la réalité et l’imaginaire Les Paysages: la réalité et l’imaginaire

Questions Pourquoi un artiste choisirait-il à faire de la peinture abstraite et non réaliste – avec des personnes, des formes, des objets ou des scènes? Quels choix font des artistes quand ils font de la peinture? MoMA Landscapes: Real and Imagined Theme

Port-en-Bessin, Entrance to the Harbor, de Seurat. Que se passe-t-il au premier plan, au milieu et à l’arrière plan du tableau? Quel est l’atmosphère ou ambiance du tableau? Share this information with your students: Ask your students to notice what is going on in the foreground, the middle ground and the background. What is the mood of this place? Write down 5 - 10 words that describe this image. Once they have their words, ask them to do a pair/share to explain why they chose those words. Share the words with the class/write the words on the board and discuss (as a group). Georges-Pierre Seurat. Port-en-Bessin, Entrance to the Harbor. 1888 MoMA Landscapes: Real and Imagined Theme

The Starry Night, by van Gogh. De quelle façon est-ce que ce tableau ressemble à Port-en-Bessin? De quelle façon est-il différent? Quels détails remarque-t-on? Pourquoi est-ce qu’on pourrait considérer ce tableau une oeuvre ‘symboliste’? Share this information with your students: Ask students to notice what is going on in the foreground, the middle ground and the background. What is the mood of this place? Write down 5 - 10 words that describe this image. Once they have their words, ask them to do a pair/share to explain why they chose those words. Share the words with the class/write the words on the board and discuss (as a group). Vincent van Gogh. The Starry Night. June 1889 MoMA Landscapes: Real and Imagined Theme

Comparons Seurat et van Gogh Georges-Pierre Seurat. Port-en-Bessin, Entrance to the Harbor. 1888 Vincent van Gogh. The Starry Night. June 1889 Comment est-ce que ces tableaux se ressemblent? Comment est-ce qu’ils sont différents? MoMA Landscapes: Real and Imagined

Melancholy: Evening on the Shore, de Edvard Munch. Qu’est-ce qui se passe à la personne dans ce paysage? Est-ce que l’atmosphère serait pareil sans la personne? Pourquoi? Pourquoi pas? Share this information with your students: At the edge of the sea, Munch’s brooding figure contemplates his relationship to nature and love. Munch visited this place on the shore in real life. He made several versions of the same image, a lone figure consumed in melancholy while looking out at the sea. Ask students to notice what is going on in the foreground, the middle ground and the background. What is happening with the figure in this landscape? What mood is being conveyed? Would the mood be the same without the figure? Why or why not? Write 5 - 10 words that describe this image. Compare the lists. Edvard Munch. Melancholy: Evening on the Shore. 1896 MoMA Landscapes: Real and Imagined Theme

Evening, Honfleur, de Seurat. Que se passe-t-il au premier plan, au milieu et à l’arrière plan du tableau? Quel est l’atmosphère ou ambiance du tableau? Share this information with your students: Ask students to notice what is going on in the foreground, the middle ground and the background. What is the mood of this place? Write down 5 - 10 words that describe this image. Georges-Pierre Seurat. Evening, Honfleur, 1886 MoMA Landscapes: Real and Imagined Theme

Comparons l’atmosphère de Melancholy: Evening on the Shore de Munch avec Evening, Honfleur de Seurat. Share this information with your students: Compare the lists. How do the moods of each place differ? Edvard Munch. Melancholy: Evening on the Shore. 1896 Georges-Pierre Seurat. Evening, Honfleur, 1886 MoMA Landscapes: Real and Imagined

Conversations Maintenant que vous avez créé une liste de mots descriptifs pour chaque image, utilisez ces mots dans une conversation avec votre partenaire: Comment est-ce que ces peintres modernes ont réussi à créer un sens d’atmosphère ou un espace intérieur psychologique dans leurs paysages? MoMA Landscapes: Real and Imagined Theme

Henri Rousseau. The Dream. 1910 Share this information with your students: Henry Rousseau painted many jungle scenes like this one, but he never traveled outside of France. Do you see any clues in the painting that the landscape is imagined? How might it differ from a landscape that the artist observes in real life and then depicts in a painting? Henri Rousseau. The Dream. 1910 MoMA Landscapes: Real and Imagined Theme

Regardons ces deux paysages de Henri Matisse. Share this information with your students: In Landscape at Collioure, Matisse applied oil paint onto an unprimed raw canvas, using paint sometimes directly from the tube and often with quick, sketchy strokes. Despite the fact that some of the canvas was left untouched, showing raw material between the strokes of paint, this painting is considered a “finished” work. Matisse’s Study for “Luxe, calme et volupté” was a sketch made as preparation for another painting, and was never intended to be displayed as a finished work of art.   How do you know when a painting, sculpture, or other work of art is finished?  Henri Matisse. Landscape at Collioure. 1905 Henri Matisse. Study for "Luxe, calme et volupté". 1904 MoMA Landscapes: Real and Imagined

