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de récupérer les biens spoliés en totalité par les
Allemands (meubles, vaisselles, bibliothèques et œuvres d'art), mais la grande majorité des tableaux resta introuvable. Les deux œuvres qui sont restituées aujourd'hui avaient été envoyées à l'Oberhausmuseum de Passau, où elles furent regroupées dans un fonds provenant d'œuvres spoliées. Ce n'est qu'en 2019 que les avocats français de la famille Monteux, Maîtres Patrick Klugman et Ivan Terel, sur la base des travaux du Dr. Emmanuelle Polack et avec l'assistance des généalogistes du cabinet français ADD associés, découvrirent le tableau de Camille Bombois dans la base de données allemande Lostart.de, qui répertorie les œuvres spoliées durant la Seconde Guerre mondiale.
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1404:, showing the history of the church militant and the history of the church triumphant from the 2nd to the 20th century. To ensure unity in the decorations the architect imposed a standard height for all the people depicted, and red as the color of all the backgrounds. The central theme of the paintings is "the history of the church militant and the history of the church triumphant from the 2nd to the 20th century. Denis painted two of the major works, the Altarpiece and another large work beside it. The church murals that he painted were strongly influenced by the Renaissance art he had seen in churches in Italy, particularly the work of
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1525:"Art remains a sure refuge, the hope of a reason for our life here, and this consoling thought that a little beauty is also found in our life, and that we are continuing the work of creation....the labor of art has merit; to inscribe the marvelous beauty of flowers, of the light, of the proportion of trees and the form of waves, and the perfection of face, to inscribe our poor and lamentable life of suffering, of hope and of thought." (
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446:. However, as Denis explained, he did not mean that form of the painting was more important than the subject. He went on to write: "The profoundness of our emotions comes from the sufficiency of these lines and these colors to explain themselves...everything is contained in the beauty of the work." In his essay, he termed this new movement "neo-traditionalism", in opposition to the "progressism" of the neo-impressionists, led by
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of a reason in life from now on, and the consoling thought that little beauty manifests itself in our lives, and that we are continuing the work of
Creation....Therefore the work of art has merit, inscribed in the marvelous beauty of flowers, of light, in the proportion of trees and shape of waves, and the perfection of faces; to inscribe our poor and lamentable life of suffering, of hope and of thought."
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868:; he traveled to CĂ©zanne's home in 1896, and wrote an article reporting CĂ©zanne's comment: "I want to make of impressionism something solid and durable, like the art in museums." In the article, Denis described CĂ©zanne as "the Poussin of impressionism" and called him the founder of modern neo-classicism. One of the most important works of Denis from this period is
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861:, died. On his return to Paris, Denis re-oriented his art toward neo-classicism, with clearer lines and figures. He noted in his journal in March 1898: "Think of late paintings where Christ is the central figure...Remember the large mosaics of Rome. Reconcile the employment of large-scale decorative means and the direct emotions of nature."
1334:, he decorated the building, particularly the unfinished chapel, which he filled with his own designs of frescos, stained glass, statues and furniture. In 1916 declared his intention to aim for the "supreme goal of painting, which is the large-scale decorative mural." he completed twenty murals between 1916 and his death in 1943.
