10 Works, RELIGIOUS ART – Contemporary & 20th Century Interpretation of the Bible! With Footnotes – 12

 Bettina Rheims

The new Eve II, May 1997

Ville-Evrard. From the exhibition I.N.R.I.

Men and women committed to embody the figures of Christ and the Virgin, the saints, apostles and many other characters told in the Gospel parables. Almost a visual cacophony, at first glance, and yet those perfect bodies, whose icy beauty reproduced in real giant images reveal little by little an unexpected mystical aura, while maintaining their carnality of individuals. Their earthly humanity. More on the exhibition I.N.R.I.

Bettina Rheims

INRI, The Baptism

Ville-Evrard. From the exhibition I.N.R.I.

 

Bettina (Caroline Germaine) Rheims is a French photographer born in Neuilly-sur-Seine on 18 December 1952. Bettina’s photographic career began in 1978, when she took a series of photos of a group of strip-tease artists and acrobats, which would lead to her first exhibitions. This work would unveil Bettina Rheims’ favourite subject, the female model, to which she would frequently return during her career.

Bettina Rheims (französisch, geb. 1952) Titel:

Jesus (from I.N.R.I.) , 1997

Color photograph

35,5 x 29 cm (14 x 11,4 in)

Ville-Evrard. From the exhibition I.N.R.I.

Bettina Rheims

The Crucifixion

605/8 x 496 in. (154 x 125 cm.)

Ville-Evrard. From the exhibition I.N.R.I.

 

At the beginning of the 1990s, Bettina Rheims worked on one of her major series, entitled Chambre Close (1990-1992). This was her first in colour and marked the start of her collaboration with the novelist Serge Bramly, in a work which saw her photographs coupled with the writer’s fiction. 

Bettina Rheims, Serge Bramly

Jesus and the Apostles, 1997

C-print Ville-Evrard. From the exhibition I.N.R.I.

 

In 1995, the Presidency of the French Republic commissioned Bettina Rheims to take the official portrait of Jacques Chirac.

The 1999 publication of the book I.N.R.I. and its eponymous exhibitio, once again united the gaze of Bettina Rheims with the prose of Serge Bramly. I.N.R.I. builds a philosophical dialogue on the history of the crucifixion through photographs of scenes of the life of Christ. In France, the publication of this work was highly controversial.

In 2002, Bettina Rheims created a series on Shanghai during two long stays in the city. In 2005, at the Galerie De Noirmont, Bettina exhibited Héroïnes, a work that was primarily a homage to sculpture.  

Bettina Rheims

The Last Supper, 1997

Ville-Evrard. From the exhibition I.N.R.I.

 

At the end of the 2000s, Bettina worked with Serge Bramly again and exhibited Rose, c’est Paris in 2010 at the National Library of France. The photographic tale was again built on a thread of fiction that Bettina Rheims and Serge Bramly created from autobiographical elements. More on Bettina Rheims

 

Bettina Rheims

Pietà. 1997

Ville-Evrard. From the exhibition I.N.R.I.

Bettina Rheims

Pietà. 1997

Ville-Evrard. From the exhibition I.N.R.I.

Iva Troj, United Kingdom

What Noah Forgot – Limited Edition 1 of 7

Photography

15.7 H x 23.6 W x 0.4 in

Private collection

Iva Troj seamlessly incorporates her vast experience of traditional painting techniques with postmodern elements to create engaging Renaissance-style works that challenge the notion of societal conformity. Born in Bulgaria, based in Scandinavia and the UK, Troj creates work originating fundamentally in the crossing of two realities: the one she grew up in and the one she has embraced. 

“I’ve been told I have artistic talents since I was a little girl. The problem was I spent most of my time worrying about the meaning of it all. I grew up in a rough neighborhood, in the outskirts of Plovdiv. At times it felt like the whole place was full of violent men. My family was very strict, loving and protective of me so I managed to keep my head above water. More on Iva Troj

Iva Troj, United Kingdom

Mankind

Painting

Size: 63 H x 43.3 W x 0.4 in

Private collection

Iva Troj, see above

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07 Paintings, MODERN & CONTEMPORARY MIDDLE EASTERN ART, With Footnotes – 5

Hassan Hajjaj, B. 1961, MOROCCAN

WINK, c. 2007

Metallic Lambda inset with kohl boxes mounted on board in artist’s frame

94 by 66cm.; 37 by 26in.

Private collection

Hassan Hajjaj (born Larache, Morocco in 1961) is a contemporary artist who lives and works between London, UK and Marrakech, Morocco.

Hajjaj’s work is in the collections of the Brooklyn Museum, New York; the British Museum, London; the Nasher Museum of Art, Duke University, Durham, NC; the Newark Museum, New Jersey; Los Angeles County Museum of Art, Los Angeles; Los Angeles Museum of Contemporary Art, Los Angeles; the Victoria & Albert Museum, London; the Farjam Collection, Dubai; Institut des Cultures d’Islam, Paris; Kamel Lazaar Foundation, Tunisia; and Virginia Museum of Fine Art, Richmond, VA.

Hajjaj was the winner of the 2011 Sovereign Middle East and African Art Prize and was shortlisted for Victoria & Albert Museum’s Jameel Prize in 2009. In 2013, Rose Issa Projects published a monograph of the artist exploring his upbringing in Morocco and London. More on Hassan Hajjaj

Safwan Dahoul, B. 1961, SYRIAN

UNTITLED, c. 1992

Oil and gold leaf on wood 

25 by 20cm.; 9 7/8 by 7 7/8 in

Private collection

Safwan Dahoul was 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. More on Safwan Dahoul

Hussein Bikar, 1912 – 2002, EGYPTIAN

THE LANDLORD, c. 1984

Oil on paper 

46 by 27cm.; 18 1/8 by 10 1/2 in

Private collection

Hussein Amin Bicar (2 January 1913 in Alexandria – 16 November 2003) was one of Egypt’s most prominent artists of the 20th century, after graduating from the Cairo higher school of fine arts in 1934, he spent more than 60 years of his life teaching art at schools and universities and then through the press, he is credited for initiating a style of journalistic art that elevated illustrating for news papers to a level close to that of the fine art, he is known for his simple and clear style reflecting the influence of Pharaonic art with its harmony, serenity and mystic. Bicar’s journalistic contributions go beyond illustrations to include art criticism and narrative poetry. Being the first Egyptian artist to illustrate Arabic children’s books, Bicar has played a major role in establishing and promoting this field.

Furthermore, his portraits and oil paintings depicting graceful Egyptian peasants, Nubian scenes, Alexandria and Pharaonic themes as well as his elegant, gracious nature has earned him great recognition and honors. In the words of late journalist Mustafa Amin:”he is not a single artist, he is a master of several arts…he is a painter, photographer, poet, musician and philosopher”.

He was of Turkish Cypriot extraction[2] and a member of the Bahá’í Faith. More on Hussein Bikar

Adham Wanly, 1908-1959, EGYPTIAN

CHEVEAUX HONGROIS AU CIRQUE (HUNGARIAN HORSE AT THE CIRCUS), c. 1953

Oil on panel

53 by 74cm.; 20 7/8 by 29 1/8 in.

Private collection

Adham Wanly (1908 in Alexandria, Egypt – 1959) was a painter who learnt in the atelier of the Italian Otorino Becchi 1932, then set up his own atelier with his brother Seif Wanly (above), and participated in many local and international exhibition specially Venice, São Paulo (Brasil), Alexandria Biennale.

The Museum of Modern Art in Alexandria displays many of his paintings. The artist is mostly famous for recording the life of the theater and circus. He specialized in the ballet and opera that is featured in the Cairo Opera House and the Theatre Mohamed Ali in Alexandria. The paintings render the stage lights and movements of the people involved and he is able to express the light and agility in various ways. He had a talent in caricature in which he used in mockery of himself and the people of his time. There is now a museum in his memory. More on Adham Wanly

Shakir Hassan Al-Said, 1925-2004, IRAQI

UNTITLED (TOWN), c. 1951

Watercolour and pencil on paper 

i) 24 by 20cm.; 9 1/2 by 7 7/8 in. ii) 29 by 21.5cm.; 11 1/2 by 8 1/4 in

Private collection

Shakir Hassan Al Said (1925–2004), an Iraqi painter, sculptor and writer, is considered one of Iraq’s most innovative and influential artists.

