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Tag Archives: Impressionism

Edgar Degas: Eclecticism

14 Wednesday Aug 2013

Posted by michelinewalker in Art

≈ 19 Comments

Tags

Dreyfus Affair, Edgar Degas, Impressionism, landscapes, pastels, Realism, Social Realism, Valery-sur-Somme

 beach-with-sailing-boats
beach-at-ebbe-1870
Beach with Sailing Boats, 1869 (pastel)
Beach at Ebbe, 1870 (pastel)
(Please click on the smaller images to enlarge them.)
 

The Edgar Degas (19 July 1834 – 27 September 1917) we know depicted ballet dancers.  In fact, for many of us, dancers were Degas’ only subject matter, which is understandable as these were the works we were shown.  Yet, he also depicted horse racing and café scenes.  Moreover, he was a fine portrait artist, a skill he perfected during a three-year stay with relatives in Naples, Italy, beginning in 1856.  At that time, he was also considering a career as historical painter and produced a few historical paintings.

Degas’ main subject was indeed the human figure, especially women.  “Ballet dancers and women washing themselves would preoccupy him throughout his career.”[i]  So would milliners, laundresses, cabaret singers and prostitutes.  As Degas claimed, he was a “realist” and, earlier in his career, a social realist, as in literary realism.     

According to the Encyclopædia Britannica,

“As part of his own process of engaging with modernity, he [Degas] self-consciously aligned himself with Realist novelists such as Émile Zola and Edmond and Jules Goncourt, drafting illustrations for their novels and briefly adopting a similar social descriptiveness.”[ii]

Yet, Degas would later cast away “the certainties of a state-controlled, historical culture for an art of individual crisis, even approaching the nihilism of the following generation.”[iii]  Moreover, the Dreyfus Affair would elecit, on Degas’ part, a “violently anti-Semitic response” that estranged former friends.[iv]

Degas: Seascapes, Landscapes & Valery-sur-Somme

Early Outdoors Scenes

But let us return to our subject matter: the eclectic Degas.  We know that he made fun of en plein air (outdoors) painters, but the above paintings prove that he devoted at least one season, 1869, to “plein-air” art.  Moreover, Degas’ depictions of horses and horse racing scenes are outdoors works.  Finally, Degas left seascapes, landscapes, and depictions of Saint-Valery-sur-Somme, shown below.  The above paintings, two pastels, are early works depicting beaches.  These are therefore very luminous works.  Moreover, they could be classified as Impressionist works.  The colours are muted, varied, and sea and sky nearly blend in “Beach with Sailing Boats.”  In the upper part of these pastel seascapes, Degas has used a darker colour.  He therefore presents a painterly rather than linear sky scape.

sky-study_jpg!HalfHD
Sky Study, 1869
 

Later Outdoors Scenes

In later “plein-air” works, his subject matter changed and his works darkened accordingly.   Yet, he did not change his selection of colours to a significant extent.  In “Plowed Field,” shown below, as one looks up, one sees little beads: blue, mauve, dark green and silver.  They illuminate his art.  Here the sky is not a principal subject matter.  Trees dominate “Plowed Field,” a mostly linear pastel.  “Plowed Field” is reminiscent of the nineteenth-century Russian lyrical landscapes of artist Alexei Savrasov (24 May 1830 – 8 October 1897).  It is also reminiscent of the “mood” landscapes created by Isaac Levitan (30 August 1860 – 4 August 1900; aged 39).

Plowed Field, 1890 (pastel)

plowed-field_jpg!HalfHD

From the point of view of composition, “Plowed Field,” now above, is a gem.  It features a lovely curve that begins with the largest tree, on the right side of the artwork.  Degas usually placed his subject matter relatively far from the middle of his artwork.  We also see curves running in opposite directions.  However, we have a dark main line directly beneath the trees.  I love the effect created by the very pale, silvery, beads.  There is considerable movement in this painting.  It is as though the trees were performing pirouettes.  

Saint-Valery-sur-Somme

Degas also depicted the houses of Saint-Valerie-sur-Somme, a small community in northern France.  In “Houses at the Foot of a Cliff (Saint-Valery-sur-Somme),” we have an oil painting featuring a coloured sky, but the main compositional elements are three lines: 1) a slightly broken diagonal line and, underneath, 2) a horizontal line, traced above the blue-roofed cottages and running the entire width of the canvas, beneath the cottages, 3) another diagonal line running in a direction opposite the upper diagonal line.  We do not see a vanishing point, but almost.  There is movement is this painting, as in “Plowed Field.”