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En juillet 1944, Marcel
Monteux fut arrêté à Paris, transféré au camp d'internement de Drancy, puis déporté le 31 juillet 1944 par le convoi n° 77, l'un des derniers grands convois de déportation, et assassiné à Auschwitz-Birkenau le 15 août 1944. Dès l'immédiat après-guerre, la famille Monteux tenta
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Denis married his first wife, Marthe
Meurier, in 1893. They had seven children, and she posed for numerous Denis works. Following her death in 1919, Denis painted a chapel dedicated to her memory. He married again on 22 February 1922 to Elisabeth Graterolleore, whom he had used a model for one of the
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In the last period of his life and work he turned his attention more and more to large-scale murals and to religious art. In 1914 Denis purchased the former hospital of Saint-Germaine-en-Laye, constructed under Louis XIV in the 17th century. He renamed the building "The Priory" and
Between 1915 and
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in 1891. In March 1891 the critic George-Albert Dourer wrote an article for the
Mercure-de-France calling Denis the leading example of "symbolism in painting". The work of Denis attracted the attention of critics and of important patrons, most notably Arthur Huc, the owner of the prominent newspaper
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Maurice was an only child. From an early age, his passions were religion and art. He began keeping a journal in 1884 at the age of thirteen. In 1885 he recorded in his journal his admiration for the colors, candle light and incense of the ceremonies at the local church. He frequented the Louvre, and
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By the early 1890s, Denis had arrived at the artistic philosophy which guided most of his later work, and which changed very little; that the essence of art was to express love and faith, which to him were similar things. On 24 March 1895 he wrote in his journal: "Art remains a sure refuge, the hope
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The next major event in the life of Denis was his meeting with Marthe
Meurier in October 1890. From June 1891 they had a long romance, meticulously documented in his journal, and were married on 12 June 1893. She became an important part of his art, appearing in many pictures and also in decorative
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In
January 1940, in his seventieth year, he summed up his accomplishments in his journal: "My marriage: Delacroix admired and understood; Ingres abandoned; break with the extremists. I have become official while at the same time cultivating the secret inquietude of an art which expresses my vision
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and Denis on the other. Denis was in Rome during most of the events, and it did not affect his friendship with Gide. More significant for him was the movement of the French government to reduce the power of the church, and the decision of the government to officially separate the church and state
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Beginning in 1891, shortly after his engagement, Denis made Marthe the most frequent subject of his paintings; she was depicted, in purified and idealized form, doing household tasks, taking naps, and at the dining room table. She appeared in his landscapes, and in his most ambitious works of the
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In his later years, he also had two important commissions outside of France, both on his favorite theme of
Christian faith and humanism; the first, in 1931, for the Offices of the International Labor Bureau in Geneva, commissioned by the International Association of Christian Workers in Geneva on
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created art for churches, particularly those devastated by the recent war. Denis said that he was against academic art because it sacrificed emotion to convention and artifice, and was against realism because it was prose and he wanted music. Above all he wanted beauty, which was an attribute of
438:, where Taine wrote: "A painting is a colored surface, in which the various tones and various degrees of light are placed with a certain choice; that is its intimate being." However, it was the expression of Denis which seized the attention of artists and became part of the foundation of
1355:; Denis designed the figurative art in the center of each window, while Marguerite Huré created the window and the abstract glass designs around it. Other major religious works include the chapel Church of Saint-Louis in Vincennes (1927), the windows of the chapel of La Clarté in
335:. I rejected naturalism and materialism in favor of something more idealistic. Denis described it in 1909: "Art is no longer a visual sensation that we gather, like a photograph, as it were, of nature. No, it is a creation of our spirit, for which nature is only the occasion."
579:, Denis carved a series of seven highly stylized woodblock prints, distilling the essence of his work. His patron Huc commissioned two large decorative panels, in the form of tapestries, for his Toulouse office. Denis, like other artists of the period, also designed colorful
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His wife played the piano, and throughout the 1890s Denis had a growing interest in the connections between music and art. He painted a portrait of her at the piano in 1890. He designed a flowing lithograph, featuring Marthe, for the cover for the sheet music of
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and my thought, while at the same time forcing me to better realize the lessons of the masters." Denis died in Paris of injuries resulting from an automobile accident in
November 1943. The date of his death is variously listed as the 2nd, 3rd, or 13th.
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765:. His new projects included designs wallpapers, stained glass, tapestries, lamp shades, screens, and fans. But while he worked within the time period and used the materials of the Art Nouveau, his themes and style remained distinctly his own.
