Alain Chevalier, Michel Hilaire et Pierre Stépanoff (dir.), De marbre blanc et de couleur, la chapelle Deydé de la cathédrale de Montpellier. Gand, Snoeck et Montpellier, musée Fabre, collection Au fil des collections, 2019, 296 p., 108 ill. coul.
André Derain’s art aroused interest on the other side of the Rhine, between 1906 and 1914, parallel to the artist’s evolution from Fauvism to Cubism to a more personal style. Its reception in Germany took place in a tense context full of esthetic debates. However certain pioneer-collectors made init...
Enregistré dans:
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| 格式: | Article ou chapitre numérique |
| 語言: | Français |
| 出版: |
2022
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| 在線閱讀: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 總結: | André Derain’s art aroused interest on the other side of the Rhine, between 1906 and 1914, parallel to the artist’s evolution from Fauvism to Cubism to a more personal style. Its reception in Germany took place in a tense context full of esthetic debates. However certain pioneer-collectors made initial acquisitions, while exhibitions multiplied. This study examines the little known impact of Derain’s painting and graphic work in Dresden, Munich, and Dusseldorf, as well as in Cologne, Berlin, and Breslau and seeks to contribute to research on the provenances. |
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