早期的生活

古斯塔夫·卡勒波特出生于1848年8月19日,一个上流社会的家庭住在巴黎Faubourg-Saint-Denis街。他的父亲,武术卡勒波特(1799 - 1874),是家族的继承人的军事纺织业务和也的法官塞纳河部门的商务部审。卡勒波特在结婚前丧偶的父亲是两次卡勒波特的母亲,Celeste Daufresne(1819 - 1878),两个儿子古斯塔夫之后,Rene(1851 - 1876)武术(1853 - 1910)。卡勒波特出生在家里Faubourg-Saint-Denis街在巴黎,和住在那里,直到1866年他的父亲有一个房子,在77年街Miromesnil。从1860年开始,卡勒波特家族开始支出很多的夏天Yerres,一个小镇Yerres河以南12英里(20公里)的巴黎,武术卡勒波特,老买了大量财产。这可能就是在那个时候,卡勒波特开始绘画。

卡勒波特获得了法律学位1868年,在1870年执业执照,他也是一名工程师。他教育后不久,他起草的战斗普法战争,从1870年7月至1871年3月在加尔达国家移动de la塞纳河。 

艺术的生活

发展

战争结束后,卡勒波特开始访问画家的工作室莱昂Bonnat,在那里,他开始认真学习绘画。他开发了一个完成的风格在一个相对短的时间内,他的第一个工作室在父母家里。1873年,卡勒波特进入美术学院,但显然并没有花太多时间。他继承了他父亲的财富在1874年剩下的儿子把母亲1878年去世后家族财富。大约在1874年,卡勒波特结识的并成为朋友的一些艺术家官方法语学院以外工作,包括埃德加德加和朱塞佩德Nittis,他参加了(但未参与)第一印象派1874年展览。

“印象派”——也被称为“无党派人士”、““老顽固””,“Intentionalists”——脱离学术画家在年度沙龙.卡勒波特处子秀在第二印象派展览在1876年显示八画,包括画作de拼花(地上刮刀)(1875),他最早的杰作。其主题,描绘工人准备木地板(认为是艺术家的工作室)被一些评论家认为“低俗”,这是可能的原因拒绝了1875年的沙龙。当时,艺术机构认为只有乡村农民或工人阶级农民作为可接受的对象。这幅画现在驻留奥赛博物馆。第二个版本,一个更现实的风格类似的德加,也展示,展示卡勒波特的一系列技术和熟练的重述相同的主题。

风格

关于成分和绘画风格的作品,卡勒波特可能被视为第一乐章的一部分后印象主义:Neo-Impressionism。第二段点彩派的主要代表乔治·修宣布,其影响力在卡勒波特的后期作品,他在小Gennevilliers画在他的乡间别墅。卡勒波特的风格属于学校的现实主义,但被他的印象派associates的强烈影响。与他的前体,让小米和古斯塔夫·及库尔贝他的当代,德加,卡勒波特旨在描绘现实存在,在他看来,希望减少绘画的内在的戏剧风格。也许是因为他与很多同行关系密切,他的风格和技术相差很大在他的作品中,“借贷”和尝试,但不坚持任何一个风格。有时,他似乎非常德加阵营rich-colored现实主义(尤其是他室内场景),在其他时候,他印象派承诺“光学真理”和雇佣一个印象派pastel-softness和宽松的笔法最相似雷诺阿和毕沙罗少,尽管充满活力的调色板。

倾斜的地面常见的这些画很卡勒波特的作品的特征,这可能是强烈的影响日本打印和摄影的新技术,尽管他使用摄影是缺乏证据。裁剪和“放大”,一般技术,被发现在卡勒波特的作品,也可能是他对摄影的兴趣的结果,但有可能是来自他的强烈兴趣的视角效果。大量卡勒波特的作品也采用一个非常高的优势,包括的屋顶(雪)(Vue de(Effet de寺观)创造)(1878),大道从上面(大道vu d没有上流社会的)(1880),和一个交通岛(联合国的避难所,奥斯曼大道)(1880)。