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region of France. His father was of modest peasant origins; after four years in the army, he went to work at the railroad station. His mother, the daughter of a miller, worked as a seamstress. After their marriage in 1865, they moved to
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541:. The French State was gradually giving up its dominance of art through the annual salons it organized. An independent Salon had been formed in 1884 and in 1890 the official Salon broke into two parts, with the formation of the
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599:, which he began in 1893, and showed at the Salon of Independents in 1893. He sold the first painting to his friend Arthur Fontaine; In 1899 The French state acquired one of the paintings, his first official recognition.
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in the background. The nude figures represented sacred love, and he clothed figure profane love. He made another painting, this time of Marthe nude in the garden, representing both sacred and profane love in one figure.
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style; but Denis' work was purely neoclassical. The theme was the history of music, with figures of Apollo and the Muses. Perret constructed a special studio for Denis so he could paint a work of such a large scale.
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figures in the cupola of the Théâtre des Champs-Élysées. They had two children, Jean-Baptiste (born 1923) and Pauline (born 1925). Elisabeth also features in several paintings of Denis, sometimes alongside Marthe.
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1226:. She later gave him credit for teaching her the craft technique of painting, though her art-deco style was quite different from his. He also devoted much of his time to writing about theory. In 1909 he published
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https://silc.asu.edu/news/school-awards-radke-prize-translation#:~:text=After%20Radke's%20death,%20her%20sister%20and%20several%20friends,of%20Maurice%20Denis's%20journal%20from%20French%20into%20English
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In the late 1920s and 1930s, his prestige was such that he received commissions for a number of murals for important civic buildings. These included the ceiling over the stairway of the French Senate in the
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style in Brussels and Paris, Denis began to pay greater attention to the decorative arts, though his themes of family and spirituality remained the same. Many of his new projects were commissioned by
450:. With the publication of this article, Denis became the best-known spokesperson for the philosophy of the Nabis, though in fact that group was very diverse and had many different opinions about art.
1039:, brightening his colors and showing a happy family romping nude on the beach. He followed this with a series of pictures of nudes at the beach or in bucolic settings, based on mythological themes.
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and was revived again in 1890 by a major retrospective of Japanese prints at the École des Beaux-Arts. Even before 1890 Denis had been cutting out and studying the illustrations of the catalog
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Another topic he addressed in this period was the relationship between sacred love and profane love. The painting had three female figures, two nude and one clothed, following the model of
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426:. The celebrated opening line of the essay was: "Remember that a picture, before being a battle horse, a female nude or some sort of anecdote, is essentially a flat surface covered with
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1564:"Don't lose sight of the essential objectives of painting, which are expression, emotion, delectation; to understand the means, to paint decoratively, to exalt form and color." (
1112:, making drawings. The final work, published in 1913, was filled with rich and colorful floral illustration. He also made highly decorative book designs and illustrations for
1249:, brightening his colors and showing a happy family romping nude but more modestly on a beach. He painted a series of works of nudes at the beach, an homage to the bathers of
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414:)" to "making a blend with Japan." His paintings in the Japanese style featured a wide format and very stylized composition and decoration, appearing like Japanese screens.
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874:(1900), painted following the death of his friend Paul CĂ©zanne. In the foreground, it portrays the friends of CĂ©zanne, several of them former Nabis; from left to right (
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Another influence on Denis at the time was the art of Japan. The interest of French artists in Japanese arts had begun in the 1850s, then was renewed by displays at the
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He produced a small number of portraits, including an unusual portrait of Yvonne Lerolle (1897) which showed her in three different poses in the same picture.
342:, but rejected it as too scientific. In 1889, Denis was captivated by an exposition of works of Gauguin and his friends at the Cafe Volponi, on the edge of the
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subjects, like "The dignity of labour", commissioned in 1931 by the International Federation of Christian Trade Unions to decorate the main staircase of the
228:. He passed the entrance examination for the Beaux-Arts in July 1888, and passed another examination in November to receive his baccalaureate in philosophy.