Born in Samawa, Al Said lived, worked and died in Bagdad. In 1948 he received  a degree in social science from the Higher Institute of Teachers in Baghdad and in 1954 a diploma in painting from the Institute of Fine Arts in Baghdad. He continued his studies at the École nationale supérieure des Beaux-Arts in Paris until 1959. During his stay in Paris, he discovered Western modern art in galleries and Sumerian art at the Louvre. He returned to Baghdad in 1959.

He co-founded in 1951 with Jawad Saleem Jama’et Baghdad lil Fann al-Hadith (Baghdad Modern Art Group), one of the most unusual arts movements in the Middle East in the post–World War II, itwas called Istilham al-turath (Seeking inspiration from tradition), considered as “the basic point of departure, to achieve through modern styles, a cultural vision”. He headed the group after the death of Saleem in 1961.[12]

In 1971, he founded Al Bu’d al Wahad (the One-dimension Group)”, which promoted the modern calligraphic school in Arab art.

His work is collected by major museums, such as Mathaf: Arab Museum of Modern Art in Doha, the Guggenheim in New York, and Sharjah Art Museum. More on Shakir Hassan Al Said 

Shakir Hassan Al-Said, 1925-2004, IRAQI

UNTITLED (MAN AND HORSE, c. 1950

Watercolour and pencil on paper 

i) 24 by 20cm.; 9 1/2 by 7 7/8 in. ii) 29 by 21.5cm.; 11 1/2 by 8 1/4 in.

Private collection

Shakir Hassan Al Said (1925–2004), see above

Mostafa Abdel Moity, B. 1938, EGYPTIAN

NN51, c. 1967

Paper collage, acrylic, fabric, nails and felt pen on wood panel

120 by 77.7cm.; 47¼ by 30½in

Private collection

Born in Alexandria, Egypt in 1938, Mostafa Abdel Moity got his degree from the Academy of Fine Arts in Alexandria in 1962, and immediately began teaching as a faculty member at the academy and has continued to do so ever since. He was Vice President of the World Congress of Contemporary Art in Venice in 1985, and the Head of the Egyptian Academy in Rome in 1988.

Mostafa Abdel Moity’s early works had touches of the figurative and the recognizable, with his style developing and evolving into distinctly abstracted paintings and sculptures characterized by aggressive bold lines and blocks of vibrant colors. Circles and triangles are used extensively in his work, together with other geometrical patterns, evoking notions of outer space and infinity. More on Mostafa Abdel Moity

Acknowledgement: Sotheby’s, and others

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07 Paintings of the Canals of Venice by the artists of their time, with foot notes. #9

Jean-Baptiste van Moer, BRUXELLES 1819 – 1884, ECOLE BELGE

THE GRAND CANAL, VENICE, c. 1879

Oil on canvas

130 x 197 cm ; 51 1/4 by 77 1/2 in

Private collection

The Grand Canal in Venice, Italy forms one of the major water-traffic corridors in the city. Public transport is provided by water buses and private water taxis, and 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 of Venice. More Grand Canal

Jean-Baptiste Van Moer was born in Brussels in 1819 and died in the same city in 1884. He was the student of François Bossuet He participated in the International Exhibition of Paris of 1855 with the active support of the Belgian ambassador. The thoroughness of his landscape is spotted by Queen Victoria, who commissioned several drawings. This beginning allows him to travel throughout Europe. 

Back in Brussels, he built a workshop and a house on the edge of the Leopold Park and devotes himself to paint the houses of Old Brussels, being endangered by the vaulting of the Senne . The initiator of this work, the mayor Jules Anspach , asked him to decorate the town hall with fifteen views of neighborhoods before it disappeard. The Van Moer, in Brussels, was named after him, on the occasion of the extension of the rue Allard. More on Jean-Baptiste Van Moer

Félix-François-Georges-Philibert Ziem, BEAUNE 1821-PARIS 1911

VIEW OF VENICE WITH THE DOGE’S PALACE

Oil on canvas

54,5 x 72,5 cm ; 21 1/2 x 28 1/2 in.

Private collection

The Doge’s Palace is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the former Republic of Venice, opening as a museum in 1923. Today, it is one of the 11 museums run by the Fondazione Musei Civici di Venezia. More on The Doge’s Palace

Félix Ziem (February 26, 1821 – November 10, 1911) was a French painter in the style of the Barbizon School. He was born Félix-Francois Georges Philibert Ziem in Beaune in the Côte-d’Or département of the Burgundy région of France. His mother was a native of Burgundy who had married an immigrant. Originally, Ziem planned to be an architect and studied at the School of Architecture in Dijon, and for a time he worked as an architect. In 1839 he moved to Marseilles, where he received some informal instruction in painting from Adolphe Monticelli. Painting developed from a hobby into a career following a visit in 1841 to Italy, where he fell in love with the city of Venice, a place that would become the source for many of his works, and to which he returned annually until 1892. Apart from Venetian scenes, he also painted many still lifes, portraits, and landscapes from a variety of places including Constantinople, Martigues, Cagnes-sur-Mer and his native Burgundy. More on Félix Ziem

VENICE, LATE 19TH CENTURY 

Venetian Capriccio. 

Oil on canvas. 

30.5 x 40.5 cm.

Private collection

Jean Baptiste Arthur Calame, (1843 Geneva 1919) 

View of Venice

Oil on canvas on cardboard. 

46 x 34 cm. 

Private collection

Jean Baptiste Arthur Calame was born in 1843.  He is the son of Alexandre Calame.

Between 1860 and 1864, Calame learned the art of painting.  Afterwards, he attended the Royal Art Academy in Dusseldorf, and took courses from Oswald Achenbach until 1867.  

He preferred to depict the Italian landscape in a kind of Achenbach manner.  His works have been represented at numerous exhibitions in Switzerland, Berlin, Dresden, Vienna, Dijon and Munich. More on Jean Baptiste Arthur Calame 

 

Ralph Wormeley Curtis, (1854–1922)

RETURN FROM THE LIDO, c. 1884

Oil on canvas

74 x 142 cm (29 1/8 x 55 7/8 in.)

Isabella Stewart Gardner Museum

The Lido, or Venice Lido, is an 11-kilometre (7-mile) long sandbar in Venice, northern Italy; it is home to about 20,000 residents. The Venice Film Festival takes place at the Lido every September.

The island is home to three settlements. The Lido itself, in the north, is home to the Film Festival, the Grand Hotel des Bains, the Venice Casino and the Grand Hotel Excelsior. Malamocco. It was at one time home to the Doge of Venice.  More on Lido

Ralph Wormeley Curtis (August 28, 1854, Boston – February 4, 1922, Beaulieu-sur-Mer) was an American painter and graphic artist in the Impressionist style. He spent most of his life in Europe, where he was a close associate of his distant cousin, John Singer Sargent, and James McNeill Whistler. He painted in a variety of genres, but was known mostly for landscapes and urban scenes; especially of Venice.

Upon graduating from Harvard, he convinced his parents to let him study art. He began at the Académie Julian in Paris. Upon completing his work there, he found a position in the studios of Carolus-Duran. It was there he first met John Singer Sargent, who would not only become a close friend, but also have a significant influence on his style.

In 1878, his parents moved to Europe. They settled in Venice. One of their frequent guests was James McNeill Whistler, who would also become Curtis’ friend and influence his style. Meanwhile, he opened his own studio in Paris. In 1880.

