Featured

11 Classic Works of Art, Marine Paintings – With Footnotes, #28

Pierre Bonnard , French, 1867 – 1947

The Port Of Cannes, Le Port de Cannes, c. 1926 – 1927

Oil, canvas

Private Collection

Cannes is a city located on the French Riviera. It is a commune of France located in the Alpes-Maritimes department, and host city of the annual Cannes Film Festival, Midem, and Cannes Lions International Festival of Creativity. .

Pierre Bonnard , French, 1867 – 1947

The Port Of Cannes, Le Port de Cannes, c. 1920

Oil, canvas

Private Collection

In the 10th century, the town was known as Canua. The name may derive from “canna,” a reed. Canua was probably the site of a small Ligurian port, and later a Roman outpost on Le Suquet hill, suggested by Roman tombs discovered here. Le Suquet housed an 11th-century tower which overlooked swamps where the city now stands. Most of the ancient activity, especially protection, was on the Lérins Islands and the history of Cannes is closely tied to the history of the islands.

An attack by the Saracens in 891, who remained until the end of the 10th century, devastated the country around Canua. The insecurity of the Lérins islands forced the monks to settle on the mainland, at the Suquet. Construction of a castle in 1035 fortified the city by then known as Cannes, and at the end of the 11th century construction was started on two towers on the Lérins islands. One took a century to build.

Around 1530, Cannes detached from the monks who had controlled the city for hundreds of years and became independent.

During the 18th century, both the Spanish and British tried to gain control of the Lérins Islands but were chased away by the French. The islands were later controlled by many, such as Jean-Honoré Alziary, and the Bishop of Fréjus. They had many different purposes: at the end of the 19th century, one served as hospital for soldiers wounded in the Crimean War. More on Cannes

Pierre Bonnard, French, 1867 – 1947

The Port of Cannes, 1927

Oil on canvas

41 x 65 cm

National Gallery of Canada

Pierre Bonnard (3 October 1867 — 23 January 1947) was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Bonnard preferred to work from memory, using drawings as a reference, and his paintings are often characterized by a dreamlike quality. The intimate domestic scenes, for which he is perhaps best known, often include his wife Marthe de Meligny.

Bonnard has been described as “the most thoroughly idiosyncratic of all the great twentieth- century painters”, and the unusual vantage points of his compositions rely less on traditional modes of pictorial structure than voluptuous color, poetic allusions and visual wit. Identified as a late practitioner of Impressionism in the early 20th century, Bonnard has since been recognized for his unique use of color and his complex imagery. More

 

Joaquin Sorolla y Bastida – 1899

The Net, c. 1899

Oil on canvas

Height: 50 cm (19.69 in.), Width: 69 cm (27.17 in.)

Private collection

Joaquín Sorolla y Bastida (27 February 1863 10 August 1923) was a Spanish painter. Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land. More

Charles Dixon, 1872 -1934

The Battle of Trafalgar, c. 1903

Watercolour and bodycolour

88.9 x 180.3cm (35 x 71in)

Private collection

The Battle of Trafalgar (21 October 1805) was a naval engagement fought by the British Royal Navy against the combined fleets of the French and Spanish Navies, during the War of the Third Coalition (August–December 1805) of the Napoleonic Wars (1803–1815).

Twenty-seven British ships of the line led by Admiral Lord Nelson aboard HMS Victory defeated thirty-three French and Spanish ships of the line under the French Admiral Villeneuve in the Atlantic off the southwest coast of Spain, just west of Cape Trafalgar, in Caños de Meca. The Franco-Spanish fleet lost twenty-two ships, without a single British vessel being lost. It was the most decisive naval battle of the war, conclusively ending French plans to invade England.

The British victory spectacularly confirmed the naval supremacy that Britain had established during the eighteenth century and was achieved in part through Nelson’s departure from the prevailing naval tactical orthodoxy. 

Nelson was shot by a French musketeer during the battle and died shortly after, becoming one of Britain’s greatest war heroes. Villeneuve was captured along with his ship Bucentaure. Admiral Federico Gravina, the senior Spanish flag officer, escaped with the remnant of the fleet and succumbed months later to wounds sustained during the battle. Villeneuve attended Nelson’s funeral while a captive on parole in Britain. The Battle of Trafalgar

Charles Edward Dixon (8 December 1872 – 12 September 1934) was a British maritime painter of the late nineteenth and early twentieth centuries, whose work was highly successful and regularly exhibited at the Royal Academy. Several of his paintings are held by the National Maritime Museum and he was a regular contributing artist to magazines and periodicals. He lived at Itchenor in Sussex and died in 1934. More

William Lee Hankey, (1869–1952) RWS,RI,ROI,RE,NS

CANNES, PORT ET SUQUET

Oil on canvas

61.5 x 74cm

Private collection

Le Suquet, sometimes called Mont-Chevalier, is the oldest district of Cannes , its “old town”, situated on a hill west of the bay , Old Port. Lord Brougham played his part to speed up the creation of a port at the foot of the Suquet . For a hundred years, the fishermen demanded a dike to protect themselves from the labech, the south-west wind which can trigger fierce storms. Bewitched by the site, the benefactor intervened with King Louis-Philippe. The grateful city erected a statue in 1898 to this providential man.

But it was another Englishman, the Prince of Wales, Albert Edward, the eldest son of Queen Victoria and future Edward VII, who laid the first stone of the pier which bears his name in 1898. Before being crowned, the Prince of Wales had made Cannes his headquarters, More Suquet

William Lee Hankey (1869–1952) RWS,RI,ROI,RE,NS was a British painter and book illustrator. He specialised in landscapes, character studies and portraits of pastoral life, particularly in studies of mothers with young children.

He was born in Chester and worked as a designer after leaving school. He studied art in the evenings at the Chester School of Art, then at the Royal College of Art. Later in Paris he became influenced by the work of Jules Bastien-Lepage, who also favoured rustic scenes depicted in a realistic but sentimental style. He first exhibited at the Royal Academy in 1896 and was President of the London Sketch Club from 1902 to 1904. He stayed in France in the early 1900s, painting many of his works in Brittany and Normandy. From 1904 until well after World War I he maintained a studio at the Etaples art colony.

It was Hankey’s black and white and coloured etchings of the people of Étaples, which gained him a reputation as ‘one of the most gifted of the figurative printmakers working in original drypoint during the first thirty years of the 20th century’. One that is particularly striking for its stylistic presentation was “The Refugees”, his contribution to raising awareness of the consequences for ordinary people of the German invasion of France and Belgium in 1914. He went on to serve with the Artists’ Rifles from 1915 to 1918.

In Britain he had been associated with the Newlyn School, a group of English artists based in the titular village in Cornwall who were themselves influenced by the romantic poets such as Wordsworth and Keats. More

 

Edward William Cooke, 1811 – 1880

French Sloop entering the harbour of Tréport, c. 1869

Oil on canvas

81.3 x 134.6cm (32 x 53in)

Private collection

Le Treport is a coastal port town on the English Channel in northern Seine-Maritime, normandy, and just a few kilometres from Eu and Mers-les-Bains, which falls on the Picardy side of the River Bresle.

A long standing port town, Le Tréport was established as a seaside resort in the 19th century, it was with the arrival of ‘paid holidays for all workers’ in France in 1936 that the town really started to grow in popularity – it is one of the most accessible seaside resorts from Paris. More Le Treport

 

Edward William Cooke, R.A., F.R.S., F.Z.S., F.S.A., F.G.S. (27 March 1811 – 4 January 1880) was an English landscape and marine painter, and gardener. Cooke was born in Pentonville, London. He was raised in the company of artists. He was a precocious draughtsman and a skilled engraver from an early age, displayed an equal preference for marine subjects and published his “Shipping and Craft” a series of accomplished engravings when he was 18, in 1829. Cooke began painting in oils in 1833, and first exhibited at the Royal Academy and British Institution in 1835, by which time his style was essentially formed.

He went on to travel and paint with great industry at home and abroad, indulging his love of the 17th-century Dutch marine artists with a visit to the Netherlands in 1837. He returned regularly over the next 23 years, studying the effects of the coastal landscape and light, as well as the works of the country’s Old Masters, resulting in highly successful paintings. He went on to travel in Scandinavia, Spain, North Africa and, above all, to Venice. In 1858, he was elected into the National Academy of Design as an Honorary Academician. . More Edward William Cooke

George William Joy, 1844 – 1925

Ships moored in calm waters

Watercolour

17.8 x 26cm (7 x 10 1/4in)

Private collection

George William Joy (July 7, 1844 in Dublin, Ireland – October 28, 1925 in Purbrook, Hampshire) was an Irish painter in London.  He was initially destined for the military and was also an accomplished violin player. After a foot injury at a young age, his father declared him unfit for military service. Joy was then educated at Harrow School and eventually pursued a career as an artist. He studied in London’s South Kensington School of Art and later at the Royal Academy.

In 1868 Joy went to Paris where for two years he was a student of Charles-François Jalabert and Léon Bonnat. There he met masters like Gérôme, Cabanel, Jules Breton, Jules Lefebvre und Philippe Rousseau.

Going back to London, Joy established himself as a history and genre painter, and became a frequent exhibitor at the Royal Academy, the Salon des artistes français and the Royal Hibernian Academy. He became a member of the Royal Institute of Oil Painters in 1895.

To satisfy his early military ambitions, Joy entered the Artists Rifles where he was known as a good shot, representing Ireland several times. He spent many winters in Swanage from 1896 and eventually retired to Purbrook. Both of his sons were killed in 1915 during World War I. More George William Joy

 

Jan Marti, (1958-) 

Automne sur Honfleur 

Oil on canvas 

50 x 61 cm 

Private collection

Honfleur is a commune in northwestern France. It is located on the southern bank of the estuary of the Seine across from le Havre and very close to the exit of the Pont de Normandie. Its inhabitants are called Honfleurais.

It is especially known for its old, beautiful picturesque port, characterized by its houses with slate-covered frontages, painted many times by artists, including in particular Gustave Courbet, Eugène Boudin, Claude Monet and Johan Jongkind, forming the école de Honfleur (Honfleur school) which contributed to the appearance of the Impressionist movement. More Honfleur

Jan Marti was born in 1958 in Savoy, after a few attempts at studying and various jobs that he quickly gives up, he then devotes himself to painting. He channels his connection to the abstract in hectic and elegant strokes. 

The exuberant blaze of colours and elements flatters both sensibility and eyes. His work depicts a naturally suggested beauty. Jan Marti’s works are part of numerous exhibitions and private collections in France and abroad. More Jan Marti

Chiharu Shiota

The key in the hand at Japanese Pavillon, 2015 

Chiharu Shiota is a Japanese installation artist born in 1972 in Osaka. She has been living and working in Berlin since 1996.

Shiota studied at the Seika University in Kyoto and at various schools in Germany. Shiota’s oeuvre links various aspects of art performances and installation practices. Mostly renown for her vast, room-spanning webs of threads or hoses, she links abstract networks with concrete everyday objects such as keys, windows, dresses, shoes, boats and suitcases. Besides installation works, she frequently collaborates with choreographers and composers. More Chiharu Shiota

JOHN SLOAN, (1871–1951)  

The Wake of the Ferry II, 1907

Oil on canvas

26 x 32 in.

Phillips Collection

John French Sloan began painting The Wake of the Ferry II in 1907, his second version of this scene. The subject may well have been suggested by Sloan’s ferry trips with his wife from Jersey City to Philadelphia for medical treatments.

The stylistic influence of Robert Henri, so pervasive in Sloan’s early work, is apparent here; the scene has been broadly conceived, spontaneously conveyed, and boldly brushed, in a limited palette of grays and near-blacks. The composition reinforces the mood; the ferry’s tilted angle, framing a view of the rough waters, is arresting, and the diagonal of the wake receding into the mist reinforces the sense of loneliness and distance. In this setting, the small figure on the right, understated and half lost in shadow, becomes the essential actor in this version of Sloan’s human comedy and brings into focus its melancholy expression.

In 1971 The Wake of the Ferry II was selected by the United States Postal Service for a stamp commemorating the centennial year of Sloan’s birth. More The Wake of the Ferry

John French Sloan (August 2, 1871 – September 7, 1951) was a twentieth-century painter and etcher and one of the founders of the Ashcan school of American art. He was also a member of the group known as The Eight. He is best known for his urban genre scenes and ability to capture the essence of neighborhood life in New York City, often observed through his Chelsea studio window. Sloan has been called “the premier artist of the Ashcan School who painted the inexhaustible energy and life of New York City during the first decades of the twentieth century” and an “early twentieth-century realist painter who embraced the principles of Socialism and placed his artistic talents at the service of those beliefs.” More  John Sloan

 

 

Images are copyright of their respective owners, assignees or others

We do not sell art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Featured

12 Paintings of the Canals of Venice in the 18 & 19th Century, by the artists of the time, with foot notes. #5

Richard Price, (British, born 1962)

April Day in Venice

Oil on canvas

51 x 61cm (20 1/16 x 24in).

Private Collection

The Patriarchal Cathedral Basilica of Saint Mark, commonly known as Saint Mark’s Basilica, is the cathedral church of the Roman Catholic Archdiocese of Venice, northern Italy. It is the most famous of the city’s churches and one of the best known examples of Italo-Byzantine architecture. It lies at the eastern end of the Piazza San Marco, adjacent and connected to the Doge’s Palace. Originally it was the chapel of the Doge, and has only been the city’s cathedral since 1807.

For its opulent design, gold ground mosaics, and its status as a symbol of Venetian wealth and power, from the 11th century on the building has been known by the nickname Chiesa d’Oro (Church of gold). More Saint Mark’s Basilica

Richard Price was born in 1962 in Upminster, Essex. At 11 years of age he started painting and drawing from observing the fishing fleet at Leigh-on-Sea, Essex. Encouraged to simply paint ‘anything’ he quickly was drawn to paint atmospheric conditions and light effects.

He later studied at Portsmouth. Price then moved to London and worked as a production design lecturer at the London International Film School. In 2001 he started to make his own images again. Encouraged by his new mentor Jon Bowen he soon resumed his painting.

Price’s work is concerned with light and atmosphere and falls within the traditions of artists such as Turner and Walter Sickert. While some of his work is done in the studio, Price is predominantly an ‘en plein air’ painter and most of his work is therefore painted immediately in front of his subject. The challenge of this type of work is in being able to rapidly analyze colour and tone at the same time as capturing the constantly moving drama of the environment. More Richard Price

Serge Mendjisky, B. 1929

VENISE, LE GRAND CANAL, c. 1989

Oil on canvas

73 by 100.2cm., 28 3/4 by 39 1/2 in.

Private Collection

The Grand Canal is a canal in Venice, Italy. It forms one of the major water-traffic corridors in the city. Public transport is provided by water buses and private water taxis Many tourists explore the canal by gondola.

One end of the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into Saint Mark Basin; in between, it makes a large reverse-S shape through the central districts (sestieri) of Venice. More Grand Canal

Serge Mendjisky was born in 1929 in Paris. After completing his studies at the Beaux Arts in Paris, he soon became a recognized artist and exhibited in Europe, Japan and the United States. He uses photography to make his preliminary studies in painting.

