Galleries, exhibitions - Art in Hong Kong - Cezanne and Renoir exhibition

IMGP2730.JPG; PENTAX K-1 Mark II; f/4.5; 1/4; 800; ©ROY_GRUBB [5656]

IMGP2712.JPG; PENTAX K-1 Mark II; f/4.5; 1/15; 800; ©ROY_GRUBB [5622]

IMGP2695.JPG; PENTAX K-1 Mark II; f/4.5; 1/20; 800; ©ROY_GRUBB [5623]

Three Bathers 1874-1875; Paul Cézanne
Oil on canvas
Musée d'Orsay; IMGP2696.JPG; PENTAX K-1 Mark II; f/5.6; 1/13; 800; ©ROY_GRUBB [5624]

Flowers in a vase; Pierre-Auguste Renoir; IMGP2699.JPG; PENTAX K-1 Mark II; f/4.5; 1/15; 800; ©ROY_GRUBB [5626]

Flowers 1901; Pierre-Auguste Renoir
Oil on canvas
Musée de l'Orangerie; IMGP2700.JPG; PENTAX K-1 Mark II; f/4.0; 1/25; 800; ©ROY_GRUBB [5627]

Claude Renoir in Clown Costume 1909; Pierre-Auguste Renoir; IMGP2703.JPG; PENTAX K-1 Mark II; f/4.0; 1/15; 800; ©ROY_GRUBB [5629]

Portrait of Madame Cezanne 1890; Paul Cézanne; IMGP2704.JPG; PENTAX K-1 Mark II; f/4.0; 1/25; 800; ©ROY_GRUBB [5630]

Nude in a Landscape 1883; Pierre-Auguste Renoir
Oil on canvas
Musée de l'Orangerie; IMGP2705.JPG; PENTAX K-1 Mark II; f/4.0; 1/30; 800; ©ROY_GRUBB [5631]

Seated Bather Drying Her Leg 1914; Pierre-Auguste Renoir
Oil on canvas
Musée de l'Orangerie; IMGP2707.JPG; PENTAX K-1 Mark II; f/4.5; 1/15; 800; ©ROY_GRUBB [5633]

Bather; Pierre-Auguste Renoir; IMGP2709.JPG; PENTAX K-1 Mark II; f/4.5; 1/25; 800; ©ROY_GRUBB [5635]

A Village Road near Auvers 1872 -1873; Paul Cézanne
Oil on canvas
Musée d'Orsay; IMGP2710.JPG; PENTAX K-1 Mark II; f/4.5; 1/15; 800; ©ROY_GRUBB [5636]

The Red Rock ca. 1895 -1900; Paul Cézanne
Oil on canvas
Musée de l'Orangerie
One of the masterpieces of the mature Cézanne, this work depicts the deserted Bibémus quarries near Aix-en-Provence, featuring a patch of trees beneath a blue sky and a red rock in the corner with cross-hatched brushwork. The absence of traditional perspective gives the composition an abstract and geometric appearance, reflecting Cézanne's innovative attempt to introduce a new visual language of form, perspective and structure in his art.; IMGP2728.JPG; PENTAX K-1 Mark II; f/4.0; 1/25; 800; ©ROY_GRUBB [5638]

Landscape with Red Roof (The Pine at l'Estaque) 1875 -1876; Paul Cézanne
Oil on canvas
Musée de l'Orangerie; IMGP2713.JPG; PENTAX K-1 Mark II; f/4.0; 1/20; 800; ©ROY_GRUBB [5639]

Barges on the Seine ca. 1869; Pierre-Auguste Renoir
Oil on canvas
Musée d'Orsay; IMGP2715.JPG; PENTAX K-1 Mark II; f/4.5; 1/30; 800; ©ROY_GRUBB [5641]

English Pear Tree ca. 1873; Pierre-Auguste Renoir
Oil on canvas
Musée d'Orsay; IMGP2717.JPG; PENTAX K-1 Mark II; f/4.5; 1/20; 800; ©ROY_GRUBB [5643]

Algerian Landscape (The Ravine of the Wild Women) 1881; Pierre-Auguste Renoir
Oil on canvas
Musée d'Orsay; IMGP2719.JPG; PENTAX K-1 Mark II; f/4.5; 1/15; 800; ©ROY_GRUBB [5645]

Boat and Bathers ca. 1890; Paul Cézanne
Oil on canvas
Musée de l'Orangerie
Inspired by Guernsey's marine motifs and luminous colours, Renoir produced 15 landscape paintings during his month-long stay there in 1883. This visit marked a turning point in his career, as he moved away from creating bourgeois portraiture for patrons. He successfully developed a new genre, blending Impressionistic landscapes influenced by his friend Claude
Monet (1840 - 1926) and female nudes which recalled the classical European tradition.; IMGP2721.JPG; PENTAX K-1 Mark II; f/4.5; 1/30; 800; ©ROY_GRUBB [5647]

Boat and Bathers ca. 1890; Paul Cézanne
Oil on canvas
Musée de l'Orangerie
As Cézanne's only commissioned decorative project, this unusually elongated painting was intended to be placed above a door at the Paris apartment of Cézanne's collector and friend Victor Chocquet. A slight variation on the composition of the classic theme of bathers, this work evokes a harmonious atmosphere between man and nature reminiscent of classical idyllic landscapes. Originally cut into three sections for commercial reasons, it was restored to wholeness in the early 1980s when acquired by France's national museums.; IMGP2724.JPG; PENTAX K-1 Mark II; f/4.5; 1/20; 800; ©ROY_GRUBB [5650]