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1230:, which brought together the articles he had written on art since 1890, describing the course of art from Gauguin to Matisse (whose work he disliked) to
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which had been listed on the German Lost Art Foundation website, was found by family of Holocaust victim Marcel Monteux, from whom it had been looted.
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1205:. The theatre was modern; it was the first major building in Paris constructed of reinforced concrete, and is considered the first building in the
1128:(1917). The last work, made during the midst of the First World War was more somber than his earlier work, largely colored in pale blues an greys.
125:; 25 November 1870 – 13 November 1943) was a French painter, decorative artist, and writer. An important figure in the transitional period between
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and Michelangelo. He wrote in 1922, "The sublime is to approach the subject or wall with an attitude that is grand, noble, and in no way petty."
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The published writings and the private journal of Denis give an extensive view of his philosophy of art, which he developed over his lifetime.
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1508:"Remember that a picture, before being a battle horse, a female nude or some sort of anecdote, is essentially a flat surface covered with
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1425:, where he returned to the colorful and neoclassical themes of his beach paintings. He was commissioned to make two mural panels for the
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in Rome, which he had recently visited. The paintings can still be seen though they have been somewhat disfigured by later renovations.
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From 1899 to 1911 Denis was also busy with graphic arts. For the publisher Vollard he made a set of twelve color lithographs titled
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in 1904, and remained a member until 1927, when the group had moved to the extreme right and was formally condemned by the Vatican.
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Denis experimented with other art forms and with decorative art. Beginning in 1889, to illustrate an edition of the book of poems
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in Paris, to give the stained glass the maximum effect. The windows were made in collaboration with the stained-glass artist
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and figure studies, particularly of mother and child. But his primary interestDenis responded in 1907, with the neoclassical
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442:. Denis was among the first artists to insist on the flatness of the picture plane—one of the great starting points for
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216:, where he excelled at philosophy. However, he decided to leave the school at the end of 1887 and in 1888 enrolled in
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Four French Symbolists: A Sourcebook on Pierre Puvis de Chavannes, Gustave Moreau, Odilon Redon, and Maurice Denis,
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assembled in a certain order." This idea was not original to Denis; the idea had been forward not long before by
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in the Paris suburbs. His father was employed in the offices the administration of the Western Railroads in Paris.
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His most important decorative work was a series of painted panels for the office of Baron Cochin, together called
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639:. The Lithographs did not illustrate the text, but approached the same topics from an artist's point of view.
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In August 1890, Denis consolidated his new ideas and presented them in a famous essay published in the review
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631:, the most prominent literary proponent of symbolism. In 1893 made a collaborative project with the writer
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163:(Workshops of Sacred Art), decorated the interiors of churches, and worked for a revival of religious art.
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movement, but he left in 1927 after the group had moved to the extreme right and was condemned by the
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the theme "Christ preaching to the workers"; and the second, in 1938, for the new headquarters of the
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The Nabis drifted apart by the end of the 1880s, but their ideas influenced the later work of both
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1551:"Painting is first of all the art of imitation, and not the servant of some imaginary 'purity'". (
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and the classical nudity of the Venus de Milo and other Greek sculpture. remained the painting of
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2271:"La ville de Passau restitue deux œuvres spoliées par les nazis aux héritiers de Marcel Monteux"
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salon in Brussels, a leading European showcase for avan-garde art. The literary movement called
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Until about 1906 Denis was considered in the avant-garde of Paris artists, but in that year
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1980 The Maurice Denis Museum was opened in the artist's home in the Parisian suburb of
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2048:"Le renouveau de l'art sacré dans les années 1945–1960 et la "querelle de l'art sacré""
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Besides the Priory, his other major works of this period include the decoration of the
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In 1908 Denis began work on an important decorative project for the Russian art patron
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works, such painted fans, often as an idealized figure representing purity and love.