In 2000, he decided to use photography as the only means of expression. He borrows the collage technique to alter photographic images and articulate its multidimensional worldview. The multiple perspectives, expressed in his collages evoke clearly the analytical phase of Cubism. After many years of technical exploration, he found a way to question not only the appearance of the world, but also our perceptual behavior.

By decomposing and recomposing the backgrounds of some of the most famous cities of the world like New York and Paris, Serge Mendjisky creates new urban landscapes which question our perceptive faculties. More Serge Mendjisky

Edward William Cooke

The Canale della Giudecca with Redentore beyond, c. 1863

Oil on paper laid on canvas

11 x 17 11/16 in

Private Collection

The Giudecca Canal is a body of water that flows into the San Marco basin in Venice, Italy. It is one of the major canals in the city, it bisects the sestieri of Dorsoduro, separating Giudecca island and district from Dorsoduro district. More Giudecca Canal

Edward William Cooke, R.A., F.R.S., F.Z.S., F.S.A., F.G.S. (27 March 1811 – 4 January 1880) was an English landscape and marine painter, and gardener. Cooke was born in Pentonville, London. He was raised in the company of artists. He was a precocious draughtsman and a skilled engraver from an early age, displayed an equal preference for marine subjects and published his “Shipping and Craft” a series of accomplished engravings when he was 18, in 1829. Cooke began painting in oils in 1833, and first exhibited at the Royal Academy and British Institution in 1835, by which time his style was essentially formed.

He went on to travel and paint with great industry at home and abroad, indulging his love of the 17th-century Dutch marine artists with a visit to the Netherlands in 1837. He returned regularly over the next 23 years, studying the effects of the coastal landscape and light, as well as the works of the country’s Old Masters, resulting in highly successful paintings. He went on to travel in Scandinavia, Spain, North Africa and, above all, to Venice. In 1858, he was elected into the National Academy of Design as an Honorary Academician. . More Edward William Cooke

ANDREW FISHER BUNNER (American, 1841-1897)

Venetian canal scene

Oil on canvas

22 x 32 in.

Private Collection

ANDREW FISHER BUNNER (1841 – 1897). Born in New York in 1841.  From 1865 through 1868 he lived in New York and exhibited a number of works at the national Academy of Design.  These works included A Summer Afternoon in Pike County, PA. (1865) and The Potomac River below Harper’s Ferry (1868).  He spent the year of 1869 in New Jersey and then moved to Louisville, KY. in 1870.  He exhibited Study from Nature in West Virginia at the National Academy that same year.

During the 1870’s he traveled to Europe to study and spent time in Paris and Venice.  He concentrated on landscapes, often views by the riverside with a great deal of interest and detail.  In 1879 he returned to New York and was living at 33 East 17th Street.  Among the works he exhibited at the National Academy that year were The Riva, Venice and A Fisherman’s Cottage in the Tyrol.  He remained in New York till 1883 when he returned to Venice.  He lived there till 1885 and sent works each year to the National Academy for exhibition.

Bunner returned to New York in 1887 and remained there till his death in 1897.  In 1900 his wife donated a group of works that Bunner produced during his trips to Venice to the Metropolitan Museum of Art in New York City. More

Charles Oppenheimer RSA RSW (British, 1875-1961)

Ponte Di Cannaregio, Venice 

Oil on panel

34.5 x 45 cm. (13 3/16 x 17 1/8

Private Collection

The Ponte delle Guglie is one of two bridges in Venice, Italy, to span the Cannaregio Canal. It lies near the western end of the canal, by the Venezia Santa Lucia railway station.

An earlier wooden bridge was built in 1285. It was replaced by the current stone and brick bridge in 1580. It was restored in 1641 and 1677, and was totally rebuilt in 1823 at which time spires were added. The spires lie at each end of the bridge. A carved balustrade runs on either side of the walkway, and gargoyles decorate its arch. It is the only bridge in Venice adorned with spires from whence it takes its name (“Bridge of Spires”). More The Ponte delle Guglie 

Charles Oppenheimer RSA RSW, 1875 – 1961Few Scottish artists are so closely associated with a town or location as Charles Oppenheimer is with Kirkcudbright. He was however not a native Scot having been born in Manchester and only settling in the town when in his mid thirties. Other artists of the Kirkcudbright School, Hornel, MacGeorge and Mouncey found their subject matter in the surrounding Galloway landscape and paid little attention to the beautiful old town where they lived. Oppenheimer as a keen fisherman also spent many hours on the local rivers and lochs, but he produced his best and most memorable work painting in Kirkcudbright itself.More Charles Oppenheimer 

He was a prize-winning student at Manchester School of Art, and his first picture was exhibited at the Manchester Academy of Fine Arts in 1894. His studies also took him to Italy.

Ken Howard R.A. (British, born 1932)

From San Tomà, Venice 

Oil on canvas

12 x 16 inches

Private Collection

San Tomà is a church which is located in the sestiere of San Polo in Venice, Italy. It stands opposite the Scoletta dei Calegheri. More

Kenneth Howard OBE RA (born 26 December 1932) is an English artist and painter. He was President of the New English Art Club from 1998 to 2003.

Ken Howard was born in London. He studied at the Hornsey College of Art (1949–53) and the Royal College of Art (1955–58). In 1958 he won a British Council Scholarship to Florence. He spent his National Service in the Royal Marines (1953–55). In 1973 and 1978 he was the Official War Artist to Northern Ireland, and 1973–80 worked in various locations, including Hong Kong, Cyprus and Canada with the British Army. In 1983 he was elected an Associate of the Royal Academy (ARA). In 1998 he became President of the New English Art Club, a post he held until 2003. In 1991 he was elected a Royal Academician (RA).

He paints in a “traditional” manner, based on strong observation and a high degree of draughtsmanship combined with tonal precision. The depiction of light is a strong and recurrent element of his work. A notable theme is the nude model in his studio. Another theme is a city scene, such as Venice, with emphasis placed on the reflection of light from puddles after rain. He has said:

Howard was appointed Officer of the Order of the British Empire (OBE) in the 2010 Birthday Honours More

KEN HOWARD RA RWS ROI NEAC (B.1932)

The Ospidale S. Giovanni & Paolo, Venice (2010)

Oil on canvas

45½ x 30½cm (18 x 12in)

Private Collection

The Basilica di San Giovanni e Paolo, known in Venetian as San Zanipolo, is a church in the Castello sestiere of Venice, Italy.

One of the largest churches in the city, it has the status of a minor basilica. After the 15th century the funeral services of all of Venice’s doges were held here, and twenty-five doges are buried in the church.

The huge brick edifice was designed in the Italian Gothic style, and completed in the 1430s. It is the principal Dominican church of Venice, and as such was built to hold large congregations. It is dedicated to John and Paul, not the Biblical Apostles of the same names, but two obscure martyrs of the Early Christian church in Rome, whose names were recorded in the 3rd century but whose legend is of a later date.

In 1246, Doge Jacopo Tiepolo donated some swampland to the Dominicans after dreaming of a flock of white doves flying over it. The first church was demolished in 1333, when the current church was begun. It was not completed until 1430. More

KEN HOWARD RA RWS ROI NEAC (B.1932), see above

Martín Rico y Ortega, 1833-1908

CANAL, VENICE

Oil on panel

8 5/8  by 6 1/4  in.; 22.1 by 15.9 cm

Private Collection

Martín Rico y Ortega (12 November 1833, El Escorial – 13 April 1908, Venice, Italy) was a Spanish painter of landscapes and cityscapes. Rico was one of the most important artists of the second half of the nineteenth century in his native country, and enjoyed wide international recognition.

Rico was born in Madrid and received his earliest formal training at the city’s Real Academia de Bellas Artes de San Fernando, where he studied under Jenaro Pérez Villaamil, the Academy’s first professor of landscape painting. Under the tutelage of Pérez Villaamil, Rico’s earliest works show him influenced by Romanticism, the style for which his teacher was known. In 1860, having been awarded a government-sponsored scholarship, Rico moved to Paris to continue his studies.

His landscapes from this decade depict the French and Swiss countryside in a fully accomplished Realist style. Toward the end of 1870, due to political and social unrest caused by the outbreak of the Franco-Prussian War, Rico decided to leave France and return to his native Spain.

At the invitation of his good friend and colleague Marià Fortuny, Rico moved to the southern city of Granada, joining Fortuny and his wife Cecilia, as well as the painter Ricardo de Madrazo. The three artists worked closely during this period, with the styles of Rico and Fortuny overlapping so much that their watercolors—a specialty for both artists—were often confused for one another. It was during this time that, through Fortuny’s influence, Rico’s paintings began to reveal a newfound sense of luminosity and color. His time in Andalucía was, according to his memoirs, one of his happiest, and also one of his most artistically productive periods. More Ortega

Franz Richard Unterberger (Austrian, 1838-1902)

Canale San Barnaba, Venise 

Oil on canvas

92 x 71cm (36 1/4 x 27 15/16in)

Private Collection

The church of San Barnaba is a small Neoclassic-style church in district of Dorsoduro in Venice, It is located in Campo San Barnaba. It is dedicated to the Apostle Saint Barnabas.


A church at the site was built in the ninth century, but destroyed by fire in 1105. Rebuilt in 1350, it was reconstructed in present form in 1776. The 11th-century campanile, detached from the main body of the church, has a pine-cone shaped spire from the 1300s.

The church was used as a library in the 1989 film Indiana Jones and the Last Crusade, acting as the entrance to the tomb of a Grail Knight. More San Barnaba Church

The canal is in a quiet area of Venice. On the banks of the canal are many architecturally beautiful and colorful houses. San Barnaba is a quiet place to monitor the gondolas that pass through the canal.


Barnabas, born Joseph and Akylah, was an early Christian, one of the prominent Christian disciples in Jerusalem. Barnabas was a Cypriot Jew. Named an apostle in Acts 14:14, he and Paul the Apostle undertook missionary journeys together and defended Gentile converts against the Judaizers. They traveled together making more converts, and participated in the Council of Jerusalem

Although the date, place, and circumstances of his death are historically unverifiable, Christian tradition holds that Barnabas was martyred at Salamis, Cyprus, in AD 61. He is traditionally identified as the founder of the Cypriot Orthodox Church. More Barnabas


Franz Richard Unterberger was born on August 15, 1838 in Innsbruck, Australia; Died May 25, 1902; Neuilly-sur-Seine, France. He was one of 11 children of an art dealer. Unterberger started his studies in 1853 at the Munich Academy, alongside Julius Lange and Albert Zimmerman. In 1860, Franz continued his studies at Düsseldorf, which was the favored academy for Scandinavian painters studying abroad. Here he produced several atmospheric mountainous scenes. By the 1870’s Unterberger was already exhibiting in major cities across Europe including: Paris, Boston, Munich, Brussels, Berlin and Vienna among others.


In the mid 1880’s, Franz exhibited in Venezuela and in London at the International Universal Exhibition. In the 1890’s, most of his paintings revolved around Venetian and South Italian scenes. More Franz Richard Unterberger

Benjamin Brown, 1865 – 1942

Venice

 Watercolor on paper under glass

13.25 x 10.5 in

Private Collection

Benjamin Chambers Brown (July 14, 1865 – January 19, 1942) was a California Impressionist landscape artist. He was one of their five children. He grew up in Little Rock, Arkansas. Brown was trained as a photographer. He studied at the University of Tennessee, and later at the St. Louis School of Fine Arts under Paul Harney and John Fry in 1884. He studied in Paris at the Académie Julian under Jean-Paul Laurens and Jean-Joseph Benjamin-Constant in 1890.

During his early career, Brown traveled and worked in St. Louis, Little Rock and Texas. In St. Louis, Brown taught at the St. Louis Art School. He went on to open his own school in Little Rock. He initially specialized in portraiture and still life. Upon moving to Pasadena in 1896, he began to paint landscapes. By 1905 he had become famous for his paintings. From 1909 to 1910, Brown had a studio in Mill Valley, California.

His first etchings were done in 1914. He co-founded the Print Makers of Los Angeles with his brother Howell in 1914, which later became the Los Angeles Society of Printmakers. His notable works include his impressionist landscapes of Sierra peaks and field poppies. 

Brown tried to sell his artwork in New York City; however, it did not sell as well as it had in California. Instead of opening a studio in the city, he began to sign California under his own signature to show how proud he was to be a Californian, in spite of potential stigmas. More Benjamin Chambers Brown

‘HENRY P. SMITH’, 1854 – 1907

Villa on a Venetian Canal

Oil on panel

24 by 20 inches (61 by 50.8 cm)

Private Collection

Henry Pember Smith (February 20, 1854 – October 16, 1907) was an American painter, best known for his depictions of country cottages and river scenes around Lyme and East Lyme, Connecticut, and paintings of the sea and shore in New Jersey, Rhode Island, and Cape Ann to Maine.

Smith was born in Waterford, Connecticut. During the 1880s, he studied the Old Masters in Paris, Brittany, Normandy, Venice and along the English Cornish coast. He was a member of the Artists’ Fund Society and the American Water Color Society, and exhibited at the National Academy of Design from 1877-1896, 1899, 1901, 1906; the Brooklyn Art Club (1878-1885, 1892); Boston Art Club (1880-1890); Pennsylvania Academy of Fine Art (1881, 1888); and the Art Institute of Chicago. Smith died of heart disease in Asbury, New Jersey. More

Ken Howard R.A. (British, born 1932)

Venice scene 

Oil on canvas

15 x 60.5cm (5 7/8 x 23 13/16in).

Private Collection

Ken Howard R.A. (British, born 1932) studied at Hornsey School of Art from 1949 to 1953. He then did his National Service with the Royal Marines before returning to study at the Royal College of Art from 1955 to 1958. He went on to win a British Council Scholarship to Florence from 1958 to 1959.

Howard’s first solo show was held at the Plymouth Art Centre in 1955. Subsequent exhibitions were held in 1966 and 1968 at the John Whibley Gallery. From then on he exhibited extensively, both nationally and internationally, particularly with the New Grafton Gallery from the early 1970s. He was given a retrospective in 1972 at the Plymouth City Art Gallery and in 1973 and 1979 was appointed by the Imperial War Museum as official artist in Northern Ireland. He also worked with the British Army in Germany, Cyprus, Oman, Hong Kong, Nepal, Norway, Canada, Belize and Brunei from 1973 to 1982.

Howard was elected a member of the New English Art Club in 1962, the Royal Institute of Oil Painters in 1966, the Royal Society of Painters in Watercolours in 1979, the Royal West of England Academy 1981, Honorary Member of the Royal Society of British Artists in 1988, Royal Academician in 1991 and President of the New English Art Club in 1998. Among his numerous awards are First Prize in the Lord Mayor’s Art Award in 1966, a Prize Winner in the John Moores Exhibition, Liverpool in 1978, first prize in the Hunting Group Awards and the Critics Prize at Sparkasse Karlsruhe in 1985. Ken Howard lives and works in London. More

Acknowledgement: Bonhams, and others

Images are copyright of their respective owners, assignees or others


We do not sell art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.


