Robert Antoine Pinchon

If I have to be honest, I am a huge fan of landscape paintings. I love the idea of capturing a magnificent moment of the nature’s cycle and then transferring it . Every piece of work that I have seen carries a different vibe, which I find very intriguing since some of the paintings are created by the same painters. But enough of this. If I have to combine the two themes: Postimpressionism (see other posts) and landscapes, then I cannot omit mentioning Robert Antoine Pinchon.

He was a French Post-Impressionist landscape painter of the Rouen School (l’École de Rouen) who was born and spent most of his life in France. He was consistent throughout his career in his dedication to painting landscapes en plein air (i.e., outdoors). From the age of nineteen (1905 to 1907) he worked in a Fauve style but never deviated into Cubism, and, unlike others, never found that Post-Impressionism did not fulfill his artistic needs. Claude Monet referred to him as “a surprising touch in the service of a surprising eye.”



Robert Antoine Pinchon, Le Pont aux Anglais, soleil couchant, 1909, oil on canvas, 54 x 73 cm, Musée des Beaux-Arts de Rouen

Champ de choux

Les Toits Rouges S

Le Pont Corneille, Rouen



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Édouard Vuillard

Following the Postimpressionism theme I decided that it is high time I posted something about Vuillard. You can find a short clarification who he was and you can browse some of his paintings as well. But upon starting I will tell you what particularly makes me interested in this painter. In a time when the development of avante-garde took place in Europe, Vuillard remained quite conservative, which, in a sense, makes him unique in the face of new trends.

Biographical note:

Jean-Édouard Vuillard (11 November 1868 – 21 June 1940) was a French painter and printmaker associated with the Nabis (a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s).

Jean-Édouard Vuillard, the son of a retired captain, spent his youth at Cuiseaux (Saône-et-Loire); in 1878 his family moved to Paris in modest circumstances. After his father’s death in 1884, Vuillard received a scholarship to continue his education. In the Lycée Condorcet Vuillard met Ker Xavier Roussel (also a future painter and Vuillard’s future brother in law), Maurice Denis, musician Pierre Hermant, writer Pierre Véber, and Lugné-Poe.
In 1885, Vuillard left the Lycée Condorcet. On the advice of his closest friend, Roussel, he refused a military career and joined Roussel at the studio of painter Diogène Maillart. There, Roussel and Vuillard received the rudiments of artistic training. In 1887, after three unsuccessful attempts, Vuillard passed the entrance examination for the École des Beaux-Arts. Vuillard kept a private journal from 1888–1905 and later from 1907 to 1940.


Ker-Xavier Roussel, Édouard Vuillard, Romain Coolus, Félix Vallotton, 1899

Le corsage rayé, 1895, National Gallery of Art, Washington D.C., Collection of Mr. and Mrs. Paul Mellon

Table Dressée,” by Edouard Vuillard, oil on canvas, 6 3/4 by 9 1/2 inches, circa 1902




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Paul Signac

When speaking about post- and neoimpressionism it is worth mentioning the name of Paul Signac. Together with Georges Seurat he worked on the development of the pointilist style (a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image). Signac was born in Paris on 11 November 1863. He followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monet’s work. He sailed around the coasts of Europe, painting the landscapes he encountered. He also painted a series of watercolors of French harbor cities in later years.

In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colors and became Seurat’s faithful supporter, friend and heir with his description of Neo-Impressionism and Divisionism method. Under his influence he abandoned the short brushstrokes of impressionism to experiment with scientifically juxtaposed small dots of pure color, intended to combine and blend not on the canvas but in the viewer’s eye, the defining feature of pointillism.

Georges Seurat Portrait of Paul Signac, 1890, conté crayon, private collection


Paul Signac, Portrait of Félix Fénéon, 1890, Museum of Modern Art, New York City

The Pine Tree at St. Tropez (1909), Pushkin Museum of Fine Art, Moscow, Russia

“Tréguier, le marché” Paul Signac 1927




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Paul Cézanne

My first post in this category will be about one of my favourite post-impressionists, namely Paul Cézanne. He was a French artist and a profound innovator. Actually Cézanne can be said to form the bridge between late 19th-century Impressionism and the early 20th century’s new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne “is the father of us all.” If you scroll down, you will see some of the paintings that I particularly admire.

Autoportrait (1873-1876)

Impression, Sunrise (Impression, soleil levant) (1872/1873)

The Card Players 1894–1895, Musée d’Orsay, Paris

Still Life with Cherub 1895

Portrait of the Artist’s Father Louis-Auguste Cézanne, Reading 1866

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The Doors

So, guys, as I said earlier, I like listening to all types of music. Actually my all time favourite band is “The Doors”. I love their provocative sound, as well as their philosophical lyrics. Furthermore, their lead singer, Jim Morrison, is so mesmerizing with his out-of-this-world poetry, that a real music fan cannot stop listening their music.

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Francis Poulenc – Mélancolie

This beatiful performance amazed me so much, that I had no choice but to upload it.

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Erik Satie: Gymnopédies and Other Piano Works

It seems that today I am in a melancholic mood. I hope you will like this video.


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