From today, Fine Arts receive the public with the radical spirit of the impressionists
A natural landscape in blue and green tones, which recreates the mountains of the Valley Buona, Italy, near Bordighera, Italy, the work of Claude Monet, welcomes the exhibition The impressionist revolution: from Monet to Matisse of the Dallas Museum of Art, which will be open to the public from today until July 27, at the Museum of the Palace of Fine Arts. The sample is expected to receive more than 300 thousand visitors.
During a media tour, Nicole R. Myers, head of curatorship and research of the Dallas Museum of Art (Mad), said that “when most people listen to impressionism, think of the Monet ponds or the dancers of Edgar Degas.
It seems that this art was always popular, which was always hung in institutions like this, that artists were famous in their time. That could not be further from the truth. Impressionism was a group of artists who joined because their style was controversial, radical and innovative to be supported by the State
he explained.
The sample, divided into four nuclei, begins with rebels with cause, where works such as El Pont Neuf (1871), by Claude Monet, and French Theater Place: Niebla Efecto (1897), by Camille Pissarro.
They were not interested in the details, showed depth, volume, and eliminated the black of their colored palette, they gave him shine
added Myers.
In the section notes stand out The Seine River in Paris (1927), by Paul Signac, a representation of SENA with touches of color applied at short points or brushstrokes, and Good valley, Search de Bordighera (1884), by Claude Monet, in which vibrant brushstrokes predominate.
One of the most popular pieces in the collection is The watertight of water lily (nubes) (1903), from Monet. The composition is open, the observer is placed in the middle of the water; It’s like floating. A traditional painter would have put a rock, a ship, they would have let you know where they are; Here we see something radical
he commented.
He recalled that during an auction in 1917, attendees thought the picture was the other way around.
In the module side effects stand out Wheat Gavillas (1890), by Van Gogh, where a freshly harvested wheat field is observed, and I rare te oviri (under the pandano) (1891), by Paul Gauguin, scene of the daily life of Tahitian women, in an lush natural environment.
Although Van Gogh and Gauguin are considered postimpressionists, they are included in this exhibition because their style and technique have roots in impressionism.
Forever, core that closes the sample, houses works such as Lifting nature: bouquet of flowers and fruitful, by Henri Matisse, painting of vibrant colors, and Fishing boats in l’esteque, From André Derain, scene with fishing boats floating in a bay, where intense colors predominate.
According to the curator, this section shows how the legacy of impressionism laid the foundations for movements such as Cubism, Fauvism and Expressionism.
Joshua Sánchez, head curator of the Museum of the Palace of Fine Arts, said the exhibition The impressionist revolution …, which brings together 45 works from the MAD collection, including two sculptures, emphasizes the revolutionary aspect of the artists, who rebelled against the canons of the Academy, to capture modern life with loose and vibrant brushstrokes.
The sample will remain until July 27, and can be visited from Tuesday to Sunday from 10 a.m. to 6 p.m. It has room texts, braille boards, audios, a timeline and touch screens to give context on the exhibition.