If you enjoyed this post, please share with friends and family.

Featured

12 Paintings, scenes from the Bible, by The Old Masters, with footnotes # 30

This is the post excerpt.

Egon Schiele’s painting Cardinal and Nun of 1912 is a paraphrase of Gustav Klimt’s Kiss, which had been created five years prior.Everything about Klimt’s painting that was positive, however, is transformed here into its darker manifestation:the gold background is turned black, the gentle embrace has given way the violent clutching of the two delicate, praying hands, and the sensual expression on the face of Klimt’s woman has become a nun’s distraught glance.Schiele called the painting of this strange embrace Liebkosung, or “The Caress”. More

Egon Schiele, (June 12, 1890 – October 31, 1918)
Cardinal And Nun (Caress), c. 1912
Oil, canvas
Height: 700 mm (27.56 in). Width: 805 mm (31.69 in).
Leopold Museum, Vienna, Austria

Egon Schiele (German: 12 June 1890 – 31 October 1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century. His work is noted for its intensity and its raw sexuality, and the many self-portraits the artist produced, including naked self-portraits. The twisted body shapes and the expressive line that characterize Schiele’s paintings and drawings mark the artist as an early exponent of Expressionism. More

12 Paintings, scenes from the Bible, by The Old Masters, with footnotes # 30

 

12 Mexico Icons, scenes from the Bible, with footnotes # 10

 SAINT GEORGE AND THE DRAGON

MEXICO, LATE 19th CENTURY

Oil on metallic sheet

35.5 x 25.5

Private Collection

Saint George (circa 275/281 – 23 April 303 AD) was a soldier in the Roman army who later became venerated as a Christian martyr. His parents were Christians of Greek background; his father Gerontius was a Roman army official from Cappadocia and his mother Polychronia was from Lydda, Syria Palaestina. Saint George became an officer in the Roman army in the Guard of Diocletian, who ordered his death for failing to recant his Christian faith.

In the fully developed Western version of the Saint George Legend, a dragon, or crocodile, makes its nest at the spring that provides water for the city of “Silene” (perhaps modern Cyrene in Libya or the city of Lydda in Palistine, depending on the source). Consequently, the citizens have to dislodge the dragon from its nest for a time, to collect water. To do so, each day they offer the dragon at first a sheep, and if no sheep can be found, then a maiden is the best substitute for one. The victim is chosen by drawing lots. One day, this happens to be the princess. The monarch begs for her life to be spared, but to no avail. She is offered to the dragon, but then Saint George appears on his travels. He faces the dragon, protects himself with the sign of the Cross, slays the dragon, and rescues the princess. The citizens abandon their ancestral paganism and convert to Christianity. Mor

THE MARRIAGE OF THE VIRGIN

MEXICO, EARLY 18th CENTURY

Oil on canvas

144 x 90 cm

Private Collection

The Marriage of the Virgin is the subject in Christian art depicting the marriage of the Virgin Mary and Saint Joseph. Unlike many other scenes in Life of the Virgin cycles (like the Nativity of Mary and Presentation of Mary), it is not a feast in the church calendar.

In art the subject could be covered in several different scenes, and the betrothal of Mary, with Joseph’s blossoming rod, was often shown, despite its apocryphal origin. Wedding processions are also shown, especially in the Early Medieval period. More The Marriage of the Virgin

THE BAPTISM OF JESUS CHRIST

MEXICO, 17th CENTURY

Oil on canvas

160.5 x 112.5 cm

Private Collection

The baptism of Jesus marks the beginning of his public ministry. This event is described in the gospels of Matthew, Mark and Luke. John’s gospel does not directly describe Jesus’ baptism.

Most modern theologians view the baptism of Jesus by John the Baptist as a historical event to which a high degree of certainty can be assigned. Along with the crucifixion of Jesus, most biblical scholars view it as one of the two historically certain facts about him, and often use it as the starting point for the study of the historical Jesus. More The baptism of Jesus

ATTRIBUTED TO A JUAN CORRE

(MEXICO, ACT. 1646 – 1716)

SAINT SIMON

Oil on canvas

110 x 81.5 cm 

Private Collection

Juan Correa (1646–1716) was a Mexican painter of mixed Moorish or African, Indian and Spanish heritage. His years of greatest activity were from 1671 to 1716. He painted many religious-themed, Baroque paintings for cathedrals in Mexico. Correa was José de Ibarra’s teacher. Correa, along with contemporaries Miguel Cabrera and Cristóbal de Villalpando are important examples of 17th century Mexican Baroque painting. More Juan Correa

St. Simon or Simeon is described as one of our Lord’s brethren or kinsmen. His father was Cleophas, St. Joseph’s brother, and his mother, according to some writers, was our Virgin Mary’s sister. He wais supposed to have been about eight years older than Jesus. St. Epiphanius says that when the Jews massacred St. James the Lesser, his brother Simeon upbraided them for their cruelty. The apostles and disciples afterwards met together to appoint a successor to James as bishop of Jerusalem, and they unanimously chose Simeon, who had probably assisted his brother in the government of that church. 

In the year 66 civil war broke out in Palestine, as a consequence of Jewish opposition to the Romans. The Christians in Jerusalem were warned of the impending destruction of the city and ordered to leave it. Accordingly that same year, before Vespasian entered Judaea, they retired with St. Simeon at their head to the other side of the Jordan, occupying a small city called Pella. After the capture and burning of Jerusalem, the Christians returned and settled among the ruins until the Emperor Hadrian afterwards entirely razed it. When Vespasian and Domitian had ordered the destruction of all who were of the race of David, St. Simeon had escaped their search; but when Trajan gave a similar injunction, he was denounced as being not only one of David’s descendants, but also a Christian, and he was brought before Atticus, the Roman governor. He was condemned to death and, after being tortured, was crucified. Although he was extremely old – tradition reports him to have attained the age of 120 – Simeon endured his sufferings with a degree of fortitude which roused the admiration of Atticus himself. More St. Simon

SAINT PETER OF ALCALA WITH A DONOR

MEXICO, 18th CENTURY

Oil on canvas

115.5 x 72 cm

Private Collection

SAINT ANNE, 

MEXICO, 18th CENTURY

Oil on canvas

112 x 58 cm

Private Collection

Saint Anne (also known as Ann or Anna) of David’s house and line, was the mother of the Virgin Mary and grandmother of Jesus Christ, according to apocryphal Christian and Islamic tradition. Mary’s mother is not named in the canonical gospels, nor in the Qur’an. Anne’s name and that of her husband Joachim come only from New Testament apocrypha, of which the Protoevangelium of James (written perhaps around 150) seems to be the earliest that mentions them. More on Saint Anne

 

JUAN DE VILLALOBOS, (MEXICO, ACT. 1687-1724)

SAINT ILDEFONSO

Oil on canvas

154.5 x 81 cm

Private Collection

Saint Ildefonsus, born circa 607, died 23 January 667, was a scholar and theologian who served as the metropolitan Bishop of Toledo for the last decade of his life. 

Although his writings were less influential outside of Hispania, Ildefonsus was canonised and remained a potent force in the peninsula for centuries. Spanish and Portuguese missionaries spread his cult worldwide.

Ildefonsus was born to a prominent Visigothic family in Toledo during the reign of Witteric.[Civil wars racked the Visigothic kingdom during most of Ildefonsus’ life. His uncle Eugenius, who later became Toledo’s bishop, began educating the devout youth. Ildefonsus began his religious career circa 632 when Bishop Eladius of Toledo ordained him as a deacon. However, Ildefonse defied his family’s plans for his clerical career by becoming a monk at the Agali monastery outside the city. While he was still a simple monk, he founded and endowed a monastery of nuns.  In 650 Ildefonsus was elected its abbot of Agali. In that capacity, he attended two synods of the Iberian church, the 8th and 9th Councils of Toledo. When his uncle Bishop Eugenius II died in 657, Ildefonsus was elected his successor as bishop of Toledo. King Recceswinth compelled him to accept the position.

At the end of the eighth century Cixila, Archbishop of Toledo, relates that Ildephonsus was praying one day before the relics of Saint Leocadia when the martyr arose from her tomb and thanked the saint for the devotion he showed towards the Mother of God.

It was reported that on 18 December 665 he experienced a vision of the Blessed Virgin when she appeared to him in person and presented him with a priestly vestment, to reward him for his zeal in honouring her. As Bishop Ildefonsus and the congregation sang Marian hymns, light engulfed the church, causing most worshippers to flee. The bishop, remaining with a few deacons, saw Mary descend and sit on the episcopal throne. More on Saint Ildefonsus

Villalobos, Juan de (1687-1724) was married in Puebla in 1687 and died in that city on July 4, 1724. He was a renowned painter in the Puebla-Tlaxcala region, leaving a total of 38 signed paintings. However, his greatest merit was the set of canvases that frame the dressing room of Ocotlán of 1723, a year before dying, these pictures represent scenes of the Life of the Virgin. (The Virgin of Ocotlán is a statue of the Blessed Virgin Mary in Ocotlán, Tlaxcala, Mexico. The Virgin of Ocotlán is the patron saint of Tlaxcala and the neighbouring state of Puebla. She was crowned by the Pope on 31 July 1909).  More on Villalobos

HOLY FAMILY

PERUVIAN SCHOOL, EARLY 19th CENTURY

Oil on canvas

20 x 208.5 cm

Private Collection

The Holy Family consists of the Child Jesus, the Virgin Mary, and Saint Joseph. Veneration of the Holy Family was formally begun in the 17th century by Saint François de Laval, the first bishop of New France, who founded a Confraternity.

Matthew and Luke narrate the episodes from this period of Christ’s life, namely his Circumcision and later Presentation, the Flight to Egypt, the return to Nazareth, and the Finding in the Temple.[Joseph and Mary were apparently observant Jews, as Luke narrates that they brought Jesus with them on the annual pilgrimage to Jerusalem with other Jewish families. More on The Holy Family 

VIRGIN OF THE APOCALYPSE

MEXICO, LATE 18th CENTURY

Oil on canvas

61 x 49 cm, oval

Private Collection

Madonna of the Apocalypse. Images of the Virgin as the woman of the Apocalypse became extremely popular in the late 1400s and were produced in large numbers after Sixtus IV granted an indulgence of 11,000 years for each specific prayer said in front of one of them. Mary was often called the second Eve, who, by giving birth to Christ, brought redemption to humankind. More Madonna of the Apocalypse

In this narrative the woman gives birth to a male child that is attacked by the Dragon identified as the Devil and Satan. When the child is taken to heaven, the woman flees into the wilderness leading to “War in Heaven” in which the angels cast out the Dragon. The Dragon attacks the woman, who is given wings to escape, and then attacks her again with a flood of water from his mouth, which is subsequently swallowed by the earth. Frustrated, the dragon initiates war on “the remnant of her seed” identified as the righteous followers of Christ.

The Woman of the Apocalypse is widely identified as the Virgin Mary. This interpretation is held by the ancient Church as well as in the medieval and modern Roman Catholic Church. This view does not negate the alternative interpretation of the Woman representing the Church, as in modern Catholic dogma, Mary is herself considered both the Mother of God and the Mother of the Church (while in Reformed theology and traditions that are averse to Marian veneration, the interpretation of the Woman represents the naturally predominate church). More Woman of the Apocalypse

 

OUR LADY OF REFUGE

MEXICO, 18th CENTURY

Oil on canvas

85 x 72 cm 

Private Collection

Refugium Peccatorum meaning Refuge of Sinners is a Roman Catholic title for the Blessed Virgin Mary. In the Roman Catholic tradition, Eve is viewed as being responsible for the sufferings of humans since their fall and expulsion from paradise while the Virgin Mary is viewed as the source of all healing. She is the new Eve, who cannot eliminate the damage created by Eve, but limit it. Her fullness of grace, her position among the disciples of Christ and her title as Mother of God are seen as assurances that the Virgin Mary is a powerful intercesso. More on Our Lady of Refuge

Roque Chavez Fecit 

OUR LADY OF GUADALUPE

MEXICO, 19th CENTURY

Oil on canvas

16 x 66 cm

Private Collection

Our Lady of Guadalupe. In 1531 a “Lady from Heaven” appeared to a humble Native American at Tepeyac, a hill northwest of what is now Mexico City. She identified herself as the virgin Holy Mary. 

She made a request for a church to be built on the site, and submitted her wish to the local Bishop. When the Bishop hesitated, and requested her for a sign, the Mother of God obeyed without delay or question to the Church’s local Bishop, and sent her native messenger to the top of the hill in mid-December to gather an assortment of roses for the Bishop. 

After complying to the Bishop’s request for a sign, She also left an image of herself imprinted miraculously on the native’s tilma, a poor quality cactus-cloth, which should have deteriorated in 20 years but shows no sign of decay 485 years later and still defies all explanations of its origin. More on Our Lady of Guadalupe

SAINT MICHAEL

MEXICO, LATE 19th CENTURY

Oil on metallic sheet

25 x 18 cm

Private Collection

ARCHANGEL MICHAEL, is an archangel in Judaism, Christianity, and Islam. In Roman Catholic, Eastern Orthodox, Anglican, and Lutheran traditions, he is called “Saint Michael the Archangel” and “Saint Michael”. In the Oriental Orthodox and Eastern Orthodox traditions, he is called “Taxiarch Archangel Michael” or simply “Archangel Michael”.

Michael is mentioned three times in the Book of Daniel, once as a “great prince who stands up for the children of your people”. The idea that Michael was the advocate of the Jews became so prevalent that, in spite of the rabbinical prohibition against appealing to angels as intermediaries between God and his people, Michael came to occupy a certain place in the Jewish liturgy.

In the New Testament Michael leads God’s armies against Satan’s forces in the Book of Revelation, where during the war in heaven he defeats Satan. In the Epistle of Jude Michael is specifically referred to as “the archangel Michael”. Christian sanctuaries to Michael appeared in the 4th century, when he was first seen as a healing angel, and then over time as a protector and the leader of the army of God against the forces of evil. By the 6th century, devotions to Archangel Michael were widespread both in the Eastern and Western Churches. Over time, teachings on Michael began to vary among Christian denominations.

Acknowledgement: Morton Subastas


Images are copyright of their respective owners, assignees or others


We do not sell art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

11 CLASSIC WORKS OF ART, MARINE PAINTINGS – WITH FOOTNOTES, #32

Frederick Judd Waugh, American, 1861–1940

Mid Ocean

Oil on canvas

40 × 50 1/4 in. (101.6 × 127.6 cm)

 The Museum of Fine Arts, Houston

Frederick Judd Waugh (September 13, 1861 in Bordentown, New Jersey – September 10, 1940) was an American artist, primarily known as a marine artist. During World War I, he designed ship camouflage for the U.S. Navy, under the direction of Everett L. Warner.

Waugh was the son of a well-known Philadelphia portrait painter, Samuel Waugh. He studied at the Pennsylvania Academy of Fine Arts with Thomas Eakins, and at the Académie Julian in Paris, with Adolphe-William Bouguereau. After leaving Paris, he moved to England, residing on the island of Sark in the English Channel, where he made his living as a seascape painter.

