Summarize this content to 2000 words in 6 paragraphs in Arabic When the Courtauld\u2019s sellout Monet show closed last month, it seemed like its temporary exhibition galleries would never glow so brightly. But a few weeks later, they shine again with a rare, brilliant group of mostly impressionist paintings \u2014 also showing in London for the first time \u2014 and including an exceptional Monet.In \u201cLa D\u00e9b\u00e2cle\u201d (1880-81), dissolving patches of ice on the Seine, tinged silver-pink in late afternoon light, are interspersed with broken reflections of tall, bare poplars. Painted in V\u00e9theuil during the bitter winter of 1879, just after Monet\u2019s first wife had died, this lustrously bleak vision prefigures, in its risky play of the real and the mirrored, the abstracted waterlilies dotting the Giverny pond.Every painting in Goya to Impressionism: Masterpieces from the Oskar Reinhart Collection, a gathering of\u00a0two dozen works visiting from the villa museum Am R\u00f6merholz in Winterthur, Switzerland, is not only delicious and memorable; each holds special weight within the artist\u2019s oeuvre, or mattered particularly to another artist.C\u00e9zanne\u2019s fierce, youthful \u201cPortrait of Dominique Aubert\u201d (c1866), the massive head created by paint smeared on in fat slabs, was once owned by Monet. C\u00e9zanne especially admired Courbet\u2019s thundering seascapes, such as \u201cThe Wave\u201d (1870), and emulated their palette-knife method. Courbet\u2019s tide, C\u00e9zanne wrote, \u201chits you right in the stomach. You have to step back. The entire room feels the spray.\u201d\u00a0That describes the Courtauld\u2019s opening gallery: \u201cThe Wave\u201d (1869) rushes at you as you enter. On one side is Manet\u2019s homage to Spain, \u201cPortrait of Marguerite de Conflans Wearing a Mantilla\u201d (1873), a bravura rendering of translucent white lace against black hair and background; opposite, in Goya\u2019s \u201cStill Life with Three Salmon Steaks\u201d (1808-12), glistening raw fish similarly burst out of darkness. It\u2019s an electrifying meeting: reinventing figure painting for a modern age, Manet intently studied Spanish heightened realism.\u00a0In the second room, two eyes bore into you: the piercing gaze of impressionist supporter Victor Chocquet, with punk-green hair and hollowed cheeks. Chocquet greets us with the zeal, according to Renoir\u2019s friend Georges Rivi\u00e8re, that he turned on mockers at\u00a0impressionist exhibitions: \u201che lashed them with ironical remarks\u2009.\u2009.\u2009.\u2009eloquent, ingenious\u2009.\u2009.\u2009.\u2009vehement, domineering\u2009.\u2009.\u2009.\u2009without losing the urbanity which made him the most charming and formidable of opponents.\u201d After Chocquet\u2019s death, Renoir\u2019s eccentric portrait was unsold for decades until Reinhart bought it.A buoyant sense emerges here of impressionism\u2019s experiments, debates and battles. Renoir\u2019s stark, huge still life \u201cLily and Greenhouse Plants\u201d (1864) \u2014 starring a calla lily oddly scaled to full figure portrait size amid jarring colours of blue hydrangeas and flaming tulips \u2014 recovers the strangeness that disturbed initial viewers. Manet bought Sisley\u2019s limpid \u201cBarges on the Saint-Martin Canal\u201d (1870), its staccato choppy strokes imitating rippling water, at the moment he was considering painting en plein air himself, after long resistance.Such were the conversations that Swiss merchant Reinhart wanted to explore when he began seriously building his collection in 1922, setting out from Winterthur, a small town north of Zurich, to cherry-pick purchases from Paris and Berlin dealers. Samuel Courtauld started collecting the same year, and a charm of the exhibition is how markedly Reinhart\u2019s collection echoes the Courtauld\u2019s, and also connects to the pictures that Courtauld was then acquiring for London\u2019s National Gallery.\u00a0\u00a0Each bought half of an ambivalent painting of blank-faced strangers \u2014 or are they reluctant associates? \u2014 drinking in Paris\u2019s Brasserie de Reichshoffen,\u00a0which Manet, in a rage, had cut in two. Reinhart\u2019s \u201cAu Caf\u00e9\u201d (1878) and the National Gallery\u2019s \u201cCorner of a Caf\u00e9-Concert\u201d thus became separate depictions of urban alienation, their fate as pictures reiterating Manet\u2019s theme of disunity and isolation within the crowd. Reinhart coveted his picture for years, after seeing it in the home of Berlin mathematician Otto Gerstenberg. Courtauld returned to the subject with the great enigma \u201cA Bar at the Folies-Berg\u00e8re\u201d (1882).