Amedeo Modigliani, "Portrait de Frank Burty Haviland", 1914.
Modi, as his friends Utrillo, Max Jacob, Kisling and Soutine called him, arrived in Paris in 1906 and devoted himself to sculpture from 1909 to 1914. He then took up his brushes again, notably to produce this sublime portrait of the painter Frank Burty. Burty did not write his name in the history of art for the quality of his paintings (although one could look at them again) but for having in 1950 with Pierre Brune created the Museum of Modern Art in Céret. They then asked the artists who had frequented the city to donate some of their works. Picasso offered 53 pieces and Henri Matisse 14 preparatory drawings of Fauvist paintings done in Collioure in 1905. This set will enrich the substantial gift of Mrs. Aribaud who had bequeathed to the city in January 1934 her husband's collection which included paintings by Juan Gris Auguste Herbin André Masson Kisling Manolo... Burty was from the Haviland family who left the United States and settled in France in Limoges in 1842 to develop the Haviland firm whose porcelain is still today part of the excellence of tableware.
August Macke, "Marché à Alger", 1914.
August Macke, "Terrasse à Saint-Germain", 1914.
Claude Monet, "Les Iris", 1914.
This beauty is part of a series of large paintings that Claude Monet made during the First World War experimenting with familiar motifs on an ever larger scale. In this case 2m x 2m! In the absence of a discernible horizon or a clear sense of depth the viewer is both above and below this water-like surface on which various plant and floral forms float or emerge. It is necessary to stay for a long time in front of such a canvas so that the elements can be read and then move and melt back into the painting. I can stay for hours like this in a fascinating dialogue with art! This work remained in the Giverny studio long after Monet's death in 1926 and was only rediscovered in the 1950s after being slightly damaged by shrapnel during the Second World War.
Claude Monet, "Nymphéas et agapanthes", 1914.
Egon Schiele, "Vieilles maisons à Krumau", 1914.
Emil Nolde, "Moonlit Night", 1914.
Fernand Léger, "Le 14 juillet", 1914.
Frantisek Kupka,, "Facture robuste", 1914.
Georges Braque, "Nature morte au verre et lettres", 1914.
Giorgio de Chirico, "The Seer", 1914.
Henri Matisse, "Vue de Notre Dame, quai Saint-Michel", 1914.
Marc Chagall, "Autoportrait en vert", 1914.
Marc Chagall, "Les amoureux en bleu", 1914.
Pablo Picasso, "Joueur de guitare", 1914.
Pablo Picasso, "Composition à la poire tranchée", 1914.
This work is among the most formal compositions produced by Picasso in 1913 and 1914 in which the connection to objects existing in reality is reduced to a minimum. There are no recognizable objects except for sections of a sliced pear (or rather its symbolic outline) and a twig - their forms are abstracted and reduced to flat patches of color. It is amusing to see how Picasso is able to mix cubism and pointillism. Only he can dare.
Pablo Picasso, "Nature morte verte", 1914.
Pablo Picasso, "Portrait de jeune fille", 1914.
Pablo Picasso, "Verres et bouteilles", 1914.
Paul Klee, "Saint Germain, Tunisie", 1914.
In 1914, back from Kairouan, Paul Klee offers us this beauty.
Raymond Duchamp-Villon, "Le Grand Cheval", Plâtre, 1914.
