阿道夫约瑟夫，托马斯 蒙蒂切利（Adolphe-Joseph-Thomas Monticelli）（1824年10月14日 - 1886年6月29日）是鼎盛时期前一代法国印象派画家。
静物沙丁鱼和海胆,1880 - 1882,达拉斯艺术博物馆
Monticelli出生在马赛在卑微的环境。他参加了学院Municipale de图样在马赛从1842年到1846年,并继续他的艺术培训巴黎,在那里他学习了保罗Delaroche在美术学院。在巴黎他拷贝后的大师罗浮宫,石油的草图尤金·德拉克洛瓦.1855年,他遇到了Narcisse迪亚兹的一员巴比桑画派,两个经常在一起画枫丹白露森林。Monticelli经常采用迪亚兹的做法引入裸体或优雅盛装的人物风景。
他开发了一种高度的个体浪漫的绘画的风格,色彩丰富的,斑驳的,纹理和光滑的表面产生一个闪烁的效果。他画的主题灵感来自安东尼·华托式的;他还画静物画、肖像画和东方通主题在很大程度上归功于德拉克洛瓦的例子。
Monticelli回到马赛1870年之后,他将生活在贫困中,尽管一个多产的输出,为小额销售他的画作。一个不谙世事的人,他自己一门心思地献给他的艺术。
年轻的保罗塞尚与1860年代Monticelli,于是老画家的作品的影响塞尚的作品中可以看到的十年。1878年和1884年两位艺术家之间经常在一起画风景,每月花一次漫游Aix农村。尽管Monticelli尝试简要约1870的治疗光反映印象派画家的发现,他发现这种方法的客观性不相宜的。
面对批评他的绘画风格Monticelli自己说:“三十年从现在我画”。他的作品达到了本世纪最大的自发性在他1886年去世。
画家在工作在房子墙,1875年,Stadel
纪念碑的Monticelli隆尚宫马赛
他死后一个多世纪,Monticelli艺术仍然受到争议。
在其绘画自由Monticelli预示的工作文森特·梵高非常敬佩的,他的工作,他在巴黎看到它在1886年当他到达那里。梵高立即采取了光明的调色板和一个更大胆的攻击,后来说,“我有时候觉得我真的继续那个人。”1890年,梵高和他的兄弟西奥在出版第一本关于Monticelli仪器。
Monticelli声名鹊起,在他死后。在他的收藏家奥斯卡•王尔德1895年将监狱后,写了一封信给他的破产阿尔弗雷德·道格拉斯勋爵,”De Profundis”:“我所有的迷人的事情是销售:我的伯恩-琼斯图纸:我惠斯勒图纸:我Monticelli:我西缅所罗门:我的中国:图书馆……”
其他人仍然认为Monticelli未成年图在19世纪的绘画中,画家的画家,和一些色彩鲜艳的方式表达他们的漠视。在2005年发表的声明《卫报》,蒂莫西·克利福德爵士的总经理苏格兰国家美术馆中,爱丁堡,甚至选择Monticelli花园宴请英国最严重的绘画,评论说,“我们已经被Monticelli遗赠八画,每一个比过去更可怕。在我21年,没有挂,因为我认为Monticelli产生令人惊愕地可怕的艺术。我叫这一节日比死亡更糟糕。”
一座纪念碑纪念Monticelli,设计1909年由雕刻家奥古斯特·Carli安装在隆尚宫马赛。
从2008年9月到2009年1月,一个展览名为“梵高和Monticelli”发生在马赛中心de la Vieille查利特,强调Monticelli对凡高的作品的影响。
从4月25日到2015年9月27日,一个展览名为“梵高和纵横交错的有限公司集合”在米勒博物馆Otterlo、荷兰画作显示梵高和他的前任,同时代和追随者,在他们中间弗朗索瓦Bonvin,查理Toorop,亨利Fantin-Latour,让-巴蒂斯特·柯罗,保罗塞尚,Bart van der硬粘土和阿道夫·Monticelli。
Monticelli was born in Marseille in humble circumstances. He attended the École Municipale de Dessin in Marseille from 1842 to 1846, and continued his artistic training in Paris, where he studied under Paul Delaroche at the École des Beaux-Arts. In Paris he made copies after the Old Masters in the Louvre, and admired the oil sketches of Eugène Delacroix.[1] In 1855 he met Narcisse Diaz, a member of theBarbizon school, and the two often painted together in the Fontainebleau Forest. Monticelli frequently adopted Diaz's practice of introducing nudes or elegantly costumed figures into his landscapes.[1]
He developed a highly individual Romantic style of painting, in which richly colored, dappled, textured and glazed surfaces produce a scintillating effect. He painted courtly subjects inspired by Antoine Watteau; he also painted still lifes, portraits, and Orientalistsubjects that owe much to the example of Delacroix.
After 1870, Monticelli returned to Marseille, where he would live in poverty despite a prolific output, selling his paintings for small sums. An unworldly man, he dedicated himself singlemindedly to his art.
The young Paul Cézanne befriended Monticelli in the 1860s, and the influence of the older painter's work can be seen in Cézanne's work of that decade. Between 1878 and 1884 the two artists often painted landscapes together, once spending a month roaming the Aix countryside. Although Monticelli experimented briefly around 1870 with a treatment of light reflecting the discoveries of the Impressionists, he found the objectivity of this approach uncongenial.
Confronted with criticism of his style of painting Monticelli himself remarked, "I paint for thirty years from now".[2] His work reached its greatest spontaneity in the decade before his death in 1886.
More than a century after his death, Monticelli's art is still subject to controversy.
In its painterly freedom Monticelli's work prefigures that of Vincent van Gogh, who greatly admired his work after seeing it in Paris when he arrived there in 1886. Van Gogh immediately adopted a brighter palette and a bolder attack, and later remarked, "I sometimes think I am really continuing that man."[3] In 1890, Van Gogh and his brother Theo were instrumental in publishing the first book about Monticelli.[1]
Monticelli's reputation grew after his death. Among his collectors was Oscar Wilde who, after going to prison in 1895, wrote of his bankruptcy in a letter to Lord Alfred Douglas, "De Profundis": "That all my charming things were to be sold: my Burne-Jones drawings: my Whistler drawings: my Monticelli: my Simeon Solomons: my china: my Library..."
Others still consider Monticelli a minor figure in 19th-century painting, a painter's painter, and some express their disregard in a colourful manner. In a statement published in 2005 in The Guardian, Sir Timothy Clifford, director general of the National Galleries of Scotland,Edinburgh, even chose Monticelli's A Garden Fete as the worst painting in Britain, and commented, "We have been bequested eight paintings by Monticelli, each one more hideous than the last. In my 21 years here, none has been hung because I think Monticelli produces screamingly awful art. I call this one a Fete Worse Than Death."[4]
A monument honoring Monticelli, designed in 1909 by the sculptor Auguste Carli, is installed in the Palais Longchamp Marseille.
From September 2008 till January 2009, an exhibition entitled "Van Gogh and Monticelli"[5] took place in Marseille's Centre de la Vieille Charité, highlighting Monticelli's influence on Van Gogh's work.
From April 25 till September 27, 2015, an exhibition entitled "Van Gogh and Co. Criss-crossing the collection"[6] at the Kröller-Müller Museum in Otterlo, The Netherlands, displayed paintings by Van Gogh and his predecessors, contemporaries and followers, among them François Bonvin,Charley Toorop, Henri Fantin-Latour, Jean-Baptiste Corot, Paul Cézanne, Bart van der Leck and Adolphe Monticelli.
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