The modern wing built in 1985 is reserved for exhibitions and the old wing, which was renovated in 1987, houses a historical reconstruction of Pont-Aven at the end of the 19th century as well as the permanent collection dedicated to the Pont-Aven School.
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In southern France, the Ratapignata Pyramid (Aven de Ratapignata) is discovered on the hillside north of Nice, France and northwest of Falicon.
Bacchus discovering Ariane in Naxos is a painting by the Le Nain brothers, dating approximately 1630, that is part of the collection of French paintings in Orléans's Fine Arts museum.
Théodore Botrel created a monument to him in Pont-Aven, which is ceremonially adorned each year at the Fête des Fleurs d’Ajonc.
Paul Gauguin and Laval both came to Pension Gloanec in Pont-Aven in 1886 and became friends.
Already in summer of 1866, while he was in Pont-Aven, Shinn looked again to writing for newspapers and magazines.
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He and Roberts connected with Robert Wylie, a former curator at the Pennsylvania Academy of the Fine Arts living in Paris, who convinced the two of them to join him that summer in Pont-Aven, a village on the Breton coast that would later become a destination for Paul Gauguin and other Post-Impressionists.
Gauguin had brought his new style from Pont-Aven exemplified in Vision of the Sermon, a powerful work of visual symbolism of which he had already sent a sketch to Van Gogh in September.
Émile Jourdan (30 July 1860, Vannes – 29 December 1931, Quimperlé) was a French painter who became one of the artists who gathered in the village of Pont-Aven in Brittany.
Still, the crippled artist went to Brittany in 1923 and started to paint with other artists in Pont-Aven.
He settled in Pont-Aven, Brittany, where he taught some of those who belonged to the growing colony of artists.
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Frank (Francis) Crawford Penfold (1849-1921) was an American artist and teacher, remembered for his genre, landscape and portrait paintings, many of which he completed while living in Pont-Aven in Brittany.
In 1901, they returned to France and established their home in Pont-Aven where they associated with Théodore Botrel.
Largely derived from Ovid, the painting is described in W. H. Auden's famous poem Musée des Beaux-Arts, named after the museum in which the painting is housed in Brussels, and became the subject of a poem of the same name by William Carlos Williams, as well as Lines on Bruegel's "Icarus" by Michael Hamburger.
He moved to Britanny, there, inspired by nature around Pont-Aven and Rochefort-en-Terre, Pelouse realised landscapes which were exhibited at the Salon de Paris in the following years.
The artist has been the director of the Beaux Arts school of Caen (Normandy), as well as the currator of the Musée des beaux-arts in Caen.
Starting from the representation of a living room world of liberty taste, also through the irony of caricature, he was sensible to the avant-garde movements of the beginning of the twentieth century, from Futurism to Expressionism, from the movement of Pont-Aven to the Secessions in Vienna and Munich.
Mohr's work is collected by the Centre Pompidou in Paris, the Joseph Albers Museum, the Ludwig Museum in Cologne, the Museum for Concret Art in Ingolstadt, the Kunstmuseum Stuttgart, Musee d’Art Contemporain and Musée des Beaux-Arts in Montreal, the Stedelijk Museum in Amsterdam, Musée de l'Élysée in Switzerland, and many others.
The dock was expanded in 2003 to accommodate Brittany Ferries' new 40,000 ton flagship Pont-Aven, and the terminal building was also renovated.
was a Danish artist, one of a group of painters who gathered in the Breton village of Pont-Aven.
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The two young artists decided to go to Brittany together, staying at the Pension Gloanec in Pont-Aven.
The Musée d'art moderne de Troyes is one of the two main museums in the French city of Troyes - the other is the Musée des Beaux-Arts de Troyes.
There are also French paintings by artists such as Claude Vignon, Philippe de Champaigne, Gaspard Dughet, Jean Jouvenet, Sébastien Bourdon, Laurent de La Hyre, Charles Le Brun, Joseph Parrocel, Nicolas de Largillière, Jean-Baptiste Oudry, Charles-André van Loo, Louis Joseph Watteau, Joseph-Marie Vien, Camille Corot, Théodore Rousseau, Théodore Chassériau, Eugène Delacroix...