Houses at the Foot of a Cliff (Saint-Valery-sur-Somme), 1898 (oil)
houses-at-the-foot-of-a-cliff-saint-valery-sur-somme
rue-quesnoy-saint-valery-sur-somme_jpg!Blog
Rue Quesnoy, Saint-Valery-sur-Somme, 1898 (pastel)
 

“Rue Quesnoy” also features lines: two narrowing vertical lines, flanked by houses and a broken and playful third line, a horizontal line consisting of trees slightly above the horizon.  Again, we sense movement in Degas’ work.  He guides and pleases the eye.

Our Masterpiece

But our masterpiece remains a female figure, a pastel inserted at the bottom of this post, a dancer adjusting her slipper:  lines against a flat-coloured background, an example of Japonism, except that he shows a shadow.  In this work, less is more.

“Artists were especially affected by the lack of perspective and shadow, the flat areas of strong color, and the compositional freedom gained by placing the subject off-centre, mostly with a low diagonal axis to the background.”  (See Japonism, Wikipedia)

“The prints were collected by such painters as Édouard Manet, Edgar Degas, Claude Monet, and other artists. The clarity of line, spaciousness of composition, and boldness and flatness of colour and light in Japanese prints had a direct impact on their work and on that of their followers.”[v]

Conclusion

Once known mainly for his depiction of ballet dancers, Degas’ choice of subject matter was much broader and always appealing, even when his representation of the human form, the female figure, did not embellish his models.  His art is figurative, not abstract, but his strength lies, to a large extent, in the structure of his art, or in the lines behind the figures.  A successful artist during his own lifetime, he was admired by artists who followed him, including Picasso, and he remains not only a favourite but also a model, which makes him a classic.

________________________________________

[i] “Edgar Degas”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 13 Aug. 2013
<http://www.britannica.com/EBchecked/topic/155919/Edgar-Degas/235481/Realism-and-Impressionism>.
 
[ii] “Edgar Degas”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 13 Aug. 2013
<http://www.britannica.com/EBchecked/topic/155919/Edgar-Degas/235483/Final-years>.
 
[iii] “Edgar Degas”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 13 Aug. 2013
<http://www.britannica.com/EBchecked/topic/155919/Edgar-Degas/235481/Realism-and-Impressionism>.
 
[iv] “Edgar Degas”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 13 Aug. 2013
<http://www.britannica.com/EBchecked/topic/155919/Edgar-Degas/235483/Final-years>.
 
[v] “Japanism”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 13 Aug. 2013
<http://www.britannica.com/EBchecked/topic/301314/Japanism>.
 
degas-in-a-green-jacket-1856
Degas in a Green Jacket, Self-Portrait, 1856 (oil) (Photo credit: Wikipaintings)
(Please click on the image to enlarge it.)
 
Antonio Vivaldi (4 March 1678 – 28 July 1741),
The Four Seasons, Spring
Gidon Kremer (born 27 February 1947), violinist
London Symphony Orchestra, conducted by Claudio Abbado
 
dancer-adjusting-her-sandelDancer Adjusting her Sandal, 1890 (pastel)
(Please click on the image to enlarge it.)
 
 
 
 
 
 
© Micheline Walker
13 August 2013 
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Edgar Degas’ Apparent Serenity

10 Saturday Aug 2013

Posted by michelinewalker in Art

≈ 12 Comments

Tags

Alan Gowans, Degas' female nudes, Edgar Degas, genre painting, Impressionism, the Bellilli family, the industrial revolution, Tony Emery

584px-Edgar_Germain_Hilaire_Degas_032
The Tub (Le Bain), by Edgar Degas, 1886 (Photo credit: Wikipaintings)

Edgar Degas (b. Hilaire-Germain-Edgar De Gas [19 July 1834 – 27 September 1917])

We associate the art of Edgar Degas with portraits, the depiction of ballet dancers, horses, horse racing, and people engaged in everyday activity (genre  painting).  We also know that he taught Mary Cassatt to make etchings.  It proved extremely useful as Cassatt would later make prints using drypoint.  In 1890, Cassatt visited the Paris Japanese Arts Exhibition of 1890 (wood-block ukiyo-e prints), held at the École des Beaux-Arts.  That exhibition had such an impact on artist Mary Cassatt that she decided to devote the following year to making prints.  In short, Cassatt and Degas were very good friends.