主题

卡勒波特画许多国内和家庭场景,内饰和肖像。他的许多画作描绘他的家人;年轻人在他的窗口(另一幅作品《年轻人拉fenetre)(1875)显示了在家里Rene街Miromesnil;橘子树(Les Orangers)(1878),描绘了武术jr .)和他的表弟在花园里佐伊的家庭财产Yerres;和肖像(肖像拉窄花边)(1875)包括卡勒波特的母亲和他的阿姨,表哥,一个家庭的朋友。有场景的餐饮、打牌、钢琴演奏,阅读,和缝纫都执行一个亲密、不引人注目的方式描绘了上流社会的室内生活的安静的仪式。

国家场景Yerres关注快乐划船悠闲地流以及钓鱼和游泳,和国内的场景在他的国家。通常,他使用一个软印象派技术让人想起雷诺阿转达乡下的宁静自然,在平形成强烈的反差,平滑中风他的城市画。在划手的大礼帽(1877),他有效地管理一个乘客的角度在一排船面临他划船的同伴和流之前,在某种程度上更现实、更比马奈划船(1874)。

卡勒波特最出名的是他的画的城市巴黎,如欧洲桥(Le Pont de l 'Europe)(1876年),巴黎街头,雨天(巴黎街;临时工de闪光呢,也称为La de l 'Europe,临时工de闪光呢)(1877)。后者几乎是独特的在他的作品因其特别平颜色和构造实景效果,给这幅画独特的和现代看,几乎类似于美国等现实主义者爱德华霍珀.他的许多城市画非常有争议的由于他们的夸张,暴跌的视角。在人在阳台上(1880),他邀请观众与他分享阳台主体和参与观察城市深入现场距离,再用不寻常的角度。没有忠于任何一个风格,卡勒波特的许多其他城市绘画产生在同一时期,如地方Saint-Augustin(1877),多给人深刻印象的。

卡勒波特的静物画绘画主要侧重于食物,一些桌子准备吃,准备购买,在一系列的画他的肉在肉店。^[18]他还创作了一些花卉静物画,尤其是在1890年代。排自己的主题,他画了几个裸体,包括人非盟贝恩(1884)和裸体在沙发上(1882),虽然在其现实主义挑衅,是矛盾的情绪——既不公开的色情也暗示神话主题常见许多裸体画在那个时代的女性。

以后的生活

1881年,卡勒波特获得产权Petit-Gennevilliers在银行附近的塞纳河阿让特伊在1888年,他搬到那里永久。34岁他停止他的工作和致力于园艺和建筑和赛车游艇,他花了很多时间和他的兄弟,武术,和他的朋友雷诺阿。雷诺阿经常来到留在Petit-Gennevilliers,从事广泛的讨论艺术、政治、文学和哲学。从未结婚,Cailebotte似乎与夏洛特Berthier有一个严重的关系,与一个小他11年的女人和下层阶级的,他留下了一个巨大的年金。

卡勒波特的绘画生涯大幅放缓在1890年代早期,当他停止做大的画布。卡勒波特死于肺充血在他的花园里工作时在1894年Petit-Gennevilliers 45岁。他被埋葬在父亲Lachaise公墓在巴黎。

多年,部分原因是他从来没有出售他的工作来支持自己,卡勒波特的声誉作为一个画家笼罩在他的支持者承认的艺术。然而在他死后七十年,艺术历史学家开始重新评估他的艺术贡献。他惊人的使用不同的角度非常令人钦佩和使他有别于他的同行可能超过他在其他艺术领域。他的艺术在很大程度上是被遗忘,直到1950年代他的后裔开始出售家族收藏。1964年,芝加哥艺术学院巴黎街头,雨天美国艺术家的兴趣,刺激。^[24]到了1970年代,他的作品被展出,批判性的重新评估。

的国家美术馆的艺术(华盛顿特区)和沃斯堡金贝尔美术馆共同艺术博物馆(德克萨斯州沃斯堡)组织了一次卡勒波特的绘画的主要回顾显示,展览在2015 - 2016年,追求进一步的重新发现他的工作。

