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The article is the first to consider the impact of the early work of Chaim Soutine, produced in the South of France around 1920, on a circle of painters working in Britain some 30 years later, notably Francis Bacon, Lucian Freud, Frank Auerbach and Leon Kossoff, as well as on the writer David Sylvester who promoted both their work and the key French artists such as Alberto Giacometti and Soutine who seemed to epitomise the new 'existentialist' climate. After the war Soutine became a cult figure in London, as he did in contemporary Paris and New York. He embodied the idea of the 'tragic' artist in his still-life imagery of flayed animals, his uncompromising, heavily-laden paint surfaces, and in his identity as a Jew who had died in 1943, an indirect victim of the Nazi occupation of France. I try to identify which works in particular were known to the English artists, themselves all Jewish except for Bacon, and to describe the very different ways in which they reacted to Soutine's art and adapted its lessons to their own artistic purposes.

Chaïm Soutine est né en Russie en 1893 et est mort à Paris en 1943. Il est connu pour avoir développé, très jeune, une vision et une technique de peinture très particulières, en utilisant une palette de couleurs flamboyante dans un expressionnisme où s'exprimaient les tourments de l'artiste et une violence brute. L'influence que cette oeuvre eut sur les artistes de la fin du XXe siècle rend nécessaire un nouveau regard sur un peintre encore incompris en France. Cette rétrospective est organisée à partir de vingt-deux tableaux de Soutine conservés par le musée de l'Orangerie

Immanuel Kant's Critique of Judgment (1987) & the paintings of Chaim Soutine are analyzed to (1) demonstrate how aesthetics became connected with human embodiment & (2) indicate how the aesthetic-human embodiment relationship became the predominant component of modernist painting. After introducing the "amenability problem" within Kant's thought (defined as Kant's questioning of nature's suitability for human designs), his assertion that reflective judgment is needed to address amenability & to evaluate life is discussed, & Kant's contention is repudiated; it is maintained that the amenability problem can only be resolved within the context of making aesthetic reflective judgments of natural beauty. It is contended that Soutine's paintings of animal carnality & landscapes invoke the process of transcendental induction, & this process is viewed as answering Kant's amenability problem. J. W. Parker

Chaim Soutine's (1893–1943) representation of clothes in his portraits has attracted very little scholarly or curatorial attention to date. For the first time in the near century of literature that has accumulated about the artist, this article discusses the women in Soutine's portraits, focussing on their clothing and age, and ageing femininity more generally as a subject within Soutine's practice. The status and fashions of women in inter-war France provide a context to demonstrate that youth, newness and fashionableness were not subjects for the artist, who instead favoured white women of middle- to older-age wearing their 'Sunday best' as his models. His practice of framing, containing and presenting women for inspection is also demonstrated for the first time, as well as the nuanced balance he strikes between accurately representing the details of studied garments and intensely working wider areas of colour in the same painting. The article's wider conclusion is that acknowledgement of the complexity and rigour of Soutine's art – including his detailed depiction of his sitters' clothing – has consistently been blocked by the image of Soutine as purely expressionistic, uncontrolled painter, an image that must be released if new analysis of his work, such as that undertaken in this article, is going to take place.

Ces notes attestent de l'importance de la collection de musique populaire John Alden Mason, qui a été dressée à Puerto Rico entre 1914 et 1915. Actuellement, la collection se trouve dans les Archives de la Musique Traditionnelle à Indiana University, Bloomington. En general, ces notes soutiennent la valeur potentielle de cette collection pour ceux qui étudient la culture portoricaine du début du vingtième siècle. En examinant les bombas qui ont été enregistrées dans la ville montagneuse d'Utuado comme un index de la héterogénéité de la musique et culture portoricaine, je soutines que ces bombas enregistrées brisent les espaces sociaux, raciaux, et géographiques dans lesquels ce genre de musique a été délimité. Ainsi, je souligne les avantages d'employer les paroles des chansons comme sources primaires pour les études historiques. A ce titre, je soutiens que ces "documents sonores" permettent aux rechercheurs d'étudier les expériences personnelles de beaucoup de Portoricains qui n'ont pas eu la possibilité de s'exprimer à l'écrit. Comme exemple, je termine mes notes avec une analyse brève de chansons qui concernent les relations entre les hommes et les femmes.