Degas’ Apparent Serenity

When I started studying the fine arts, our teacher, Tony Emery, told the class that Degas’ lovely depictions of ballerinas expressed not serenity, but a rather dark view of the world.  Another teacher, Professor Alan Gowans[i] made similar statements.  The ballet dancer is “the perfect symbol of a rigidly organized society.”  Degas was “commenting of the human condition.”[ii]  The industrial revolution had transformed humans into robot-like workers who  performed the same motion in a repetitive manner, as did ballet dancers.

Remember William Blake‘s (28 November 1757 – 12 August 1827) “dark Satanic Mills.”  The “dark Satanic Mills” may have been Blake’s response to “orthodox churches of the establishment,” (see The Gardian) but it was also a response to the industrial revolution.  Humans working in factories were like the machines they used to produce “goods.”  In this regard, Professor Gowans points to three paintings: “The Bellilli Family,”  “The Cotton Merchants” (1863), and “The Milliners’ Shop.”  In “The Bellilli family,” we sense rigidity.  In “The Cotton Merchants,” human beings stand behind the cotton.  In “The Milliners’ Shop,” the milliner sits behind the “hats and hat racks.”  They completely “dominate the milliner herself.”[iii]

(Please click on the smaller images to enlarge them.)

750px-Edgar_Degas_-_La_famille_Bellellicotton-merchants-in-new-orleans-1873.jpg!HalfHD
Edgar_Germain_Hilaire_Degas_011 
The Bellilli Family, by Edgar Degas, 1867 (Photo credit: Wikipaintings)
The Cotton Merchants, by Edgar Degas, 1873 (Photo credit: Wikipaintings)
The Milliners’ Shop, by Edgar Degas 1884 (Photo credit: Wikipaintings)
 

Professor Gowans also refers to Degas’ “handling of the nude.”  Degas’ bathers are depicted “climbing awkwardly and unobtrusively in and out of bathtubs, having their hair dried, and so on…” (See Woman Leaving Her Bath.)[iv]  For my part, however, I rather like the painting featured at the top of this post, but other portraits of nudes are less flattering.  Degas tended to paint anonymous human beings.  We see the back of their head or body. However, his paintings are consistent with genre painting.  He captures his subjects in medias res, in the midst of things (Horace).

woman-in-a-bath-sponging-her-leg
the-tub-1886.jpg!HD 
Woman in a Bath Sponging her Leg, by Edgar Degas, 1884 (Photo credit: Wikipaintings)
The Tub (Le Bain), by Edgar Degas, 1886 (Photo credit: Wikipaintings)
 
 

Biographical Notes

Degas was born, in Paris, to a wealthy family.  His mother was a Creole and he had family, a brother, an uncle and other relatives, in Louisiana.  Degas visited with them after the Franco-Prussian War.  He was in New Orleans in 1872-73, living at his uncle’s home.  After his father’s death, he learned that his brother René had incurred an enormous debt.  Degas therefore sold the family home in Paris as well as the artwork he had inherited.  He would, however, become an avid collector when he started selling his own artwork. 

In 1853, Degas enrolled in the Faculty of Law at the University of Paris, where he was not an enthusiastic student.  He did however have a studio in the family’s home.  To begin with, he was therefore mostly self-trained and did not enter the École des Beaux-Arts until he met Jean-Auguste-Dominique Ingres (29 August 1780 – 14 January 1867) who encouraged him to pursue a career in the fine arts.  So, two years after enrolling in the Faculty of Law, he entered l’École des Beaux-Arts where he was a student of Louis Lamothe.  Later, in 1861, he visited his childhood friend Paul Valpinçon, in Normandy, where he made studies of horses.  Horse racing would become the subject matter of many of his paintings.

