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Painting Looking Out A Window

From the within out — 10 scenes from the artist's window

Equally people everywhere try to come up to terms with the new reality, nosotros explore how great artists of the past communicated their feelings nearly the earth beyond their windows — and, on occasion, their sense of detachment from it

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  • Waste Ground, Paddington

Lucian Freud (1922-2011), Waste Ground, Paddington, 1970. Oil on canvas. 28 x 28  in (71.1 x 71.1  cm). Sold for $7,781,000 on 12 November 2014 at Christie's in New York. © The Lucian Freud Archive  Bridgeman Images

Lucian Freud (1922-2011), Waste Ground, Paddington, 1970. Oil on canvas. 28 x 28 in (71.1 x 71.1 cm). Sold for $7,781,000 on 12 November 2014 at Christie's in New York. © The Lucian Freud Archive / Bridgeman Images

Following the death of his architect begetter, Ernst L. Freud — himself the fourth child of Sigmund Freud — in 1970, Lucian Freud (1922-2011) began to paint terraced houses and factories. In Waste matter Ground, Paddington, created that same year, Freud depicted the debris outside his studio window with the same intimate scrutiny that he applied to his nudes and portraits.

'I was very conscious as I looked out of the window at the dorsum that more and more people were leaving and that it got emptier and emptier,' he recalled after. Over the side by side two years, the artist would find respite from his grief in these seemingly mundane views.

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  • Pierre Bonnard La porte-fenêtre avec chien

Pierre Bonnard (1867-1947), La porte-fenêtre avec chien, 1927. Oil on canvas. 42¼ x 24⅞  in (107.3 x 63.2  cm). Sold for $4,212,500 on 13 November 2017 at Christie's in New York

Pierre Bonnard (1867-1947), La porte-fenêtre avec chien, 1927. Oil on canvass. 42¼ 10 24⅞ in (107.3 x 63.2 cm). Sold for $4,212,500 on 13 November 2017 at Christie's in New York

Every day for the last two decades of his life, Pierre Bonnard (1867-1947) and his wife Marthe ate breakfast and lunch in the small sitting room on the second floor of their modest villa, Le Bosquet ('The Grove'), overlooking the bay of Cannes. The couple purchased the house in 1926, as the artist neared 60 years of age, and Bonnard created this painting the following year.

The rooms of Le Bosquet would remain Bonnard'southward greatest source of inspiration in his concluding years. Co-ordinate to his great-nephew, Michel Terrasse, he made 59 paintings of the dining room, 21 paintings of the sitting room, fifteen paintings of the bathroom and six paintings of his chamber at Le Bosquet.

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  • Camille Pissarro Le Pont-Neuf, après-midi de pluie, 1re série

Camille Pissarro (1830-1903), Le Pont-Neuf, après-midi de pluie, 1re série, 1901. Oil on canvas. 32 x 25¾  in (81.2 x 65.4  cm). Sold for $6,517,500 on 11 November 2019 at Christie's in New York

Camille Pissarro (1830-1903), Le Pont-Neuf, après-midi de pluie, 1re série, 1901. Oil on canvas. 32 x 25¾ in (81.2 x 65.four cm). Sold for $6,517,500 on 11 November 2019 at Christie's in New York

In December 1900 Camille Pissarro (1830-1903) took up residence on the 2nd flooring of 28 place Dauphine in Paris, overlooking the Pont-Neuf, the oldest span over the river Seine.

'An exquisite and captivating subject field,' the creative person wrote of the view. 'Since I've been in Paris, I've been able to work from my window incessantly.' Over the side by side three years, Pissarro created 13 paintings of Pont-Neuf from his flat window, depicting the bridge in sun, cloud, rain, mist, frost and snowfall.

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  • Gustave Caillebotte L'Homme au balcon, boulevard Haussmann

Gustave Caillebotte (1848-1893), LHomme au balcon, boulevard Haussmann, 1880. 45⅞ x 35⅛  in (116.5 x 89.5 cm). Sold for $14,306,000 on 8 May 2000 at Christie's in New York

Gustave Caillebotte (1848-1893), Fifty'Homme au balcon, boulevard Haussmann, 1880. 45⅞ x 35⅛ in (116.five x 89.5 cm). Sold for $14,306,000 on 8 May 2000 at Christie'southward in New York

One of Gustave Caillebotte's (1848-1893) favourite themes, the balustrade was a motif for bourgeois 19th-century Parisian life — a place where the wealthy could observe the streets and besides be seen.

'Information technology is through a window that nosotros communicate with the exterior earth,' Caillebotte once wrote. Here, the artist captured the view from his own apartment, paying as much attending to the blueprint of his balcony railings and overhanging canopy as he does the houses across the boulevard.

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  • Spencer Frederick Gore From a Window in the Hampstead Road

Spencer Frederick Gore (1878-1914), From a Window in the Hampstead Road, 1911. Oil on canvas. 14 x 10  in (35.5 x 25.4  cm). Sold for £115,250 on 18 June 2008 at Christie's in London

Spencer Frederick Gore (1878-1914), From a Window in the Hampstead Route, 1911. Oil on sail. fourteen ten 10 in (35.5 x 25.4 cm). Sold for £115,250 on 18 June 2008 at Christie's in London

Spencer Frederick Gore (1878-1914) painted this scene during his brief stay at artist Walter Sickert'southward home in Camden, North London, in the summertime of 1911. The view shows Hampstead Road and Rutland Street, with a housemaid scrubbing the steps leading up to a doctor'due south surgery. Gore was so inspired by his stay that he moved into the neighbourhood a yr afterward.