From 1881 through 1893, he was a regular exhibitor at the Salon and, in 1889, received Honorable Mention at the Exposition Universelle. He also had showings at the Royal Academy of Arts, the Grosvenor Gallery and the Manchester Art Gallery. He apparently made little money from his paintings, however; relying on his family’s wealth for support.

In 1897, he married Lisa de Wolfe Colt of Providence, who was related to the Colt firearms family. After the birth of their daughter, Sylvia, they moved to Beaulieu-sur-Mer, where they had two more children. He died there in 1922. More on Ralph Wormeley Curtis

Ralph Wormeley Curtis, (1854–1922)

Drifting with the Tide, c. 1884

Oil on canvas

64 x 94.5 cm

Private collection

Ralph Curtis’s painting of a gondola gliding through Venice must have held special meaning for Mrs. Gardner (Isabella Stewart Gardner Museum). Like the woman depicted, she and Curtis spent many hours in each other’s company floating through the canals. The slight touch of purple through the sky and in the water, along with the mysterious faces of the woman and her gondolier, adds the perfect tone of languid, exotic atmosphere to the scene. More on Isabella Stewart Gardner Museum

 

Ralph Wormeley Curtis, see above

Ralph Wormeley Curtis,  (1854–1922)

The Bridge of Sighs, Venice

Oil on canvas

177.8 x 250.2 cm

Private collection

The Bridge of Sighs is an enclosed bridge made of white limestone. It has windows with stone bars, passes over the Rio di Palazzo, and connects the New Prison to the interrogation rooms in the Doge’s Palace. 

The view from the Bridge of Sighs was the last view of Venice that convicts saw before their imprisonment. The bridge’s name, given by Lord Byron, comes from the suggestion that prisoners would sigh at their final view of beautiful Venice through the window before being taken down to their cells. In reality, the days of inquisitions and summary executions were over by the time the bridge was built. More on The Bridge of Sighs


Ralph Wormeley Curtis, see above

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09 CLASSIC WORKS OF ART, MARINE PAINTINGS – WITH FOOTNOTES, #42

Hernando Gonzalo Villa,  (American 1881-1952) 

The Men

Ol on canvas,

25″ x 18″

Private collection

Hernando Gonzalo Villa (born 1881, died 1952) was a prominent commercial artist and muralist whose work primarily depicted Native Americans, Mexican vaqueros, California missions, Spanish colonialists, and coastal views.

Villa was born in Los Angeles to Esiquia and Miguel de Villa. His parents came to Los Angeles as children from Baja California in 1846 when the area was still part of Mexico. He graduated from the Los Angeles School of Art and Design in 1905. Villa established himself as a commercial artist, illustrating magazines as well as a variety of artwork ranging from sheet music covers to newspaper advertisements, and a poster for the 1933 World’s Fair in Chicago.

Villa also executed easel paintings throughout his career which he showed primarily in California. He  was also a celebrated muralist who created murals for Tally’s New Broadway Theater in Los Angeles in 1916, the New Rialto Theater in Phoenix in 1921, and Citizen Bank in Los Angeles in 1926. Villa won a gold medal for a mural exhibited at the Panama-Pacific International Exhibition in 1915. More on Hernando Gonzalo Villa

Johannes Holst

The Siam in choppy Sea, c. 1936

Oil on canvas

70,5 x 100 cm

Private collection

The Siam, a fairly speedy ship of 745 tons, made four consecutive voyages to Auckland from 1865 till 1868, in command of Captain William Ashby. She was a favourite ship with passengers, and the whole of her berthing accommodation was taken up both on the outward and homeward passages. 

The ship was unfortunate in striking severe gales on all the outward passages. More on THE SIAM

Johannes Holst, (October 22, 1880 in Hamburg-Altenwerder – July 5, 1965 in Hamburg)Influenced by the profession of his father,  he was a skipper,  and by the closeness to Elbe and sea, Johannes became interested in shipping at an early age.

He completed an apprenticeship as an ornamental painter at the studio of Julius and Hinrich Lüdders.


At first he painted fishing boats, his later works were of sailing ships and steamers on the high seas. Stormy weather at sea are characteristical for his paintings. Holst created works of very high quality in a realistic manner of painting. The ships painted by him show every detail. The water is also depicted very realistically.


Holst was a very active artist and was tasked by many shipowners to paint portraits of their ships because of his high quality works. Portraits of sailing ships, for the shipping company F. Laeisz in Hamburg et al., form the main part of his complete works that consists of about 1000 paintings. The paintings of Holst are especially valued in northern Germany. More on Johannes Holst

Roger Rosary

The Pourquois-Pas? in Greenland

Oil on canvas

50,5 x 65 cm

Private collection

The Pourquoi Pas ? IV was the fourth ship built for Jean-Baptiste Charcot. She completed the second Charcot expedition of the Antarctic regions from 1908 to 1910. Charcot died aboard when she was wrecked on 16 September 1936, off the coast of Iceland. Of the forty men on board, only one survived.

In September 1936, returning from the mission to Greenland, and after carrying out a survey mission, the Pourquoi-Pas ? IV stopped at Reykjavík to re-provision on 13 September. They set out for Saint-Malo two days later, on 15 September, but on 16 September the ship was caught in a violent cyclonic storm and lost on the reefs of Álftanes at Mýrar.  More on The Pourquoi Pas ?

Roger Chapelet (25 September 1903 – 30 June 1995) was a French maritime painter, born in Versailles, France. He discovered his maritime passion boarding the Rollo in 1927, where his brother was a radio operator in the port of Marseilles. This was the beginning of his painting career at sea. He would then make a series of paintings in various ports: Le Havre, Antwerp, and Rotterdam. He sailed for the first time in 1929 to explore new horizons, and he boarded sailing boats to paint the fishermen on the banks of Newfoundland and Greenland. In the 1930s, he became the painter of the main French naval armaments, and in 1936, he was named Peintre de la Marine and became a member of the Naval Academy. During World War II, Chapelet served on the transatlantic convoys between 1939 and 1940. From 1942 to 1945, he served as commissioner of the navy in the Mediterranean, and in 1946, in Indochina. Meanwhile,he continued to paint different military operations and naval battles. He returned to civilian life after the war, and he became the painter of several ship companies: Mixed Company, Paquet, Compagnie Générale Transatlantique, National Navigation Company, etc. Chapelet died in Montpon-Ménestérol, France on 30 June 1995.


Along with Marin-Marie and Albert Brenet, Chapelet is considered one of the three great 20th century painters of the French Navy. More on Roger Rosary

Mary Blood Mellen, 1819 – 1886

Ship Leaving Harbor by Moonlight (Castine Harbor) 

Oil on canvas 

16 1/8 x 22 inches

Private collection

Castine is a town in Hancock County in eastern Maine, USA, which served from 1670 to 1674 as the capital of Acadia. Castine is the home of Maine Maritime Academy, a four-year institution that graduates officers and engineers for the United States Merchant Marine and marine related industries. 

During the 17th and early 18th century, New France defined the Kennebec River as the southern boundary of Acadia, which put Castine within Acadia. The town is named after Jean-Vincent d’Abbadie de Saint-Castin. More on Castine

Mary Blood Mellen, 1819 – 1886 is most known as a collaborative artist and friend to American Luminist master Fitz Henry Lane. Her known works are mostly of the greater Gloucester, Massachusetts region, although she studied art early in Sterling, Mass. Married at 21 to Rev. Charles Mellen in 1840, Mellen would visit family living in Gloucester and is known to have worked there alongside Lane, both in emulating his style and directly collaborating on at least one painting, a Maine coastal view which is signed by both, in the permanent collection of the Cape Ann Museum. 