Schools

Degas disliked being called an Impressionist.  In fact, other artists, such as Mary Cassatt and Édouard Manet, were artists whose artwork had been rejected by the Salon, the official exhibition of Paris’ École des Beaux-Arts.  They were the refusés.  There was only one Salon des refusés, in 1763.  Consequently, it may be useful to revisit Impressionism.  It was not a genuine “school,” except for a common wish to suggest or evoke, a wish stemming, to a large extent, from the invention of photography as well as Japonisme.  The ukiyo-e (“pictures of the floating world”) prints artists and art lovers collected were mass-produced prints.

racehorses-before-the-stands-1872_jpg!HD 
Racehorses before the Stands, by Edgar Degas, 1872
Chevaux de courses devant les tribunes
(Photo credit: Wikipaintings)
 

However, Degas would make fun of artists who worked en plein air.  Moreover Degas preferred to be described as a realist.  He may in fact have known “naturalist,” writers, the most prominent being French author Émile Zola, its founder.  We have reached a point in the history of art where there occurred a blending of the visual arts, literature and music.  During Degas’ lifetime, Émile Zola was a key figure among French writers and intellectuals.  But unlike Zola, who wrote the famous J’Accuse during the Dreyfus affair, blatant anti-Semitism on the part of the French military and the French clergy — the latter  apologized, Degas had no sympathy for Jews nor, for that matter, anyone else.

Progressive Blindness

At the age of 35, Degas started losing his eyesight and died a nearly blind man.  As he aged, he grew into an embittered individual which may have been caused by the progressive loss of his most precious sense: sight, not to mention skepticism as to his condition,   the skepticism the deaf face: “he or she hears when he or she wants to.”  One thinks of Ludwig van Beethoven (baptized 17 December 1770 – 26 March 1827) whose hearing was impaired beginning with the “Eroica,” Symphony No. 3 in E-flat major (Op. 55), first performed on 7 April 1805, when he was 35.

So, according to two of my teachers, Degas was one of the first artists to depict the profound sense of alienation that characterizes modern “man,” i.e. men and women.  In such cases, magical realism, the ability to fantasize, falls short of a human being’s needs.

I will conclude by pointing out that reception is a factor in the description and classification of works of art.  For many of us, Degas’ dancers are graceful and carefree young women who have the innocence of his fourteen-year-old little dancer, featured below.

fourteen-year-old-little-dancer.jpg!HalfHD
Fourteen-year Old Little Dancer, 1881
(Photo Credit: Wikipaintings)
 
_____________________________
[i] Alan Gowans, The Restless Art, A History of Painters and Painting  1760 – 1960 (Philadelphia and New York: J. B. Lippincott Company, 1966), p. 209.
[ii] Gowans, loc. cit.
[iii] Gowans, loc. cit.
[iv] Gowans, loc. cit.
 
Pyotr Ilyich Tchaikovsky (7 May 1840 – 6 November 1893)
“Swan Lake” Op. 20, (composed in 1875–1876)
Armonie Symphony Orchestra
 
the-star-dancer-on-stage_jpg!HD
The Star Dancer on Stage,
L’Étoile
pastel, 1878
(Please click on the image to enlarge it.)
  
  
© Micheline Walker
10 August 2013
WordPress

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Dear Readers

16 Tuesday Jul 2013

Posted by michelinewalker in Art

≈ 2 Comments

Tags

Cassatt, Gabriel Fauré, Impressionism, Mary Cassat, Mary Cassatt, United States

lilacs-in-a-window_jpg!Blog

Lilacs in a Window by Mary Cassatt, 1880 (Photo credit: Wikipaintings)

Dear Readers,

WordPress is still making my life difficult. My last post was dated 12 July.  I had then written a draft of the post on 12 July.  However, I did not complete the post until 15 July. I have republished it.  In order to read, it is no longer necessary to go back to July 12.  It’s a long post; yet it is not really complete.  It required at least one more comment on motherhood in Cassatt.  I must also point out that Cassatt Japoniste prints cannot be associated, except by date, with Impressionism.  These two elements have been included in the post dated 16 July 2013.

I am still unable to access my Reader and look at your posts.  If necessary, I will beg WordPress’s Happiness Engineer.

Allow me to wish you an excellent day.

Love to all.

 the-fitting-1891.jpg!Blog

The Fitting, by Mary Cassatt (1891)( Photo credit: Wikipaintings)

Gabriel Fauré (12 May 1845 – 4 November 1924

Gabriel Fauré – Élégie for cello and orchestra Op. 24

 

the-boating-party-1894

© Micheline Walker
15 July 2013
WordPress
 
 
The Boating Party, 1893-1894
(Please click on the image to enlarge it.)
 
