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L'artiste- Edgar Degas
Le sujet- Portrait de famillie
L'importance est le passé de l'image
J'ai choisi pourquoi elles sont jumelles!
J'aime pourquoi les soeurs ressembler elles s'amuser

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The Bellelli Family - Edgar Degas - Google Arts & Culture

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Between the ages of 22 and 26, Edgar Degas completed his training in Italy, where part of his familly lived. Here he painted his father’s sister, Laure, wi...

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L'artiste- Edgar Degas
Le sujet- Oeuver d'art, papier.
L'importance est montrez votre créativité

J'ai choisi pourquoi j'aime les filles  et les robes.
J'aime pourquoi les couleurs et la technique est beau.

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Degas regularly went to the Paris opera house, not only as a member of the audience, but as a visitor backstage and in the dance studio, where he introduced by a friend who played in the orchestra. At that time, the opera was still housed in the rue Le Peletier and had not yet moved to the building designed by Garnier which was soon to replace it. From the 1870s until his death, Degas's favourite subjects were ballerinas at work, in rehearsal or at rest, and he tirelessly explored the theme with many variations in posture and gesture.

More than the stage performance and the limelight, it was the training and rehearsals that interested him. Here the class is coming to an end - the pupils are exhausted, they are stretching, twisting to scratch their backs, adjusting their hair or clothes, an earring, or a ribbon, paying little heed to the inflexible teacher, a portrait of Jules Perrot, a real-life ballet master.

Degas closely observed the most spontaneous, natural, ordinary gestures, the pauses when concentration is relaxed and the body slumps after the exhausting effort of practising and the implacable rigour of the class.

The slightly raised viewpoint looking diagonally across the studio accentuates the vanishing perspective of floor boards. Paul Valéry wrote: " Degas is one of the very few painters who gave the ground its true importance. He has some admirable floors". This is all the more appropriate for dancers in that the parquet, which was moistened to prevent slipping, is their main work tool. And the ballet master beats time on the floor with his baton.

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The Ballet Class - Edgar Degas - Google Arts & Culture

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Degas regularly went to the Paris opera house, not only as a member of the audience, but as a visitor backstage and in the dance studio, where he introduce...

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L'artiste- Alexandre Cabanel
Le sujet- Oeuver d'art, peinture acrylique
L'importance est avoir optimisme
J'aime pourquoi il semble tranquille.
J'ai choisi pourquoi j'aime les couleurs!
J'aime pourquoi il apporte tranquille pour moi.

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L'artiste- Vincent van Gogh
Le sujet - Oeuver d'art, peinture acrylique.
L'importance est il accompli art de autoportrait
J'ai choisi porquoi j'aime l'art de Vincent van Gogh
J'aime pourquoi la technique est beau et c'est drôle!

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Van Gogh met the Belgian painter Eugène Boch (1855-1941) in mid-June 1888, while Boch was spending a few weeks near Arles. Around 8 July, Vincent mentioned Boch in a letter to his brother Théo: "I very much like the looks of this young man with his distinctive face, like a razor blade, and his green eyes".On 11 August, his idea began to take shape: "I should like to paint the portrait of an artist friend, a man who dreams great dreams, who works like the nightingale sings, because it is his nature to do so. This man will be blond. I would like to convey in the picture my appreciation, the love that I have for him. So I will paint him just as he is, as faithfully as I can [...].

Behind his head, instead of painting the ordinary wall of this shabby appartment, I will paint infinity, I will do a simple background of the richest blue, the most intense blue that I can create, and through this simple combination of the bright head against this rich, blue background, I will obtain a mysterious effect, like a star in the depths of an azure sky".

Two weeks later, Boch sat for Van Gogh. "Well, thanks to him I have at last the first sketch of this painting that I have dreamt of for so long - The Poet. He sat for me. His fine head with his green eyes stands out in my portrait against a starry sky of deep ultramarine; he wears a short, yellow jacket, a collar of unbleached linen and a colourful tie".

Although he only considered it to be a "sketch", Van Gogh framed this work, which he called The Poet. We know that it hung for some time on the wall of his bedroom in the Yellow House, because it appears in the first version of The Bedroom (Amsterdam, Van Gogh Museum).

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Eugène Boch - Vincent van Gogh - Google Arts & Culture

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Van Gogh met the Belgian painter Eugène Boch (1855-1941) in mid-June 1888, while Boch was spending a few weeks near Arles.

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L'artiste- Emile Bernard
Le sujet- visuels
L'importance est la historie d'une personne.
J'ai choisi porquoi j'aime les couleurs
J'aime pourquoi de le message et les couleurs

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Between 1886 and 1893, Emile Bernard regularly took his family on holiday to Saint-Briac, a small Breton village between the Bay of Mont-Saint-Michel and the Bay of Saint-Brieuc. He first met Gauguin there in 1886, but it wasn't until 1888 that the two artists met up at Pont-Aven, where they shared their research into the radical simplification of shapes, into abandoning traditional perspective, and using flat areas of colour outlined by dark contours recalling the leadwork of stained glass.

During his stays in Brittany, Bernard turned towards the day-to-day tasks of the peasants, like those of the harvesters in this painting, already celebrated by Millet. The landscapes, haystacks, houses, and men are given a broad treatment by eliminating details in order to retain only the coloured shapes that punctuate the canvas.

The beauty of the gestures and of the landscape seem to illustrate the description of Brittany expressed by the English writer Henry Blackburn in his book Artistic Travels published in 1892: "Nowhere in France are there finer peasants; nowhere do we see such dignity of aspect in field labour, such nobility of features amongst men and women reaping and carrying their small harvest of corn and rye, oats and buckwheat".

Here, we are immediately reminded of the painters of pastoral scenes: Jules Breton, Millet, Troyon and Rosa Bonheur". In the spring of 1891, Emile Bernard fell out with Gauguin, accusing him of taking all the credit for the new aesthetic for himself. He moved closer to Cézanne, as seen in this very powerful and geometric painting, with its "rough humanity" as the critic Gustave Geffroy declared at the Salon des Indépendants in 1892.

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Harvest by the Sea - Emile Bernard - Google Arts & Culture

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Between 1886 and 1893, Emile Bernard regularly took his family on holiday to Saint-Briac, a small Breton village between the Bay of Mont-Saint-Michel and the Bay of Saint-Brieuc.