Scena d’estate

Bazille, Scena d'estate | Scène d′été | Summer scene
Autore: 
Bazille, Jean Frédéric (1841-1870)
Titolo: 
Scena d’estate
Altri titoli: 
Scène d′été
Summer scene
Periodo: 
XIX secolo
Datazione: 
1869
Classificazione: 
Dipinto
Tecnica e materiali: 
Olio su tela
Dimensioni (altezza x larghezza in centimetri): 
160 x 160,7
Annotazioni: 
Firma e data in basso a sinistra: F. Bazille 1869
Luogo di conservazione: 
Harvard Art Museums | Fogg Museum, Cambridge, Massachusetts, USA
Acquisizione: 
Dono di F. Meynier de Salinelles e sua moglie, nipote dell'artista, 1937
Identificativo: 
1937.78

Mostre:

  • Annual Exhibition, 1870, Salon, Parigi, Paris, 01/01/1870 - 31/12/1870.
  • Retrospective Bazille, Salon, Parigi, Paris, 01/08/1910 - 31/12/1910; Exposition Internationale, Montpellier, 01/01/1927 - 31/12/1927.
  • Modern French Painting, Museum of Fine Arts, Boston, 15/11/1937 - 15/12/1937.
  • Unidentified Exhibition, Word's Fair, 1940, World's Fair, 1940, New York, 01/01/1940 - 31/12/1940.
  • Exposition Organisee au profit du Musee de Montpellier, Galerie Wildenstein, Parigi, 01/06/1950 - 30/06/1950.
  • French Art of the 19th Century, Symphony Hall, Boston, 03/24/1959 - 04/24/1959.
  • Paintings, Drawings, Sculpture from the Fogg Art Museum, Harvard University, Yale University Art Gallery, New Haven, 12/10/1967 - 03/12/1967.
  • Master Paintings from the Fogg Collection, Fogg Art Museum, Cambridge, 13/04/1977 - 31/08/1977.
  • Frederic Bazille and Early Impressionism, The Art Institute of Chicago, Chicago, 04/03/1978 - 30/04/1978.
  • Modern Art at Harvard, Harvard University Art Museums, Cambridge, 21/10/1985 - 05/01/1986.
  • Frederic Bazille: Prophet of Impressionism, Musée Fabre, Montpellier, 11/07/1992 - 04/10/1992; Brooklyn Museum of Art, Brooklyn, 12/11/1992 - 24/01/1993; Dixon Gallery and Gardens, Memphis, 14/02/1993 - 25/04/1993.
  • Les origines de l'Impressionnisme, Réunion des Musées Nationaux, Parigi, 19/04/1994 - 08/08/1994; Metropolitan Museum of Art, Department of Drawings and Prints, New York, 14/09/1994 - 08/01/1995.
  • Origins of Impressionism, Réunion des Musées Nationaux, Parigi, 19/04/1994 - 08/08/1994; The Metropolitan Museum of Art, New York, 19/09/1994 - 08/01/1995.
  • Modern Art at Harvard, Bunkamura Museum of Art, Tokyo, 31/07/1999 - 26/09/1999; Takamatsu City Museum of Art, Kagawa, 09/10/1999 - 14/11/1999; Matsuzakaya Art Museum, Nagoya, 02/12/1999 - 27/12/1999; Oita City Museum, Oita, 06/01/2000 - 06/02/2000; Museum of Modern Art, Ibaraki, Ibaraki, 11/02/2000 - 26/03/2000.
  • European Muses, American Masters: 1870 to 1950, Portland Museum of Art, Portland, 23/06/2004 - 17/10/2004.
  • Re-View: S427 Impressionist & Postimpressionist Art, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 02/08/2008 - 18/06/2011.
  • Ancient to Modern, Harvard Art Museums, Cambridge, 31/01/2012 - 12/31/2013.

Bibliografia:

  • Peter Schabacker, "Frederic Bazille's Summer Scene", (Tesi, Harvard University, n.d.), non pubblicata.
  • "[Articolo non identificato]", L'Amour de l'Art (gennaio 1927), p. 26.
  • G. Poulain, Bazille et ses amis (Paris, France, 1932), n. 36, pp. 152, 171, 176, 218.
  • "[Articolo non identificato]", Boston Evening Transcript (Boston, MA, 20 novembre 1937), ripr.
  • "A Painting by Bazille", Bulletin of the Fogg Art Museum, Fogg Art Museum (Cambridge, MA, novembre 1937), vol. VII, n. 1, p. 15, ripr.
  • "Cambridge: Gift of a Painting by a Rare Impressionist, Bazille", Art News (27 novembre 1937), vol. XXXVI, n. 9, p. 19.
  • "Bazille Painting for Fogg", Art Digest (giugno 1938), p. 19.
  • Ernst Scheyer, "The Beginnings of Impressionism", The Art Quarterly (Primavera 1942), pp. 127-128, illustrato p. 124.
  • John Rewald, The History of Impressionism [1.a ed.], Museum of Modern Art, New York (New York, NY, 1946), p. 196, riprodotto p. 199.
  • Bernard Dorival, "La Scene d'Eté de Bazille et Cezanne", Musées de France (maggio 1949), vol. IV, pp. 94-96.
  • François Daulte, Frederic Bazille et son temps, Pierre Cailler (Ginevra, Svizzera, 1952), n. 44, pp. 133, 184, ripr.
  • Anne V. Dort, "French Art of the 19th Century", Boston Symphony Orchestra Concert Bulletin (Boston, MA, 1958 -1959), n. 21, pp. 1316-1317.
  • John Canaday, Mainstreams of Modern Art, Henry Holt and Co. (New York, NY, 1959), p. 224-225, riprodotto in b/n come fig. 260.
  • Kermit S. Champa, "The Genesis of Impressionism", (Tesi, Harvard University, 1964), non pubblicata.
  • Pierre Courthion, Au Temps de l'Impressionisme, Nouvelles Editions Françaises (Paris, France, 1964), riprodotto a colori n. 25.
  • Gerd Muehsam, ed., French Painters and Paintings from the 14th Century to Post-Impressionism, Ungar (New York, NY, 1970), pp. 491-493, ripr.
  • Pierre Courthion, Impressionism, part of The Library of Great Art Movements, Harry N. Abrams, Inc. (New York, NY, 1972), p. 166, riprodotto a colori.
  • John Robert Alderman, "Sources in Bazille's Late Works", (Qualifying paper, Fine Arts Dept., Harvard University, 1972), non pubblicata.
  • John Rewald, The History of Impressionism [4.a ed.], Museum of Modern Art, New York (New York, NY, 1973), p. 234.
  • Kermit S. Champa, Studies in Early Impressionism, Yale University Press (U.S.) (New Haven, CT, 1973), pp. 89-90, tavola 23.
  • F. Daulte and J. Patrice Marandel, Frederic Bazille and Early Impressionism, exh. cat., The Art Institute of Chicago (Chicago, IL, 1978), n. 43, p. 95, testo e riprodotto in b/n.
  • Franz Schulze, Frederic Bazille: 'Lost Impressionist', Art in America (settembre 1978 - ottobre 1978), p. 101 riprodotto a colori, p. 102 testo.
  • Diane Kelder, The Great Book of French Impressionism, Abbeville Press (New York, NY, 1980), tavola a colori 18.
  • John Canaday, Mainstreams of Modern Art [2.a ed.], Holt, Rinehart & Winston (New York, NY, 1981), riprodotto in b/n fig. 309, p. 260.
  • Yann Le Pichon, Les Peintres du Bonheur, Robert Laffont (Paris, France, 1983), riprodotto in b/n, p. 112.
  • Caroline A. Jones, Modern Art at Harvard: The Formation of the Nineteenth- and Twentieth-Century Collections of the Harvard University Art Museums, exh. cat., Abbeville Press/Harvard University Art Museums (New York, NY and Cambridge, MA, 1985), riprodotto a colori, fig. 15, p. 30.
  • Yann Le Pichon, Sur les Traces de Gauguin, Robert Laffont (Paris, France, 1986), riprodotto dettaglio in b/n p. 78.
  • Denis Thomas, The Age of the Impressionists, St Michael, Hamlyn Publishing Group Ltd. (London, England, 1987), riprodotto a colori, p. 118.
  • Belinda Thomson and Michael Howard, Impressionism, Bison Books (London, England, 1988), pp. 26-27, ill.
  • Nobuo Abe, The Great History of Art: Impressionism (Tokyo, Japan, 1990 - 1991), riprodotto a colori p. 70.
  • John Russell Taylor, Impressionist Dreams, Little, Brown & Company (Boston, MA, 1990), riprodotto come fig. 1 (frontespizio).
