plus grands noms de l’impressionnisme à peindre ou à colorier aux numéros avec leur modèle.
Gustave Caillebotte • L a
Seine à Argenteuil, bateaux au mouillage Pont de l’Europe • Vue de toits, effet de neige • Le
Paul Cézanne • Le
Village de Gardanne • Pommes et oranges • Le Vase bleu • L’Estaque, vue du golfe de Marseille • Pot de lait avec pommes et citrons • Nature morte avec Amour en plâtre
Edgar Degas • Danseuse
(salle de danse) de course (devant les tribunes) • Danseuse à la barre • Chevaux
Paul Gauguin • Ferme
au Pouldu • Le Cheval blanc • La Sieste • Ferme à Arles • Entre les lys ou Paysage de Bretagne
Edouard Manet • Vase
de pivoines sur piédouche
• Les Paveurs rue Mosnier • Roses dans un vase
68 6671 5 ISBN : 978-2-81231-139-0 12,90 € prix ttc France
www.editionsduchene.fr
C O L O R I N G B O O K THE IMPRESSIONISTS FROM CAILLEBOTTE TO MANET
20 tableaux des
COLORING BOOK THE IMPRESSIONISTS FROM CAILLEBOTTE TO MANET
Contents Introduction p. 5 Pencils at the ready! p. 10 Instructions p. 11
Boats Moored on the Seine at Argenteuil Gustave Caillebotte p. 15
Le Pont de l’Europe Gustave Caillebotte p. 19
Rooftops in the Snow (Snow Effect) Gustave Caillebotte p. 23
The Village of Gardanne Paul Cézanne p. 27
Apples and Oranges Paul Cézanne p. 31
The Blue Vase Paul Cézanne p. 35
The Bay of Marseille Seen from L’Estaque Paul Cézanne p. 39
Still Life with Milk Jug and Fruit Paul Cézanne p. 43
Still Life with Plaster Cupid Paul CĂŠzanne p. 47
Dancer Edgar Degas p. 51
Racehorses in Front of the Grandstand Edgar Degas p. 55
Dancer at the Barre Edgar Degas p. 59
Farm in Pouldu Paul Gauguin p. 63
The White Horse Paul Gauguin p. 67
The Siesta Paul Gauguin p. 71
Farm in Arles Paul Gauguin p. 75
Breton Landscape (Among the Lilies) Paul Gauguin p. 79
Vase of Peonies Edouard Manet p. 83
Street Pavers Rue Mosnier Edouard Manet p. 87
Roses in a Vase Edouard Manet p. 91
Introduction
P
aris 1862: A group of young painters who were fascinated by light and eager to affirm their artistic freedom met in Paris, and Impressionism was born. Among them was Claude Monet, aged 22, who had left his family in Normandy to learn his art from the grand masters of the Paris academies. Monet’s childhood was far from studious, but his caricatures were appreciated by a local art dealer in Le Havre and they sold relatively well, building Monet a minor reputation. The trade in his work brought him into contact with the painter, Eugène Boudin, who initiated him in outdoor painting and encouraged him to defy his family’s wishes in order to pursue a career as a painter. After a first Parisian sojourn in 1859, Monet fulfilled two years of military service in Algeria, before returning to Paris to study under Charles Gleyre at the Beaux-Arts. At Gleyre’s workshop, Claude Monet struck up a friendship with Alfred Sisley, Pierre-Auguste Renoir and the young Frédéric Bazille (who died in the 1870 Franco-Prussian War). Monet was deterred by his tutor’s rigid method and unreceptive to the school’s academic style inspired by Antiquity, and after several months decided to leave the workshop, convincing his companions to follow suit, much to their master’s distaste: “I expect you want to paint for fun?” the tutor asked his student who replied, “Of course. If it didn’t, believe me, I wouldn’t bother.” The four friends left for the open air, setting their easels in the forest of Fontainebleau, Normandy and on the banks of the Seine. From their shared experience emerged a new vision of painting which sought to capture variations of light and atmosphere in the moment. The jury of the capital’s annual art fair, the Salon, which was dominated by academic
5
Camille Pissarro (1830–1903) produced meticulous landscapes and country scenes in Louveciennes, Pontoise and Eragny. From 1865 to 1885, he shared a very close friendship with Paul Cézanne (1839–1906) who soon left Impressionism to follow his own personal, innovative path. Towards the end of his career, as the oldest member of the Impressionists, Pissarro was considered to be something of a patriarch. His art never ceased to evolve however and he developed an interest in the Neo-Impressionism of Seurat and Signac, even adopting pointillism for a while, a stance that was frowned upon by his pioneering companions. Late in life, he returned to his initial style and had the satisfaction of seeing a number of his scenes of Paris finally appreciated. (Avenue de l’Opéra, Le Jardin des Tuileries). The sole female artist of the group (alongside the American Mary Cassatt), Berthe Morisot (1841–1895) painted delicate scenes of young ladies from affluent families, from which Morisot herself originated. After painting her sisters and their children (The Cradle), she produced a long series of portraits of her own daughter, Julie, born in 1878 from her marriage with Eugène Manet, brother of the painter Édouard Manet. Between 1874 and 1886 eight Impressionist exhibitions were held in Paris. Throughout the years, the group lost cohesion and dissention broke out, especially when Pissarro expressed support for the Neo-impressionists whose pointillist technique, to Renoir and Monet, lost the spontaneity of the Impressionist touch. The members of the group who lived the longest (Renoir and Monet) were financially comfortable and met with fortune when Impressionism was finally acknowledged.