There were many English artists in France between 1919 and 1939. Yet this has been neglected. This project will do explore the English presence on the Parisian artistic scene and the reception of English artists by their French counterparts.After the First World War, artists came from the entire world to Paris. It became the main European artistic centre during the interwar period, where several artistic movements developed. Some of these artists came from Southern and Eastern Europe, often for social, religious and political issues.Paris attracted more and more artists who joined those who had been there since the beginning of the 20th Century – Pablo Picasso, Georges Braque or Henri Matisse, among others. At the same time, the artistic centre of Paris moved from Montmartre to Montparnasse, which gathered the Italian Amedeo Modigliani, the Swiss Alberto Giacometti, the Spanish Salvador Dali, the Russian Chaïm Soutine, the Belarusian Marc Chagall or even the Romanian Constantin Brancusi. Some artists preferred the appeal of the New World and joined Marcel Duchamp in New York, although relatively few American artists moved to Paris. French scholars have taken an interest in the period: the Franco-Russian artistic cooperation in Paris has been recently analysed by Tatiana Trankvillitskaia, while the Belgian presence is being studied by Céline De Potter.However, English artists in Paris have yet to be studied. Their contribution to artistic life or the impact of Paris on the English art at that time have been neglected by French historians.This current project traces the details of that English presence in France during the interwar years: who were the artists that came over? What was their subject matter? What kind of works did they produce? What were their relationships both with the artistic milieu and the Parisian public? What was the impact of French works on English art? The goal is to define the place of English artists within the "École de Paris." Who were they and what were they attracted to? ; Après la Première Guerre mondiale, des artistes affluent du monde entier vers la France, en particulier vers Paris, qui devient le principal foyer artistique européen durant l'entre-deux-guerres et qui voit se développer des courants mêlant tradition et avant-garde. C'est à cette période qu'immigrent de nombreux artistes originaires des pays du sud et de l'est de l'Europe (surtout pour des raisons sociales, religieuses et politiques, conséquences, notamment, des pogroms juifs et de la révolution russe). Paris, phare culturel du monde à l'époque, attire de plus en plus d'artistes qui rejoignent ceux déjà présents depuis le début du XXème siècle, tels Picasso, Braque ou Matisse. Entre temps, le centre artistique de la ville a migré du quartier de Montmartre vers celui de Montparnasse, qui compte parmi les artistes les plus représentatifs l'italien Modigliani, le suisse Giacometti, l'espagnol Dali, le russe Soutine, le biélorusse Chagall, ou encore le roumain Brancusi.Certains sont plus attirés par le Nouveau Monde et rejoignent Duchamp à New York, tandis que peu d'artistes américains émigrent vers Paris : ce sont plutôt des écrivains américains qui font le voyage inverse et s'installent dans la Ville Lumière (on pense à Ernest Hemingway ou Ezra Pound). Mais qu'en est-il des artistes anglais à Paris ? C'est le sujet de notre travail de recherche : qui sont, précisément, les artistes qui migrent ? Quelles sont leurs motivations ? Quel type d'œuvres ont-ils produit ? Quelles ont été leurs relations avec le milieu artistique et le public parisiens ? Quels échanges franco-anglais sont issus de cette présence anglaise en France ?

Le temps des Bohèmes est le roman vrai des aventuriers de l'art moderne, quand Paris était la capitale du monde. Ils étaient peintres, poètes, écrivains, sculpteurs, musiciens. Leurs vies furent flamboyantes comme leurs œuvres. Et leurs œuvres, belles comme la vie. Ils demeurent à jamais les personnages de leurs propres légendes.Première saison : Bohèmes. Sur les trottoirs de Montmartre et de Montparnasse, entre le Bateau-Lavoir et la Closerie des Lilas, allaient les sublimes trublions: Jarry, son hibou et ses revolvers, Picasso sympathisant anarchiste, Apollinaire l'érotomane, Max Jacob et ses hommes, Modigliani et ses femmes, Aragon le flambeur, Soutine le solitaire, Man Ray, Braque, Matisse, Breton et les autres... Ils venaient de tous les pays. Fauves, cubistes, surréalistes, fêtards, amoureux - libres.Deuxième saison : Libertad ! Les héros s'appellent Malraux, Saint-Exupéry, Dos Passos, Prévert, Hemingway, Orwell, Dali... Un éventail d'enthousiasmes et d'illusions tendu entre la montée du fascisme et la guerre d'Espagne. Ici, Aragon vend son âme à Staline ; là, Gide pontifie aux obsèques de Gorki ; ailleurs, Gala passe des bras d'Eluard à ceux de Dali tandis que Picasso peint et que Robert Capa photographie tout ce qui bouge - ou meurt. Nous sommes entre Paris, Madrid, Berlin et Moscou, dans une époque qui hésite entre l'espoir et le chaos...Troisième saison : Minuit. L'épopée des écrivains, des artistes et des intellectuels sous l'Occupation. Sartre et Beauvoir, Camus, René Char, Vercors, Aragon et Elsa, Prévert, Desnos, Saint-Exupéry, Drieu La Rochelle, Picasso, Prévert, Cocteau et tant d'autres : le grand bal de la France qui écrit, peint, dessine, filme, joue, publie, collabore, résiste, s'accommode. De Paris à Marseille dans la débandade de l'exode, de Marseille à New York dans les bateaux de l'espoir, de Paris à

There were many English artists in France between 1919 and 1939. Yet this has been neglected. This project will do explore the English presence on the Parisian artistic scene and the reception of English artists by their French counterparts.After the First World War, artists came from the entire world to Paris. It became the main European artistic centre during the interwar period, where several artistic movements developed. Some of these artists came from Southern and Eastern Europe, often for social, religious and political issues.Paris attracted more and more artists who joined those who had been there since the beginning of the 20th Century – Pablo Picasso, Georges Braque or Henri Matisse, among others. At the same time, the artistic centre of Paris moved from Montmartre to Montparnasse, which gathered the Italian Amedeo Modigliani, the Swiss Alberto Giacometti, the Spanish Salvador Dali, the Russian Chaïm Soutine, the Belarusian Marc Chagall or even the Romanian Constantin Brancusi. Some artists preferred the appeal of the New World and joined Marcel Duchamp in New York, although relatively few American artists moved to Paris. French scholars have taken an interest in the period: the Franco-Russian artistic cooperation in Paris has been recently analysed by Tatiana Trankvillitskaia, while the Belgian presence is being studied by Céline De Potter.However, English artists in Paris have yet to be studied. Their contribution to artistic life or the impact of Paris on the English art at that time have been neglected by French historians.This current project traces the details of that English presence in France during the interwar years: who were the artists that came over? What was their subject matter? What kind of works did they produce? What were their relationships both with the artistic milieu and the Parisian public? What was the impact of French works on English art? The goal is to define the place of English artists within the "École de Paris." Who were they and what were they attracted to? ; Après la ...