Related articles
  • Mary Cassat: an Intimate Japonisme (michelinewalker.com)
  • William Merritt Chase: Japonisme in America (michelinewalker.com)

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James McNeill Whistler: a Subtler Art

24 Wednesday Apr 2013

Posted by michelinewalker in Art, United States

≈ 11 Comments

Tags

Art for Art's Sake, Etching, Gustave Courbet, Henri Fantin-Latour, Impressionism, James McNeill Whistler, Japonisme, John Ruskin, Théophile Gauthier, Tonalism

the-north-sea 
 green-and-silver-the-bright-sea-dieppeblue-and-white-covered-urn 
 
 
The North Sea, 1883 (watercolour)
Green and Silver: The Bright Sea, Dieppe, 1883-85 (gouache and watercolour)
Blue and White Covered Urn (no date) 
 
 
Photo credit: Wikipaintings.org
The Athenæum
 

James Abbott McNeill Whistler (July 10, 1834 – July 17, 1903)

Biography

I do not know the name of the lady who sat for Whistler’s Head of a Young Woman (1890).  This portrait was painted at the height of Whistler’s career, two years after his marriage to Beatrix Birnie Philip, when the couple resided in Paris.

Interestingly, Whistler was not altogether wrong when he claimed he was born in Saint Petersburg.  He was in fact born in Lowell, Massachusetts, but he moved to Russia in 1843, a year after his father, George Washington Whistler, a prominent engineer, was hired to build a railroad connecting Saint Petersburg and Moscow.  He was 9 years old when he joined his father in Russia.  Those were formative years.  It could be said that Whistler was an “expat,” and one of the first American artists to settle in Europe, mingle with soul mates and enjoy both a bohemian lifestyle and the pleasures of a café society.

—ooo—

At the age of eleven, young James enrolled in Saint Petersburg‘s Imperial Academy of Fine Arts, where it was soon noticed that he was a gifted artist.  While his father was working in Russia, Whistler also visited England accompanied by his mother.  He met Francis Haden, a surgeon by profession, but also an artist.  Francis Haden married Whistler’s sister and would become the very distinguished Sir Francis Seymour Haden.  After his trip to England, James informed his father of his wish to pursue a career as an artist, writing “I hope, dear father, you will not object to my choice” (See James Abbot McNeill Whistler, Wikipedia).  However, James was about to lose his father to cholera.  George Washington Whistler died in Russia.

After James’ father passed away, the Whistler family was forced to return to the United States.  But they left Lowell, Massachusetts to settle in Pomfret, Connecticut, James’ mother’s hometown.  Whistler was therefore brought up in a more frugal manner than would otherwise have been the case.

Yet, despite his father’s untimely death, James would become an artist.  A career as a minister was Mrs Whistler’s first choice for her son.  However, James had no inclination for life as a member of the clergy, nor, for that matter, could he enter the military successfully.  He did attend West Point, failed an exam, misbehaved, and was dismissed by no less than Colonel Robert E. Lee.  He then worked as draftsman “mapping the entire U.S. coast for military and maritime purposes[,]” but drawing “sea serpents, mermaids, and whales on the margins of the maps, at which point he was transferred to the etching division of the U. S. Coast Survey.” (See James McNeill Whistler, Wikipedia.)

Whistler lasted two months as an etcher, but his training in this medium would be invaluable in the career he would embark upon after a stay with a wealthy friend, Tom Winans.  Winans, who lived in Baltimore, provided Whistler with a studio, pocket-money and, in 1855, with the funds that would allow Whistler to leave for Paris to perfect his skills as an artist.  Whistler never returned to the United States.  He is buried in Chiswick, near London.

symphony-in-grey-and-green-the-ocean-1872hb_17_3_159

 
 
Symphony in Grey and Green: The Ocean, 1866-1872 (oil)
Nocturne: The Thames at Battersea, 1878 (lithograph)
Nocturne in Black and Gold: the Falling Rocket, c. 1875 (oil, bottom of post)
 

Tonalism

When Whistler arrived in France, realism was all the rage.  He became a disciple of Gustave Courbet and befriended Henri Fantin-Latour. However, he was also influenced by the art for art’s sake movement, associated with writer Théophile Gauthier.  In the early 1860s, after he had settled in London, he visited Courbet and painted seascapes with him.  He also visited Brittany (1861) and the coast near Biarritz (1862).