For years thought of principally as Lane’s student, it has been suggested that there was more of a professional equilibrium between the two artists, as their paintings as early as 1860 show strong similarities, and that Lane traveled with Mellen to paint a scene of her family’s home in Sterling. More works have been discovered, some unsigned, and attributed to both Mellen and/or Lane. While she followed his original luminist style, she was to become a marine master in her own right, painting on through the and one of very few women to paint 19th Century marine works. More on Mary Blood Mellen

WILLIAM SADLER II (C.1782-1839)

The Mouth of the Liffey with the Poolbeg Lighthouse and Shipping

Oil on panel

34.5 x 54.5cm

Private collection

The present work is an atmospheric panorama ranging from the north of Dublin city on the right with it’s church spires over to south county Dublin on the extreme left, with views of Killiney and Dalkey and the Sugarloaf Mountain beyond. The main concentration however is on the myriad of ships that are heading into or exiting Dublin port. Sadler conveys the busyness of the channel leading into the city and the River Liffey, with an anchored coastal trader in the foreground and nearby a British naval frigate heading into port. Numerous other large sailing ships are evident further into the port area. 

The architectural landmarks are accurate, as you’d expect with the artist, whose skill in describing the topography of the city is well regarded. The Poolbeg Lighthouse is prominent, standing as it does at the end of the four kilometer long Great South Wall. Also visible is the Pigeon House Fort, built around the time of the 1798 Rebellion and which housed an armory, magazine, stores, a hospital and quarters for officers and men. A little further in several domes are visible, perhaps amongst them, the Custom??s House on the Liffey quays. More on this painting

William Sadler II (c.1782 – 1839) was an Irish painter, the son of the portrait painter and engraver William Sadler. Two of his sons became painters, the eldest being William Sadler III. Sadler, who grew up in Dublin, exhibited his paintings between 1809 and 1821 in the city. In 1828 and 1833 he exhibited at the Royal Hibernian Academy. Sadler also taught painting and one of his pupils was James Arthur O’Connor.

Sadler lived at a number of different addresses before settling in Manders’ Building, Ranelagh, where he died in December 1839.

Sadler was greatly influenced by Dutch genre painting. More on William Sadler II

Mihály Zichy, (1827-1906)

Lifeboat, c. 1847

Oil on canvas

Height: 135 cm (53.1 in). Width: 190 cm (74.8 in).

Hungarian National Gallery

Mihály Zichy (October 15, 1827 in Zala, Hungary – February 28, 1906 in St. Petersburg, Russia) was a Hungarian painter and graphic artist.

Zichy was a significant representative of Hungarian romantic painting. During his law studies in Pest from 1842, he attended Jakab Marastoni’s school as well. In Vienna he was Waldmüller’s pupil in 1844. “Lifeboat”, his first major work, comes from this time. On Waldmüller’s recommendation, he became an art teacher in St. Petersburg. He swore allegiance to freedom by painting the portrait of Lajos Batthyány, the first Hungarian prime minister, in 1849. From 1850 onwards, he worked as a retoucher, but he also did pencil drawings, water colours and portraits in oil. His erotic drawings have a particular warm intensity in which both members of the couple seem equal partners. He settled down in Paris in 1874.

In 1881 he was in Tbilisi, Georgia, where he started working on illustrations for “The Knight in the Panther’s Skin” at the request of the Georgian intelligencia. He painted 35 pictures in total. The publishing commission of the work of “The Knight in the Panther’s Skin” chose 27 pictures to be included in the publication. The painter refused to take payment for the works, so impressed was he by the poem itself. Instead, he gifted the works to the Georgian people. More on Mihály Zichy

William Skilling, after Joaquin Sorolla y Bastida, British/American (18?? – 1964)

Afternoon on the Beach (Beach at Zarauz), c. circa 1955

Oil on Canvas

48 x 60 in. (121.92 x 152.4 cm)

Private collection

Zarautz is a coastal town located in central Gipuzkoa, in Spain. It is bordered by Aia to the east and the south and Getaria to the west. It’s located about 15 kilometres (9.3 mi) west of San Sebastián. As of 2014, Zarautz has a population of 22,890, which usually swells to about 60,000 in the summer.

The Palace of Narros, located adjacent to Zarautz’s 2.8 km long beach, is where Queen Isabella II and Fabiola of Belgium once spent their summer holidays. The beach is known for being the longest in the Basque Country and one of longest of the Cantabrian cornice. More on Zarautz

William Skilling, British/American (18?? – 1964) was a California artist known for portrait and landscape painting, he served in World War I and then settled in San Francisco where he died on April 8, 1964. He also did copies of work by artists including Edward Hicks, Parson Fisher and Giuseppe Arcimboldo. More on William Skilling

Lena Luckey, Prague, Czech Republic

By Land and Sea

Mixed Media on Canvas

30″ x 48″

Private collection

Lena Luckey, born in Prague, Czech Republic, traveled throughout Europe, Northern Africa and Indonesia where she was exposed at an early age to diverse cultures. Lena’s travels were not always pleasant – much of her traveling was done during an extremely tumultuous period of her life – and it was only ten years ago that Lena finally found the balance in her life and her ability to express her deepest emotions through her artistic process (Lena is self-taught). Her life experiences are reflected in the diversity of subjects, styles, textures and colors in her artwork. More on Lena Luckey

Howard Chesner Behrens, (August 20, 1933 – April 14, 2014) 

Summer stroll

Oil on canvas

41.5 x 47.5 in. (105.4 x 120.6 cm.)

Private collection

Howard Chesner Behrens (August 20, 1933 – April 14, 2014) was American popular artist whose original works of art are sold in fine art galleries, at auction on cruise ships, and at Costco. Behrens’ limited and open editions are sold internationally. Behrens was also one of the top-selling artists on Princess Cruises.

Behrens was born in Chicago, Illinois in 1933. He grew up near Washington, DC. He began drawing at age seventeen after being confined to bed following a sledding accident. His formal education in art was at the University of Maryland, College Park, where he earned a master’s degree in painting and sculpture. Behrens was hired by the United States Government Printing Office, where his father was employed as a printer, and worked there for the next seventeen years. Behrens resided in Potomac, Maryland and died on April 14, 2014 after a long battle with Parkinson’s Disease. More on Howard Chesner Behrens

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10 Classic Works of Art, Marine Paintings – With Footnotes, #38

Charles Dixon

Off Tilbury, c. 1912

Waterclor on paper on canvas

28.3×77.3 cm

Private collection

Tilbury is a town in the borough of Thurrock, Essex, England. It was established in the late 19th century, on land that was mainly part of Chadwell St Mary. It contains a 16th century fort and an ancient cross-river ferry. Tilbury has a major deep-water port which contributes to the local economy.

Tilbury’s history is closely connected with its geographical location. Its counterpart on the south bank of the River Thames, Gravesend, has long been an important communications link, and it was there that a cross-river ferry was connected, mainly due to the narrowness of the river at this point. More on Tilbury

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 on Charles Edward Dixon

 

ADOLFO GIRÁDEDEZ Y PEÑALVER, (SPAIN, 1840-1920) 

PORT IN CADIZ

Oil on canvas

60 x 100 cm 

Private collection

Cádiz is a city and port in southwestern Spain. It is the capital of the province of Cádiz, one of eight which make up the autonomous community of Andalusia.

Cádiz, the oldest continuously inhabited city in Spain and one of the oldest in western Europe, was founded by the Phoenicians. Cádiz is sometimes counted as the most ancient city still standing in Western Europe. and has been a principal home port of the Spanish Navy since the accession of the Spanish Bourbons in the 18th century.

Christopher Columbus sailed from Cádiz on his second and fourth voyages and the city later became the home port of the Spanish treasure fleet. Consequently, it became a major target of Spain’s enemies. The 16th century saw a series of failed raids by Barbary corsairs; the greater part of the old town was consumed in a major fire in 1569; and in April, 1587, a raid by the Englishman Francis Drake occupied the harbor for three days

In 1596, it was captured by another English fleet, this time under the Earls of Essex and Nottingham. They burned much of it before leaving with their booty. A third English raid was mounted against the city in 1625 by George Villiers, 1st Duke of Buckingham, and Edward Cecil, but the attempt was unsuccessful. During the Anglo-Spanish War, Admiral Robert Blake blockaded Cádiz from 1655 to 1657. In the 1702 Battle of Cádiz, the English attacked again under George Rooke and James Butler, 2nd Duke of Ormonde, but they were repelled after a costly siege. More on Cádiz

CLAYS Paul Jean, (1819 – 1900)

“Entrance of the port of Flushing”

Oil on board of mahogany 

51×40.5cm.