赞助人和收藏家

卡勒波特的相当大的津贴,以及继承他收到他的父亲1874年去世后,他的母亲在1878年让他油漆没有出卖他的工作的压力。它还允许他帮助基金印象派展览和支持他的艺术家和朋友(包括克劳德·莫奈,奥古斯特·雷诺阿,卡米尔毕沙罗)通过购买他们的作品,至少在莫奈的情况下,付房租的工作室。

卡勒波特在1875年买了他的第一莫奈,特别是帮助艺术家的事业和金融生存。他精确地赞助;特别是缺席的作品乔治·修和保罗高更,或任何的符号学派对。1890年,他在协助发挥着重要作用克劳德·莫奈在组织公共订阅和说服法国政府购买爱德华。马奈1863年奥林匹亚.

其他的利益

此外,卡勒波特用他的财富基金的各种爱好,他很热情,包括集邮,兰花增长,游艇建筑,甚至是纺织设计(妇女在他的画中Boissiere针织女士,1877年,卡勒波特夫人的画像,1877年,可能是工作模式由卡勒波特)。他死后,他题写的卷杰出集邮专家和收集,他和他的兄弟武术现在形成的大英图书馆.

卡勒波特的收藏

相信死后,他的弟弟雷内,在1876年,自己的生命是短暂的,卡勒波特写遗嘱,同时仍然在他二十多岁,卡勒波特捐赠了大量法国政府。最终这个集合包括六十八幅画作由不同的艺术家:卡米尔毕沙罗(19),克劳德·莫奈(14),皮埃尔·奥古斯特·雷诺阿(十)、阿尔弗雷德·西斯利(9),埃德加德加(7),保罗塞尚(五)爱德华。马奈(四)。

卡勒波特的死的时候,印象派画家仍主要由艺术建立在法国,谴责这是占主导地位的学习艺术特别是,Academie美术。正因为如此,卡勒波特意识到文化遗产在他收集可能消失在“阁楼”和“省级博物馆”。因此他规定,他们必须显示在卢森堡宫(致力于在世艺术家的作品),然后在罗浮宫.

不幸的是,法国政府不会同意这些条款。1896年2月,他们终于达成与雷诺阿,谁是意志的执行者,他们把38绘画的卢森堡宫。安装构成的第一个演讲在法国印象派画家在公共场所。其余29绘画(一个由德加被雷诺阿在支付他的服务作为遗嘱执行人)被提供给法国政府两次,在1904年和1908年,两次拒绝了。当政府最终试图声称在1928年,卡勒波特遗产否定了寡妇的兄弟武术卡勒波特。大部分剩余的作品被购买的阿尔伯特·c·巴恩斯现在举行的巴恩斯基金会.

40卡勒波特的作品的奥赛博物馆。他的人在阳台上,奥斯曼大道(人非盟balcon奥斯曼大道)(1880),1430万年售价超过1430万美元。

Gustav kalebort was born on August 19, 1848. A high-class family lived in faubourg Saint Denis street in Paris. His father, martial arts kalebort (1799 - 1874), was the heir to the family's military textile business and also judge of the Seine River Department of Commerce. Kalebort's father was his mother, Celeste daufresne (1819-1878), twice before his marriage. After two sons, Gustav, Rene (1851-1876) had Martial Arts (1853-1910). Kalebort was born at home in faubourg Saint Denis street in Paris, and lived there until 1866, when his father had a house in miromesnil street in 77. Since 1860, the kalebort family began to spend a lot of summer in Yerres, a small town 12 miles (20 kilometers) south of the Yerres River in Paris. The martial arts kalebort always bought a lot of property. That's probably when kalebort started painting.

Kalebort received a law degree in 1868 and a license to practice in 1870. He was also an engineer. Shortly after his education, he drafted the fight for the Franco Prussian War, moving the de La Seine River in the Garda state from July 1870 to March 1871.