But although his paintings reflect his exposure to realism and, to a certain extent, the Barbizon School (1830 through 1870), Whistler developed a rather personal style called tonalism.  Tonalism is also associated with George Inness and, to a certain extent, with the Russian mood landscapes of Aleksey Savrasov[ii] and Isaac Levitan.[iii]  It is perhaps best described as a “veiled” form of realism, a subtler art, except that Whistler’s use of colour reflects musical keys.  Whistler built a close relationship between his colours or tones, as though they were painted in a key, usually in one of the more plaintive minor keys.  Many of his paintings are called “Nocturnes,” à la Chopin, Symphonies, Harmonies and Notes.  Whistler’s paintings therefore herald Impressionism as do Édouard Manet’s.  However, printmakers practice a certain linearity, a technique not altogether compatible with imprecise Impressionism.  Whistler produced several etchings and lithographs.

Also evident in the art of James McNeill Whistler is the influence of Japonisme and Orientalisme (FR).  In this respect, Whistler is very much a contemporary of middle to late 19th-century French artists: Henri de Toulouse-Lautrec, Vincent Van Gogh, Claude Monet, Paul Gauguin, Pablo Picasso.  Japonisme also permeates the emerging, yet soon to be the golden age of the poster: Henri de Toulouse-Lautrec, Théophile Steinlen and Art Nouveau.

According to the Encyclopædia Britannica, Whistler is known for his “his paintings of nocturnal London, for his striking and stylistically advanced full-length portraits, and for his brilliant etchings and lithographs.”  He is also known for his “congenial themes on the River Thames, and the etchings that he did of such subjects garnered praise from the poet and critic Charles Baudelaire when they were exhibited in Paris.”[iv]

However, when he showed Nocturne in Black and Gold: the Falling Rocket (shown at the bottom of this post), Whistler did not garner praise from eminent British critic John Ruskin.  On 2 July 1877, in his Fors Clavigera, John Ruskin wrote:

“For Mr. Whistler’s own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay [founder of the Grosvenor Gallery] ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of willful imposture. I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public’s face.”  (quoted in James McNeill Whistler, Wikipedia)

Modernism was happening across the English Channel.  Yet, the jury returned a verdict in favour of James McNeill Whistler.

moreby-hall-1884

Moreby Hall, 1883–1884 (watercolour)


[i]  “Aleksey Kondratyevich Savrasov.” Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 24 Apr. 2013.            
<http://www.britannica.com/EBchecked/topic/1773613/Aleksey-Kondratyevich-Savrasov>.
 
[ii] “Isaak Ilyich Levitan.” Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 24 Apr. 2013.            
<http://www.britannica.com/EBchecked/topic/337990/Isaak-Ilyich-Levitan>.
 
[iii] “James McNeill Whistler”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 23 Apr. 2013
<http://www.britannica.com/EBchecked/topic/641961/James-McNeill-Whistler>.
 
composer: Edvard Grieg (15 June 1843 – 4 September 1907)
Morgenstimmung 
 
 
451px-Whistler-Nocturne_in_black_and_gold (1)© Micheline Walker
14 April 2013
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  • RELATED ARTICLE
  • James McNeill Whistler: Women (micheline.walker.com)

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Current Events in Quebec, Renoir & Gluck

05 Tuesday Jun 2012

Posted by michelinewalker in Canada, Music

≈ 11 Comments

Tags

Globe & Mail, Impressionism, Le Devoir, National Post, New York Times, Pierre-Auguste Renoir, Renoir, The Gazette (Montreal)

 
 
Portrait of Edmond Maitre (The Reader), by Pierre-Auguste Renoir (1871)
Pierre-Auguste Renoir (1841–1919), French Impressionism 
 
English
 
The Montreal Gazette: http://www.montrealgazette.com/index.html
The National Post: http://www.nationalpost.com/index.html
The Globe and Mail: http://www.theglobeandmail.com/
The New York Times: http://www.nytimes.com/
 
CBC News: http://www.cbc.ca/news/
CTV News: http://montreal.ctv.ca/
 
French
 
Le Devoir: http://www.ledevoir.com/
La Presse: http://www.lapresse.ca/
 
 
Bouquet of Roses, by Renoir (1879)
Photo credit: Auguste Renoir Gallery
 
Micheline Walker© 
5 June 2012
WordPress
 
 
 
 
 
 
 
 
C. Willibald Gluck: Orfeo ed Euridice 
Ach, Ich habe sie verloren
DIETRICH FISCHER-DIESKAU
(28 May 1925-18 May 2012)  
 
 
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