Private collection

The maritime history of Vlissingen, Flushing, goes back many centuries. Even in the 13th century the port of Vlissingen had a bustling trade in skins, salt, herring, tar and wool. In the same century Vlissingen was also infamous for its privateering and piracy.

One of the oldest harbours is the ‘Voorhaven’. This harbour, dug in the Middle Ages, is still intact and is currently used by the pilot boats. The Nije, Engelse or Vissershaven dates from 1455. Privateering, trade and crafts made Vlissingen a flourishing town in the sixteenth century, while the slave trade too played an important role. The ships of Vlissingen sailed around the world and contributed to the global power of the Seven United Provinces.

The Golden Age was followed by a deep point in Vlissingen’s history. During the Napoleonic occupation Vlissingen became a poor and destitute town. At the end of the nineteenth century the situation improved when the Dutch Government decided to dig the canal through Walcheren, build two inner harbours and the outer harbour and construct the railway line between Vlissingen and Bergen op Zoom. More on Flushing

Paul Jean Clays (27 November 1819 – 10 February 1900), Belgian artist, was born at Bruges, and died at Brussels. In 1851 he made his debut at the Paris Salon and, while he tried to stay in the mainstream, his art was heralded by those who were looking for a change to more realism.

In 1852 he moved to Antwerp where he lived from 1852 to 1856; it was during this period that his fortunes began to improve.

In 1856 he and his family moved to Brussels where he became a prolific artist, specializing in scenes along the Scheldt. He exhibited a number of works at the Exposition Universelelle of 1867 and the critic Burger-Thoré described him as one of the greatest marine painters of the time.

In 1868 he became a member of the Société Libre des Beaux-Arts, a society founded to help promote the works of artists who were interested in their individual interpretations of nature. He was a frequent exhibitor at the many exhibition halls in Europe and exhibited many pieces at the Paris Salon. More on Paul Jean Clays

Kovalev, Peter, (Russia, 20th century)

Two-Master in Distress

Oil on canvas

135.0 x 94.5 cm.

Private collection

WILLIAM PIERCE STUBBS, (AMERICAN, 1842-1909) 

THE SCHOONER ALICIA B. CROSBY 

Oil on canvas

26 1/2 x 42 in

Private collection

William Pierce Stubbs (1842–1909) or W.P. Stubbs was a marine painter in the Boston, Massachusetts, area in the 19th century. Examples of his work are in the Bostonian Society; Cape Ann Museum; and Peabody Essex Museum. He also lived in Bucksport, Maine. More on William Pierce Stubbs

Medvey, Heinrich von, (years active 1935 – 1980, Berlin),

Pirates of the Mediterranean Sea, c. 1952

Oil on hardboard

18.0 x 24.0 cm

Private collection

LORENZO GHIGLIERI,  (Oregon, born 1931)

Native American war party in two canoes with sails employed, c. 1976

OIL ON CANVAS 

30″ x 40″

Private collection

LORENZO GHIGLIERI,  (Oregon, born 1931), born in America of Italian, French and German immigrants, Lorenzo Ghiglieri grew up in a rich ethnic culture on the fringe of Los Angeles .  After receiving extensive formal training, Lorenzo took it upon himself to study the Old Masters, especially deriving influence from Rembrandt, Velazquez and Corot.  At the age of seventeen, he was honored with a prestigious art scholarship, but was interrupted serving duty on a U.S. destroyer during the Korean War.  He received his first commission as a combat illustrator from the United States Government.  At twenty-two, Lorenzo was working as an illustrator on various national accounts in New York, Chicago, and Los Angeles through an international advertising agency.

Lorenzo’s work graces the walls of the most prestigious establishments in the world. His sculptures and paintings have been presented to Pope John Paul II at The Vatican in Rome, President Ronald Reagan at the White House, Mikhail Gorbachev of the Kremlin and King Juan Carlos of the Royal Palace in Madrid. Tiger Woods, Luciano Pavarotti and General Schwartzkopf are a few others who take pride in their ownership of a Lorenzo Ghiglieri sculpture.

In 1994, Lorenzo sculpted the “Official American Bald Eagle” in bronze, silver, and gold, now on display at the White House and part of their permanent collection.  Later, he was commissioned to complete the “Timeline of Liberty,” a historical bronze piece documenting the forefathers of liberty from ancient Greece to modern times.  Lorenzo continues to create the aesthetics of great architecture in modern times. More on LORENZO GHIGLIERI

John Singer Sargent

Girl fishing at San Vigilio, c. 1913

Oil on canvas

49.5 x 71.1 cm. (19.5 x 28 in.)

 Private Collection

Sargent would become increasingly less interested in executing the society portraits for which he was famous and would take refuge in trips to the Alps, Venice and the Mediterranean with members of his family. San Vigilio is a small fishing village on a point at the southern end of Lake Garda in Italy and this painting was executed in 1913 on his last European sojourn before the outbreak of World War I. Sargent would travel with a variety of veils and shawls and the like to dress his “models” on such trips. “The woman in the present painting, possibly Jane de Glehn,” 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.

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

SCHREIBER, PETER CONRAD, 1816 – 1894

Young fisherman on a beach before Capri. 

Oil on canvas. 

66 x 144 cm. 

 Private Collection

Peter Konrad Schreiber (born 11 August 1816 in Fürth , died 17 February 1894 in Nuremberg ) was interested in drawing early on. His father soon encouraged him by means of targeted instruction. He made great strides at the Nuremberg Academy of Fine Arts under Albert Christoph Reindel, who discovered the extraordinary talent of Schreiber, and gave the boy a further education in 1835, Academy in Berlin.

Schreiber belonged to the private circle of pupils of Professor Wilhelm Ferdinand Schirmer In Berlin, In 1839 he moved to Rome, where he created numerous landscape imprints and an extensive sketchbook. The impressions of Italy shaped his whole life. 

In 1842 Schreiber returned to Fürth. Starting from the school year 1844/45 , Schreiber becomes “Fachlehrer of the drawing art” at the Latin school at the Egidien-Gymnasium in Nuremberg. In 1847 he was married in second marriage to the Juliane Karoline Elise Krieg (1829-1894). On February 23, 1874 , he stopped drawing because of increasing eye weakness.”  However, he continued to paint. His last known and dated work is from 1892. More on Peter Konrad Schreiber 

Maggi Hambling

Wave Breaking (detail), March, 2007

Oil on canvas

122 x 183 cm © The Artist

Maggi Hambling CBE (born 23 October 1945 in Sudbury, Suffolk) is a British contemporary painter and sculptor. Hambling first studied art under at the Amberfield School in Nacton. She then studied at the East Anglian School of Painting and Drawing from 1960, then at Ipswich School of Art (1962–64), Camberwell (1964–67), and finally the Slade School of Art, graduating in 1969.

In 1995, she was awarded the Jerwood Painting Prize. In the same year she was awarded an OBE for her services to painting, followed by a CBE in 2010. Hambling’s celebrated series of North Sea paintings have continued since late 2002.

Portraits form part of Hambling’s oeuvre, with several works in the National Portrait Gallery, London. Women feature prominently in her portrait series. Her wider body of work is held in many public collections including the British Museum, Tate Collection, National Gallery, Scottish Gallery of Modern Art and the Victoria and Albert Museum. More on Maggi Hambling 

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07 Paintings, RELIGIOUS ART – Interpretations of the Bible! by The Old Masters, With Footnotes # 60

Youssef Nabil, B. 1972, EGYPTIAN

PORTRAIT OF JANNANE AL ANI

Hand-coloured gelatin silver print

38 by 25cm.; 15 by 9 7/8 in.

