1/14/2024 0 Comments Degas absynthGustave Geffroy wrote in his 1881 review of Les buveurs d'absinthe: The artist preferred to paint the "extraordinary people" he found there, those who fit lexicographer Pierre Larousse's definition in 1870 of a déclassé: "someone who is outside society, who does not occupy an admitted place within it" ( ibid., p. I respond to all that, it answers a need I have for sorrowful charm, a love of strange silhouettes, and, also, a vague consciousness of high philosophy" (quoted in M. In Asnières there is a nakedness of earthen embankments, wooden shacks inhabited by extraordinary people, skinny horses, nondescript carriages, and stray dogs. Raffaëlli lived in Asnières, an outlying suburb of Paris in 1880 he told an interviewer for Le Temps: "I am attracted by the strangeness that surrounds all large cities. This note relies heavily on the information, citations and insights Professor Young included in his text. Raffaëlli's early masterwork -he was thirty-one when he painted it-was in 2008 the subject of a remarkably thorough and illuminating exegesis by Professor Marnin Young in The Art Bulletin, an article that is a model of its kind ( op. For today's viewers, this picture offers a telling glimpse into a seedy corner of French society during the early years of the Third Republic, dealing with men who have come down in the world and exist on the periphery of modern cosmopolitan life. Les buveurs d'absinthe was shown several more times before 1900 and continued to gather admiring notices. Indeed, this picture's presence in that show virtually upstaged the works of those artists who had helped found the new movement and regarded themselves as bona fide Impressionists their protests against Raffaëlli's participation fueled a growing rift within the group that eventually led to its dissolution in 1886. This realist canvas, also known as Les Déclassés, first attracted much attention and favorable critical commentary when it was shown at the sixth Impressionist group exhibition in 1881. Les buveurs d'absinthe is widely regarded as being one of Raffaëlli's most important and accomplished paintings. Bakker, ed., Vincent van Gogh: The Letters, The Complete Illustrated and Annotated Edition, London, 2009, vol. Young, "Heroic Indolence: Realism and the Politics of Time in Raffaëlli's Absinthe Drinkers," in Art Bulletin, June 2008, vol. Adams, Hideous Absinthe: a History of the Devil in a Bottle, Madison, 2004, p. Arnold, Vincent van Gogh: Chemicals, Crises, and Creativity, Boston, 1992, p. Janson, 19th-Century Art, New York, 1984, pp. Isaacson, The Crisis of Impressionism, 1878-1882, Ann Arbor, 1980, p. Thomson, "The Drinkers of Daumier, Raffaëlli, and Toulouse-Lautrec: Preliminary Observations on a Motif," in Oxford Art Journal, April 1979, vol. diss., Columbia University, New York, 1979, pp. Fields, Jean-François Raffaëlli (1850-1924): The Naturalist Artist, Ph.D. Huysmans, Oeuvres complètes, Paris, 1928-1929, vol. Coquiot, Gazette des beaux-arts, 1911, vol. Alexandre, Jean-François Raffaëlli: peintre, graveur et sculpteur, Paris, 1909. Raffaëlli, "Culte de soi," Manuscripts and Documents of Jean-François Raffaëlli, The Getty Research Institute, 1893, n.p., no. Fénéon, "Le salon," in La revue indépendante, June 1889, vol. Doncieux, ed., "La peinture en 1884," in Controverse et le contemporain, revue mensuelle, May 1884, vol. Huysmans, "L'exposition des indépendants en 1881," in L'art moderne, Paris, 1883, pp. Trianon, Le constitutionnel, 24 April 1881. "Beaux-Arts: Sixième exposition des artistes 'indépendants,'" in Le petit parisien, 8 April 1881.Ī. As with their unflagging commitment to charitable causes, the Kleins generously shared their resplendent apartment and collection as a regular venue for fundraising parties and balls throughout their lives. Long time supporters and collectors of the arts, both fine and decorative, the core of the Kleins collection was thoughtfully and passionately collected over thirty years ago. Prominent Philadelphia based collectors and philanthropists, the Kleins are remembered for both their indelible sense of style and for their generous support, not only in donations, but also of their time for local and international community based causes including, the Kimmel Center, Childrens Hospital of Philadelphia, the Sheba Medical Center in Israel, the Raymond and Miriam Klein Community Center, Tel Giborim, Israel, as well as the Raymond and Miriam Klein Jewish Community Center in Northeast Philadelphia, which they founded in 1975. We are pleased to present the following two works from the collection of Raymond and Miriam Klein. The Collection of Raymond and Miriam Klein
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