In 1908, Waugh returned to the U.S. and settled in Montclair Heights, New Jersey. He had no studio, until art collector William T. Evans offered him one in exchange for one painting a year. In later years, he lived on Bailey Island, Maine, and in Provincetown, Massachusetts.

In 1918, Waugh was recommended to serve as a camouflage artist (or camoufleur) for the U.S. Navy, as a member of the Design Section of its marine camouflage unit (Behrens 2002, 2009). That section was located in Washington, D.C., and was headed by American painter Everett L. Warner (Warner 1919). More on Frederick Judd Waugh

NICOLAAS RIEGEN,  (Dutch. 1827-1889)

Seascape with Three-Mast Ship on Choppy Water

Oil on Canvas

22” by 23”.

Private collection

Nicolaas Riegen was born in Amsterdam, May 31, 1827, where he continued to live and work for the rest of his life. Riegen was a skilled painter of seascapes and river views, of various weather conditions. He was known to have painted city views and landscapes according to the Hague School as well. Riegen exhibited his work during his life at events in Arnhem and Maastricht. Although he was a registered painter, and thus a professional, his work is seldom seen. In 1872 he applied to “Arti et Amicitiae” in Amsterdam. In 1899 Riegen passed away. More on Nicolaas Riegen

THOMAS BUSH HARDY C.19TH

MOUTH OF THE THAMES, c. 1896

WATERCOLOR ON BOARD

Height: 16 & 11 in. by Width: 33 & 28 in.

Private collection

The Thames Estuary is the estuary in which the River Thames meets the waters of the North Sea, in the south-east of Great Britain. It is not easy to define the limits of the estuary.[ Although physically the head of Sea Reach or the Kent / Essex Strait, south of Canvey Island on the northern (Essex) shore presents a western boundary, the Tideway itself can be considered estuarine; it starts in south-west London at Teddington/Ham. The eastern boundary of the estuary is a line drawn from North Foreland, Margate, Kent via the Kentish Knock lighthouse to Harwich in Essex. It is to this line that the typical estuarine sandbanks extend. More on MOUTH OF THE THAMES

 

THOMAS BUSH HARDY C.19TH, see below

 

Montague Dawson RMSA, FRSA (1890–1973)

Ships That Pass

Oil on canvas

28.25 x 42 in

Private collection

Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. Montague was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (18111878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (18411917), who considerably influenced his work. In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to the Graphic magazine.

Montague Dawson RMSA, FRSA (1890–1973)

THE OLD VOYAGER HUDSON HALF MOON – 1609

oil on canvas

20″ x 30.25″ — 50.8 x 76.8 cm.

Private collection

Halve Maen (Dutch pronunciation) was a Dutch East India Company vlieboot which sailed into what is now New York Harbor in September 1609. She was commissioned by the VOC Chamber of Amsterdam in the Dutch Republic to covertly find a western passage to China. The ship was captained by Henry Hudson, an Englishman in the service of the Dutch Republic. More on Halve Maen

After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships. During the Second World War, he was employed as a war artist. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings which often sell for six figures.

The work of Montague Dawson is represented in the National Maritime Museum, Greenwich and the Royal Naval Museum, Portsmouth. More on Montague Dawson

THOMAS BUSH HARDY, C.19TH

MOUTH OF THE THAMES, c. 1896

WATERCOLOR ON BOARD

Height: 16 & 11 in. by Width: 33 & 28 in.

Private collection

Thomas Bush Hardy (1842, Sheffield – 1897, Maida Vale, London) was a British marine painter and watercolourist. As a young man he travelled in the Netherlands and Italy. In 1884 Hardy was elected a Member of the Royal Society of British Artists. He exhibited with the Society and also at the Royal Academy.

His paintings feature coastal scenes in England and the Netherlands, the French Channel ports and the Venetian Lagoon.

Hardy had nine children. His son Dudley Hardy was a painter, illustrator and poster designer. His daughter Dorothy received an MBE after working as a nurse in the First World War. He died on 15 December 1897 in Maida Vale, London. More on Thomas Bush Hardy

 

 Samuel Bough, English (1822 – 1878)

Off St Andrews, c. 1856

Oil on canvas

36.20 x 45.80 cm

National Galleries of Scotland

This dramatically lit scene shows a view just off the harbour of St Andrews, looking back towards the town. The remains of the ruined Cathedral can be seen perched on the hill. They form a backdrop to the foreground drama of the fishing boat venturing out into the turbulent waters of St Andrews Bay, notorious for its heavy swell and frequent shipwrecks. Benefitting from improvements in rail connections across Scotland, Bough made frequent excursions to the coastal towns and villages of the East Neuk of Fife from the 1850s to the 1870s. This painting was completed in 1856, the same year that Bough was elected an Associate of the Royal Scottish Academy. More on this painting

Samuel Bough RSA (1822–1878) was an English-born landscape painter who spent much of his career working in Scotland. He was raised in relative poverty, but with a keen encouragement in the arts.

He was self-taught but mixed with local artists such as Richard Harrington and George Sheffield, and was strongly influenced by the work of Turner. After an unsuccessful attempt to live as an artist in Carlisle he obtained a job and as a theatre scenery painter in Manchester in 1845, and later in Glasgow. Encouraged by Daniel Macnee to take up landscape painting he moved to Hamilton from 1851-4 and worked there. In 1854 he moved to Port Glasgow to work on his technique of painting ships and harbours. He also began supplementing his income by illustrating books, before moving to Edinburgh in 1855.

His health began to fail in 1877 and in January 1878 he suffered a stroke. He died of prostate cancer. More on Samuel Bough RSA

Edward Cucuel, 1875 – 1954

THE GATEWAY TO AMERICA (FROM GOVERNOR’S ISLAND), c. 1928

Oil on canvas

25 3/4 by 31 3/4 inches, (65.4 by 80.6 cm)

Private collection

In the present picture Cucuel illustrates southern Manhattan from a vantage point on Governor’s Island. At right is Castle Williams, a circular fortification on the northwest point of the island and part of a system of forts constructed in the early 19th century to protect New York City from naval attack. Other structures visible in the skyline include the Woolworth Building, the International Mercantile Marine Company and the Whitehall Building. More on this painting

Edward Cucuel (August 6, 1875, San Francisco – April 18, 1954, Pasadena, California), was an American-born painter who lived and worked in Germany. At the age of fourteen he was already attending the San Francisco Art Institute and doing illustrations for The Examiner. At the age of seventeen, he went to Paris where he attended the Académie Julian and the Académie Colarossi, finishing at the Académie des Beaux-Arts under Jean-Léon Gérôme. When he came back to the United States in 1896, he briefly worked as a newspaper illustrator in New York, but returned to France and Italy to acquaint himself with the old masters at first hand. He ended up in Germany in 1899, where he worked as a free-lance newspaper illustrator in Berlin and Leipzig.

Following a brief stay in San Francisco to visit his family after the earthquake, he settled in Munich in 1907. It was there that he was introduced to plein-air painting. He also became a member of the Munich Secession. In 1913, he became a member of the Société Nationale des Beaux-Arts and exhibited with the Salon d’Automne. During the First World War, he lived in Holzhausen on the Ammersee, later establishing studios in Munich and Starnberg, his father’s hometown. From 1928 to 1939, he commuted between there and New York, where he spent the winters. The beginning of World War Two forced him to leave Germany for good in 1939. He settled in Pasadena, California, where he lived until his death in 1954. More on Edward Cucuel

Joaquín Sorolla y Bastida,  (1863 – 1923)

RECOGIENDO LA BARCA, PLAYA DE VALENCIA (THE RETURN OF THE BOAT, VALENCIA BEACH), 1909

oil on canvas

16 by 24cm., 6¼ by 9½in

Private collection

Valencia is one of the oldest cities in Spain, founded in the Roman period under the name (Valentia Edetanorum es) on the site of a former Iberian town, by the river Turia in the province of Edetania,  fronting the Gulf of Valencia on the Mediterranean Sea. More on Valencia

Joaquín Sorolla y Bastida (27 February 1863 – 10 August 1923) was a Spanish painter. Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land. More on Joaquín Sorolla y Bastida

Joaquín Sorolla y Bastida,  (1863 – 1923)

On San Sebastian Beach, c. 1895-1900

Oil on Canvas

32.7 cm (12.87 in.)x 22.7 cm (8.94 in.)

A Repository of Paintings Archive

San Sebastian is a coastal city and municipality located in the Basque Autonomous Community, Spain. It lies on the coast of the Bay of Biscay, and boasts one of the best in-city beaches in Europe. It is quite unusual feeling that you can sunbathe and swim right next to major historical buildings and churches. Surfers are in abundance here. The city is quite small and cozy. More on San Sebastian

Joaquín Sorolla y Bastida,  (1863 – 1923), see above

Images are copyright of their respective owners, assignees or others

We do not sell art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

12 Paintings, PORTRAIT OF A LADY, with Footnotes. # 24

Pedro Sáenz y Sáenz

Chrysanthemums/ Madame Butterfly, ca. 1900

Oil on canvas

81 x 55 cm

Propiedad de la Excma. Diputación Provincial de Málaga

Madame Butterfly: In 1904, a U.S. naval officer named Pinkerton rents a house on a hill in Nagasaki, Japan, for himself and his soon-to-be wife, “Butterfly”. Her real name is Ciocio-san. She is a 15-year-old Japanese girl whom he is marrying for convenience, since he intends to leave her once he finds a proper American wife, and since Japanese divorce laws are very lax. The wedding is to take place at the house. Butterfly had been so excited to marry an American that she had earlier secretly converted to Christianity. After the wedding ceremony, her uninvited uncle, a bonze, who has found out about her conversion, comes to the house, curses her and orders all the guests to leave, which they do while renouncing her. Pinkerton and Butterfly sing a love duet and prepare to spend their first night together.

Three years later, Butterfly is still waiting for Pinkerton to return. The American consul, Sharpless, comes to the house with a letter which he has received from Pinkerton which asks him to break some news to Butterfly: that Pinkerton is coming back to Japan, but Sharpless cannot bring himself to finish it because Butterfly becomes very excited to hear that Pinkerton is coming back. Sharpless asks Butterfly what she would do if Pinkerton were not to return. She then reveals that she gave birth to Pinkerton’s son after he had left and asks Sharpless to tell him.

The next morning Sharpless and Pinkerton arrive at the house, along with Pinkerton’s new American wife, Kate. They have come because Kate has agreed to raise the child. But, as Pinkerton sees how Butterfly has decorated the house for his return, he realizes he has made a huge mistake. He admits that he is a coward and cannot face her, leaving Suzuki, Sharpless and Kate to break the news to Butterfly. Agreeing to give up her child if Pinkerton comes himself to see her, she then prays to statues of her ancestral gods, says goodbye to her son, and blindfolds him. She places a small American flag in his hands and goes behind a screen, cutting her throat with her father’s hara-kiri knife. Pinkerton rushes in, but he is too late, and Butterfly dies. More on Madame Butterfly

Pedro Saenz Saenz ( Malaga , 14 as October as 1863 – Malaga , October as January as 1927 ) was a  Raphaelite painter, belonging to the Malaga school of painting . Disciple of Bernardo Ferrándiz , he studied at the Royal Academy of Fine Arts of San Fernando . 

He completed his training in Rome in 1888, where he met other Spanish painters such as Simonet , Sorolla or Viniegra . At this stage he is also influenced by Art Nouveau and Catalan modernism .

His work can be considered academic , but has a predilection for the themes of romantic symbolism, as in The grave of the poet or Stella Matutina , both at the Museum of Málaga and both made him a medal in 1901. 

Among his works predominate portraits and female nudes, luminous and detailed, and some portraits, such as those of the Town Hall of Malaga . Some other of his paintings to review are: The amateur , Carlota or the Portrait of the Marchioness of Loring. More Pedro Saenz Saenz 

ANDY WARHOL, (1928-1987) 

Hélène Rochas, c. 1974

Acrylic and silkscreen ink on canvas

101.6 x 101.6 cm. (40 x 40 in.) 

Private collection

Helene Rochas (1921 – 2011). Nelly Brignole studied dance and acting before meeting at 19, the fashion designer Marcel Rochas whom she soon married and became Hélène – much more elegant than Nelly. Beautiful and graceful, she perfectly embodied the Femme Rochas, she was her husband’s ideal muse and model and had to renounce to her acting career even though she was offered a role in Jacques Becker’s Golden Helmet. When her husband died in 1955, she proved she was not only a pretty face and took over his perfume brand and managed to make it become an international flourishing company. His death also helped ‘La Belle Hélène’ grow free of her Pygmalion’s influence and she could finally decide what to wear and developed her own artistic taste – more modernist and subtle. The friend and inspiration of many fashion designers such as Hubert de Givenchy and Yves Saint Laurent, she imprinted contemporary art’s mythology with the portrait Andy Warhol depicted of her in 1975. More Helene Rochas

Andy Warhol (born Andrew Warhola; August 6, 1928 – February 22, 1987) was an American artist, director and producer who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture, and advertising that flourished by the 1960s. 

Born and raised in Pittsburgh, Warhol initially pursued a successful career as a commercial illustrator. After exhibiting his work in several galleries in the late 1950s, he began to receive recognition as an influential and controversial artist. 

Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. The Andy Warhol Museum in his native city of Pittsburgh, which holds an extensive permanent collection of art and archives. Many of his creations are very collectible and highly valuable. More on Andy Warhol

Anders Zorn, Swedish, 1860-1920

Isabella Stewart Gardner in Venice, c. 1894

Oil on canvas

91 x 66 cm (35 13/16 x 26 in.)

Isabella Stewart Gardner Museum

While visiting the Gardners in Boston in February 1894, Anders Zorn made an etching of Mrs. Gardner, which neither of them considered to be a complete success. Later that year Zorn and his wife visited the Gardners in Venice, staying for several weeks as their guests in the Palazzo Barbaro. He attempted again to make a portrait of Mrs. Gardner, but continued to struggle with the task. One evening, Mrs. Gardner stepped out into the balcony to see what was happening outside, and as she came back into the drawing-room, pushing the French windows open, Zorn exclaimed (according to Morris Carter): “Stay just as you are! That is the way I want to paint you.” He went instantly for his materials, and then and there the portrait was begun. More on this painting

Isabella Stewart Gardner (April 14, 1840 – July 17, 1924) was a leading American art collector, philanthropist, and patron of the arts. She founded the Isabella Stewart Gardner Museum in Boston.

Isabella Stewart Gardner had a zest for life, an energetic intellectual curiosity and a love of travel[citation needed]. She was a friend of noted artists and writers of the day, including John Singer Sargent, James McNeill Whistler, Dennis Miller Bunker, Anders Zorn, Henry James, Okakura Kakuzo and Francis Marion Crawford.