Private collection

Jananne Al-Ani was born in Kirkuk, Iraq in 1966. She studied Fine Art at the Byam Shaw School of Art and graduated with an MA in Photography from the Royal College of Art in 1997. She is currently Senior Research Fellow at the University of the Arts London, and lives and works in London.

Working with photography, film and video, Al-Ani has an ongoing interest in the documentary tradition, through intimate recollections and more official accounts. Her work also engages with the landscape of the Middle East, its archaeology and its visual representation.

Summarising her work , Al-Ani said: “I have a longstanding interest in the representation of the body. The earliest works I exhibited were concerned with the way women’s bodies have been represented throughout the history of western painting. In advance of the development of photography and film, the shifting ideals of feminine beauty were clearly mapped out in the work of artists. However, the media coverage of the 1991 Gulf War, which focused on aerial and satellite images of a depopulated, barren landscape, had a major impact on my work. What followed was a reassessment on my part of the work of Orientalist painters and the way in which fantasies about the body and the landscape of the Middle East were constructed in their works. I began to see the body itself as a contested territory and during the 90s produced a series of works that attempted to counter the European obsession with uncovering and exposing the bodies of veiled women. More recently, with the Aesthetics of Disappearance project, I’ve attempted to re-occupy that space so, while the presence of the body is implied rather than explicit, the traces of human activity in the landscape are clear to see. More om Jananne Al-Ani

Youssef Nabil (born 6 November 1972) is an Egyptian artist and photographer. Fascinated by cinema in his youth, Egyptian photographer Youssef Nabil captures the contemporary paradoxes of the Middle East through the lens of fantasy. In 2003, Nabil was awarded The Seydou Keita Prize for Portraiture from the Rencontres Africaines de la Photographie, Bamako, Mali and in 2005 he was honored by the International Photography Awards, Los Angeles, CA. His first film, You Never Left, was first exhibited in 2010. His work has been the subject of recent solo shows at Maison Europeenne de la Photographie, Paris, France (2012); Nathalie Obadia Gallery, Paris, France (2011); Yossi Milo Gallery, New York, NY (2010); Savannah College of Art and Design, Atlanta, GA (2010); GALERIST, Istanbul, Turkey (2009); Villa Medici, Rome, Italy (2009); The Third Line Gallery, Dubai, UAE (2009); and Volker Diehl Gallery, Berlin, Germany (2009). More on Youssef Nabil

Kees van Dongen, (1877 – 1968)

La Marquise de Casati , Circa 1950

Lithograph printed in colours on wove paper

23 3/8 x 11 3/4 in.

Private collection

Luisa, Marchesa Casati Stampa di Soncino (23 January 1881 – 1 June 1957), also known as Luisa Casati, was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe known for her eccentricities. As the concept of quaintrelle was re-developed, Marchesa Casati fitted the utmost example by saying: “I want to be a living work of art”.

Luisa was born in Milan, youngest of two daughters of Alberto Amman and his wife Lucia. Her father was of Austrian descent, while her mother was Italian and Austrian. Alberto Amman father was made a count by King Umberto I. Countess Amman died when Luisa was thirteen, and Count Amman died two years later, making his daughters, Luisa and her older sister, Francesca (1880–1919, married Giulio Padulli), reportedly the wealthiest women in Italy. More on Marquise de Casati

Cornelis Theodorus Maria ‘Kees’ van Dongen (26 January 1877 – 28 May 1968) was a Dutch-French painter and one of the Fauves at the controversial 1905 Salon d’Automne exhibition. He gained a reputation for his sensuous, at times garish, portraits.

Kees van Dongen was born in Delfshaven, a borough of Rotterdam. He was the second of four children in a middle-class family. In 1892, at age 16, Kees van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam During this period (1892–97), van Dongen frequented the Red Quarter seaport area, where he drew scenes of sailors and prostitutes. He met Augusta Preitinger at the Academy, a fellow painter.

In 1897, van Dongen lived in Paris for several months, where there was a large emigre community. Van Dongen began to exhibit in Paris, and participated in the controversial 1905 Salon d’Automne exhibition[4] along with Henri Matisse, André Derain, Albert Marquet, Maurice de Vlaminck, Charles Camoin, and Jean Puy.

Van Dongen’s candid, colourful portrait style was immensely fashionable by the end of World War I, and thereafter it remained his main focus. The figure of a glamorous woman with large eyes and red lips became his archetype. More on Kees van Dongen

 

Sandro Botticelli,  (1445–1510) 

Portrait of a Lady, known as Smeralda Brandini, c. 1470 and 1475

Tempera on panel

Height: 65.7 cm (25.9 in). Width: 41 cm (16.1 in).

Victoria and Albert Museum

The Portrait of Smeralda Brandini is a tempera on panel painting by the Italian Renaissance artist Sandro Botticelli of about 1475, in the Victoria and Albert Museum, London.

The identification of the sitter is based on the old, but probably not original, inscription on the windowsill at the bottom of the picture Smeralda di M.Bandinelli Moglie di VI, the wife of Viviano Brandini, mother of the prominent Florentine goldsmith Michelangelo de Viviano de Brandini of Gaiuole, and grandmother of the sculptor Baccio Bandinelli (the son of Michelangelo). From archive documents it is known that in 1469 Smeralda was 30. More on Smeralda Brandini

Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli (1445 –1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine School.  Botticelli’s posthumous reputation suffered until the late 19th century; since then, his work has been seen to represent the linear grace of Early Renaissance painting.

Botticelli was born in Florence. He was initially trained as a goldsmith. There are very few details of Botticelli’s life, but it is known that he became an apprentice when he was about fourteen years old. By 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio’s painting, it was from Lippi that Botticelli learned a more intimate and detailed manner.

By 1470, Botticelli had his own workshop. His work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modelled forms.

In the mid-1480s, Botticelli worked on a major fresco cycle for Lorenzo the Magnificent’s villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a façade for the Cathedral of Florence.

Botticelli never wed, and expressed a strong disliking to the idea of marriage, a prospect he claimed gave him nightmares. More on Sandro Botticelli

 

Anthony van Dyck, (1599–1641)

Princess Henrietta Maria of France, Queen consort of England, circa 1636 and circa 1638

Oil on canvas

San Diego Museum

Henrietta Maria of France (25 November[1609 – 10 September 1669) was queen consort of England, Scotland, and Ireland as the wife of King Charles I. She was mother of his two immediate successors, Charles II and James II.

Her Roman Catholicism made her unpopular in England, and also prohibited her from being crowned in an Anglican service. She never had a coronation. She began to immerse herself in national affairs as civil war loomed on the horizon, and was compelled to seek refuge in France in 1644, following the birth of her youngest daughter, Henrietta, during the height of the First English Civil War. The execution of King Charles in 1649 left her impoverished. She settled in Paris, and then returned to England after the Restoration of her eldest son, Charles, to the throne. In 1665, she moved back to Paris, where she died four years later.

The North American Province of Maryland was named in her honour, and the name was carried over into the current U.S. state of Maryland. More on Henrietta Maria

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck

Guercino, (1591–1666)

The Persian Sibyl, c. (1647 – 1648)

Oil on canvas

Height: 1,170 mm (46.06 in). Width: 960 mm (37.8 in).

Capitoline Museums, Piazza del Campidoglio, Capitoline Hill, Rome, Italy.

The Persian Sibyl – also known as the Babylonian, Hebrew or Egyptian Sibyl – was the prophetic priestess presiding over the Apollonian oracle.

The word “Sibyl” , meaning “prophetess, there were many Sibyls in the ancient world, but the Persian Sibyl allegedly foretold the exploits of Alexander of Macedon. She has had at least three names: Sambethe, Helrea and Sabbe.

