plains or forests
There is a clear distinction between the cubists of Canweiler and the cubists of the Salon. Until 1914, Braque, Picasso and Leger (to a lesser extent), Gris received the support of the only interested art dealer in Paris, Daniel-Henri Canweiler, who guaranteed them an annual income for the exclusive right to acquire their work. I sold them only to a small circle of connoisseurs. His support gave artists the freedom to experiment in relative privacy. Picasso worked at Montmartre until 1912, while Braque and Gris remained there until the end of World War I. Leger settled on Montparnasse.
Albert Gleize Man on a Balcony (Portrait of Dr. Théo Morinaud) (1912, oil on canvas, 195.6 x 114.9 cm, Philadelphia Museum of Art). Finished in the same year as the book of Albert Glease “On Cubism” in collaboration with Jean Metzenge. Exhibited at the Autumn Salon in Paris in 1912, and at the Arsenal Exhibition in New York, Chicago and Boston in 1913.
At the same time, salon cubists built their reputation, first of all, regularly exhibiting at the Autumn Salon and the Salon Continue reading
A significant feature of Dutch art was the significant prevalence in all its forms of painting. Representatives of the highest echelons of power, poor burghers, artisans and peasants decorated their homes with paintings. They were sold at auctions and fairs; artists sometimes even used them as a means of paying bills.
Road in the Forest, Meindert Hobbem, 1670
Painters were abundant, and there was quite fierce competition, since the profession of the artist was widespread. By painting, not many could earn their bread. Most artists had to do a variety of work: Jacob van Reusdal was a doctor, Meinert Hobbema worked as an excise official, and Jan Steen as an innkeeper. Continue reading