Gardner created much fodder for the gossip columns of the day with her reputation for stylish tastes and unconventional behavior. The Boston society pages called her by many names, including “Belle,” “Donna Isabella,” “Isabella of Boston,” and “Mrs. Jack”. Her surprising appearance at a 1912 concert (at what was then a very formal Boston Symphony Orchestra) wearing a white headband emblazoned with “Oh, you Red Sox” was reported at the time to have “almost caused a panic”, and remains still in Boston one of the most talked about of her eccentricities. More on Isabella Stewart Gardner 

Anders Leonard Zorn (18 February 1860 – 22 August 1920) was one of Sweden’s foremost artists. He obtained international success as a painter, sculptor and etcher. From 1875 to 1880 Zorn studied at the Royal Swedish Academy of Arts in Stockholm. Members of Stockholm society approached him with commissions. Zorn traveled extensively to London, Paris, the Balkans, Spain, Italy and the United States, becoming an international success as one of the most acclaimed painters of his era. It was primarily his skill as a portrait painter that gained Zorn international acclaim based principally upon his incisive ability to depict the individual character of his model. At 29, he was made a Chevalier de la Légion d’honneur at the Exposition Universelle 1889 Paris World Fair. More Anders Leonard Zorn

Kerri-Jane Evans, South Africa, born in 1967. 

Winter Portrait

Oil on board

60 x 60 cm

Everard-Read Gallery, Johannesburg

In this age of cybernetics, cynicism and simulacra, there exists the misconception that art should say big things about big issues. It is a discourse driven by ‘the idea’ and lubricated by the nutrients of parody, commentary and critique. The paintings of Kerri-Jane Evans move against this flow. And the term ‘flux’ is central to her vision because, like the constant shifts of light and colour that determine and regulate the cycles of day and night, colour and brushstroke in her paintings ebb and flow, and her forms seem to morph from solid and substantial to the ethereal. It is as though Evans is reluctant to impose too much authority or ownership on the paintings.

She never completes one painting before starting another. She works – or rather reworks – on all simultaneously. Each work in inherently, deliberately incomplete. In places her mark is stylized and linear, only to be subverted by her loose brushstrokes and unpredictable palette. For Evans the greatest challenge is to accept the paradox of incomplete endings. “The image never reaches completion; rather it stops at the point where it is taken away, almost like a small death.” More on Kerri Evans

Jeremy Mann, b. 1979

The Muse, c. 2012

Oil on panel

48 x 48 in.

Private collection

 

“A muse is anything but a paid model. The muse in her purest aspect is the feminine part of the male artist, with which he must have intercourse if he is to bring into being a new work. She is the anima to his animus, the yin to his yang, except that, in a reversal of gender roles, she penetrates or inspires him and he gestates and brings forth, from the womb of the mind. Painters don’t claim muses until painting begins to take itself as seriously as poetry. Andrea del Sarto, an Italian painter born in 1486, was famously married to his muse, Lucrezia, whose features so closely approached his ideal that he made all his female figures in her likeness, at a time when most other painters were building their beautiful female images on the well-loved bodies of boys. Since then, artists as different as Rubens, Bonnard, Renoir, Charles Blackman and Brett Whiteley have painted their wives over and over again, but their wives were their subjects rather than their muses.” More on a muse

Jeremy Mann (American, b.1979) is a painter best known for his moody, dark cityscapes. Mann graduated from Ohio University with a degree in Fine Art painting, and later attended the Academy of Art University in San Francisco.

Working on wood panels, Mann employs various techniques when creating his pieces, including staining the surface, wiping away paint with solvents, and applying broad marks with an ink brayer. Mann uses vivid, atmospheric colors, and is often inspired by the city of San Francisco, where he currently lives and works. In addition to his urban scenes, he also paints still lifes, and portraits of young women in his characteristically impressionistic manner. He has exhibited at venues around San Francisco and throughout the United States, at galleries such as John Pence Gallery, the Studio Gallery, Christopher Hill Gallery, and Principle Gallery, among others. More on Jeremy Mann

 

John Singer Sargent, American, 1856-1925

Portrait of Isabella Stewart Gardner, c. 1888

Oil on canvas

190 x 80 cm

Isabella Stewart Gardner Museum

Mrs. Gardner sat for Sargent during his visit to Boston in January 1888. He was paid $3000 for the portrait, which was exhibited to great acclaim at Boston’s St. Botolph Club. The work also inspired gossip and legend: someone jokingly titled it “Woman: An Enigma,” while others believed that the sensuous display of flesh deliberately echoed the scandal recently created by Sargent’s Madame X. Mrs. Gardner herself said that she rejected eight renderings of the face until she was satisfied. Jack Gardner seems to have asked his wife not to publicly show the portrait again while he was alive, and indeed the portrait was placed in the Gothic Room, which remained private until Mrs. Gardner’s death. More on this painting

John Singer Sargent (January 12, 1856 – April 14, 1925) was an American artist, considered the “leading portrait painter of his generation” for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.

He was trained in Paris prior to moving to London. Sargent enjoyed international acclaim as a portrait painter, although not without controversy and some critical reservation; an early submission to the Paris Salon, his “Portrait of Madame X”, was intended to consolidate his position as a society painter, but it resulted in scandal instead. From the beginning his work was characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. He lived most of his life in Europe. More on John Singer Sargent

John Singer Sargent,  American painter

Caterina Vlasto, (or Catherine), c. 1897

Oil on canvas

148.6 x 85.4 cm (58 1/2 x 33 5/8 in.)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

Caterina (or Catherine) Vlasto, born. 30 July 1875 Londen, UK, the eighth of nine children  and died 3 June 1899 London, UK.  She was the second youngest of her siblings. 

When Sargent painted her she would have been 22. The piano is identified (by Ormond and Kilmurray) as the Bechstein which was in Sargent’s Tite Street studio. 

The ancestors of the Vlasto family have been traced back to the island of Chios (Greece) and Constantinople (Turkey) of the 15th century. They were a noble family but were scatted in the 16th century to escape persecution from the Turks. By the 1800’s they were all over Europe. Although Catherine was born in London, her father — Alexandre (Antoine) Vlasto — was born in Trieste, Italy (1833), and his father was born on the Greek island of Chios (1804). More Caterina Vlasto

John Singer Sargent (January 12, 1856 – April 14, 1925) was an American artist, considered the “leading portrait painter of his generation” for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.

His parents were American, but he was trained in Paris prior to moving to London. Sargent enjoyed international acclaim as a portrait painter, although not without controversy and some critical reservation; an early submission to the Paris Salon, his “Portrait of Madame X”, was intended to consolidate his position as a society painter, but it resulted in scandal instead. From the beginning his work was characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. He lived most of his life in Europe. More John Singer Sargent

Georges Moreau de Tours, (1848 – 1901, French)

Blanche de Castille, 19e siècle

Nevers ; musée de la Faïence

Blanche of Castile (Spanish: Blanca; 4 March 1188 – 27 November 1252) was Queen of France by marriage to Louis VIII. She acted as regent twice during the reign of her son, Louis IX: during his minority from 1226 until 1234, and during his absence from 1248 until 1252. She was born in Palencia, Spain, 1188, the third daughter of Alfonso VIII, king of Castile, and Eleanor of England. Eleanor was a daughter of Henry II of England and Eleanor of Aquitaine.

Louis VIII and Blanche were crowned on August 6. Upon Louis’ death in November 1226 he left Blanche, by then 38, regent and guardian of his children. Of her children Louis was the heir — afterwards the sainted Louis IX — he was twelve years old. She had him crowned within a month of his father’s death in Reims and forced reluctant barons to swear allegiance to him. St. Louis owed his realm to his mother and remained under her influence for the duration of her life. 

In 1248, Blanche again became regent, during Louis IX’s absence on the Crusade, a project which she had strongly opposed. In the disasters which followed she maintained peace, while draining the land of men and money to aid her son in the East. She fell ill at Melun in November 1252, and was taken to Paris, but lived only a few days. More on Blanche of Castile

Georges Moreau de Tours (4 April 1848, Ivry-sur-Seine – 12 January 1901, Bois-le-Roi) was a French history painter and illustrator. In 1865 he entered the École des Beaux-Arts, where he studied with Alexandre Cabanel. He was a regular exhibitor at the Salon from that time until 1896. In addition to his canvas paintings, he produced three scenes for the wedding chamber at the Town Hall in the Second Arrondissement. More on Georges Moreau de Tours

 

Circle of Marcus Gheeraerts the Younger (Bruges 1561-1635 London)

Portrait of a lady, traditionally identified as Elizabeth Throckmorton

Oil on panel, trimmed

108.7 x 78.4cm (42 13/16 x 30 7/8in)

Private collection

Elizabeth “Bess” Raleigh, (16 April 1565 – circa 1647), née Throckmorton, was Sir Walter Raleigh’s wife and a Gentlewoman of the Privy Chamber to Queen Elizabeth I of England. Their secret marriage precipitated a long period of royal disfavour for both her and her husband.

Queen Elizabeth first became aware in May 1592 of the secret marriage. She first placed Bess and Raleigh under house arrest, then sent them to the Tower of London, in June 1592. Raleigh was released from the Tower in August 1592 and Bess in December 1592. Elizabeth expected the couple to sue for pardon, but they refused to, and Raleigh remained out of favour for five years.

The couple remained devoted to each other. Due to Raleigh’s frequent absences, whether on expeditions, diplomatic duties, or in prison, Bess had to shoulder an unusual level of responsibility for a woman of her time.

The couple’s third son was born in January 1605, by which time Raleigh was a prisoner in the Tower of London. He was christened within the walls of the Tower in the church of St Peter ad Vincula. After Raleigh’s execution in 1618, Bess worked tirelessly to re-establish her late husband’s reputation and, in 1628, saw a Bill of Restitution restore the Raleigh name ‘in blood’, which allowed her one surviving son to inherit.

Bess is said to have had her husband’s head embalmed and to have carried it around with her for the rest of her life. An account from 1740 claims that, after Bess’ death, Raleigh’s head was returned to his tomb in St Margaret’s, Westminster. More on Elizabeth “Bess” Raleigh

Jeanne Fourquet Jeanne Laisné Jeanne Hachette Résistance Beauvais

Watercolor engraving engraved in 1841

26 x 17 cm

Original document of the XIXth century

Jeanne Laisné (born 1456) was a French heroine known as Jeanne Fourquet and nicknamed Jeanne Hachette (‘Joan the Hatchet’). She was the daughter of a peasant.

She is currently known for an act of heroism on 27 June 1472, when she prevented the capture of Beauvais by the troops of Charles the Bold, Duke of Burgundy. The town was defended by only 300 men-at-arms, commanded by Louis de Balagny.


Illustration H. Grobet

Jeanne Hachette, heroine of the Siege of Beauvais, 1472

History of France

The Burgundians were making an assault, and one of their number had actually planted a flag upon the battlements, when Jeanne, axe in hand, flung herself upon him, hurled him into the moat, tore down the flag, and revived the drooping courage of the garrison. In gratitude for this heroic deed, Louis XI instituted a procession in Beauvais called the “Procession of the Assault”, and married Jeanne to her chosen lover Colin Pilon, loading them with favours. A statue of her was unveiled on July 6th, 1851. More on Jeanne Laisné

Doreen Southwood, b. 1997

The Dancer, 1997

Bronze, steel, enamel paint and fabric

70 x 45 x 50 cm each

Private collection

Doreen Southwood (born 1974) is a South African artist, designer, and boutique owner based in Cape Town. She works in a wide variety of media in her artwork, producing sculptures, objects, prints, film, and more, which she often bases on personal experiences and self exploration. Her  Afrikaans upbringing inform much of her work.


In 2003, Southwood was named the overall winner of the Brett Kebble Art Awards for her painted bronze sculpture, “The Swimmer.”  (Below) The sculpture featured a young woman gazing blankly ahead as she stands on the end of a diving board. 


In 2001 she opened a shop in Cape Town called Mememe, which seeks to make the work of African fashion designers available to the public. Southwood’s own designs have been featured in fashion weeks in Johannesburg and Cape Town  and are known for embodying features of the feminine and nostalgic. More on Doreen Southwood

Doreen Southwood,  b. 1997

The Swimmer, 2003

Painted bronze

175 cm x 42.3cm x 232 cm

Private collection

Acknowledgement: Bonhams and others

Images are copyright of their respective owners, assignees or others

We do not sell art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

12 Orientalist Paintings by Artists from the 19th Century, with footnotes, 17

Arthur Melville, (1858–1904)

A Moorish Procession, Tangier, c. 1893

Watercolour on paper

59.30 x 79.80 cm

National Galleries of Scotland

Melville conveys the atmospheric clamour of a local parade led by drummers and pipers. He evokes its exotic character, underlined by the colourful clothes and hooded cloaks of the participants, with his ‘blottesque’ technique. The resulting blurred edges and striking accents of pure colour, from pigment applied onto wet paper, suggest a wonderful sense of movement in brilliant sunlight. The vibrant city of Tangier attracted many artists, and Melville, inspired by his friend the painter Joseph Crawhall, visited it twice in the spring of 1890 and 1893. More on this painting

Arthur Melville (1858–1904) was a Scottish painter, best remembered for his Orientalist subjects. He was born in Guthrie, Angus in 1858 and brought up in East Lothian. He attended the Royal Scottish Academy Schools before studying in Paris and Greece. The colour-sense which is so notable a feature of his work developed during his travels in Persia, Egypt and Turkey between 1880 and 1882. To convey strong Middle Eastern light, he developed a technique of using watercolour on a base of wet paper with gouache applied to it.

Melville, little known during his lifetime, was one of the most powerful influences in the contemporary art of his day, especially in his broad decorative treatment with water-colour, which influenced the Glasgow Boys. Though his vivid impressions of color and movement are apparently recorded with feverish haste, they are the result of careful deliberation and selection. He was at his best in his watercolors of Eastern life and colour and his Venetian scenes, but he also painted several striking portraits in oils. More on Arthur Melville

ALFRED AGACHE (1843 – 1915)

Enigme, c.  1888

Oil on canvas, 

2,80 m x 1,69 m, 

Musée des Beaux Arts de Rouen.

The title of the work, Enigma, is explicit: the picture itself is this enigma. In the Salon of 1888 where it is presented, it is was accompanied by a poem by Edmond Haraucourt (1856-1941)  “Priestess of the enigma and daughter of the mystery / I keep under heaven the secrets which he wishes to make / And I know the future as a fait accompli. / But I have closed my austere soul / In the pride of silence and the peace of forgetfulness. “.

The modernity of the energetic pattern of this canvas still strikes us today; The planes are largely brushed and articulated angularly. The contrasts of light and color are brought to their paroxysm. The iconographic elements are rare and deliberately chosen, whether it be the Egyptian motif painted on the wall or the admirable giant poppy flowers, the red blood of which slices on the orange of the background. 

ALFRED AGACHE, (1843 – 1915)

Enigme, c.  1888

Detail

This mysterious woman could be a Parque, a subject dear to Agache, or Isis as the hieroglyphic suggests, or an archetype of the femme fatale. In any case this flower of forgetfulness thrown on the steps, this mask that the woman has just taken off. More on Enigma

Alfred-Pierre Joseph Agache (29 August 1843 – 15 September 1915), also known simply as Alfred Agache, was a French academic painter. Little is known of Agache’s life. He was born in Lille, France, and exhibited his work frequently in Paris until his death. He seems to have specialized in portraits and large-scale allegorical paintings. He was a member of the Société des Artistes Français, and won a third-class medal in 1885 for his work. He may have been friends with American painter James Abbott McNeill Whistler and French writer Auguste Angellier; the latter dedicated a book to him around 1893.