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in Paris, finished in 1934. The murals and frescoes in the interior were painted by
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Denis was accepted as a student at one of the most prestigious Paris schools, the
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http://www.frenchandenglish.com/wp-content/uploads/2011/08/ASUMasters042109.pdf
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For his technique, Denis was first drawn toward the neoimpressionist style of
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who organized his own art salons and purchased a number of works by Denis.
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in the Vatican made a strong impression upon him. He wrote a long essay,
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2354:, Kunsthaus ZĂĽrich & Grand Palais, Paris & Prestel, Munich 1993
2074:"Art et foi catholique au XXème siècle : les voies de la création…"
1695:"Denis, Maurice." Belinda Thomson, Grove Art Online, Oxford Art Online,
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Maurice Denis: at the Montreal Museum of Fine Arts | Art Knowledge News
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1963 From 28 June to 29 September 1963, at the Musée Toulouse-Lautrec,
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In January 1898 Denis made his first visit to Rome, where the works of
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1995 A major retrospective exhibition took place in 1995 at the UK's
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Denis was affected by the political turmoils of the time, such as the
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The art world was in transition in the early 1890s, with the death of
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Maurice Denis (1870–1943). Leçons de l’Italie, d’après son journal
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Maurice Denis (1870–1943). Leçons de l'Italie, d’après son journal
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On 5 February 1919, shortly after the First World War, Denis and
913:(1894–1906) which divided French society and the art world with
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Eglise du Saint-Esprit, Base Mérimée, French Ministry of Culture
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first shown in 1889, appeared in an October 1890 work by Denis,
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Journal of Denis on 24 March 1895, cited in Bouillon, pg. 25
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in 2007; it was the first major Denis show in North America.
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1449:. The classical panel shows an ancient celebration in the
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Decoration for the Chapel of Sainte-Croix du VĂ©sinet (1899)
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1433:. Denis invited several friends from his earlier career,
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in Paris. There he studied with the painter and theorist
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Frèches-Thory, Claire, and Perucchi-Petri, Ursula, ed.:
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in 1905. Denis joined the nationalist and pro-Catholic
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2217:, tr. Barbara Mellor: London, Bloomsbury Publishing,
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He was very active in the Roman Catholic Church as a
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Chapel of the Priory, Saint-Germain-en-Laye (1915-28)
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At the Académie Julian, his fellow students included
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Journal, 1 January 1940. Cited in Bouillon, page 101
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940:Neo-classicism versus Fauvism- the beach pictures
717:Stained glass window for private residence (1896)
147:. His theories contributed to the foundations of
761:, the art dealer whose gallery gave its name to
159:. Following the First World War, he founded the
1597:Paintings, water-colours, drawings, lithographs
705:Painted screen with doves (1896), Musée d'Orsay
220:to prepare for the entrance examination to the
1623:2007 A similar exhibition was mounted at the
1201:, being constructed in Paris by the architect
2558:
2433:Musee Maurice Denis official site (in French)
1218:Beginning in 1909, he taught painting at the
1214:Teaching and theory — "a new classical order"
753:In the mid-1890s, with the appearance of the
611:, as well as another lithograph for the poem
8:
1671:"Maurice Denis | French artist | Britannica"
1421:; and murals for the Hospice of the city of
1363:his final project before his death in 1943.
