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Dans la collection « L'art à colorier », un cahier spécialement dédié au grand maître Pablo Picasso. Chacune de ses plus belles oeuvres est accompagnée de son esquisse à compléter. Des portraits, des animaux et des natures mortes que l'enfant pourra tour à tour dessiner, colorier, peindre, copier ou réinventer.
23 chefs-d'oeuvre originaux.
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Rembrandt is completely mysterious in his spirit, his character, his life, his work and his method of painting. What we can divine of his essential nature comes through his painting and the trivial or tragic incidents of his unfortunate life; his penchant for ostentatious living forced him to declare bankruptcy. His misfortunes are not entirely explicable, and his oeuvre reflects disturbing notions and contradictory impulses emerging from the depths of his being, like the light and shade of his pictures. In spite of this, nothing perhaps in the history of art gives a more profound impression of unity than his paintings, composed though they are of such different elements, full of complex significations. One feels as if his intellect, that genial, great, free mind, bold and ignorant of all servitude and which led him to the loftiest meditations and the most sublime reveries, derived from the same source as his emotions. From this comes the tragic element he imprinted on everything he painted, irrespective of subject; there was inequality in his work as well as the sublime, which may be seen as the inevitable consequence of such a tumultuous existence.
It seems as though this singular, strange, attractive and almost enigmatic personality was slow in developing, or at least in attaining its complete expansion. Rembrandt showed talent and an original vision of the world early, as evidenced in his youthful etchings and his first self-portraits of about 1630. In painting, however, he did not immediately find the method he needed to express the still incomprehensible things he had to say, that audacious, broad and personal method which we admire in the masterpieces of his maturity and old age. In spite of its subtlety, it was adjudged brutal in his day and certainly contributed to alienate his public.
From the time of his beginnings and of his successes, however, lighting played a major part in his conception of painting and he made it the principal instrument of his investigations into the arcana of interior life. It already revealed to him the poetry of human physiognomy when he painted The Philosopher in Meditation or the Holy Family, so deliciously absorbed in its modest intimacy, or, for example, in The Angel Raphael leaving Tobias. Soon he asked for something more. The Night Watch marks at once the apotheosis of his reputation. He had a universal curiosity and he lived, meditated, dreamed and painted thrown back on himself. He thought of the great Venetians, borrowing their subjects and making of them an art out of the inner life of profound emotion. Mythological and religious subjects were treated as he treated his portraits. For all that he took from reality and even from the works of others, he transmuted it instantly into his own substance.
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Van Gogh ou la peinture comme tauromachie Présentation 'Le choix de la peinture est question de vie ou de mort. La cause de la peinture est sacrée. A qui veut produire des tableaux immortels, la vraie vie d'étalon ou de taureau sans entrave est impossible... La parabole tauromachique se fait ici figure anticipatrice de la situation de Van Gogh et de la peinture dans le monde qui vient.' Marie-José Mondzain
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The eclectic art of which the Carracci family dreamed was realised by Rubens with the ease of genius. However, the problem was much more complicated for a man of the north, who wished to add to it a fusion of the Flemish and Latin spirits, of which the rather pedantic attempts of Romanism had illustrated the difficulties. He achieved it without losing anything of his overflowing personality, his questing imagination, and the enchanting discoveries of the greatest colourist known to painting. Rubens, the greatest master of Baroque painting´s exuberance, took from the Italian Renaissance what could be of use to him, and then built upon it a style of his own. It is distinguished by a wonderful mastery of the human form and an amazing wealth of splendidly lighted colour. He was a man of much intellectual poise and was accustomed to court life, travelling from court to court, with pomp, as a trusted envoy. Rubens was one of those rare mortals who do real honour to humanity. He was handsome, good and generous, and he loved virtue. His laborious life was well ordered. The creator of so many delightful pagan feasts went each morning to mass before proceeding to his studio. He was the most illustrious type of happy and perfectly balanced genius, and combined in his personage passion and science, ardour and reflection. Rubens expressed drama as well as joy, since nothing human was foreign to him, and he could command at will the pathos of colour and expression which he required in his religious masterpieces. It might be said that he was as prolific in the representation of the joy and exuberance of life as Michelangelo was in the representation of passionate emotions.