Two of his pieces, “Vanity” and “The Annunciation”, were shown at the World’s Columbian Exposition in Chicago, 1893. He was awarded the Légion d’honneur. He died in Lille in 1915. More on Alfred-Pierre Joseph Agache

Alfred Choubrac, PARIS 1853 – 1902

SCHEHERAZADE AND THE SULTAN, c. 1878 

Oil on canvas

131 x 90 cm 51 1/2 by 35 1/2 in.

Private collection

Alfred Choubrac (1853–1902) was a French painter, illustrator, draughtsman, and poster artist.

His posters were very influential and famous during World War II. His most famous poster is that of Au Joyeux Moulin Rouge, based on the popular Parisian nightclub Moulin Rouge. He contributed to the satirical weekly Le Courrier français.

He was the younger brother of Léon Choubrac, also a poster artist. More on Alfred Choubrac

Oliver Dennett Grover, 1861 – 1927

Harem Scene (also known as The Finishing Touch), c. 1899

Oil on canvas 

195.58 cm (77 in.), Width: 167.64 cm (66 in.)

Swope Art Museum  (United States – Terre Haute, Indiana)

Oliver Dennett Grover (1861 Earlville, Illinois – 1927 Chicago), was an American landscape and mural painter. Grover’s family moved to Chicago early in his life. There he spent much of his time sketching at the Academy of Design. Showing great promise he was enrolled at Munich’s Royal Academy in 1879, where he studied under Frank Duveneck. At the age of 19 he exhibited at Munich’s International Exposition. Grover followed Duveneck to Venice and Florence, and then went on to study in Paris from 1883 to 1885 under Gustave Boulanger, Jean-Paul Laurens and Lefebvre.

He returned to Chicago in 1885 and was appointed as an instructor at the Art Institute of Chicago for five years, also opening a studio and founding the Western Art Association. Between 1887 and 1892 he served on the faculty of the Chicago Art Academy. Ada Walter Shulz was among his pupils.

Grover became an Associate of the National Academy of Design in 1913. During the last years of his life, he also became a board member of the Association of Arts and Industries which was a major influence in Chicago design in the 1920s and 1930s.  More on Oliver Dennett Grover

 

GUILLAUME SEIGNAC, (1870–1924) 

Odalisque

Oil on canvas

55.5 by 46.5cm., 22 by 18¼in.

Private collection

An odalisque was a chambermaid or a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan. An odalık was not a concubine of the harem, but a maid, although it was possible that she could become one. An odalık was ranked at the bottom of the social stratification of a harem, serving not the man of the household, but rather, his concubines and wives as personal chambermaids. Odalık were usually slaves given as gifts to the sultan by wealthy Turkish men. Generally, an odalık was never seen by the sultan but instead remained under the direct supervision of his mother, the Valide Sultan. More on An odalisque

Guillaum Seignac (1870–1924) was a French academic painter. He was born in Rennes in 1870, and died in Paris in 1924. He started training at the Académie Julian in Paris, where he spent 1889 through 1895. He had many teachers there, including Gabriel Ferrier, William-Adolphe Bouguereau, and Tony Robert-Fleury. In addition to his training in the academic style, much of Seignac’s work displayed classical themes and style, for example, his use of diaphanous drapery covering a woman’s body is reminiscent of classical style, in particular the sculptor Phidias. In 1897, Guillaume Seignac regularly exhibited at the Salon and won several honors, including in 1900 honorable mention and in 1903 a Third Class medal. More Guillaum Seignac

 

Jean-Léon Gérôme, French, 1824-1904

LA GRANDE PISCINE À BRUSA (THE GREAT BATH AT BURSA)

Oil on canvas

70 by 100.5cm., 27 1/2 by 39 1/2 in.

Private collection

This splendid evocation of ladies lounging around an octagonal hot pool in a Turkish bath is set under the great dome of the caldarium in Yeni Kaplica, Bursa’s ‘New Baths’ built in 1552 from designs possibly by the Master Builder Sinan. Bursa had been the ancient capital of the Ottoman Empire before the conquest of Constantinople in 1453. By the time the present work was executed in 1885 Gérôme had moved away from heroic history painting towards archeological accuracy and objective realism. More on this painting

Jean-Léon Gérôme (11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as Academicism. The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits and other subjects, bringing the Academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period, and in addition to being a painter, he was also a teacher with a long list of students. More on Jean-Léon Gérôme

GEORGES ROCHEGROSSE, (1859–1938)

Idle Moments, c. 1888

Oil on canvas

54 by 65cm., 21¼ by 25¾in.

Private collection

Georges Antoine Rochegrosse (1859–1938) was a French historical and decorative painter. He was born at Versailles and studied in Paris with Jules Joseph Lefebvre and Gustave Clarence Rodolphe Boulanger. His themes are generally historical, and he treated them on a colossal scale and in an emotional naturalistic style, with a distinct revelling in horrible subjects and details. He made his Paris Salon début in 1882 with Vitellis traîné dans les rues de Rome par la populace (Vitellius dragged through the streets of Rome by the people) (1882; Sens). He followed this the year afterwards with Andromaque (1882–83; Musée des Beaux-Arts de Rouen), which won that year’s prestigious Prix du Salon. There followed La Jacquerie (1885; Untraced), Le mort de Babylone (The fall of Babylon) (1891; Untraced), The death of the Emperor Geta (1899; Musée de Picardie, Amiens), and Barbarian ambassadors at the Court of Justinian (1907; untraced), all of which exemplify his strong and spirited but sensational and often brutal painting. In quite another style and beautiful in color is his Le Chevalier aux Fleurs (The Knight of Flowers) (1894; Musée d’Orsay, Paris; RF 898). More on Georges Antoine Rochegrosse

 

RICARDO VILLEGAS CORDERO, 1849 – 1896

The storyteller

Oil on canvas

58 by 41cm., 23 by 16in.

Private collection

Ricardo Villegas Cordero ( Seville , 1849 – 1896 ) was a Spanish painter. He was the brother of painter Jose Villegas Cordero , better known than he. 2 He drowned in the river Guadalquivir , after falling from the boat where he traveled.

His presented works at the National Exhibition of 1887. He received a gold medal second class at the International Exhibition of Munich in 1888. In the National Exhibition of 1890 he presented a painting titled La muerte de Viriato , which represented the assassination of the Lusitanian leader. He also produced painting in the orientalist and North African Style. More on Ricardo Villegas Cordero 

Lalla Essaydi, Moroccan, b. 1956

Les Femmes du Maroc: Harem #11, 2009

Chromogenic prints (c-print) mounted on aluminum, in three parts

40 x 30 in. (101.6 x 76.2 cm.)

Private collection

Moroccan born photographer Lalla Essaydi explores Arab female identity by hand-painting Arabic calligraphy in henna on different surfaces such as female bodies, fabric and walls. Through her compositions, Essaydi references nineteenth century Orientalist style and rejects traditional objectified representations of Arab women. The artist critiques French painters such as Jean Auguste Dominique Ingres and Eugène Delacroix who often painted middle-eastern harems filled with eroticized Arab female bodies. Her photographs address and deconstruct the complex power structures imposed on the Arab female body by alluding to historical stereotypes. 

Lalla Essaydi, Moroccan, b. 1956

Harem, #12

In her series Harem, Essaydi refers to the dangerous nature of the harem, contrasting the idealistic setting that Western artists previously depicted. The artist places her figures within the Moroccan Palace Dar El Basha and dresses them in patterns similar to the palace’s mosaics, wood carvings and stained glass. By camouflaging the women’s bodies into the background, Essaydi illustrates how women seemingly appear as another piece of décor in the room. To counter societal norms, Essaydi utilizes calligraphy and applies henna to adorn the female bodies. The text is not necessarily meant to be read or understood, but rather alludes symbolically to the restrictions faced by women in today’s societies and how they find their voice despite all imposed restrictions. Through the perspective of an Arab woman living in a Western world, Lalla Essaydi redefines Arab female identity. More on Lalla Essaydi

Lalla Essaydi, Moroccan, b. 1956

Harem, #15 (20

09)

Théodore Chassériau,  (1819–1856)

Orientalist Interior: Nude in a Harem, c. between 1850 and 1852

Oil on panel

Height: 46 cm (18.1 in). Width: 38 cm (15 in).

Private collection

Théodore Chassériau (September 20, 1819 – October 8, 1856) was a French Romantic painter noted for his portraits, historical and religious paintings, allegorical murals, and Orientalist images inspired by his travels to Algeria.

Chassériau was born in El Limón, Samaná, in the Spanish colony of Santo Domingo (now the Dominican Republic). In December 1820 the family left Santo Domingo for Paris, where the young Chassériau soon showed precocious drawing skills. He was accepted into the studio of Jean-Auguste-Dominique Ingres in 1830, at the age of eleven, and became the favorite pupil of the great classicist, who regarded him as his truest disciple.

After Ingres left Paris in 1834 to become director of the French Academy in Rome, Chassériau fell under the influence of Eugène Delacroix, whose brand of painterly colorism was anathema to Ingres. Chassériau’s art has often been characterized as an attempt to reconcile the classicism of Ingres with the romanticism of Delacroix. He first exhibited at the Paris Salon in 1836, and was awarded a third-place medal in the category of history painting. In 1840 Chassériau travelled to Rome and met with Ingres, whose bitterness at the direction his student’s work was taking led to a decisive break.

In 1846 Chassériau made his first trip to Algeria. From sketches made on this and subsequent trips he painted such subjects as Arab Chiefs Visiting Their Vassals and Jewish Women on a Balcony…

After a period of ill health, exacerbated by his exhausting work on commissions for murals to decorate the Churches of Saint-Roch and Saint-Philippe-du-Roule, Chassériau died at the age of 37 in Paris, on October 8, 1856. More on Théodore Chassériau

12 Paintings, MODERN & CONTEMPORARY MIDDLE EASTERN ART, With Footnotes – 3

 Published in Bonestéve, printed by Henri Baconnier, Algiers

Lithograph

Dimensions: 32 x 41 cm

Private Collection

Lithograph depicting the family tree of Prophet Muhammad. With two windows on either side of the tree depicting holy scenes of Ka’aba and the tomb and mosque of the Prophet.

Lalla Essaydi, (Moroccan, b. 1956) 

Converging Territories #38, c. 2003

40 x 30 in. (101.6 x 76.2 cm.)

Private Collection

Lalla Essaydi’s (Moroccan, b. 1956) work delves into the complexity of identity and is deeply influenced by her personal experiences. Blending Western aesthetic with Orientalist imagery, she works in a variety of mediums. Essaydi’s work is included in the permanent collections of the Louvre, Paris, France; the Chicago Art Institute; the National Gallery of Art, Washington, D.C.; the Los  Angeles County Museum of Art; among others. More Lalla Essaydi

 Aydin Aghdashloo, (Iran, born 1940)

Memories of Destruction, c. 2010

Oil on canvas

200 x 140cm (78 3/4 x 55 1/8in).

Private Collection

Aydin Aghdashloo (born October 30, 1940) is an Iranian painter, graphist, writer, film critic and one of the known artists of Iranian modern and contemporary art. His art works are known for showing the thought of gradual death and doom and also recreating remarkable classic works in a modern and surreal form. His two series Termination Memories and Years of Fire and Snow (below) are considered part of the most important series of modern Iranian art.

Aydin Aghdashloo, (Iran, born 1940) 

Memories of Ice & Fire III

from the series Memories of Devastation, 1980

Private Collection


Aghdashloo began designing, graphics and painting since adolescence and became the painter of Iranian textbooks, magazines and private institutions in youth. For a while, he directed the cultural and artistic affairs of “Special Office of Queen Farah Pahlavi” and helped collecting Iranian and global artworks. He was also involved in launching Tehran Museum of Contemporary Art and Reza Abbasi Museum, and directed the latter for a while. After the revolution, Aghdashloo is considered one of the most famous painting masters for the third generation modern Iranian painters. More on Aydin Aghdashloo

Aydin Aghdashloo, (Iran, born 1940) 

Enigma VII, Enigma VIII

 Gouache on Board

56 X 76 cm (each)

Private Collection

 

Abdul Kadir Al Rassam, (Iraq, 1882-1952)

Taq-i Kisra

Oil on canvas

22.9 x 28.5cm (9 x 11 1/4in).

Private UK collection.

The Taq-i Kisra is the only remaining visible structure found in the ancient city of Ctesiphon and was constructed during the reign of the Persian King Khosrau I around 540 A.D. The arch was part of the Imperial palace complex and was the largest to be built in the Persian Empire, standing thirty meters high.

Ctesiphon was located on the east bank of the river Tigris, around 35km south of the Iraqi capital Baghdad and functioned as the capital of both the Parthian and Sassanian Empires before being abandoned around the 8th century. More on Taq-i Kisra

Charles Hossein Zenderoudi, (Iran, b. 1937)

Untitled

Oil and metallic paint on canvas

,146 x 97cm (57 1/2 x 38 3/16in).

Private Collection

Michel Tapié was an important critic in the post-war French art scene. In 1952 he introduced a key concept, that of L’Art Autre (other art), in which he explained that over and above representation, one has to change one’s value system in order to appreciate art. 


This was Tapié’s discovery of the Iranian avant-garde of which Zenderoudi was at the forefront. The encounter was significant to the extent that Tapié became Zenderoudi’s advisor between 1971 and 1975, “La Maison de l’Iran”, Galerie Cyrus. For Tapié, Middle Eastern calligraphy had an abstract power which offered ‘abstract spaces’, making it a striking art form during these years of turbulence in aesthetics. In this turbulence he saw not a break but a continuity with the past in the midst of the ever-changing values of the present day. More on this work


Charles Hossein Zenderoudi (born 1937 Tehran) is an Iranian painter and sculptor, known especially as a pioneer of Iranian modern art.


Zenderoudi went to the College of Fine Arts and the College of Decorative Arts in Tehran and has had work exhibited in various parts of the world including Paris (1959-1563), Tehran (1960-1966), Sao Paulo (1963), and Venice (1964). The influence of Iranian Shi’ite folk art was seen in his exhibition at the Third Tehrān Biennale; the works were made up of geometric shapes and decorated with calligraphy. In fact, the term Saqqakhana was first used by the Iranian critic Karim Emami to describe Zenderoudi’s art. Zenderoudi’s interest in calligraphy was developed further in his works of the late 1960s and 1970s. More on Charles Hossein Zenderoudi 

Lorna Selim, (Iraq, born 1928)

Three Spirits, c. 1966

Oil on board

44.4 x 34.2cm (17 1/2 x 13 7/16in).

Private Collection

Samir Rafi, (Egypt, 1926-2004)

Untitled, c. 1873

Oil and pencil on board

98.5 x 79.8cm (38 3/4 x 31 7/16in).

