\tPaul C\u00e9zanne, Mont Sainte-Victoire, ca. 1904\u201306<\/p>\n
\t\t\t![\"A](\"https:\/\/www.artnews.com\/wp-content\/themes\/vip\/pmc-artnews-2019\/assets\/public\/lazyload-fallback.gif\")
\n\t\t\t\t\tImage Credit: Photo Bruce White\/Museum of Modern Art, promised gift from the Henry and Rose Pearlman Foundation\t\t\t\t<\/p>\n
\n\tGiven to: MoMA<\/strong><\/p>\n \n\tC\u00e9zanne produced around 30 paintings of Mont Sainte-Victoire, making them exceptionally valuable within his oeuvre. Prior to the gift, MoMA only owned a watercolor sketch depicting the mountain, which C\u00e9zanne renders in his famed proto-Cubist way, fracturing its peak and various inclines into mismatched shapes.<\/p>\n<\/li>\n \tPaul C\u00e9zanne, Cistern in the Park of Ch\u00e2teau Noir, ca. 1900<\/p>\n \t\t\t \n\tGiven to: MoMA<\/strong><\/p>\n \n\tC\u00e9zanne is famous for his paintings of his hometown of Aix-en-Provence and its surroundings. This work depicts a cistern that C\u00e9zanne spotted on a road near the city on the grounds of the Ch\u00e2teau Noir, a neo-Gothic castle that the artist repeatedly returned to in his work.<\/p>\n<\/li>\n \tPaul C\u00e9zanne, Study of a Skull (Etude de cr\u00e2ne), 1902\u20134<\/p>\n \t\t\t \n\tGiven to: MoMA<\/strong><\/p>\n \n\tMoMA\u2019s acclaimed 2021 exhibition \u201cC\u00e9zanne Drawing\u201d focused specifically on the artist\u2019s works on paper, which are less well-known than his paintings. This pencil and watercolor drawing of a skull figured in that exhibition.<\/p>\n<\/li>\n \tHenri de Toulouse-Lautrec, The Sacred Grove, 1884<\/p>\n \t\t\t \n\tGiven to: Brooklyn Museum<\/strong><\/p>\n \n\tThough well-known for his lurid images of French bars and nightlife during the late 19th-century, Toulouse-Lautrec also produced such as this one, which is more quaint than it might first appear. It\u2019s intentionally meant to mock the works of Puvis de Chavannes, who produced a similar painting that did not feature the parade of modern men on the righthand side.<\/p>\n<\/li>\n \tVincent van Gogh, Tarascon Stagecoach, 1888<\/p>\n \t\t\t \n\tGiven to: LACMA<\/strong><\/p>\n \n\tNow the only van Gogh painting in LACMA\u2019s collection, this work is meant to picture a means of transportation that was quickly growing outmoded in modern France. The work was inspired by the 1872 novel Tartarin de Tarascon, by Alphonse Daudet.<\/p>\n<\/li>\n \tEdgar Degas, After the Bath, Woman Drying Herself, 1890s<\/p>\n \t\t\t \n\tGiven to: Brooklyn Museum<\/strong><\/p>\n \n\tThough better known for his paintings of ballet dancers, Degas also made images of nude bathers that did not idealize their subjects, as many painters before him did. Shown from behind, this bather appears unnaturally pitched over her tub.<\/p>\n<\/li>\n \tWilhelm Lehmbruck, Torso of a Young Woman, 1910<\/p>\n \t\t\t \n\tGiven to: LACMA<\/strong><\/p>\n \n\tLehmbruck was acclaimed for the ways he took up classical representations of the human body and distorted them, elongating arms, legs, and heads for works that bespoke a sense of alienation unique to his era. This is the first Lehmbruck sculpture to enter LACMA\u2019s collection. <\/p>\n<\/li>\n \tChaim Soutine, Path to the Fountain, ca. 1920<\/p>\n \t\t\t \n\tGiven to: Brooklyn Museum<\/strong><\/p>\n \n\tSoutine often left his paint strokes thick and chunky, creating surfaces that felt as rugged as the material he was representing. This painting depicts the small French town of C\u00e9ret, whose angular streets may have inspired the work\u2019s unusual composition.<\/p>\n<\/li>\n \tAmedeo Modigliani, Jean Cocteau, 1916<\/p>\n \t\t\t \n\tGiven to: Brooklyn Museum<\/strong><\/p>\n \n\tJean Cocteau, a multi-hyphenate modernist whose work was itself the subject of a recent retrospective, gets the typical Modigliani treatment here, with a long face and almond-shaped eyes. \u201cIt does not look like me, but it does look like Modigliani, which is better,\u201d Cocteau said of the work.<\/p>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"The Henry and Rose\u00a0Pearlman\u00a0Foundation will disperse every artwork under its ownership to three museums: the Museum of Modern…\n","protected":false},"author":3,"featured_media":119203,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[32],"tags":[648,1032,74368,1033,171,74369,74370,67,132,68],"class_list":{"0":"post-119202","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-brooklyn-museum","11":"tag-design","12":"tag-entertainment","13":"tag-los-angeles-county-museum-of-art","14":"tag-museum-of-modern-art","15":"tag-united-states","16":"tag-unitedstates","17":"tag-us"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/114972694341238871","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/119202","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=119202"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/119202\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/119203"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=119202"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=119202"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=119202"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\t\t\t\t\tImage Credit: Photo Bruce White\/Museum of Modern Art, promised gift from the Henry and Rose Pearlman Foundation\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Photo Bruce White\/Museum of Modern Art, promised gift from the Henry and Rose Pearlman Foundation\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Bruce White\/Brooklyn Museum, Promised Gift of the Henry and Rose Pearlman Foundation\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Bruce White\/Los Angeles County Museum of Art, Promised Gift of the Henry and Rose Pearlman Foundation\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Bruce White\/Brooklyn Museum, Promised Gift of the Henry and Rose Pearlman Foundation\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Bruce White\/Los Angeles County Museum of Art, Promised Gift of the Henry and Rose Pearlman Foundation\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Bruce White\/Brooklyn Museum, Promised Gift of the Henry and Rose Pearlman Foundation\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Bruce White\/Brooklyn Museum, Promised Gift of the Henry and Rose Pearlman Foundation\t\t\t\t<\/p>\n