9
Le Pont de l’Europe (1876)
Gustave Caillebotte 1848-1894
“The urban vision Caillebotte casts upon these vast empty spaces […] translates both the dimension of the city and the inevitable feeling of angst it may invoke.” Jean-Jacques Lévêque
Basic colors 1 White
2 Black
3 Dark blue
4 Ocher
5 Yellow
6 Red ocher
7 Pale yellow
8 Red
9 Moss green
10 Emerald green
11 Light blue
12 Light brown
13 Mustard yellow
14 Gray
15 Dark brown
16 Grège
17 Azure blue
Color mixtures A G ray + a large touch of Light blue + a small touch of grège
D G rège + a large touch of Ocher + a small touch of Light brown
G G ray + a large touch of Light blue + a small touch of Light brown
B L ight blue + a medium touch of grège
E Gray + a medium touch of Dark blue + a small touch of grège
H G ray + a medium touch of Light brown
C G rège + a medium touch of Pale yellow + a medium touch of White
F L ight brown + a large touch of Dark brown + a small touch of Dark blue
I E qual mix of Black and Dark brown
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J Equal mix of Black and Gray
K E qual mix of Gray and Dark brown
Le Pont de l’Europe, 1876. Gustave Caillebotte.
The Village of Gardanne (1886)
Paul Cézanne 1839-1906
“I have begun painting because I feel seldom troubled. Everyday I go to Gardanne and I return home every evening to Aix.” Paul Cézanne
Basic colors 1 White
2 Black
3 Dark blue
4 Ocher
5 Yellow
6 Red ocher
7 Pale yellow
Color mixtures A E qual mix of Pale yellow and White
H P ale yellow + a large touch of Red ocher
O Equal mix of Ocher and Dark blue
V E qual mix of Black and White + a touch of Dark blue
B P ale yellow + a faint touch of Black
I E qual mix of Red ocher and Black
P Equal mix of Ocher and Dark blue + a light touch of Black
W E qual mix of Dark blue and White
C P ale yellow + a large touch of White + a faint touch of Black
J E qual mix of Yellow, Dark blue and Black
Q E qual mix of Pale yellow and Yellow + a faint touch of Dark blue
X W hite + a light touch of Dark blue
D W hite + a light touch of Pale yellow
K E qual mix of Yellow and Dark blue
R W hite + a faint touch of Black
Y W hite + a faint touch of Dark blue
qual mix of Ocher E E and Red ocher
L Y ellow + a touch of Dark blue
S W hite + a faint touch of Black + a faint touch of Pale yellow
Z W hite + a faint touch of Dark blue + a faint touch of Black
F E qual mix of Yellow and Red ocher
M W hite + a large touch of Yellow + a large touch of Dark blue
T W hite + a touch of Black
G E qual mix of Yellow, Red ocher and Ocher
N O cher + a light touch of Dark blue
U E qual mix of Black and White
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The Village of Gardanne, 1886. Paul CĂŠzanne.
The Village of Gardanne, 1886. Paul CĂŠzanne.