Private Collection

Samir Rafi’s  (Egypt, 1926-2004) talent was discovered early on in his life which prompted his teacher Hussein Youssef Amin, the founder of the ‘Group of Contemporary Arts’, to organize the artist’s first exhibition in 1943. A work from this exhibition was acquired by the Art Museum of the Ministry of Education. Rafi continued his education and graduated from the Faculty of Fine Arts, Cairo in 1948. 


In the late 1940s Rafi joined Amin’s Group of Contemporary Arts. The artistic objective of the members was to employ authentic Egyptian traditions in their art by applying popular symbols and philosophy, in order to counter imported and Orientalist trends, thus producing an indigenous form of contemporary art. Rafi’s works of the 1950’s were described as fresh, vibrant and daring.


Unlike his contemporaries, Rafi’s works do not include elements of traditional Egyptian culture and symbology. Most of his work revolves around the relationships between men and women in a cosmopolitan environment.

Throughout his career Rafi repeated the subject matter of the woman figure with a wolf which was intended to symbolize unfaithfulness. Many of his paintings reflected an angry and serious theme. In the current work he has chosen to merge the faces of the wolf and the woman in a very distinct surrealist style. More on Samir Rafi’s 

Adel El-Siwi, (Egypt, born 1952)

Umm Kalthom, c. 2007

Acrylic on canvas laid down on board

170 x 140cm (66 15/16 x 55 1/8in).

Private Collection

Umm Kulthum (December 31, 1898, or May 4, 1904, died February 3, 1975) was an internationally famous Egyptian singer, songwriter, and film actress active from the 1920s to the 1970s. She was given the honorific title Kawkab al-Sharq (“Star of the East”). Known for her extraordinary vocal ability and style, Umm Kulthum was one of the greatest and most influential Arab singers of the 20th century. She has sold over 80 million records worldwide. More no Umm Kulthum


Adel El Siwi born in 1952 in Beheira, Egypt. He studied medicine at Cairo University between 1970 and 1976, but simultaneously indulged in independent study at the faculty of fine arts between 1974 and 1975. In 1980 he relocated to Milan in Italy, where he lived and worked for a decade before moving back to Cairo, where he continues to live and work.

His work has been included in a number of group exhibitions. He was invited by “Le Laboratoire: Sculpture Urbaine” to project his work onto historical buildings in Rio de Janeiro, Brazil (1996), Grenoble, France (2000), Alger, Algeria, (2003).

In addition to his career as a visual artist, El Siwi has translated numerous art historical texts into Arabic by artists such as Leonardo da Vinci and Paul Klee. More on Adel El Siwi

 Safwan Dahoul, (Syria, born 1961)

Reve/ Dream, c. 2007

Acrylic on canvas

80 x 179cm (70 7/8 x 70 1/2in).

Private Collection


Safwan Dahoul, born in 1961 in Hama, Syria, Dahoul was initially trained by leading modernists at the Faculty of Fine Arts, University of Damascus before travelling to Belgium, where he earned a doctorate from the Higher Institute of Plastic Arts in Mons. Upon returning to Syria, he began teaching at the Faculty of Fine Arts and was a prominent member of the Damascus art scene. In the span of a decade, Dahoul nurtured a new generation of artists as an active mentor whose evolving aesthetic often ignited new directions in painting. Given the trajectory and status of his painting style, Dahoul’s career is regarded as a crucial link between modern and contemporary Arab art.

Since the late 1980s, Dahoul’s ongoing Dream series has explored the physical and psychological effects of alienation, solitude, and longing that punctuate the human experience at various stages in life. Partly autobiographical, this seminal body of work uses the formal properties of painting to recreate the subconscious sense of enclosure that surfaces during times of crisis. The artist’s recurring female protagonist facilitates this visceral experience through her contorted body, often-vacant eyes, and minimised yet monumental physicality. Depicted in the confinement of ambiguous settings, her presence is defined by the placement of various objects that seem to deepen the state of her disaffection, as even the familiar becomes a trigger of distress. More on Safwan Dahoul

Bahman Jalali, (Iran, born 1944)

Untitled

Reverse oil painting and silkscreen print on chemically altered mirror

68.7 x 68.6cm (27 1/16 x 27in)

Private Collection

Bahman Jalali (1944 – 15 January 2010) was an Iranian photographer who played a significant role in educating a new generation of Iranian photographers. He taught photography at several universities in Iran over a 30-year period.


Jalali graduated with a degree in Economics from Melli University in Tehran, then started his career as a photographer in 1972. In 1974 he joined the Royal Photographic Society in Great Britain. He is best known for his documentary photographs from the Iranian Revolution in 1979 and from the Iran-Iraq war, but after the revolution he focused more on teaching photography at Iranian universities than practicing it. Jalali was a founding member and curator at the Museum of Photography in Tehran.

Bahman Jalali (Iran, born 1944)

Image of Imagination 2, c. 2000-2008

Archival digital pigment print

31 1/2 × 31 1/2 in, 80 × 80 cm

Private Collection


His last work was a photo series called “Image of Imaginations” (above), which took three years (2003–2006) for him to complete. The Museum of Fine Arts in Nantes bought this photo series for their collection.


Jalali was given a special homage for his forty-year career in photography by the Fundació Antoni Tàpies in Barcelona. He was a contributor to the exhibition in the British Museum, London, “Word into Art : Artists of the Modern Middle East” in 2006.


Until the end of his life, Jalali was a member of the editorial board for Aksnameh, a bi-monthly journal of photography in Tehran.


The veteran photographer was being treated for pancreatic cancer in Germany. He returned to his home in Tehran on 14 January 2010 and died the next morning at the age of 65. More on Bahman Jalali

Acknowledgement: Albahie Auction HouseBonhams and others


Images are copyright of their respective owners, assignees or others


We do not sell art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

08 Paintings, scenes from the Bible, by The Old Masters, with footnotes # 42

Hieronymus Bosch (circa 1450–1516)

Triptych of the crucified Martyr, circa 1497-1505

Oil on panel

Height: 104 cm (40.9 in). Width: 119 cm (46.9 in).

Doge’s Palace, Venice

The central panel depicts the crucifixion of a saint usually identified with Saint Julia of Corsica (sometimes with Saint Wilgefortis). In a depiction related to Christ’s crucifixion, the centrally themed woman is in an elevated position against the sky, balanced by a large crowd gathered at the foot of the cross, including executioners and common people. A typical element is the fainting man supported by his neighbors.

The sides show two cities: at right, a port characterized by fanciful domed buildings and several sunken ships; at left is city on fire, occupied by demons. At the bottom are several parapets, with, at left, a hermit with a dark hood (perhaps St. Anthony in Meditation), and, at right, a monk and a soldier who point at the central panel, traditionally identified as slave-dealers. More about the painting

Hieronymus Bosch, (circa 1450–1516)

Triptych of the crucified Martyr, circa 1497-1505

Detail, Left Panel

Saint Julia of Corsica, also known as Saint Julia of Carthage, and more rarely Saint Julia of Nonza, was a virgin martyr who is venerated as a Christian saint. The date of her death is most probably on or after AD 439. 

Saint Julia was a noble virgin of Carthage, who, when the city was taken by Genseric in 439, was sold for a slave to a pagan merchant of Syria. In the most mortifying employments of her station, by cheerfulness and patience she found a happiness and comfort which the world could not give. Whenever she was not employed in household affairs, her time was devoted to prayer and reading books of piety.

Hieronymus Bosch, (circa 1450–1516)

Triptych of the crucified Martyr, circa 1497-1505

Detail

Her master, who was charmed with her fidelity and other virtues, thought proper to take her with him on one of his voyages to Gaul. When he reached the northern part of Corsica, he cast anchor and went ashore to join the pagans of the place in an idolatrous festival. Julia was left at some distance, because she would not be defiled by the superstitious ceremonies, which she openly spurned. The governor of the island, Felix, a bigoted pagan, asked who this woman was who dared to insult the gods. The merchant informed him that she was a Christian, and that all his authority over her was too weak to prevail upon her to renounce her religion; nonetheless, he found her so diligent and faithful he could not part with her. The governor offered him four of his best slaves in exchange for her. But the merchant replied, No; all you are worth will not purchase her; for I would lose the most valuable thing I have in the world rather than be deprived of her.

Hieronymus Bosch, (circa 1450–1516)

Triptych of the crucified Martyr, circa 1497-1505

Detail, Right Panel

Nonetheless Felix, while the inebriated merchant was asleep, attempted to compel her to sacrifice to his gods. He offered to procure her liberty if she would comply. The Saint made answer that she was as free as she desired to be, as long as she was allowed to serve Jesus Christ. The pagan, offended by her undaunted and resolute air, in a transport of rage caused her to be struck on the face, and the hair of her head to be torn off. Finally he ordered her to be hanged on a cross until she expired. Certain monks from the isle of Gorgon transported her relics there, but in 763 the king of Lombardy transferred them to Brescia, where her memory is celebrated with great devotion. More Saint Julia 

Hieronymus Bosch (c. 1450 – 9 August 1516) was an Early Flemish painter. His work is known for its fantastic imagery, detailed landscapes, and illustrations of religious concepts and narratives. Within his lifetime his work was collected in the Netherlands, Austria, and Spain, and widely copied, especially his macabre and nightmarish depictions of hell.

 

Little is known of Bosch’s life, though there are some records. He spent most of it in the town of ‘s-Hertogenbosch, where he was born in his grandfather’s house. The roots of his forefathers are in Aachen, in present-day Germany. His pessimistic and fantastical style cast a wide influence on northern art of the 16th century, with Pieter Bruegel the Elder being his best known follower. His paintings have been difficult to translate from a modern point of view; attempts to associate instances of modern sexual imagery with fringe sects or the occult have largely failed. Today he is seen as a hugely individualistic painter with deep insight into humanity’s desires and deepest fears. Attribution has been especially difficult; today only about 25 paintings are confidently given to his hand along with 8 drawings. Approximately another half dozen paintings are confidently attributed to his workshop. His most acclaimed works consist of a few triptych altarpieces, the most outstanding of which is The Garden of Earthly Delights. More Hieronymus Bosch

Gabriel von Max, (1840–1915)

Saint Julia (also called „Crucified Martyress“), c. 1866

 Oil on canvas

125×93 cm

Hermitage Museum.

This painting of Saint Julia was Gabriel von Max’s first great success. It shows Saint Julia of Corsica  on the cross. Beneath her is a man with roses in his hand, who apparently reveres her. There is a red gemstone on each shoe.

Saint Julia of Corsica, also known as Saint Julia of Carthage, and more rarely Saint Julia of Nonza, was a virgin martyr who is venerated as a Christian saint. The date of her death is most probably on or after AD 439. 

Saint Julia was a noble virgin of Carthage, who, when the city was taken by Genseric in 439, was sold for a slave to a pagan merchant of Syria. In the most mortifying employments of her station, by cheerfulness and patience she found a happiness and comfort which the world could not give. Whenever she was not employed in household affairs, her time was devoted to prayer and reading books of piety.

Her master, who was charmed with her fidelity and other virtues, thought proper to take her with him on one of his voyages to Gaul. When he reached the northern part of Corsica, he cast anchor and went ashore to join the pagans of the place in an idolatrous festival. Julia was left at some distance, because she would not be defiled by the superstitious ceremonies, which she openly spurned. The governor of the island, Felix, a bigoted pagan, asked who this woman was who dared to insult the gods. The merchant informed him that she was a Christian, and that all his authority over her was too weak to prevail upon her to renounce her religion; nonetheless, he found her so diligent and faithful he could not part with her. The governor offered him four of his best slaves in exchange for her. But the merchant replied, No; all you are worth will not purchase her; for I would lose the most valuable thing I have in the world rather than be deprived of her.

Nonetheless Felix, while the inebriated merchant was asleep, attempted to compel her to sacrifice to his gods. He offered to procure her liberty if she would comply. The Saint made answer that she was as free as she desired to be, as long as she was allowed to serve Jesus Christ. The pagan, offended by her undaunted and resolute air, in a transport of rage caused her to be struck on the face, and the hair of her head to be torn off. Finally he ordered her to be hanged on a cross until she expired. Certain monks from the isle of Gorgon transported her relics there, but in 763 the king of Lombardy transferred them to Brescia, where her memory is celebrated with great devotion. More Saint Julia 

Gabriel Cornelius Ritter von Max (ennobled in 1900; 23 August 1840 – 24 November 1915) was a Prague-born Austrian painter, the son of the sculptor Josef Max and Anna Schumann. He studied at the Prague Academy of Arts. His studies included parapsychology, Darwinism, Asiatic philosophy, the ideas of Schopenhauer, and various mystical traditions. He continued his studies at the Viennese Academy of Art. From 1863 to 1867 he studied at the Munich Academy. His first critical success was in 1867 with the painting “Martyr at the Cross”: that painting transformed the “Unglücksmalerei” (dark palette) of Piloty into a religious-mystical symbolism using a psychological rendering of its subject.

He continued to use the dark palette of the Piloty school well into the 1870s, later moving toward a more muted palette, using fewer, clearer colors. From 1869, Gabriel von Max had his studio in Munich. From 1879-1883, Gabriel Max was a professor of Historical Painting at the Munich Academy; he also became a Fellow of The Theosophical Society. In 1900 he was ennobled and became a Ritter. He died in Munich in 1915. More Gabriel von Max

 

Giovanni Battista Lenardi, (Italy, 1656-1704)

The Assumption of the Virgin with Saints Anne and Nicholas of Myra, c. 1690

Oil on canvas

100 × 66 in. (254 × 167.64 cm)

The Los Angeles County Museum of Art

Although this large and impressive altarpiece was thought to be the work of Domenichino when it first surfaced on the art market in 1978, it was identified prior to its sale by the Metropolitan Museum of Art in 2003 as the work that Giovanni Battista Lenardi completed for the church of San Giuseppe dei Falegnami in Rome.  The work was installed in the left chapel of the church in 1690, when records show that the artist’s brother Pietro Paolo was paid for making adjustments to it. 

In 1855, the altarpiece was replaced with a copy of Carlo Maratti’s Flight into Egypt, although it appears that Lenardi’s painting remained in the church in another location until at least 1929.  The prominent depiction of Saint Nicholas of Myra in his distinctly “Greek” costume makes the association of this altarpiece with the one described in Filippo Titi’s study of Rome’s churches a virtual certainty (see Literature).   Lenardi, whose oeuvre has only recently begun to be comprehensively studied, was a student of Pietro da Cortona and Lazzaro Baldi. More 

Ilya Repin, Russian, 1844–1930

Golgotha, 1921–22

Oil on reversed linoleum

214 x 176 cm (84 1/4 x 69 5/16 in.)

Princeton University Art Museum

Repin’s Golgotha offers a starkly uncon­ventional interpretation of familiar subject matter. It is a Crucifixion without Christ, whose body has already been removed from the place of execution, leaving yawning emptiness at the center of the painting. Two dead thieves remain, tied to their crosses. A third cross rests on the ground, its nails, its crossbar, and the surrounding area saturated with Christ’s blood. With brutal realism, Repin depicts a pack of carrion dogs licking the blood; one, positioned at the foot of the empty cross, looks out of the painting as if in response to the viewer’s presence. More Golgotha

Ilya Yefimovich Repin (5 August 1844 – 29 September 1930) was the most renowned Russian artist of the 19th century. He played a major role in bringing Russian art into the mainstream of European culture. His major works include Barge Haulers on the Volga (1873), Religious Procession in Kursk Province (1883) and Reply of the Zaporozhian Cossacks (1880–91).