  • Edgar Peters Bowron, European Paintings Before 1900 in the Fogg Art Museum, Harvard University Art Museums (Cambridge, MA, 1990), p. 75, color plate; pp. 98, 240, riprodotto in b/n cat. n. 328.
  • Therese Dolan, "Frederic Bazille and the Goncourt Brothers' Manette Salomon", Gazette des Beaux-Arts (February 1990), riprodotto in b/n fig. 3, p. 101; testo p. 101.
  • Bernard Denvir, Impressionism, the Painters and the Paintings, Studio Editions (London, England, 1991), riprodotto a colori fig. 132, p. 142.
  • François Daulte, Frederic Bazille et les Debuts de l'Impressionisme, La Bibliothèque des Arts (Paris, France, 1992), riprodotto p. 149, testo p. 150.
  • Michael Kimmelman, "A Tragic Harbinger of the New", The New York Times (New York, NY, November 13, 1992), riprodotto in b/n.
  • François-Bernard Michel, Bazille: 1841-1870, Bernard Grasset (Paris, France, 1992), riprodotto in b/n (senza numero di pagina).
  • Musée Fabre, Bazille: Traces et Lieux de la Creation, exh. cat., Musée Fabre (Montpellier, France, 1992), riprodotto in b/n n. 23, p. 23.
  • Frederic Bazille: Prophet of Impressionism, cat. mostra, Brooklyn Museum (Brooklyn, NY, 1992), riprodotto p. 76, p. 118; testo p. 119, n. 25 del catalogo.
  • Ingo F. Walther, Malerei des Impressionismus, 1860-1920, Benedikt Taschen Verlag (Köln, Germany, 1992), riprodotto a colori, p. 75.
  • Great French Paintings from the Barnes Foundation, Alfred A. Knopf, Inc. (New York, NY, 1993), riprodotto in b/n fig. 2, p. 104; menzionato a p. 104.
  • Colin B. Bailey, "Bazille: 'The Astonishing Fullness of Light' ", Apollo (marzo 1993), p. 185.
  • Francis Frascina, Modernity and Modernism: French Painting in the 19th Century, Yale University Press (U.S.) (New Haven, CT and London, England, 1993), riprodotto in b/n p. 176; testo p. 174.
  • Gary Tinterow and Henri Loyrette, Origins of Impressionism, exh. cat., The Metropolitan Museum of Art (New York, NY, 1994), pp. 274-275, riprodotto a colori fig. 337.
  • Pascal Bonafoux, Les Plaisirs et les Jours, Editions Herscher (Paris, France, 1994), p. 46, riprodotto a colori p. 47.
  • Doreen Bolger, ed., Thomas Eakins and the Swimming Picture, exh. cat., Amon Carter Museum (Fort Worth, TX, 1996), pp. 87-88.
  • Robert Boardingham, Impressionist Masterpieces in American Museums, Hugh Lauter Levin Associates, Inc. (New York, NY, 1996), pp. 34-5.
  • Kermit S. Champa and Dianne W. Pitman, Monet & Bazille: A Collaboration, High Museum of Art / Harry Abrams (Atlanta, GA / New York, NY, 1998), pp. 75-77.
  • Nancy Locke, Manet and the Family Romance, Princeton University Press (Princeton and Oxford, 2001), p. 175; riprodotto in b/n come fig. 97, p. 178.
  • Norma Broude, ed., Gustave Caillebotte and the Fashioning of Identity in Impressionist Paris, Rutgers University Press (New Jersey, 2002), pp. 154-174, riprodotto in b/n come fig. 55.
  • Margaret Werth, The Joy of Life: the idyllic in French art, circa 1900, University of California Press (Berkeley, CA, 2002), riprodotto p. 157 come fig. 71.
  • Nancy Locke, "Cezanne's Bathers, Watteau, and the Idea of Fantasy", Bulletin of the Detroit Institute of Arts (2003), vol. 77, n. 1/2, pp. 18-31, p. 28, riprodotto come fig. 13.
  • Randall Griffin, Homer, Eakins and Anschutz: The Search for American Identity in the Gilded Age, Pennsylvania State University (University Park, PA, 2004), pp. 77-80, riprodotto in b/n come fig. 33.
  • Richard R. Brettell, "Eakins and the Male Nude in French Art, 1850-1890", exh. cat., Portland Museum of Art (Portland, ME, 2004), pp. 24-37; riprodotto a colori, p. 38; elenco delle opere, p. 145.
  • Henri Loyrette, L'Art francais: le XIXeme siècle, Flammarion (Paris, France, 2006), riprodotto come fig. 69, p. 252.
  • Petra ten-Doesschate Chu, Nineteenth-Century European Art, Pearson Prentice Hall (Upper Saddle River, NJ, 2006), pp. 404-407, illustrato p. 405.
  • Stephan Wolohojian, ed., Harvard Art Museum Handbook, Harvard Art Museum (Cambridge, MA, 2008), p. 158, riprodotto.