Home for the Impressionists: the Langmatt Museum: The Sidney and Jenny Brown Foundation, Baden, Switzerland

Home for the Impressionists: the Langmatt Museum: The Sidney and Jenny Brown Foundation, Baden, Switzerland

Paperback

$55.00

Overview

Villa Langmatt in Baden is one of the prime gems among Swiss private collections open to the public. In 1908, Sidney and Jenny Brown began to assemble the collection, the first Impressionist grouping in Switzerland, and today the results of their astute, sensitive collecting are presented in the original domestic environment in which the Browns lived with their beloved Impressionist masterpieces. Works by Camille Corot and Eugene Boudin stand as preliminary pictures, followed by treasures from Edgar Degas, Claude Monet, Auguste Renoir, Camille Pissarro and Alfred Sisley, as well as Paul Cézanne and Paul Gauguin. Also featured are pieces by Gustave Courbet, Henri Fantin-Latour, Odilon Redon and Mary Cassatt. The collection is rounded off with a few eighteenth-century canvases. A Home for the Impressionists presents the complete group of paintings in the Sidney and Jenny Brown collection, as well as a selection of applied art objects, including furniture, silver, eighteenth- and nineteenth-century porcelain and Asiatica. Each catalogued work is detailed by a contributing art historian. Essays discuss the history of the collection, the architecture of the villa, which was designed by Karl Mose, and the gardens, which were laid out by Otto Froebel.

Product Details

ISBN-13: 9783775710183
Publisher: Hatje Cantz Verlag GmbH & Co KG
Publication date: 08/15/2005
Pages: 304
Product dimensions: 11.60(w) x 9.70(h) x 0.90(d)
Age Range: 18 Years

About the Author

Odilon Redon was born in 1840 in Bordeaux, France and later studied in Paris under Gerume. In his early twenties he began to read Flaubert, Baudelaire and Poe, three authors who would continue to influence his work. He learned lithography with Fantin-Latour but found a true mentor in Rodolphe Bresdin, whose fantastic imagery ran contrary to the art establishment, a position and style Redon would adopt as well. After working almost exclusively in black-and-white until the 1890s, when he suffered a serious illness and spiritual crisis, Redon began to paint and use pastels and revealed himself as a brilliant colorist, producing mythological scenes and flowers much admired by Matisse. Well-known by the end of his life, Redon remained a private man and died in Paris in 1916.

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