Vasily Kandinsky. Picture with an Archer. 1909 Share this information with your students: Look carefully at this picture for a few minutes. How did Kandinsky evoke the atmosphere of a rural culture or setting? Give specific examples from the painting to support your ideas. Vasily Kandinsky. Picture with an Archer. 1909 MoMA Landscapes: Real and Imagined Theme

Paul Gauguin. The Moon and the Earth. 1893 Share this information with your students: Paul Gauguin, the artist who painted this picture, was very interested in Egyptian art. Are there any similarities between the space in this painting and Egyptian art? Can you find any other similarities between the two? Paul Gauguin. The Moon and the Earth. 1893 MoMA Landscapes: Real and Imagined Theme

Share this information with your students: Ask you students to define “landscape” (a work of art whose primary focus is natural scenery). Ask your students why the painting might be considered a landscape. Ask them if they can identify natural or organic imagery in this and all other works in this section. Call out five words that describe the place depicted in this painting. Explain your word choices using visual evidence from the work. Locate the title figure, the hunter, in this painting (it’s the stick figure, with the mustachioed, triangle head, smoking a pipe). Find other parts of his body, like his heart (which shoots flame), his eye, his ear. This figure, also found in other paintings by Miró, is considered a self-portrait. Pick out other iconography in this painting. For example, there’s a large beige circle, a cross section of a trunk of a carob tree that sprouts a leaf, and a giant eye bisected by the horizon line. Miró placed the word “Sard” (short for Sardana, the national dance of Catalonia) in the bottom right corner of the painting. Joan Miró. The Hunter (Catalan Landscape). Montroig, July 1923-winter 1924. Oil on canvas. 25 1/2 x 39 1/2" (64.8 x 100.3 cm). Purchase © 2011 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 95.1936 Joan Miró. The Hunter (Catalan Landscape). Montroig, July 1923-winter 1924. MoMA Landscapes: Real and Imagined Theme

Salvador Dalí. The Persistence of Memory. 1931. Share this information with your students: What is your definition of a landscape? Do you think this painting qualifies as a landscape? Why or why not? Can you identify natural or organic imagery in this painting? Write down five words that describe the place depicted in this painting. Which elements in this painting come strictly from nature? Which elements might come from Dali’s imagination? Are there elements that straddle the line between natural and imaginary? Dalí was very interested in Sigmund Freud’s writings on psychology. An Austrian psychologist writing in the late-nineteenth and early-twentieth century, Freud revolutionized the way people think about the mind with his theory of the unconscious. The unconscious is the part of the psyche that thinks and feels without the person being aware of those thoughts and feelings. According to Freud, dreams are coded messages from the unconscious, and Surrealist artists were interested in what could be revealed by their dreams. Influenced by Freud’s writings on dreams and the unconscious, Dalí induced hallucinations in order to access his unconscious while creating works of art. He called this the “paranoiac-critical method.” On the results of this process, he wrote,“I am the first to be surprised and often terrified by the images I see appear upon my canvas. I register without choice and with all possible exactitude the dictates of my subconscious, my dreams. . . .” Although he claimed to be surprised by the images, Dalí rendered them with meticulous precision, creating the illusion that these places could exist in the real world. Dalí, in his typically ironic way, once said of himself,“The only difference between a madman and me is that I am not mad.” Salvador Dalí. The Persistence of Memory. 1931. Oil on canvas. 9 1/2 x 13" (24.1 x 33 cm) Given anonymously © 2011 Salvador Dalí, Gala-Salvador Dalí Foundation / Artists Rights Society (ARS), New York. 162.1934 Salvador Dalí. The Persistence of Memory. 1931. MoMA Landscapes: Real and Imagined Theme

Max Ernst. Two Children Are Threatened by a Nightingale. 1924. Share this information with your students: Does knowing the title of this work, Two Children Are Threatened by a Nightingale, change what you think of this painting? There are more than two figures in this work, can you tell which figures are the two children? Who might the other figures be? Why do you think Ernst combined three-dimensional objects with his painting? Why do you think Ernst extended the painting to the inner edge of the frame? Might this relate to the artist’s interest in dreams? Max Ernst. Two Children Are Threatened by a Nightingale. 1924. Oil on wood with painted wood elements and frame. 27 1/2 x 22 1/2 x 4 1/2" (69.8 x 57.1 x 11.4 cm) Purchase © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris 256.1937 Max Ernst. Two Children Are Threatened by a Nightingale. 1924. MoMA Landscapes: Real and Imagined Theme

CARTE POSTALE lieu, date Cher…/Chère…/Salut…, votre texte ici….. Salutations/amitiés/bises/ bisous/à bientôt/ Je t’embrasse, ton nom M./Mme/Mlle Prénom NOM 123, r./bd./av. ……….. Ville, Province PAYS Code postale

CARTE POSTALE Collioure, le 25 nov. Chers maman et papa, Je t’écris d’un petit village au bord de mer qui est magnifique. Il fait très beau et les plages sont pleines de gens en vacances. Je m’amuse avec tonton et tata qui me gâtent tous les jours. Je vous embrasse , Marie-Claire M et Mme Dompierre 123, r. de la Roquette 75020 Paris FRANCE