Georges d espagnat biography of barack obama
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The close friendship with the latter is documented by d’Espagnat’s recurrent visits to Renoir in the Côte d’Azur between 1899 and 1904. In the following year he was honored with an exhibition at the same Salon d’Automne, of which he was Vice-President for several years showing a variety of his large body of work; also he has honored by Durand-Ruel Gallery shortly after with a retrospective exhibit as well.
Painter, illustrator and scenographer, Georges d’Espagnat moved to Paris in 1888 soon after finishing his secondary studies.
In 1895 he had his first solo show in Paris and three years after that a show of his work was held at Durand-Ruel Gallery.
A strongly independent student, and having rejected the traditional places of artistic education available in the capital, he become one of the most individualistic of 20th century French painters.
Simone
When the Durand-Ruel gallery bought this painting in 1908, Georges d'Espagnat's reputation was already well established.
In 1898 he traveled Morocco and worked along the Mediterranean coast near Toulon, capturing in his canvas the strong light and vivid colors of the region.
1903 d’Espagnat, along with the architect Frantz Jourdain and critic Ivanhoe Rambosson, was a founding member of the Salon d’Automne and, a year later, became the vice president.
The simplified forms are synthetic and clearly defined. D'Espagnat also became closely acquainted with many of the Impressionists and Post-Impressionists including Renoir, Vuillard, Andre, Bonnard and Denis. The artist briefly attended both the Académie des Beaux Arts and the Académie Colarossi but his impatient character led him to complete his training autonomously although occasionally encouraged by the painters Gustave-Claude-Etienne Courtois and Jean-André Rixens.
In 1945 d’Espagnat became the president of La Société des Amis d’Eugène Delacroix, that was a position that he held until his death. Then in 1906 he collaborated on the illustrations for Remy de Gourmont's Sixtine, and later worked with Alphonse Daudet on his book, L’Immortel. And, in fact, Georges d'Espagnat does not "copy" here a piece of nature passionately observed in the impressionist style, for the simple reason that this composition takes up very faithfully an ink drawing, an imaginative piece destined to illustrate a collection of poems by Rémy de Gourmont, Simone, published in 1901.
Later and with a close friendship with Renoir he was a part of a group exhibition of 1907 at the Marcel Bernheim Gallery along with Bonnard, Cézanne, Matisse, Pissarro, Rouault, Seurat and Toulouse-Lautrec while in 1926 his works were a part of another exhibition at the same gallery along with André, Bonnard, Braque, Chagall, Matisse, Picasso and Signac.
And in spite of an attentive analysis of the light shown in the clear sky crossed by light clouds which project shadows in the foreground, the painter presents us with a carefully designed composition. Traveling extensively throughout his lifetime, d’Espagnat visited Britain, Germany, Italy, Portugal, Morroco, and Spain. Clearly, Georges d'Espagnat was sensitive to colour, but as was indicated in the article he published in 1905 in the Mercure de France, a true plea in favour of a return to composition in painting, he noted with regret that the production of his times had "few paintings, and many sketches." In his opinion, the artist was meant to gather indications taken from nature, before "coordinating them, bringing out the essential characteristics, and creating a definitive, complete, solidly constructed and logically deducted work, " and he added: "one can only think properly in the silence of the studio." He concluded with a tribute to Delacroix, and ended his article with the famous quote: "Nature is but a dictionary.
He had often exhibited at the Salon des Indépendants and he was also a regular at the new Salon d'Automne. Parallel to the surface of the painting, the plans are regularly developed as far as the hills in the horizon, the flower beds and flower pots placed on the window sill are organised symmetrically; the warm and cold colours are balanced, as well as the horizontal and vertical lines, softened by the curves of the green masses and of the young woman's body.
Although associated with many of the greatest names in 20th century art, and though his work has at various times been identified as Fauve, Nabis or just plain Impressionist, he retained his own individuality. He was influential in the art circles of his time like Henri Matisse, Paul Gauguin, Pablo Picasso, Camille Pissaro and Marc Chagall.
One can look up the meaning of a word, the generation of words, the etymology of words, and one can extract all the elements which compose a sentence or a text, but nobody has ever considered a dictionary as a composition, in the poetic sense of the word."
Thus, the artist shared the essential preoccupation of the post-Impressionist generation which, from Cézanne to the Nabis, not to mention Seurat and Gauguin, proclaimed the need for a return to the composed work.