which cut paper fragments – often wallpaper or portions of newspaper pages – were pasted into compositions, marking the first use of collage in fine art. It was around this time that Picasso painted "L'Homme aux Cartes" in his home in Paris, which is currently exhibited at the MOMA.
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1914 - GLASS, PIPE, ACE OF CLUBS AND DICE
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oil on canvas
By adding extra colour and drawing, he intensifies the effect, levels out spatial qualities, covers textures - but also contrasts his materials and techniques. It is a style that is nicely visible in the tondo "Glass, Pipe, Ace of Clubs and Dice". As well as wood, Picasso uses metal here; but it is painted over, and its original textural properties are no longer recognisable. The ace of clubs is sheet metal, the club symbol punched out. The dice is a slant, cut-off section of a cylinder; only the painted motifs convey what it is meant to be.
By adding extra colour and drawing, he intensifies the effect, levels out spatial qualities, covers textures - but also contrasts his materials and techniques. It is a style that is nicely visible in the tondo "Glass, Pipe, Ace of Clubs and Dice". As well as wood, Picasso uses metal here; but it is painted over, and its original textural properties are no longer recognisable. The ace of clubs is sheet metal, the club symbol punched out. The dice is a slant, cut-off section of a cylinder; only the painted motifs convey what it is meant to be.
Spain - 2013 - Cover
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1914 - VERRES, PIPE, CARTE A JOUER
Museum of Fine Arts, Boston
oil and tempera on paper, mounted on canvas
This still life is an example of a Picasso's synthetics Cubist style, which he developed in the South of France during the summer of 1914. Unlike his earlier analytic Cubism, characterized by thirly painted planes of fractured forms in motled grays and browns, this work is composed of cut, painted paper attached to a canvas. Picasso frequetly created collages at this stage of his carrers, infusing the more recognizable images with bright, repetitive patterns.
This still life is an example of a Picasso's synthetics Cubist style, which he developed in the South of France during the summer of 1914. Unlike his earlier analytic Cubism, characterized by thirly painted planes of fractured forms in motled grays and browns, this work is composed of cut, painted paper attached to a canvas. Picasso frequetly created collages at this stage of his carrers, infusing the more recognizable images with bright, repetitive patterns.
Sierra Leone - 2003 - Stamp
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PAINTERS :
4 - PAUL CEZANNE - EXTRA
The SAO TOME AND PRINCIPE Post Office has issued in 2009 a sheetlet that illustrates only part of Cezanne's picture relating to "Card Players". Only one seated player is seen, which can be traced back to the left player in the versions exhibited at the Metropolitan Museum in New York (version 3) and in that of the Barnes Foundation in Pennsylvania (version 5). In this sheetlet, however, you do not see the person standing watching the game, and the background is white. Consequently, it is not possible to trace which version the sheetlet of Sao Tome refers to.
The SAO TOME AND PRINCIPE Post Office has issued in 2009 a sheetlet that illustrates only part of Cezanne's picture relating to "Card Players". Only one seated player is seen, which can be traced back to the left player in the versions exhibited at the Metropolitan Museum in New York (version 3) and in that of the Barnes Foundation in Pennsylvania (version 5). In this sheetlet, however, you do not see the person standing watching the game, and the background is white. Consequently, it is not possible to trace which version the sheetlet of Sao Tome refers to.
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PAINTERS :
4 - PAUL CEZANNE
Between 1890 and 1896, Cézanne undertook an ambitious painting project dedicated to the theme of card players. He enlisted peasants from family lands near Aix-en-Provence as role models. Based on numerous preparatory studies, the artist created FIVE compositions that expand, challenging them, the traditional representations of this theme, popular since the seventeenth century. Art historians believe that the series was completed between 1892 and 1896 but remain undecided about the order in which the five versions were painted. Initially it was thought either that he began with the larger paintings and gradually got smaller, or else he started with the most figures (five) and ended with the three versions with only two figures. However, recent research, including x-ray tests - indicates that he painted them in size order, going from small to large:
Between 1890 and 1896, Cézanne undertook an ambitious painting project dedicated to the theme of card players. He enlisted peasants from family lands near Aix-en-Provence as role models. Based on numerous preparatory studies, the artist created FIVE compositions that expand, challenging them, the traditional representations of this theme, popular since the seventeenth century. Art historians believe that the series was completed between 1892 and 1896 but remain undecided about the order in which the five versions were painted. Initially it was thought either that he began with the larger paintings and gradually got smaller, or else he started with the most figures (five) and ended with the three versions with only two figures. However, recent research, including x-ray tests - indicates that he painted them in size order, going from small to large:
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1890-92 - THE CARD PLAYERS
Barnes Foundation, Pennsylvania
oil on canvas 134,6 x 180,3 cm
This version, the largest and most crowded, features five figures. Three card players sit in a semi-circle around a card table, with two spectators behind - one is a boy, sitting with eyes cast down; the other is a man standing, smoking a pipe.