Despite the bequest by the mayor Fervaques, Dr. Jacquette, of paintings by Courbet, Boudin and Lepine, modern, especially impressionist artwork remained virtually unrepresented at the museum.
The Italian school is represented with drawings by Pontormo, Guercino, Giovanni Lanfranco, Salvator Rosa and with twenty one Tuscan drawings from the 16th and early 17th centuries by Fra Angelico, Bartolommeo Bandinelli, Francesco Salviati, Baldassare Peruzzi, Il Sodoma and Giorgio Vasari.
The museum was created in 1801 with the purchase of the Cacault collection and was located in is actual Palais des Beaux-Arts since 1900.
In the seven rooms of the upper gallery are Flemish and Dutch paintings of the 16th and 17th centuries (Rubens, Carel Fabritius, Pieter van Aelst (1502–1550), Leonaert Bramer) and French paintings by Renaud Levieux, Jean-François de Troy, Pierre Subleyras and Paul Delaroche's Oliver Cromwell with the corpse of Charles I.
Prior to being named the Pont-Aven was referred to as Bretagne 2, this was then the codename for the new Brittany Ferries vessel for Plymouth–Roscoff, the M/V Armorique.
She appeared in their Frank Pugliese play Aven U-Boys, as well as in King of Connecticut.
As the church is adjacent to rue Émile Bernard, some of Émile Bernard's paintings are showcased there.
Pont-Aven is mainly known because of the group of artists who flocked round Émile Bernard and Paul Gauguin, and who were joined in 1888 by Paul Sérusier.
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Pont Aven School of Contemporary Art (PASCA) is an international fine arts program located in the historic artists' colony of Pont-Aven (Brittany, France).
He went to Pont-Aven, Brittany, in the early sixties, where he remained until his death there in 1877.
In 2005 he was the Professor of Drawing for the Autumn semester at the Pont-Aven School of Contemporary Art, Brittany, France.
Vincent van Gogh had suggested a portrait exchange among the small group of artists (also including Émile Bernard) gathered at Pont-Aven in order to create a greater sense of community, a tradition known as Freundschaftsbild. By rendering them all in new artistic styles, the collective announced their abandonment of naturalism and adoption of Symbolism.
Chafing under the restraints of the schools, he traveled to Brittany, where at Pont-Aven and Concarneau he turned his attention to marine painting and landscape.
The resulting sensory perception in this first period of his work is the series of Nature morte, which were exposed for the first time in France at the Musée d'Art Moderne de la Ville de Paris, in Salon d'Automne at Grand Palais, at Musée des Beaux-Arts de Rouen and elsewhere.
The Flageolet Player on the Cliff was acquired in 1998 as part of a collection of Gauguin and his Pont-Aven coterie.
But the calvary depicted is an amalgam of calvaires from different site; the cross is based upon that in the centre of Névez, a community close to Pont-Aven and several miles from the coast, and the figure of Christ is based upon the calvaire at Briec - also some distance from the sea.
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The Green Christ (in French: Le Christ vert) is a painting executed by Paul Gauguin in autumn 1889 in Pont-Aven, Brittany, France.
The Yellow Christ (in French: Le Christ jaune) is a painting executed by Paul Gauguin in autumn 1889 in Pont-Aven.
He studied at the École des Beaux Arts under Cabanel, but spent most of his time with the American art colony at Pont-Aven in Brittany led by Robert Wylie, where he painted many pictures of the peasantry.
Bode occupied this post from 1889 to 1914, establishing the Musée des Beaux-Arts and the Cabinet des estampes et des dessins as well as setting the grounds of part of the current Musée de l’Œuvre Notre-Dame's collections.
During that time he traveled and painted, studying first in Paris with Gustave Boulanger and Jules-Joseph Lefebvre, subsequently going to England and Pont-Aven, Brittany.