{"id":5633,"date":"2023-01-14T09:21:22","date_gmt":"2023-01-14T09:21:22","guid":{"rendered":"https:\/\/galerieballesteros.fr\/alfred-stevens-2\/"},"modified":"2023-01-15T11:14:25","modified_gmt":"2023-01-15T11:14:25","slug":"alfred-stevens-2","status":"publish","type":"page","link":"https:\/\/galerieballesteros.fr\/en\/alfred-stevens-2\/","title":{"rendered":"Pierre YSERN Y ALI\u00c9"},"content":{"rendered":"
\"Pierre<\/span><\/div><\/div><\/div>
<\/i><\/span><\/div>

Pierre YSERN Y ALI\u00c9 (1875-1946) Catalan.<\/h2><\/div>
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Alfred Stevens is a Belgian painter in Paris. It plays a leading role in the dialogue between the two nations, alternately Belgian in France and French in Belgium. If Courbet, Manet, Rude and Rodin radiated throughout Belgium, the attraction towards France was so strong that many Belgian artists, and not the least, are considered Parisians by adoption: it is the case of Alfred Stevens.<\/p>\n

In Paris in 1844, the painter became known for his refined portraits of the beautiful world, depicting the elegant Parisian of the Second Empire. A friend of Manet, Scholl and Baudelaire, he was admitted to the School of Fine Arts and frequented the workshop of the great master Ingres. The wave of Japonism gave impetus to his painting from 1865.<\/p>\n

A friend of Bazille, he portrayed and developed a decorative style. Thereafter, he gradually left the slick representations of the bourgeoisie for other everyday scenes, borrowed from verismo although still elegant (see the painting \u201cLa femme au bain\u201d, circa 1873, Mus\u00e9e d’Orsay). At that time, the painter knew his hours of glory. In France, Mathilde Bonaparte supports her work, the Belgian king gives her a public order.<\/p>\n

In 1880, the painter experienced difficulties: the beginnings of a new style of painting, Impressionism, called into question his pictorial approach. His doctor sends him to Menton, he travels in the north of France. Berthe Morisot pushes him towards Impressionism which he adopts in his seascapes, whose sensitivity and modernity are in every respect similar to those of Jongking.<\/p>\n<\/div><\/div><\/div>

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Expositions et \u00e9v\u00e8nements importants \u2022 1888 : Exposition Universelle de Barcelone 1919 : Exposition Nationale des Beaux-Arts de Barcelone (\u0152uvres principales : Pedralles et Alentours de Barcelone) 1925 : Exposition \u00e0 la Galerie Daulmau \u00e0 Barcelone 1927 : Exposition \u00e0 La Pinacoteca<\/h2><\/div>
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\u2022 In Paris, Mus\u00e9e d’Orsay, Mus\u00e9e du Louvre Graphic Arts department.<\/p>\n

\u2022 In France: Lille Museum of Fine Arts, Rouen Museum of Fine Arts, Reims Museum of Fine Arts, Compi\u00e8gne Castle National Museum, Dijon Magnin National Museum, Marseille Museum of Fine Arts, Fabrice from Montpellier.<\/p>\n<\/div><\/div><\/div>

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BIBILIOGRAPHIE: Rafael Manzano, Pere Ysern i Ali\u00e9 1875-1946, Diccionari R\u00e0fols\/edicions catalanes, Biblioteca Monografica de Arte Hispanica, Barcelona, 1990 En 1924, Georges Turpin lui consacre une br\u00e8ve biographie : \u00ab Pere Ysern i Ali\u00e9 peintre de danseuses \u00bb, article de la Revue litt\u00e9raire et artistique, Paris Georges Turpin, Pierre Ysern y Ali\u00e9 peintre de danseuses, Paris, 1924. Rafael Manzano, Pere Ysern, Edicions Catalanes, Barcelona, 1990. Froukje Hoekdtra, Toulouse-Lautrec, PML Editions pour l'\u00e9dition fran\u00e7aise, Paris 1993. Jacques Lassaigne, L'Impressionisme, sources et d\u00e9passement, 1859-1900, Skira, Gen\u00e8ve, 1974. Patrick Weber, Histoire de l'art et des styles, Librio, 2005.<\/h2><\/div>
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\u2022 In 1886, he wrote the famous Impressions sur la peinture<\/i> , the book was a great success and was translated into several languages: <\/span>Alfred Stevens, Impressions on painting<\/i> , Paris, Librairie des Bibliophiles, 1883, 96 pages. <\/span><\/p>\n

\u2022 \u201cLe Monde illustr\u00e9\u201d, August 18, 1883, p. 1-3. <\/span><\/p>\n<\/div><\/div><\/div>

”<\/h2><\/div>
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Ysern suddenly started to paint. I watch him. His gaze embraces the scene with a quick glance and the colors flutter on the stage. Andr\u00e9 Payer, Revue litt\u00e9raire, 1924.This painting reflects the painter’s affection for the dancers he paints: bright, eventful and reciprocal. In the center, he captures a dancer who, like a white flower, is about to make the petals of her petticoat twirl. Behind her, the painter sets the scene: he suggests two dancers, the curtain and the backstage with a spontaneous gesture. In the foreground, Ysern y Ali\u00e9 briefly signifies a few musical instruments: the top of a harp, a cello… In doing so, he gives the spectator the impression of watching the dancers from the orchestra. The palette, vivid, detours the subjects in large colored masses. His pictorial mastery makes him a supporter of color rather than drawing. In Paris, the painter had taken the habit of going to dance halls which, with the complicity of an usherette, opened a box for him. Inside, he would pull out his little box of painting materials and immediately he was at work, while a dazzling firework display of a ballet of girls dazzled on the stage. “Like Toulouse-Lautrec, he likes to study the striking effects of contrast, the unforeseen relationships, the astonishing lighting that spreads, suddenly focused on a face, a pair of legs in movement, the raw and pale light of a projector,” testifies Andr\u00e9 Payer. Did Ysern Y Ali\u00e9 seek to continue the tradition of Degas? Georges Turpin, a friend and critic, answers negatively. In Catalonia, Ali\u00e9 defines himself as an impressionist who ignores himself. In Paris, he became aware of the affinity he had with a Renoir, a Pissaro or a Manet. Later, he classified himself as a Tachist.” backgroundcolor=”” hue=”” saturation=”” lightness=”” alpha=”” icon=”” iconflip=”” iconrotate=”” iconspin=”” iconcolor=”” circlecolor=”” circlebordersize=”” circlebordercolor=”” outercirclebordersize=”” outercirclebordercolor=”” image=”” image_id=”” image_max_width=”” link=”” linktext=”” link_target=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]\n

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