His works make perfect sense now.
Yves Tanguy, photomaton, boulevard des Italiens, Paris, 1928.
Source: artistandstudio
Cafe du Dome, Paris, 1920s. (via)
One reason for the influx of artists to Paris at that time was that it was ridiculously affordable, especially for Americans. According to James Hinkle, “The exchange rate for French francs was about twenty-five francs to the dollar. One dollar had approximately forty times its present purchasing power. Hemingway paid 250 francs a month (about ten dollars) for his Paris apartment…For a franc, you could buy breakfast of a brioche and coffee or a drink at a first-class bar. A full dinner with wine at a decent restaurant could be had for five francs—about a quarter. e.e. cummings lived in Paris and traveled for two years on $1,000. Faulkner managed for several months on a dollar a day.” (via)
Source: artistandstudio
, Diogenes Searching for an Honest Man, 1792.
Kemper Art Museum
Source: centuriespast
Man Ray, Surrealist chessboard, 1934, a photomontage integrating portraits of twenty fellow surrealists, including René Magritte, Max Ernst, Salvador Dalí, Giorgio de Chirico, Joan Miró and Man Ray himself.
Source: artistandstudio
Source: progressiveboink.com
Piet Mondrian: Red Tree (1908), Blue Tree (1909), Gray Tree (1911), Horizontal Tree (1911), Apple Tree (1912)
Evolution of mondrian
(via beyondneptune)
Source: vispoetica
Camille Pissarro, Boulevard Montmartre At Night, 1897
Source: cavetocanvas.com
![cavetocanvas:
Camille Pissarro, Effect of Sunlight, Rouen, 1898
From the Metropolitan Museum of Art:
Pissarro first worked in Rouen in 1883. He returned to this harbor city in Normandy, twice in 1896 and in 1898, for three extended painting campaigns in the wake of Monet’s “Rouen Cathedral” series of the early 1890s, which Pissarro greatly admired. By the time of his last sojourn, from July to October 1898, he was “already familiar with the motifs there.” However, Pissarro tackled many of the same cityscapes again and was inspired to find some scenes that were new. On August 19, Pissarro wrote to his son Lucien: “Yesterday I found an excellent place from which I can paint the rue de l’Épicerie and even the market [in the place de la Haute-Vieille-Tour], a really interesting one, which takes place every Friday.” Ultimately, he painted the view three times, but the Metropolitan’s picture is the only one that shows the market in progress.](http://24.media.tumblr.com/tumblr_m4i2siEMID1qghk7bo1_1280.png)
Camille Pissarro, Effect of Sunlight, Rouen, 1898
From the Metropolitan Museum of Art:
Pissarro first worked in Rouen in 1883. He returned to this harbor city in Normandy, twice in 1896 and in 1898, for three extended painting campaigns in the wake of Monet’s “Rouen Cathedral” series of the early 1890s, which Pissarro greatly admired. By the time of his last sojourn, from July to October 1898, he was “already familiar with the motifs there.” However, Pissarro tackled many of the same cityscapes again and was inspired to find some scenes that were new. On August 19, Pissarro wrote to his son Lucien: “Yesterday I found an excellent place from which I can paint the rue de l’Épicerie and even the market [in the place de la Haute-Vieille-Tour], a really interesting one, which takes place every Friday.” Ultimately, he painted the view three times, but the Metropolitan’s picture is the only one that shows the market in progress.
Source: cavetocanvas.com