The life of Art

Development

After the war, kalebort began to visit the painter's studio, Leon Bonnat, where he began to study painting seriously. He developed a finished style in a relatively short time, his first studio at his parents' home. In 1873, kalebort entered the Academy of fine arts, but apparently it didn't take much time. He inherited his father's fortune in 1874 and the rest of his son took the family fortune after his mother died in 1878. Around 1874, some artists that kalebort met and became friends worked outside the official French school, including Edgar and Giuseppe de nittis, who attended (but did not participate in) the first Impressionist exhibition of 1874.
"Impressionists" - also known as "independents", "old bigots" and "intentionallists" - separated from academic painters in the annual salon. Kalebort's debut in the second Impressionist exhibition in 1876 showed eight paintings, including the painting de piecing (ground scraper) (1875), his earliest masterpiece. Its theme, depicting workers preparing wooden floors (considered to be the artist's studio), was considered "vulgar" by some critics, which is the possible reason for the rejection of the 1875 salon. At that time, the art institutions thought that only rural farmers or working class farmers were acceptable objects. The painting now resides in the Orsay Museum. The second version, a more realistic style similar to degas, also shows kalebort's series of technical and skilled retelling of the same theme.

style

With regard to composition and painting style, kalebort may be regarded as a part of the first movement: Neo Impressionism. In the second paragraph, George Hugh, the main representative of the stippling school, announced that his influence was in kalebort's later works, and he painted in his country villa at little genevilliers. Kalebort's style belongs to school realism, but is strongly influenced by his Impressionist associates. With his precursors, let Xiaomi and Gustav and kurby his contemporary, Degas and kalebort aim to depict the reality of existence, in his view, hoping to reduce the painting's inherent dramatic style. Perhaps because of his close relationship with many peers, his style and technology are quite different in his works, "borrowing" and trying, but not adhering to any one style. Sometimes, he seems to be very much in the German and Canadian camp of rich colored Realism (especially his indoor scenes), and at other times, his Impressionists promised "optical truth" and hired an impressionist pastel softness and loose brushwork most similar to Renoir and Pissarro, despite the vibrant palette.
These paintings on the sloping ground are very characteristic of Potter's works, which may be a new technology that strongly affects Japanese printing and photography, though he lacks evidence in photography. Cutting and "zooming in", general technology, is found in kalebort's works, which may also be the result of his interest in photography, but it may be the perspective effect from his strong interest. A large number of kalebort's works also take a very high advantage, including the roof (snow) (created by Vue de (effet de Temple)) (1878), the avenue from above (Avenue Vu D has no upper class society) (1880), and a transportation Island (United Nations refuge, Osman Avenue) (1880).

theme

Kalebort painted many domestic and family scenes, interiors and portraits. Many of his paintings depict his family; the young man in his window (another work, "young man rafenetre" (1875) shows miromesnil in Rene street; les orangers (1878), depicting martial arts Jr.) and his cousin in the garden Zoe's family property Yerres; and the portrait (portrait narrow lace) (1875) including kalebort's mother and his aunt, cousin, a family's Friend. There are scenes of catering, playing cards, piano playing, reading, and sewing all performed in an intimate and unobtrusive way to depict the quiet rituals of upper class indoor life.

National scene Yerres focuses on happy boating leisurely as well as fishing and swimming, and domestic scenes in his country. Usually, he uses a soft Impressionist technique to remind people of Renoir's convey of the quiet nature of the countryside, which forms a strong contrast in Ping, smoothing his city paintings. In the boating hat (1877), he effectively managed a passenger's angle before a row of boats faced his rowing companions and streams, which was to some extent more realistic and more realistic than Manet's rowing (1874).

The most famous of his paintings is Paris, such as Le Pont de l'Europe (1876), the streets of Paris, rainy days (barParis street; temporary workers, also known as La de l'Europe (1877). The latter is almost unique in his works because of its special flat color and structural effect, which gives the painting a unique and modern look, almost similar to the American realist Edward Hopper. Many of his city paintings are very controversial because of their exaggerated, plummeting perspective. On the balcony (1880), he invited the audience to share the main body of the balcony with him and participate in the observation of the city's in-depth field distance, and then use an unusual angle. Without loyalty to any one style, many of kalebort's other city paintings were produced at the same time, such as the local Saint Augustin (1877), which is more impressive.