\u00a0Each collector acquired a mid-1870s Renoir posed by fine-boned, long-lashed model Nini Lopez \u2014 Reinhart\u2019s \u201cThe Milliner\u201d (c1875), the Courtauld\u2019s \u201cLa Loge\u201d (1874); each chose a Toulouse-Lautrec Moulin Rouge performer. The Courtauld has Jane Avril; Reinhart\u2019s \u201cThe Clowness Cha-U-Kao\u201d (1895), in green knickerbockers, flouncy yellow ruff and absurd topknot, hands thrust in pockets, expression indifferent, is a magnificent don\u2019t-give-a-damn female power portrait.Close too are the collections\u2019 Van Goghs, alluding to the trauma of the mutilated ear: the Courtauld\u2019s \u201cSelf-portrait with Bandaged Ear\u201d (1889), and Reinhart\u2019s little-known, spellbinding depictions of the Arles hospital where the wounded artist was admitted.\u201cA Ward in the Hospital at Arles\u201d (1889), with its claustrophobic linear interior featuring awkward patients, nurses and rows of curtained beds, and exaggerated vanishing point, is painful in its empathy \u2014 \u201cOne perhaps learns how to live from the sick,\u201d Van Gogh wrote to his brother from here. \u201cThe Courtyard of the Hospital at Arles\u201d (1889) is not quite its opposite: though illuminated by a radiant garden of criss-crossing plants, the flower beds\u2019 blots of colour recalling a painter\u2019s palette, \u201cdark and sad tree trunks\u201d course the ground \u2014 \u201clike snakes\u201d,\u00a0Van Gogh explained.Asserting the key position accorded to both artists in the 1920s, the Van Goghs share the main gallery wall here with symphonic C\u00e9zannes \u2014 two Provence landscapes and the late \u201cStill Life with Faience Jug and Fruit\u201d (c1900) in rich burnished hues. The leaf-pattern curtain rising up the picture, and tumbling near-transparent white cloth, give it the force and presence of a landscape.\u00a0Courtauld acquired several important C\u00e9zannes in the 1920s \u2014 the Courtauld has the UK\u2019s largest collection. During the same period, Reinhart\u2019s obsession was to find \u201can outstanding landscape\u201d by C\u00e9zanne; he rushed to Copenhagen when collector Wilhelm Hansen had to dissolve his collection following the crash of Denmark\u2019s Landsmansbank in 1922, and swooped on \u201cLe Pilon du Roi\u201d (1887-8).The rocky outcrop of the \u00c9toile mountains is framed by foliage: solid leaves in thick paint meet an ethereal sky. Striated ribbons of colour \u2014 pale green, yellow, dark blue \u2014 denoting receding fields and hills, are laced with reverberating colour patches, such as the cool blue shadowing the maize. It\u2019s a strikingly lyrical example of \u201charmony parallel to nature\u201d, as C\u00e9zanne defined his aim. Everything is airy, vibrant, giving a mirage-like feeling of shimmering heat, and also majestic, monumental.Here and in \u201cThe Ch\u00e2teau Noir\u201d (c1885), considered C\u00e9zanne\u2019s first painting of the beloved motif, you see why construction through colour and basic shapes \u2014 overlapping blue-green and ochre planes plunge you deep into a forest of columnar trees, diagonal branches, half-obscuring the cube of a building \u2014 riveted the next generation.Having sought impressionism\u2019s predecessors \u2014 Courbet, Corot, Daumier \u2014 to understand the movement, in 1935 Reinhart, aged 50, bought an important blue period Picasso. \u201cPortrait of Mateu Fern\u00e1ndez de Soto\u201d (1901). The slender nervy figure outlined as in Van Gogh, the forms beginning to be simplified and abstracted following C\u00e9zanne, casts its eerie sheen at the end of this marvellous exhibition, pointing forwards as well as looking back.February 14-May 26, courtauld.ac.ukFind out about our latest stories first \u2014 follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic When the Courtauld\u2019s sellout Monet show closed last month, it seemed like its temporary exhibition galleries would never glow so brightly. But a few weeks later, they shine again with a rare, brilliant group of mostly impressionist paintings \u2014 also showing in London for<\/p>\n","protected":false},"author":1,"featured_media":207489,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-207488","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/207488","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=207488"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/207488\/revisions"}],"predecessor-version":[{"id":207490,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/207488\/revisions\/207490"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/207489"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=207488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=207488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=207488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}