العودة

بول سيجناك (1863-1935)

الفنان بيو الاستفسارحميل PDF
 
<div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of Divisionist technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div> <div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of Divisionist technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div> <div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of Divisionist technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div> <div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of Divisionist technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div> <div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of Divisionist technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div> <div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of Divisionist technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div> <div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of Divisionist technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div> <div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of Divisionist technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div> <div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of Divisionist technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div>
سان بريك D'une fenetre188525 1/2 × 18 1/8 بوصة.(64.77 × 46.04 سم) لوحة زيتية على قماش
الاصل
جول ريفيير، كاجنيس
فندق درو، باريس، باريس، 23 مارس 1956، القطعة 103
مجموعة خاصة، تم اقتناؤها من المجموعة المذكورة أعلاه
فندق دروو، باريس، باريس، 19 يونيو 1990، القطعة 130
مجموعة خاصة، سويسرا
مزادات هامبل للفنون الجميلة، ميونيخ، 29 أبريل 2017، القطعة 6
مجموعة خاصة، تم اقتناؤها من المجموعة المذكورة أعلاه
مزادات هامبل للفنون الجميلة، ميونيخ، 26 سبتمبر 2018، القطعة 602
مجموعة خاصة، تم الحصول عليها مما سبق
سوذبيز نيويورك الثلاثاء، 14 نوفمبر/تشرين الثاني 2023، القطعة 306
مجموعة خاصة، تم الحصول عليها من... اكثر...هـ أعلاه
معرض
نيويورك، المعارض الفنية الأمريكية، معارض الفنون الأمريكية، أعمال بالألوان الزيتية والباستيل للفنانين الانطباعيين في باريس، 1886، رقم 70، ص 18 (بعنوان من نافذتي)
الادب
فرانسيس سوار وهاشيت، "كونيسانس الفنون"، باريس، 1956، ص 61
Sophie Monneret, L'Impressionisme et son époque, dictionnaire international, vol. II, Paris 1980, p. 255
فندق درو، "جريدة فندق درو"، "جريدة فندق درو"، المجلد الرابع والأربعون، باريس، 1990، رقم 21
فرانسواز كاشين، سيناك. Catalogue raisonné de l'oeuvre peint، باريس، 2000، رقم 102، ص 169، مصور
... اقل... السعر425,000
لوحة بول سينياك "سان برياك. تجسد لوحة D'une fenêtre (1885) الجمال الهادئ للمناظر الطبيعية الهادئة في بريتون في لحظة محورية في تطور الفنان من الانطباعية إلى الانطباعية الجديدة. تعكس هذه اللوحة التي رسمها خلال إحدى إقاماته المتكررة في سان برياك سور مير، وهي قرية ساحلية في بريتاني، افتتان سيناك المبكر بتلاعب الضوء واللون والجو قبل أن يتبنى أسلوب التقسيم بشكل كامل. يوازن التكوين، المؤطر كما لو كان يُنظر إليه من نافذة، بين الهندسة المنظمة والعفوية الرسامية، مما يشير إلى اهتمام الفنان المتزايد بالنظام والانسجام في الطبيعة.





كان العمل في السابق ملكًا للملحن وقائد الأوركسترا الفرنسي جول ريفيير، وقد نوقش في نصوص تاريخية فنية رئيسية، بما في ذلك كتاب "عصر الانطباعية وابن عصرها" (1956) لصوفي مونيريه (1956)، وكتاب فرانسواز كاشين "سيناك": Catalogue raisonné de l'oeuvre peint (2000)، حيث تم توضيحه كمدخل رقم. 102. وتوجد أمثلة مماثلة من سلسلة سان برياك نفسها في متحف المتروبوليتان للفنون ومعهد شيكاغو للفنون ومتحف كارنيجي للفنون. وتكشف هذه الأعمال مجتمعةً عن انتقال سيناك نحو اللمعان المنظم الذي سيحدد قريباً الانطباعية الجديدة ويضمن مكانته بين كبار المبتكرين في الرسم الحديث.
العودة
الاستفسار