Kalebort's still life paintings mainly focus on food, some tables are ready to eat, ready to buy, in a series of paintings of his meat in the butcher shop. [18] he also created some still life paintings of flowers, especially in the 1890s. He drew several nudes, including human African Union Bain (1884) and nudity on the sofa (1882), although in his realistic provocation, it was a contradictory emotion - neither openly pornographic nor suggestive of mythological themes common to many nudes painted in women of that era.

Later life

In 1881, kalebort acquired the title of Petit genevilliers in the Seine near the Bank of ajentey in 1888, where he moved permanently. At 34 he stopped his work and devoted himself to gardening and building and racing yachts, and he spent a lot of time with his brother, martial arts, and his friend Renoir. Renoir often came to stay at Petit genevilliers and engaged in a wide range of discussions on art, politics, literature and philosophy. Never married, cailebote seems to have a serious relationship with Charlotte bertier, with a woman 11 years younger and a lower class, who left behind a huge annuity.

Kalebort's painting career slowed sharply in the early 1890s, when he stopped making large canvases. Kalebort died of lung congestion when he worked in his garden in 1894 when Petit genevilliers was 45 years old. He was buried in the cemetery of his father Lachaise in Paris.

For many years, partly because he never sold his work to support himself, kalebort's reputation as a painter shrouded in the recognition of his supporters of art. Seventy years after his death, however, art historians began to reassess his artistic contributions. His amazing use of different angles is very admirable and makes him different from his peers probably more than he does in other art fields. His art was largely forgotten until his descendants began selling family collections in the 1950s. In 1964, Chicago Art Institute Paris street, rainy day American artists' interest, stimulation. [24] by the 1970s, his work was on display, critically reassessed.

The art of the National Gallery of Art (Washington, D.C.) and the Kimberley Museum of art in Fort Worth (Fort Worth, Texas) organized a major review of kalebort's paintings, which shows that the exhibition in 2015-2016 seeks to further rediscover his work.

Patrons and collectors

Kalebort's considerable allowance, as well as the inheritance he received from his father after his death in 1874, his mother in 1878 let him paint without the pressure to sell his job. It also allows him to help fund Impressionist exhibitions and support his artists and friends (including Claude Monet, Auguste Renoir, Camille biszarro) by buying their works, at least in Monet's case, by paying rent for the studio.

Kalebort bought his first Monet in 1875, especially to help artists survive in business and finance. He sponsored precisely; especially absent works of George Hugh and Paul Gauguin, or any semiotic party. In 1890, he was instrumental in helping Claude Monet organize public subscriptions and persuade the French government to buy Edward. MANET, Olympia, 1863

Other benefits

In addition, kalebort uses his wealth fund's various hobbies, which he is passionate about, including Philately, orchid growth, yacht architecture, and even textile design (women in his paintings are Ms. Boissiere knitting, 1877, the portrait of Mrs. kalebort, 1877, probably the working mode by kalebort). After his death, he wrote volumes for outstanding philatelists and collectors, and he and his brother martial arts now form the British Library

Kalebort's collectio

It is believed that after his death, his brother Rene, in 1876, his life was short. Kalebort wrote a will, while still in his twenties. Kalebort donated a lot to the French government. The final collection consists of 68 paintings by different artists: Camille biszarro (19), Claude Monet (14), Pierre Auguste Renoir (10), Alfred Sisley (9), Edgar Gaga (7), and Paul Cezanne (5) Edwards. MANET (IV).

At the time of kalebort's death, Impressionist painters were still mainly based in France, denouncing this as the dominant art of learning, especially Academie art. Because of this, kalebort realized that cultural heritage in his collection might disappear in the "attic" and "Provincial Museum". So he stipulated that they had to show up at the Luxembourg Palace (dedicated to the work of living artists) and then at the Louvre

Unfortunately, the French government will not agree to these terms. In February 1896, they finally reached an agreement with Renoir, who was the executor of the will that they put 38 paintings on the Luxembourg palace. The installation constitutes the first speech of a French impressionist painter in a public place. The remaining 29 paintings (one by Degas who was paid by Renoir for his services as executor) were offered to the French government twice, and in 1904 and 1908 they were rejected twice.