Sambethe was said to be of the family of Noah. A painting of Sibilla Persica by Guercino hangs in the Capitoline Museum in Rome. The medieval Byzantine encyclopedia, the Suda, credits the Hebrew Sibyl as author of the Sibylline oracles, a collection of texts of the 2nd to 4th century which were collected in the 6th century. More on The Persian Sibyl

AFTER GUERCINO, 19TH CENTURY

The Persian Sybil

Oil on canvas

112 x 74cm

Private collection

Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), best known as Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his early manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.

Mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bolognese School. By 1615, he moved to Bologna, where his work was praised by Ludovico Carracci. Guercino painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, for Cardinal Serra, a Papal Legate to Ferrara. These paintings have a stark naturalist Caravaggesque style, although it is unlikely that Guercino saw any of the Roman Caravaggios first-hand.

Guercino’s early works are often tumultuous. He often claimed that his early style was influenced by a canvas of Ludovico Carracci that he saw in the Capuchin church in Cento. Some of his later works are closer to the style of his contemporary Guido Reni, and are painted with more lightness and clearness. More on Guercino

 

Michael Dahl, (1659–1743)

Portrait of Martha Langham

Oil on canvas

74 x 62cm

Private collection

Martha Langham4th daughter of Sir John Langham, as a young girl three-quarter length wearing a blue dress with a bowl of cherries and a canary, in a feigned oval. Martha died unmarried. 

Sir John Langham, 1st Baronet (20 April 1584 – 16 May 1671) was an English politician who sat in the House of Commons in 1654 and 1660.

He was the eldest son of Edward Langham of Guilsborough, Northamptonshire, who he succeeded in 1607. He was apprenticed to Sir Richard Napier, a Turkey merchant, for whom he worked in the Near East.

On his return he became a Turkey merchant himself,  and made a considerable fortune in the City of London. He built up an estate in Northamptonshire which included the purchase of the Cottesbrooke estate in 1635, (from which this painting comes). He was an alderman and sheriff of London in 1642. He was committed to the Tower of London twice, with the Lord Mayor and other aldermen of London for refusing to publish an act for the abolition of royalty. Langham died at the age of 87.  More on Sir John Langham

An acrimonious dispute within the Langhams,  one of England’s oldest families, will lead to the splitting up of their unique £1 million collection of portraits and heirlooms dating back more than five centuries. Generations of family portraits will go under the hammer after Sir John Langham, 44, failed to reconcile his differences with his mother, the dowager Lady Marion Langham, 64, who lives with her French boyfriend in a bungalow on the family estate. More on the dispute

Michael Dahl  (1659–1743), see below

Michael Dahl, (1659–1743)

A portrait of Elizabeth Langham

Oil on canvas

126 x 104cm

Private collection

A portrait of Elizabeth Langham, as a young woman, standing three quarter length on a terrace, a spaniel seated beside her, flowers in an ornamental urn at her shoulder, a wooded landscape beyond. It is thought that the landscape element represents the new landscaping at CottesbrookeMore on Cottesbrooke

Michael Dahl (Stockholm 1659-1743 London) studied in Sweden under Ehrenstrahl and began travelling in 1682, coming first to London where he may have studied under Kneller, then via Paris on to Rome in 1684. In 1687 he left Rome and came via Frankfurt to London where he settled for good in 1689. He soon became the best patronised portrait painter in England after Kneller. He was employed by Prince George of Denmark and did many portraits of the court of Queen Anne.  A great patron was the Duke of Somerset for whom he painted the famous ‘Petworth Beauties’.  After 1714 he lost court patronage but painted a large number of the nobility, the Law and the Church.  His style is very close to that of Kneller and his work is often misattributed to his rival but his interpretation of character tends to be softer and less formal. More on Michael Dahl

Michael Dahl,  (1659–1743)

Portrait of a Lady, c.1700-10

Oil on canvas Oil

Height: 1,260 mm (49.61 in). Width: 1,016 mm (40 in).

Dulwich Picture Gallery, South London

Michael Dahl  (1659–1743), see above

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09 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #14

Youssef Nabil, B. 1972, EGYPTIAN

PORTRAIT OF JANNANE AL ANI

Hand-coloured gelatin silver print

38 by 25cm.; 15 by 9 7/8 in.

Private collection

Jananne Al-Ani was born in Kirkuk, Iraq in 1966. She studied Fine Art at the Byam Shaw School of Art and graduated with an MA in Photography from the Royal College of Art in 1997. She is currently Senior Research Fellow at the University of the Arts London, and lives and works in London.

Working with photography, film and video, Al-Ani has an ongoing interest in the documentary tradition, through intimate recollections and more official accounts. Her work also engages with the landscape of the Middle East, its archaeology and its visual representation.

Summarising her work , Al-Ani said: “I have a longstanding interest in the representation of the body. The earliest works I exhibited were concerned with the way women’s bodies have been represented throughout the history of western painting. In advance of the development of photography and film, the shifting ideals of feminine beauty were clearly mapped out in the work of artists. However, the media coverage of the 1991 Gulf War, which focused on aerial and satellite images of a depopulated, barren landscape, had a major impact on my work. What followed was a reassessment on my part of the work of Orientalist painters and the way in which fantasies about the body and the landscape of the Middle East were constructed in their works. I began to see the body itself as a contested territory and during the 90s produced a series of works that attempted to counter the European obsession with uncovering and exposing the bodies of veiled women. More recently, with the Aesthetics of Disappearance project, I’ve attempted to re-occupy that space so, while the presence of the body is implied rather than explicit, the traces of human activity in the landscape are clear to see. More om Jananne Al-Ani

Youssef Nabil (born 6 November 1972) is an Egyptian artist and photographer. Fascinated by cinema in his youth, Egyptian photographer Youssef Nabil captures the contemporary paradoxes of the Middle East through the lens of fantasy. In 2003, Nabil was awarded The Seydou Keita Prize for Portraiture from the Rencontres Africaines de la Photographie, Bamako, Mali and in 2005 he was honored by the International Photography Awards, Los Angeles, CA. His first film, You Never Left, was first exhibited in 2010. His work has been the subject of recent solo shows at Maison Europeenne de la Photographie, Paris, France (2012); Nathalie Obadia Gallery, Paris, France (2011); Yossi Milo Gallery, New York, NY (2010); Savannah College of Art and Design, Atlanta, GA (2010); GALERIST, Istanbul, Turkey (2009); Villa Medici, Rome, Italy (2009); The Third Line Gallery, Dubai, UAE (2009); and Volker Diehl Gallery, Berlin, Germany (2009). More on Youssef Nabil

Kees van Dongen, (1877 – 1968)

La Marquise de Casati , Circa 1950

Lithograph printed in colours on wove paper

23 3/8 x 11 3/4 in.

Private collection

Luisa, Marchesa Casati Stampa di Soncino (23 January 1881 – 1 June 1957), also known as Luisa Casati, was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe known for her eccentricities. As the concept of quaintrelle was re-developed, Marchesa Casati fitted the utmost example by saying: “I want to be a living work of art”.

Luisa was born in Milan, youngest of two daughters of Alberto Amman and his wife Lucia. Her father was of Austrian descent, while her mother was Italian and Austrian. Alberto Amman father was made a count by King Umberto I. Countess Amman died when Luisa was thirteen, and Count Amman died two years later, making his daughters, Luisa and her older sister, Francesca (1880–1919, married Giulio Padulli), reportedly the wealthiest women in Italy. More on Marquise de Casati

Cornelis Theodorus Maria ‘Kees’ van Dongen (26 January 1877 – 28 May 1968) was a Dutch-French painter and one of the Fauves at the controversial 1905 Salon d’Automne exhibition. He gained a reputation for his sensuous, at times garish, portraits.

Kees van Dongen was born in Delfshaven, a borough of Rotterdam. He was the second of four children in a middle-class family. In 1892, at age 16, Kees van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam During this period (1892–97), van Dongen frequented the Red Quarter seaport area, where he drew scenes of sailors and prostitutes. He met Augusta Preitinger at the Academy, a fellow painter.

