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Vincent van Gogh (Dutch, 1853-1890), The Poplars at Saint-Rémy, 1889. Oil on fabric, 24¼ x 17 15/16 in. The Cleveland Museum of Art; Bequest of Leonard C. Hanna, Jr., 1958.32
A recent trip to south Florida occasioned what has become a routine sojourn for me, a stopover at the Norton Museum of Art.
At the Norton, van Gogh’s The Poplars at Saint-Rémy is overwhelmed twice, first by its ornate antique frame, then by its installation on the third floor. Softly lit, it inhabits its own grey-painted gallery, a pearl in an oversized jewel box. It doesn’t help that the landscape’s colors are relatively sedate for a late van Gogh, relying on white to suggest terrain bleached by sunlight. The central two poplars are enclosed within a diamond-shaped design circumscribed by skyline above and crossing diagonals of rock-strewn land below. It is an inherently unstable composition, harmonized by color, the blue sky repeated in ground plane shadows and the blanched earth tones picked up in clouds. There is perhaps no way to write about van Gogh’s brushwork, idiosyncratic and instantly recognizable, without resorting to banalities; suffice to say that his sense of urgency demanded an entirely novel handling of paint. The Poplars at Saint-Rémy was made in a single session, a feat of compressed intensity.
Sharing a gallery with two other works by the artist, Degas’s Portrait of Mlle. Hortense Valpinçon resides more comfortably in its ground floor setting. The story of its production is no less remarkable than that of the van Gogh; leaving Paris during the barricades of 1871, Degas arrived at the Valpinçon country home without a canvas, and apprehended some mattress ticking upon which to paint his friend’s nine-year-old daughter. She leans into a sideboard and surveys us with unusual self-possession for one so young, holding in her right hand what has been variously described as a slice of fruit or a coin.
hope it helps
Answer:
1. Alfred Eisenstaedt, (born December 6, 1898, Dirschau, West Prussia [now Tczew, Poland]—died August 23, 1995, Oak Bluffs, Massachusetts, U.S.), pioneering German-American photojournalist whose images, many of them for Life magazine, established him as one of the first and most important photojournalists.
2. he went to school at Humboldt University of Berlin.
3.
Born in Dirschau, West Prussia (now Tczew, Poland), Eisenstaedt was the pre-eminent photojournalist of his time, whose pioneering images for Life magazine helped define American photojournalism. ... Another of his best-known images shows Joseph Goebbels, the Nazi propaganda minister, in 1933, glaring at the camera.
4.
Eisenstaedt was born in Dirschau (Tczew) in West Prussia, Imperial Germany in 1898. His family moved to Berlin in 1906. Eisenstaedt was fascinated by photography from his youth and began taking pictures at age 14 when he was given his first camera, an Eastman Kodak Folding Camera with roll film.
5. he won National Medal of Arts
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Answer:
Art
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Umm... it's basically the definition of art lol. Have a nice day, hope this helps!
Answer: 4/4 time? Or if you mean the tempo, (1) (2) 3+4+ Repeated.
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