MONET, CE’ZANNE, RENOIR

monet

MONET • CE’ZANNE • RENOIR and other stories of painting in France

From October 23 to March 27 | Palace Sums, Republic of San Marino

THE EXHIBITION

This exhibition, which was built especially with paintings from museums in Boston, Montpellier and Lille, has 30 works, some of great size, that connect to major exhibition Rimini Castel Sismondo (Paris.Our The wonderful years. Impressionism against Salon ), but whilst this is a logical continuation, independently significant pages tell the history of art in those “wonderful years” that made Paris and France in the reference world. It is, therefore, an exhibition of depth, all built on emblematic paintings chosen because according to the time the historic treaty.

On the walls of a renovated building that opens Sums most important art in the center of the Republic of San Marino, appear as paintings by great masters, from Corot Courbet, Monet to Cezanne, Renoir, by Pissarro, Sisley to Degas with some of the Salon painters. To investigate aspects of the story only hinted at in contemporary French art exhibition in Rimini.

Hence the preciousness of this exhibition, which not only offers emotional depth but will propose, as a wonderful window on decades that have marked the art and taste, in Europe and beyond.

This applies, for instance, the beautiful flowers at Riva Vetheuil Monet,

here in one of his happiest moments artistically. It is the choice to move away from Paris, attracted by the water of rivers and clear by the explosion of nature. The river is of course the Seine, Vetheuil, immediately after the death of his first wife Camille and the decision to leave the protected nest of Argenteuil. Years of Vetheuil are certainly among the most difficult existential point of view to the French painter, but also the years when he throws the stylistic foundations for what will be done, within a few years, the magical place in Giverny.

Even the horses of Degas, engaged in a race in the hippodrome in Paris at Longchamp, is a further example of this discourse for figures selected for the San Marino. As the depth confidential work of Pissarro and Sisley in the eighties of the nineteenth century, precisely because there can be a reliable comparison with Monet who works at the same time to Vetheuil. Or that rare gem that is almost in the manner of Manet, the Petite anglaise chanteuse des rues, that Bazille painted in 1866 with an accent that seems ideal for the place, almost Fellini. And that will be made in connection with the Young curious Betrand, Salon artist. Or the two portraits executed by Alfred Bruyas Couture and Courbet in 1850 and 1854 respectively. And the whole show goes on as in a constant counterpoint of stories to throw light on the unusual painting of those years in Paris and France.

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