In 1897, van Dongen lived in Paris for several months, where there was a large emigre community. Van Dongen began to exhibit in Paris, and participated in the controversial 1905 Salon d’Automne exhibition[4] along with Henri Matisse, André Derain, Albert Marquet, Maurice de Vlaminck, Charles Camoin, and Jean Puy.

Van Dongen’s candid, colourful portrait style was immensely fashionable by the end of World War I, and thereafter it remained his main focus. The figure of a glamorous woman with large eyes and red lips became his archetype. More on Kees van Dongen

 

Sandro Botticelli,  (1445–1510) 

Portrait of a Lady, known as Smeralda Brandini, c. 1470 and 1475

Tempera on panel

Height: 65.7 cm (25.9 in). Width: 41 cm (16.1 in).

Victoria and Albert Museum

The Portrait of Smeralda Brandini is a tempera on panel painting by the Italian Renaissance artist Sandro Botticelli of about 1475, in the Victoria and Albert Museum, London.

The identification of the sitter is based on the old, but probably not original, inscription on the windowsill at the bottom of the picture Smeralda di M.Bandinelli Moglie di VI, the wife of Viviano Brandini, mother of the prominent Florentine goldsmith Michelangelo de Viviano de Brandini of Gaiuole, and grandmother of the sculptor Baccio Bandinelli (the son of Michelangelo). From archive documents it is known that in 1469 Smeralda was 30. More on Smeralda Brandini

Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli (1445 –1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine School.  Botticelli’s posthumous reputation suffered until the late 19th century; since then, his work has been seen to represent the linear grace of Early Renaissance painting.

Botticelli was born in Florence. He was initially trained as a goldsmith. There are very few details of Botticelli’s life, but it is known that he became an apprentice when he was about fourteen years old. By 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio’s painting, it was from Lippi that Botticelli learned a more intimate and detailed manner.

By 1470, Botticelli had his own workshop. His work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modelled forms.

In the mid-1480s, Botticelli worked on a major fresco cycle for Lorenzo the Magnificent’s villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a façade for the Cathedral of Florence.

Botticelli never wed, and expressed a strong disliking to the idea of marriage, a prospect he claimed gave him nightmares. More on Sandro Botticelli

 

Anthony van Dyck, (1599–1641)

Princess Henrietta Maria of France, Queen consort of England, circa 1636 and circa 1638

Oil on canvas

San Diego Museum

Henrietta Maria of France (25 November[1609 – 10 September 1669) was queen consort of England, Scotland, and Ireland as the wife of King Charles I. She was mother of his two immediate successors, Charles II and James II.

Her Roman Catholicism made her unpopular in England, and also prohibited her from being crowned in an Anglican service. She never had a coronation. She began to immerse herself in national affairs as civil war loomed on the horizon, and was compelled to seek refuge in France in 1644, following the birth of her youngest daughter, Henrietta, during the height of the First English Civil War. The execution of King Charles in 1649 left her impoverished. She settled in Paris, and then returned to England after the Restoration of her eldest son, Charles, to the throne. In 1665, she moved back to Paris, where she died four years later.

The North American Province of Maryland was named in her honour, and the name was carried over into the current U.S. state of Maryland. More on Henrietta Maria

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck

Guercino, (1591–1666)

The Persian Sibyl, c. (1647 – 1648)

Oil on canvas

Height: 1,170 mm (46.06 in). Width: 960 mm (37.8 in).

Capitoline Museums, Piazza del Campidoglio, Capitoline Hill, Rome, Italy.

The Persian Sibyl – also known as the Babylonian, Hebrew or Egyptian Sibyl – was the prophetic priestess presiding over the Apollonian oracle.

The word “Sibyl” , meaning “prophetess, there were many Sibyls in the ancient world, but the Persian Sibyl allegedly foretold the exploits of Alexander of Macedon. She has had at least three names: Sambethe, Helrea and Sabbe.

Sambethe was said to be of the family of Noah. A painting of Sibilla Persica by Guercino hangs in the Capitoline Museum in Rome. The medieval Byzantine encyclopedia, the Suda, credits the Hebrew Sibyl as author of the Sibylline oracles, a collection of texts of the 2nd to 4th century which were collected in the 6th century. More on The Persian Sibyl

AFTER GUERCINO, 19TH CENTURY

The Persian Sybil

Oil on canvas

112 x 74cm

Private collection

Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), best known as Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his early manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.

Mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bolognese School. By 1615, he moved to Bologna, where his work was praised by Ludovico Carracci. Guercino painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, for Cardinal Serra, a Papal Legate to Ferrara. These paintings have a stark naturalist Caravaggesque style, although it is unlikely that Guercino saw any of the Roman Caravaggios first-hand.

Guercino’s early works are often tumultuous. He often claimed that his early style was influenced by a canvas of Ludovico Carracci that he saw in the Capuchin church in Cento. Some of his later works are closer to the style of his contemporary Guido Reni, and are painted with more lightness and clearness. More on Guercino

 

Michael Dahl, (1659–1743)

Portrait of Martha Langham

Oil on canvas

74 x 62cm

Private collection

Martha Langham4th daughter of Sir John Langham, as a young girl three-quarter length wearing a blue dress with a bowl of cherries and a canary, in a feigned oval. Martha died unmarried. 

Sir John Langham, 1st Baronet (20 April 1584 – 16 May 1671) was an English politician who sat in the House of Commons in 1654 and 1660.

He was the eldest son of Edward Langham of Guilsborough, Northamptonshire, who he succeeded in 1607. He was apprenticed to Sir Richard Napier, a Turkey merchant, for whom he worked in the Near East.

On his return he became a Turkey merchant himself,  and made a considerable fortune in the City of London. He built up an estate in Northamptonshire which included the purchase of the Cottesbrooke estate in 1635, (from which this painting comes). He was an alderman and sheriff of London in 1642. He was committed to the Tower of London twice, with the Lord Mayor and other aldermen of London for refusing to publish an act for the abolition of royalty. Langham died at the age of 87.  More on Sir John Langham

An acrimonious dispute within the Langhams,  one of England’s oldest families, will lead to the splitting up of their unique £1 million collection of portraits and heirlooms dating back more than five centuries. Generations of family portraits will go under the hammer after Sir John Langham, 44, failed to reconcile his differences with his mother, the dowager Lady Marion Langham, 64, who lives with her French boyfriend in a bungalow on the family estate. More on the dispute

Michael Dahl  (1659–1743), see below

Michael Dahl, (1659–1743)

A portrait of Elizabeth Langham

Oil on canvas

126 x 104cm

Private collection

A portrait of Elizabeth Langham, as a young woman, standing three quarter length on a terrace, a spaniel seated beside her, flowers in an ornamental urn at her shoulder, a wooded landscape beyond. It is thought that the landscape element represents the new landscaping at CottesbrookeMore on Cottesbrooke

Michael Dahl (Stockholm 1659-1743 London) studied in Sweden under Ehrenstrahl and began travelling in 1682, coming first to London where he may have studied under Kneller, then via Paris on to Rome in 1684. In 1687 he left Rome and came via Frankfurt to London where he settled for good in 1689. He soon became the best patronised portrait painter in England after Kneller. He was employed by Prince George of Denmark and did many portraits of the court of Queen Anne.  A great patron was the Duke of Somerset for whom he painted the famous ‘Petworth Beauties’.  After 1714 he lost court patronage but painted a large number of the nobility, the Law and the Church.  His style is very close to that of Kneller and his work is often misattributed to his rival but his interpretation of character tends to be softer and less formal. More on Michael Dahl

Michael Dahl,  (1659–1743)

Portrait of a Lady, c.1700-10

Oil on canvas Oil

Height: 1,260 mm (49.61 in). Width: 1,016 mm (40 in).

Dulwich Picture Gallery, South London

Michael Dahl  (1659–1743), see above

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