Repin was born in Chuguyev, in the Kharkov Governorate (now Ukraine) of the Russian Empire into a military family. He entered military school in 1854 and in 1856 studied under Ivan Bunakov, a local icon painter. He began to paint around 1860. In 1874–1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants’ Society in Saint Petersburg. He was awarded the title of academician in 1876.

In 1901 he was awarded the Legion of Honour. In 1911 he traveled to the World Exhibition in Italy, where his painting 17 October 1905 and his portraits were displayed in their own separate room. In 1916 Repin worked on his book of reminiscences, Far and Near. He welcomed the Russian Revolution of 1917. Celebrations were held in 1924 in Kuokkala to mark Repin’s 80th birthday, followed by an exhibition of his works in Moscow. In 1925 a jubilee exhibition of his works was held in the Russian Museum in Leningrad. Repin died in 1930 and was buried at the Penates. More

Attributed to Johan Maelwael (Jean Malouel). (Nijmegen, c. 1370 – Dijon, 1415), 

La Grande Pietà ronde, c. 1400

Oil on Wood

Musée du Louvre

The Pietà is a subject in Christian art depicting the Virgin Mary cradling the dead body of Jesus, most often found in sculpture. As such, it is a particular form of the Lamentation of Christ, a scene from the Passion of Christ found in cycles of the Life of Christ. When Christ and the Virgin are surrounded by other figures from the New Testament, the subject is strictly called a Lamentation in English, although Pietà is often used for this as well, and is the normal term in Italian. More the Pietà

Jean Malouel, or Jan Maelwael in his native Dutch, (c. 1365 – 1415) was a Netherlandish artist, sometimes classified as French, who was the court painter of Philip the Bold, Duke of Burgundy and his successor John the Fearless, working in the International Gothic style.

He was presumably born in Nijmegen, then in the Duchy of Guelders, which was bought by Philip the Bold in 1473, and is in the modern Netherlands. He probably trained there in the workshop of his father, the artist Willem Maelwael, and is recorded as an artist in 1382. He was the uncle of the famous manuscript illuminators, the three Limbourg brothers, whom he introduced to Philip’s service around 1400. 

Malouel is recorded as working in Paris painting armorial decorations on cloth for Isabelle of Bavaria, Queen of France, in 1396–97, but by August 1397 he was in Dijon, the capital of the Duchy of Burgundy, where he succeeded Jean de Beaumetz (d. 1396) to the position of court painter to Philip. He retained these positions until his death.] In 1405, soon after the death of Philip, he returned to Nijmegen to marry Heilwig van Redinchaven, bringing her back to Dijon3. In 1415 he died in Dijon, leaving Heilwig and four children. She received a pension from the Duke, and returned to Nijmegen, where she became involved in lengthy litigation over Malouel’s estate there. More on Johan Maelwael

Henri Bellechose, (1415–1440)

Altarpiece of St Denis in Paris

The Last Communion and Martyrdom of Saint Denis, c. 1416

Tempera and gold on canvas mounted on panel

162 × 211 cm (63.8 × 83.1 in)

Louvre Museum

Saint Denis was a legendary 3rd-century Christian martyr and saint. He was bishop of Paris in the third century. He suffered under the persecution of the emperor Decius shortly after ad 250. Denis is the most famous cephalophore in Christian legend, with a popular story claiming that the decapitated bishop picked up his head and walked several miles while preaching a sermon on repentance. He is venerated in the Catholic Church as the patron saint of France and Paris and is accounted one of the Fourteen Holy Helpers. A chapel was raised at the site of his burial by a local Christian woman; it was later expanded into an abbey and basilica, around which grew up the French city of Saint-Denis, now a suburb of Paris. Saint Denis

Henri Bellechose (fl. 1415; died before 28 January 1445) was from the South Netherlands. He was one of the most significant artists at the beginning of panel painting in Northern Europe, and among the earliest artists of Early Netherlandish painting.

Bellechose was an artist who came to Dijon to work for the Dukes of Burgundy. There he was appointed court painter to John the Fearless, Duke of Burgundy and “valet de chambre”, a court appointment, as his predecessor Jean Malouel and successor Jan van Eyck were. Nothing is known of his career before this, and it has been suggested that he had been working as Malouel’s assistant for some time, and for some art historians their oeuvres are closely entangled.

His famous Martyrdom of Saint Denis (above) in the Louvre, was commissioned by the Duke for the Chartreuse of Champmol in Dijon, founded by Philip the Bold as a dynastic burial place. The pigments to “parfaire” an image of the “Life of St Denis”, but interestingly not any gold for the background, were advanced by the Duchy in May 1415. This has led to the suggestion that the work had been left incomplete by Malouel.

In April 1420, when John the Fearless died, Bellechose was retained by his successor, Philip the Good. The works recorded in the accounts of the Duke were mostly decorative, including commissions such as coats of arms for funerals, as was normal for court artists, but two altarpieces, neither apparently surviving, were commissioned in 1425 and 1429. Bellechose had a large studio which at its peak consisted of eight assistants and two apprentices. More on Henri Bellechose

Emil Nolde, 1867 – 1956

Die Grablegung (Begravelsen, The Burial), c. 1915

Oil on canvas

87 x 117 cm, Stiftung Nolde, Seebüll

Nasjonalmuseet, National Museum of Art, Architecture and Design, Norway

The burial of Jesus refers to the burial of the body of Jesus after crucifixion, described in the New Testament. According to the canonical gospel accounts, he was placed in a tomb by a man named Joseph of Arimathea.

The earliest reference is in a letter of Paul. He refers to the account he had received of the death and resurrection of Jesus (“and that he was buried, and that he was raised on the third day according to the Scriptures”).

The next generation of writings are the four canonical gospels, written between 66 and 95CE, all of which conclude with an extended narrative of Jesus’ arrest, trial, crucifixion, burial, and resurrection. All four state that, on the evening of the Crucifixion, Joseph of Arimathea asked Pilate for the body, and, after Pilate granted his request, he wrapped it in a linen cloth and laid it in a tomb.More of The Burial

Emil Nolde (born Emil Hansen; 7 August 1867 – 13 April 1956) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals. More Emil Nolde 

Images are copyright of their respective owners, assignees or others

We do not sell art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

08 Orientalist Paintings by Artists from the 19th Century, with footnotes, 18

Edouard Frederic Wilhelm Richter,1844 – 1913 

Scheherazade

Oil on canvas

Height: 151 cm (59.45 in.), Width: 211.5 cm (83.27 in.)

Private collection

Scheherazade is a character and the storyteller in One Thousand and One Nights. This book includes the tales of Aladdin, Ali Baba and many more.

The story goes that Shahryar found out one day that his first wife was unfaithful to him. Therefore, he resolved to marry a new virgin each day as well as behead the previous day’s wife, so that she would have no chance to be unfaithful to him. He had killed 1,000 such women by the time he was introduced to Scheherazade, the vizier’s daughter.

“Scheherazade had perused the books, annals and legends of preceding Kings, and the stories, examples and instances of bygone men and things; indeed it was said that she had collected a thousand books of histories relating to antique races and departed rulers. She had perused the works of the poets and knew them by heart; she had studied philosophy and the sciences, arts and accomplishments; and she was pleasant and polite, wise and witty, well read and well bred.”

Edouard Frederic Wilhelm Richter,1844 – 1913 

Scheherazade

Detail

Against her father’s wishes, Scheherazade volunteered to spend one night with the king. Once in the king’s chambers, Scheherazade asked if she might bid one last farewell to her beloved sister, Dunyazade, who had secretly been prepared to ask Scheherazade to tell a story during the long night. The king lay awake and listened with awe as Scheherazade told her first story. The night passed by, and Scheherazade stopped in the middle of the story. The king asked her to finish, but Scheherazade said there was no time, as dawn was breaking. So, the king spared her life for one day to finish the story the next night. The following night, Scheherazade finished the story and then began a second, even more exciting tale, which she again stopped halfway through at dawn. Again, the king spared her life for one more day so she could finish the second story.

And so the king kept Scheherazade alive day by day, as he eagerly anticipated the finishing of the previous night’s story. At the end of 1,001 nights, and 1,000 stories, Scheherazade told the king that she had no more tales to tell him. During these 1,001 nights, the king had fallen in love with Scheherazade. He spared her life, and made her his queen. More on Scheherazade

Édouard Frédéric Wilhelm Richter , born on June 18, 1844 in Paris, where he died on March 4, 1913 to a Dutch mother and German father. His extensive artistic education took him to the Hague Academy, then to Antwerp and finally to the Académie de Beaux-Arts in Paris where he trained under Léon Bonnat. Richter first exhibited a still-life at the Salon in 1866 and received honourable mention. However for the following fifty years, he submitted a range of subject matter including portraits, historical genre scenes and more specifically Orientalist subjects. 

Richter’s favourite subject was the female. Whether European or Middle Eastern, he illustrated dignified, yet languid beauties at the centre of his compositions. His Orientalist subjects demonstrate a certain studied theatricality in the gesture of the figures and the composition as seen in the present lot, as well as an exquisite handling of the textures and colours. The young woman dressed in elaborate clothes is posed in front of a window. The sunlight defines the silhouette of body and adds an ethereal halo. The delicacy of her placed fingers and the soft pink in her dress contrasts with the geometric and vibrant design of the mosaics encircling her. More on Édouard Frédéric Wilhelm Richter

Edouard Frederic Wilhelm Richter,1844 – 1913 

A Moorish Dancer, c. 1877

Oil on canvas

Height: 92 cm (36.22 in.), Width: 74 cm (29.13 in.)

Private collection

Edouard Frederic Wilhelm Richter,1844 – 1913, see above

John William Waterhouse, 1849 – 1917

IN THE HAREM, AN ODALISQUE

Oil on canvas

46 by 27cm., 18 by 10½in

Private collection

John William Waterhouse (April 6, 1849 – February 10, 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading to his sobriquet “the modern Pre-Raphaelite”. Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Born in Italy to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace the Pre-Raphaelite style of painting despite the fact that it had gone out of fashion in the British art scene several decades before. More on John William Waterhouse

Léon François Comerre, 1850 – 1916

Femme au tambourin

oil on canvas

48 ½ x 30 3/8 in. (123 x 77 cm.)

Private collection

Léon François Comerre (10 October 1850 – 20 February 1916) was a French academic painter, famous for his portraits of beautiful women. Comerre was born in Trélon, in the Département du Nord, the son of a schoolteacher. He moved to Lille with his family in 1853. From an early age he showed an interest in art and became a student of Alphonse Colas at the École des Beaux-Arts in Lille, winning a gold medal in 1867. From 1868 a grant from the Département du Nord allowed him to continue his studies in Paris at the famous École nationale supérieure des Beaux-Arts in the studio of Alexandre Cabanel. There he came under the influence of orientalism.

Comerre first exhibited at the Paris Salon in 1871 and went on to win prizes in 1875 and 1881. In 1875 he won the Grand Prix de Rome. This led to a scholarship at the French Academy in Rome from January 1876 to December 1879. In 1885 he won a prize at the “Exposition Universelle” in Antwerp. He also won prestigious art prizes in the USA (1876) and Australia (1881 and 1897). He became a Knight of the Legion of Honour in 1903.

Gustav Bauernfeind, German, 1848 – 1904

Market in Jaffa, c. 1887

Oil on canvas

Market in Jaffa, now a part of Tel Aviv, was painted by Gustav Bauernfeind in 1887. Bauernfeind was extremely brave to paint in cities like Jaffa and Damascus. Jaffa was frequently under quarantine for plague and westerners could be attacked in the streets of Damascus by religious zealots. Bauernfeind would show up in these cities in western dress with bulky photographic equipment and somehow survive and get his work done. More on Market in Jaffa

Gustav Bauernfeind (4 September 1848, Sulz am Neckar – 24 December 1904, Jerusalem) was a German painter, illustrator and architect. He is considered to be one of the most notable Orientalist painters of Germany.

After completing his architectural studies in Stuttgart, he worked in the architectural firm of Professor Wilhelm Bäumer and later in that of Adolph Gnauth, where he also learned painting. In his earlier paintings, Bauernfeind focused on local views of Germany, as well as motifs from Italy. During his journey to the Levant from 1880 to 1882, he became interested in the Orient and repeated his travels again and again. In 1896 he moved with his wife and son all the way to Palestine and subsequently settled in Jerusalem in 1898. He also lived and worked in Lebanon and Syria.

Gustav Bauernfeind, (German, 1848–1904)

The market in Jaffa, 1887

Watercolor

39 x 53 cm. (15.4 x 20.9 in.)

Private collection

His work is characterized primarily by architectural views of Jerusalem and the Holy Land. The paintings of Bauernfeind are mostly meticulously crafted, intricately composed and almost photographically accurate cityscapes and images of known sanctuaries in oil. In addition, he produced landscape scenes and watercolours. During his lifetime he was the most popular Orientalist painter of Germany, but soon fell into oblivion after his death. However, since the early 1980s, Bauernfeind was gradually rediscovered. At his birthplace in Sulz am Neckar, the life and work of the painter is commemorated by the Gustav Bauernfeind Museum with a large permanent exhibition. More Gustav Bauernfeind

 

Edward Lear, 1812-1888

The Cedars of Lebanon, c. 1861

Oil on canvas

68cm high x 113.50cm (44.69 inches)

The cedar of Lebanon was prized throughout the ancient Near East. The Palermo Stone indicates cedar was imported to Egypt in the reign of the 4th dynasty king Sneferu, ca. 2613-2589 BC. One of its primary uses was for boat construction.

Commonly referred to in Scripture as the cedars of Lebanon, this aromatic, durable wood was highly desirable for building in Iron Age Israel. David used in it building his palace, and Solomon used it in the construction of the temple and a palace for himself. More history of the Cedars of Lebanon.

Edward Lear, 1812-1888

The Cedars of Lebanon, c. 1858

A preliminary sketch for the painting (above)

Oatlands Park Hotel, Weybridge

Although Lear had travelled in the Middle East, and indeed undertook his most extensive tour there in 1858, his time was limited. As in the case of other pictures, he found he still needed a more leisurely contemplation in order to work up his landscapes: “Individual foreground details and studies of foliage were often painted from local sources”. Thus, to complete a view of the Cedars of Lebanon that had so impressed him, he went looking for good specimens when home again in England. Fortunately, some such specimens were to be found within easy reach of London. Lear could hardly have done better than the ancient and famous cedar trees on the estate of the Oatlands Park Hotel in north Surrey. The most imposing one now has a sign on it, that reads, “This is one of the first Cedars of Lebanon imported into England. It is believed to have been planted here by Prince Henry Otelands [sic], the youngest son of King Charles the First.” More on The Cedars of Lebanon

Images are copyright of their respective owners, assignees or others

We do not sell art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.