This version, the largest and most crowded, features five figures. Three card players sit in a semi-circle around a card table, with two spectators behind - one is a boy, sitting with eyes cast down; the other is a man standing, smoking a pipe.
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PAINTERS :
5 - MARIJAN TREPSE
Marijan Trepše (25 March 1887 – 4 October 1964) was a Croatian painter, graphic artist and set designer, considered to be one of the key figures in Croatian art in the early part of the 20th century. In 1919 the seventh exhibition of the Spring Salon opened at the Crafts school in Zagreb. Exhibiting for the first time together, Milivoj Uzelac, Vilko Gecan, Marijan Trepše and Vladimir Varlaj dominated the exhibit with their expressionist works. The Prague Four, as they became known, had returned to Zagreb that year from their studies at the Prague academy and the work of these young painters brought in new expressionist ideas that were to dominate the Croatian art scene of the 1920s. Together with Gecan, Uzelac and Varlaj, with whom he was later to exhibit as the Group of Four, Marijan Trepše represents the link through which Miroslav Kraljević’s style evolved into expressionism. Trepše’s own art moved from early expressionist and classicist inspirations to more open colour and freedom of gesture.
Marijan Trepše (25 March 1887 – 4 October 1964) was a Croatian painter, graphic artist and set designer, considered to be one of the key figures in Croatian art in the early part of the 20th century. In 1919 the seventh exhibition of the Spring Salon opened at the Crafts school in Zagreb. Exhibiting for the first time together, Milivoj Uzelac, Vilko Gecan, Marijan Trepše and Vladimir Varlaj dominated the exhibit with their expressionist works. The Prague Four, as they became known, had returned to Zagreb that year from their studies at the Prague academy and the work of these young painters brought in new expressionist ideas that were to dominate the Croatian art scene of the 1920s. Together with Gecan, Uzelac and Varlaj, with whom he was later to exhibit as the Group of Four, Marijan Trepše represents the link through which Miroslav Kraljević’s style evolved into expressionism. Trepše’s own art moved from early expressionist and classicist inspirations to more open colour and freedom of gesture.
1931 - WOMAN WITH A CAT
Private Collection
oil on canvas 110 x 90 cm
The painting is dominated by a seated woamn figure in the foreground. She put her hands on her thighs and in between there is a black cat. On the table in the background at which three men play cards and the fourth one is watching.
Croatia - 2011 - Stamp on other
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PAINTERS :
4 - PAUL CEZANNE
Between 1890 and 1896, Cézanne undertook an ambitious painting project dedicated to the theme of card players. He enlisted peasants from family lands near Aix-en-Provence as role models. Based on numerous preparatory studies, the artist created FIVE compositions that expand, challenging them, the traditional representations of this theme, popular since the seventeenth century. Art historians believe that the series was completed between 1892 and 1896 but remain undecided about the order in which the five versions were painted. Initially it was thought either that he began with the larger paintings and gradually got smaller, or else he started with the most figures (five) and ended with the three versions with only two figures. However, recent research, including x-ray tests - indicates that he painted them in size order, going from small to large:
Between 1890 and 1896, Cézanne undertook an ambitious painting project dedicated to the theme of card players. He enlisted peasants from family lands near Aix-en-Provence as role models. Based on numerous preparatory studies, the artist created FIVE compositions that expand, challenging them, the traditional representations of this theme, popular since the seventeenth century. Art historians believe that the series was completed between 1892 and 1896 but remain undecided about the order in which the five versions were painted. Initially it was thought either that he began with the larger paintings and gradually got smaller, or else he started with the most figures (five) and ended with the three versions with only two figures. However, recent research, including x-ray tests - indicates that he painted them in size order, going from small to large:
4
1890-92 - THE CARD PLAYERS
Private Collection
Royal Family of Qatar
oil on canvas 97 x 130 cm
This Opera, similar to that of the Courtauld Gallery and the Musée d'Orsay, contains only two card players facing each other in close profile, a compositional idea that first appeared in the two foreground figures in Met's work . In these later paintings, the table is narrower and cleared of all objects, except for a bottle of wine placed in the center. The two men carefully study their cards, but no move or move seems imminent. The details of the game faded further and life came to a halt. Cézanne's card players, like many of his figures, occupy a space somewhere between figure painting and object painting. They move between different generes.
This Opera, similar to that of the Courtauld Gallery and the Musée d'Orsay, contains only two card players facing each other in close profile, a compositional idea that first appeared in the two foreground figures in Met's work . In these later paintings, the table is narrower and cleared of all objects, except for a bottle of wine placed in the center. The two men carefully study their cards, but no move or move seems imminent. The details of the game faded further and life came to a halt. Cézanne's card players, like many of his figures, occupy a space somewhere between figure painting and object painting. They move between different generes.
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