176:Maurice Denis was born 25 November 1870, in
2246:"Denis, Maurice Suche | Lost Art-Datenbank"
1384:The most important church decorated by the
1164:Portion of the mural for the cupola of the
746:Portrait of Yvonne Lerolle in Three Aspects
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1733:Maurice Denis – French Painter (1870–1943)
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2452:Lessons from Italy, based on his Journal
2403:Lessons from Italy, based on his Journal
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1056:Frontispiece lithograph from the series
290:(1890), Los Angeles County Museum of Art
2471:
2305:Maurice Denis – Le spirituel dans l'art
1662:
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1193:. Denis created a large mural panel,
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2215:RĂ©sistance, Memoirs of Occupied France
2202:Maurice Denis- Le spiritual dans l'art
2189:Maurice Denis- Le spiritual dans l'art
2176:Maurice Denis- Le spiritual dans l'art
2163:Maurice Denis- Le spiritual dans l'art
2150:Maurice Denis- Le spiritual dans l'art
1241:Subjects of his mature works included
1222:in Paris, where his students included
2046:Rinuy, Paul-Louis (7 November 2002).
245:Self-portrait at the age of 18 (1889)
120:
7:
1330:1928, with the aid of the architect
921:on one side, defending Dreyfus, and
533:in 1891, and the first departure of
369:, as well as non-Nabi painters like
2072:Rossi, Michel (25 September 2010).
1431:1937 Paris International Exposition
2840:Commanders of the Legion of Honour
2835:French Post-impressionist painters
344:Paris Universal Exposition of 1889
14:
1922:Cited in Bouillon, 2006, page 51.
1638:Stehender Knabe unter einem Baum,
1177:, who had been a major patron of
400:Paris Universal Exposition (1855)
2850:19th-century French male artists
2790:20th-century French male artists
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2352:Die Nabis: Propheten der Moderne
1625:Musée Des Beaux Arts de Montréal
1512:assembled in a certain order." (
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193:admired especially the works of
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2424:Works by or about Maurice Denis
2307:(in French). Paris: Gallimard.
673:Art Nouveau and decorative arts
543:Société national des Beaux-Arts
352:Taches du soleil sur la terrace
2845:Road incident deaths in France
1339:Church of Notre-Dame du Raincy
1292:Church of Notre-Dame du Raincy
819:, Racket game on a lawn (1900)
1:
1265:Church windows and decoration
864:Denis was a great admirer of
2785:20th-century French painters
2770:19th-century French painters
2303:Bouillon, Jean-Paul (2006).
2187:Journal, cited in Bouillon,
2174:Journal, cited in Bouillon,
2161:Journal, cited in Bouillon,
1043:Book design and illustration
514:Nude with Bouquet of Violets
2765:École des Beaux-Arts alumni
1086:L'Imitation de Jesus-Christ
2866:
1599:, with an introduction by
1447:Théâtre des Champs-Élysées
1199:Théâtre des Champs-Élysées
1166:Théâtre des Champs-Élysées
501:Portrait of Marthe, (1893)
348:Vache au-dessus du gouffre
16:French painter (1870–1943)
2780:French Symbolist painters
1699:. Retrieved 18 June 2014.
1359:(1931) and the church of
782:Pierre Puvis de Chavannes
133:, he is associated with
35:
2686:Toulouse-Lautrec Cooking
1132:Architectural decoration
1074:Les Maîtres de l'Affiche
991:Bathers at Perros Guirec
770:The Legend of St. Hubert
731:The Legend of St. Hubert
595:time, The series called
180:, a coastal town in the
2332:Greenwood Press, 1996,
1697:Oxford University Press
1632:Looting and restitution
1585:La LĂ©gende de St Hubert
1148:, panel for mansion of
1102:Saint Francis of Assisi
393:, (1891), Musée d'Orsay
2815:French Roman Catholics
2795:Académie Julian alumni
2760:Lycée Condorcet alumni
2375:Jean-Jacques Leveque,
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1390:Église du Saint-Esprit
1307:Église du Saint-Esprit
1259:Centre William Rappard
566:La DĂ©pĂŞche de Toulouse
354:, and later in Denis'
327:, and the writings of
2825:Artists from Normandy
2372:1945, ASIN B000XY26Y6
1757:global.britannica.com
1735:, h2g2, 14 June 2007.