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  • C.R.W. Nevinson From a Venetian Window

Christopher Richard Wynne Nevinson, A.R.A. (1889-1946), From a Venetian Window, 1934. Oil on canvas. 25½ x 30½  in (64.8 x 77.4  cm). Sold for £100,900 on 20 November 2013 at Christie's in London

Christopher Richard Wynne Nevinson, A.R.A. (1889-1946), From a Venetian Window, 1934. Oil on canvass. 25½ ten xxx½ in (64.8 x 77.iv cm). Sold for £100,900 on 20 November 2013 at Christie's in London

In the 1930s C.R.Due west. Nevinson (1889-1946) put backside him the abstract style of his early career and state of war period, and turned towards a more realistic and traditional mode of painting.

This 1934 view looks out of a bedroom window from the Giudecca, an island in the Venetian lagoon. '[Venice] was the first identify to inspire me to be an artist and information technology may exist the last,' Nevinson one time confessed. Reflecting on the trip later, he declared, 'Ill as I was, we went, and I did some of the best paintings I have ever washed.'

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  • Utagawa Hiroshige Asakusa-Tanbo, Torinomachi-mode

From the second-storey window of a brothel — a courtesan's accoutrements are casually bundled in the foreground — a cat observes a busy procession crossing the Asakusa rice fields to the Torinomachi Festival.

This impress comes from Utagawa Hiroshige'southward (1797-1858) final masterpiece, a serial known as 'One Hundred Famous Views of Edo', depicting celebrated landmarks and cultural festivals in the 19th-century city, which is now chosen Tokyo.

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  • Carl Vilhelm Holsøe The Artist's Wife Sitting at a Window in a Sunlit Room

Carl Vilhelm Holsøe (Danish, 1863-1935), The Artists Wife Sitting at a Window in a Sunlit Room. Oil on canvas. 32¼ x 35½  in (81.9 x 90.2  cm). Sold for $167,000 on 28 October 2015 at Christie's in New York

Carl Vilhelm Holsøe (Danish, 1863-1935), The Artist's Wife Sitting at a Window in a Sunlit Room. Oil on canvas. 32¼ x 35½ in (81.9 10 ninety.ii cm). Sold for $167,000 on 28 October 2015 at Christie'due south in New York

Carl Vilhelm Holsøe (1863-1935), like his contemporary Vilhelm Hammershøi, was known for his sparse, tranquil interiors redolent of introspection and timelessness. In dissimilarity to Hammershøi, who ofttimes used a closed window to symbolically close out the outside world, Holsøe presents an open door in this painting with a total view of the sunny garden, inviting the outside in.

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  • Vincent van Gogh Laboureur dans un champ

Vincent van Gogh (1853-1890), Laboureur dans un champ, 1889. Oil on canvas. 19⅞ x 25½ in  (50.3 x 64.9 cm). Sold for $81,312,500 on 13 November 2017 at Christie's in New York

Vincent van Gogh (1853-1890), Laboureur dans united nations champ, 1889. Oil on canvas. nineteen⅞ 10 25½ in (50.3 x 64.nine cm). Sold for $81,312,500 on thirteen November 2017 at Christie's in New York

For almost an entire twelvemonth between 1889 and 1890, Vincent van Gogh (1853-1890) rose from his bed at St Paul's Asylum near Arles in the south of French republic to gaze upon this view from the single window in his room. The artist began Laboureur dans united nations gnaw  in late Baronial 1889 and finished it inside days — a meaning development, as he hadn't picked up his brushes in half dozen weeks post-obit a devastating psychological episode.

'Yesterday I started working again a little — a thing I meet from my window,' he explained in a letter to his brother Theo on 2 September. 'Work distracts me infinitely better than anything else, and if I could once again really throw myself into it with all my energy that might possibly be the best remedy.'

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  • Edouard Vuillard Les rues de Paris, panneaux pour Henry Bernstein: Seconde série, La Identify Vintimille

Edouard Vuillard (1868-1940), Les rues de Paris, panneaux pour Henry Bernstein Seconde série, La Place Vintimille. Peinture à la colle over charcoal on paper laid down on panel. 78¾ x 19⅝ in (200 x 49.6  cm). Sold for $3,852,500 on 8 May 2018 at Christie's in New York

Edouard Vuillard (1868-1940), Les rues de Paris, panneaux pour Henry Bernstein: Seconde série, La Place Vintimille. Peinture à la colle over charcoal on paper laid down on console. 78¾ x 19⅝ in (200 ten 49.half-dozen cm). Sold for $3,852,500 on 8 May 2018 at Christie'southward in New York

From his quaternary-floor apartment on the edge of Montmartre, Edouard Vuillard (1868-1940) captured the lively activities of his neighbourhood in a series of four canvases that were deputed past playwright Henry Bernstein.

Two of these paintings are now in The Solomon R. Guggenheim Museum in New York, while the other ii were offered together in The Drove of Peggy and David Rockefeller auction on 8 May 2018 in New York. Vuillard would go on to paint this neighbourhood park from his apartment window many times in the following five years.

Painting Looking Out A Window,

Source: https://www.christies.com/features/Scenes-from-the-artists-window-10353-1.aspx

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