On the Grounds of Chateau Noir 1898-1900; Paul Cézanne
Oil on canvas
Musée de l'Orangerie; IMGP2726.JPG; PENTAX K-1 Mark II; f/4.0; 1/20; 800; ©ROY_GRUBB [5652]

Madame Cézanne in the Garden ca. 1880; Paul Cézanne
Oil on canvas
Musée de l'Orangerie; IMGP2743.JPG; PENTAX K-1 Mark II; f/4.5; 1/25; 800; ©ROY_GRUBB [5654]

Woman with a Letter 1890 -1895; Pierre-Auguste Renoir
Oil on canvas
Musée de l'Orangerie; IMGP2731.JPG; PENTAX K-1 Mark II; f/4.5; 1/25; 800; ©ROY_GRUBB [5657]

Claude Renoir Playing ca. 1905; Pierre-Auguste Renoir
Oil on canvas
Musée de l'Orangerie; IMGP2733.JPG; PENTAX K-1 Mark II; f/4.5; 1/25; 800; ©ROY_GRUBB [5659]

Portrait of Two Girls 1890 -1892; Pierre-Auguste Renoir
Oil on canvas
Musée de l'Orangerie; IMGP2735.JPG; PENTAX K-1 Mark II; f/4.5; 1/20; 800; ©ROY_GRUBB [5661]

Yvonne and Christine Lerolle at the Piano ca. 1897; Pierre-Auguste Renoir
Oil on careens
Musée de l'Orangerie; IMGP2737.JPG; PENTAX K-1 Mark II; f/4.0; 1/20; 800; ©ROY_GRUBB [5663]

Girls at the Piano ca. 1892; Pierre-Auguste Renoir
Oil on canvas
Musée de l'Orangerie
As a music lover, Renoir enjoyed depicting young girls playing the piano. Likely to be an initial draft for his first national official commission, the painting was possibly created in his home, as he gave a piano to his wife as a wedding gift. He developed at least six variations of this theme, reflecting the significance of the commission and his perfectionism. The two girls also appear in Portrait of Two Girls, which is displayed in this section.; IMGP2739.JPG; PENTAX K-1 Mark II; f/4.0; 1/30; 800; ©ROY_GRUBB [5665]

Blonde Girl with a Rose 1915 - 1917; Pierre-Auguste Renoir
Oil on canvas
Musée de l'Orangerie
Towards the end of his life, Renoir painted this portrait of Andrée-Madeleine Heuschling. She was Renoir's last model and eventually married his second son, Jean, and starred in a number of Jean's films, including Nana. The portrait depicts the model's feminine youth with soft shades of red, pink and yellow, and whose beauty was symbolised by the roses in full bloom.; IMGP2741.JPG; PENTAX K-1 Mark II; f/4.5; 1/30; 800; ©ROY_GRUBB [5667]

Large Nude with Drapery; Pablo Picasso
Oil on canvas
Musée de "Orangerie
Deeply interested in returning art to classical traditions in the 1920s, Picasso borrowed the female body's twisting movements from Italian Renaissance master Michelangelo (1475 - 1564) and French Neoclassical painter Ingres (1780 - 1867) for his Large Nude with Drapery. Having owned two Bathers by Renoir, Picasso also drew inspiration from Renoir's
interpretation of the classical nude. ; IMGP2751.JPG; PENTAX K-1 Mark II; f/4.0; 1/40; 800; ©ROY_GRUBB [5670]

Portrait of Paul Guillaume ca. 1930; Kees van Dongen
(1877 -1968)
Oil on canvas
Musée de l'Orangerie; IMGP2752.JPG; PENTAX K-1 Mark II; f/4.0; 1/25; 800; ©ROY_GRUBB [5671]

The Artist's Son ca. 1880; Paul Cézanne
Oil on canvas
Musée de l'Orangerie
Of all the drawings and paintings that Cézanne created of his son, Paul, whom he shared with partner Hortense, this is the most ambitious and accomplished. The abruptly-cropped armchair and the photo-like framing show Cézanne's experimental approach to alternative paintings. The interplay of curves is also seen in the boy's face and shoulders and the armchair, accentuated by the highly simplified forms with defined outlines.; IMGP2745.JPG; PENTAX K-1 Mark II; f/4.5; 1/15; 800; ©ROY_GRUBB [5674]

Grande Nature morte 1917-18; Pablo Picasso; IMGP2747.JPG; PENTAX K-1 Mark II; f/4.0; 1/50; 800; ©ROY_GRUBB [5676]

Reclining Female Nude (Gabrielle); Pierre-Auguste Renoir
1906 -1907
Oil on canvas
Musée de l'Orangerie
Renoir's Reclining Female Nude (Gabrielle) also borrowed heavily from the long European tradition of painting reclining nudes of Venus, the Goddess of Love; IMGP2748.JPG; PENTAX K-1 Mark II; f/4.0; 1/25; 800; ©ROY_GRUBB [5677]