1607:Saint-Germain-en-Laye
1582:
1195:The history of Psyche
666:Saint-Germain-en-Laye
436:The Philosophy of Art
273:Le Mystere Catholique
226:Jules Joseph Lefebvre
187:Saint-Germain-en-Laye
2775:French male painters
2328:Russell T. Clement,
2200:Ccited in Bouillon,
1498:Quotations about art
1402:Ateliers d'Art Sacré
1373:Ateliers d'Art Sacré
1072:Poster published in
657:DĂ©jeuner sur l'herbe
644:Le Concert ChampĂŞtre
623:, based on the poem
613:Pelléas et Mélisande
222:École des Beaux-Arts
161:Ateliers d'Art Sacré
94:École des Beaux-Arts
2713:L'Estampe originale
2613:Henri-Gabriel Ibels
2148:Cited in Bouillon,
1795:oxfordindex.oup.com
1673:. 27 February 2024.
1394:George Desvallières
1368:George Desvallières
1247:Bacchus and Ariadne
1146:The Story of Psyche
1037:Bacchus and Ariadne
954:Bacchus and Ariadne
617:Maurice Maeterlinck
547:La Libre Esthétique
472:Marthe at the Piano
258:Climbing to Calvary
42:Self-portrait, 1916
2830:Pont-Aven painters
2810:People from Manche
2729:Post-Impressionism
2633:Ker-Xavier Roussel
2362:(German), (French)
2076:. Diocese of Arras
1747:, 18 December 1887
1614:Walker Art Gallery
1588:
1553:Nouvelles Théories
1540:Nouvelles Théories
1427:Palais de Chaillot
1305:Altarpiece of the
1224:Tamara de Lempicka
900:Ker-Xavier Roussel
859:Puvis de Chavannes
729:Second panel from
605:La Damoiselle Ă©lue
412:Puvis de Chavannes
356:Solitude du Christ
313:Ker-Xavier Roussel
207:Puvis de Chavannes
2737:
2736:
2694:Homage to CĂ©zanne
2446:Diane Goullard –
2397:Diane Goullard –
2393:978-2-86770-181-8
2346:978-0-313-29752-6
2223:978 0 7475 9674 5
2036:, pp. 76–77.
1985:, pp. 68–69.
1973:, pp. 59–61.
1946:, pp. 58–59.
1934:, pp. 51–56.
1901:, pp. 40–41.
1889:, pp. 35–37.
1877:, pp. 30–33.
1865:, pp. 27–29.
1832:, pp. 22–23.
1820:, pp. 20–21.
1785:, pp. 18–19.
1773:, pp. 17–18.
1723:, pp. 14–15.
1686:, pp. 72–73.
1459:League of Nations
1419:Luxembourg Palace
1168:, Paris (1908-11)
890:, Denis himself,
871:Homage to CĂ©zanne
833:Homage to CĂ©zanne
637:Le Voyage d'Urien
629:Stéphane Mallarmé
625:Princesse Maleine
583:posters with the
557:in an article in
391:September Evening
178:Granville, Manche
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2015:
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52:Maurice Denis
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2608:Hermann-Paul
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2297:Bibliography
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2278:. Retrieved
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2253:. Retrieved
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2078:. Retrieved
2067:
2055:. Retrieved
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2014:
2002:
1990:
1978:
1951:
1939:
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1516:August 1890)
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1412:Civic murals
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1179:Claude Monet
1175:Ivan Morozov
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1150:Ivan Morozov
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1092:by the poet
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956:(1907), the
953:
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876:Odilon Redon
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866:Paul CĂ©zanne
863:
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847:Michelangelo
840:
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621:La Petit Air
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195:Fra Angelico
191:
175:
157:abstract art
143:, and later
134:
113:
112:
79:(1943-11-13)
18:
2805:Nabis (art)
2755:1943 deaths
2750:1870 births
2648:Jan Verkade
2628:Paul Ranson
1575:Exhibitions
896:Paul Ranson
763:Art Nouveau
759:Samuel Bing
755:Art Nouveau
589:Art Nouveau
555:Jean Moréas
309:Paul Ranson
2744:Categories
2500:Quotations
2405:(English)
2366:Paul Jamot
2280:6 November
2255:6 November
1657:References
1381:divinity.
1243:landscapes
1017:presented
972:Polyphemus
919:André Gide
915:Émile Zola
633:André Gide
581:lithograph
325:positivism
203:Botticelli
172:Early life
131:modern art
58:1870-11-25
2724:Lugné-Poe
2662:Paintings
2454:(English)
1618:Liverpool
1465:Late life
1309:in Paris
1255:religious
1114:Vita Nova
958:Hermitage
778:Delacroix
733:(1895-97)
597:The Muses
585:arabesque
560:Le Figaro
551:symbolism
458:Symbolism
444:modernism
440:modernism
232:Les Nabis
167:Biography
141:symbolism
136:Les Nabis
90:Education
2719:Intimism
2581:Painters
2204:, p. 100
2191:, p. 100
2178:, p. 100
2165:, p. 100
2080:8 August
2057:8 August
1652:, patron
1644:See also
1484:Tertiary
1388:was the
1386:Ateliers
1378:Ateliers
1228:Théories
1207:Art Deco
1098:Fiorette
1033:Brittany
978:, Moscow
974:(1907),
527:Van Gogh
377:Japanism
367:Vuillard
358:(1918).
182:Normandy
68:, France
2705:Related
2426:at the
2152:, p. 21
2052:Eduscol
1745:Journal
1568:, 1930)
1566:Journal
1527:Journal
1492:Vatican
1443:Roussel
1251:Raphael
1236:Maillol
1232:CĂ©zanne
1110:Tuscany
1090:Sagesse
1025:fauvism
1008:(1916)
993:(1912)
843:Raphael
573:Sagesse
535:Gauguin
363:Bonnard
199:Raphael
153:fauvism
118:French:
2697:(1900)
2689:(1898)
2681:(1893)
2673:(1888)
2391:
2387:&
2383:
2379:2006,
2358:
2344:
2336:
2311:
2221:
1555:(1922)
1542:(1922)
1510:colors
1406:Giotto
1361:Thonon
1357:Perros
1106:Umbria
1060:(1899)
927:Renoir
836:(1900)
748:(1897)
652:Titian
539:Tahiti
531:Seurat
516:(1894)
474:(1891)
448:Seurat
428:colors
340:Seurat
275:(1889)
260:(1889)
155:, and
149:cubism
2574:Nabis
2517:Texts
2483:Media
1323:Reims
1118:Dante
1082:Amour
1058:Amour
923:Rodin
687:April
662:Manet
321:Nabis
2534:Data
2389:ISBN
2381:ISBN
2356:ISBN
2342:ISBN
2340:and
2334:ISBN
2309:ISBN
2282:2023
2257:2023
2219:ISBN
2082:2014
2059:2014
1593:Albi
1441:and
1234:and
1181:and
1122:Eloa
1108:and
1006:Wave
917:and
857:and
845:and
780:and
654:and
646:and
591:.
365:and
331:and
315:and
299:and
201:and
129:and
74:Died
48:Born
29:TOSD
1616:in
1189:by
1124:by
1116:by
1100:by
1031:in
689:or
660:by
650:of
627:by
615:by
607:by
575:by
537:to
434:in
2746::
2409:;
2368:,
2284:.
2273:.
2248:.
2050:.
2026:^
1963:^
1763:^
1595:.
1437:,
1396:,
1261:.
925:,
902:,
898:,
894:,
886:,
878:,
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373:.
311:,
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209:.
197:,
151:,
139:,
96:,
2566:e
2559:t
2552:v
2469::
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2259:.
2084:.
2061:.
1620:.
1609:.
116:(
60:)
56:(
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