Claude Monet, (1840–1926) Saint-Germain-l’Auxerrois Paris, c. 1867 Oil on canvas 79 × 98 cm (31.1 × 38.6 in) Alte Nationalgalerie, Berlin, Germany
Paris, France’s capital, is a major European city and a global center for art, fashion, gastronomy and culture. Its 19th-century cityscape is crisscrossed by wide boulevards and the River Seine. Beyond such landmarks as the Eiffel Tower and the 12th-century, Gothic Notre-Dame cathedral, the city is known for its cafe culture and designer boutiques along the Rue du Faubourg Saint-Honoré. More on Paris
Norbert Goeneutte (FRENCH, 1854-1894) At the theatre, c. 1879 Oil on panel 91⁄8 x 123⁄4 in. (23 x 32.4 cm.) Private collection
Norbert Goeneutte (23 July 1854, Paris – 9 October 1894, Auvers-sur-Oise) was a French painter, engraver and illustrator; notably for the novel La Terre by Émile Zola. He entered the École des Beaux-arts and began studies with Isidore Pils and Henri Lehmann.
He frequented the Père Lathuille, a famous cabaret, where he met Manet and was introduced to the artistic circle at the Café de la Nouvelle Athènes. He soon began exhibiting at the Salon but, despite his friendship with many notable Impressionists, never participated in one of their group exhibitions. In 1879, he married Eva Gonzalès, one of Manet’s models.
With the financial support of his brother, he frequently travelled abroad, including trips to London (1880) and Venice (1890). He also travelled extensively in France. These visits produced a multitude of landscapes and cityscapes. In 1889, he became one of the founders of the “Société des Peintres-graveurs Français”, together with his friends Henri Guérard and Félix Bracquemond. That same year, he exhibited at the Exposition Universelle. Two years later, he found himself at odds with the Société when it refused admission to Camille Pissarro, who was not born in France.
In 1891, doctor Paul Gachet, an avid supporter of the arts and an amateur artist, diagnosed Goeneutte as having a weak heart and recommended that he settle in a rural area for his health. Gachet was able to find him a house near his own in Auvers-sur-Oise, called the “Villa Musette”, where Goeneutte settled with his mother, his sister Reine and his brother Charles. Once there, he became involved with a group of artists associated with Charles-François Daubigny and did engraved illustrations together with Gachet. Three years later, he died of complications from what had turned out to be a lung disease. He is buried there, near the grave of Vincent van Gogh, who had also been treated by Gachet during his final illness. More onNorbert Goeneutte
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CHARLES MALLE (b. 1931) La loterie du manège à Montmartre, c. 2021 Oil on canvas 28 3⁄4 x 36 1⁄4 in. (73 x 92 cm.) Private collection
Charles Gleize, known as Charles Malle, was born on August 9 1935 in Douai in Northern France and brought up in a family of craftsmen. His Post-Impressionist paintings are very popular and collectible in both France and the United States. He is associated with the School of Montmartre, a loosely knit group of painters that goes back to the time when Montmartre was little more than a bohemian village. He follows in the footsteps of Degas, Monet, Manet, Alphonse Quizet, Elise Maclet and Maurice Utrillo.
Charles Malle’s paintings represent a world that is no longer. He renders his dreams on canvas. Although some details are recognizable, he is painting his cherished childhood. In his easel paintings, the artist is remembering his short, but blissful childhood.
Malle studied art at St. Luke’s school in Tournai, Belgium for 2 years than at the ENSAIT (Higher National School for Art and Textile Industry) in Roubaix, France for 5 years. He also trained in drawing and painting and studied art history. More on Charles Malle
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Gustave Loiseau, 1865 – 1935 Rue Clignancourt, Paris, on 14th July, ca. 1925 Oil on canvas 23 7/8 by 19 5/8 in., 60.8 by 50 cm El Museo Nacional Thyssen-Bornemisza
Here Gustave Loiseau chose to paint an area of Paris he had been familiar with for a long time. In 1887, when he had decided to devote himself to painting, Gustave Loiseau had settled in Montmartre, in rue de Ravignan. Rue Clignancourt is only a few steps away, at the foot of the hill it borders to the east. To describe it, the artist placed himself in the corner of the street and of boulevard de Rochechouart, where a brasserie now stands. The area, which is always very busy due to the nearby Tati stores, has changed very little. At the crossroads visible in the foreground, the cars have become more numerous than the strollers, and on the right a newspaper kiosk has replaced the old roundabout.
But here again we can appreciate the precision with which the artist observed and recorded the topography of the area. We can easily recognise every detail transcribed on the canvas: the slightly chaotic succession of building façades of different periods and styles, as well as the chimneys and skylights that punctuate the buildings, are immediately identifiable. Flags liven up the scene and dot it with the colours blue, white and red. The crowd has invaded the boulevard, and the bright and clear light is that of a summer day in Paris. More on this painting
French Post-Impressionist painter Gustave Loiseau is best remembered for his scenes of evocative landscapes and bustling Paris streets. The artist used latticed brushstrokes to depict fleeting moments, blending the Impressionist pursuit of naturalistic depiction with a more modern desire for painterly expression.
Loiseau was born on October 3, 1865 in Paris. In his youth, he was apprenticed to a decorator, but soon received an inheritance from his grandmother, which allowed him to pursue his artistic passions. He enrolled at the École nationale supérieure des Arts Décoratifs, where he studied life drawing, but left after a year after quarreling with an instructor. He set out for the riparian vistas of Pont-Aven, where he befriended other artists including Paul Gauguin and Émile Bernard. There, he developed his signature approach to landscape painting, which involved painting directly from nature (en plein air) and using an idiosyncratic cross-hatching technique (en treillis) to convey subtleties of light and atmosphere. Loiseau took part in the 1890 Impressionists exhibition and from 1893 showed at the Salon des Indépendants. While Paris remained his home and his most frequent subject, he returned to Pont-Aven several times, and also visited coastal Normandy and the various tributaries of the Seine. In the 1920s, he added still lives of flowers, fruits and fish to his repertoire. He died in Paris on October 10, 1935.
Today, Loiseau’s work is represented in the collections of the Metropolitan Museum of Art in New York, the Museo Nacional Thyssen-Bornemisza in Madrid and the Tokyo Fuji Art Museum, among many other world institutions. More on Gustave Loiseau
Leo Putz, 1869 – 1940, GERMAN BACKSTAGE, c. 1905 Oil on canvas 207 by 226cm., 81½ by 89in. Private collection
Painted in 1905, this monumental early work of cancan dancers at ease backstage is among Putz’s most ambitious compositions.
Inspired by his stay in Paris, Backstage is a masterful evocation of the French capital’s demi-monde that was the source of fascination to so many painters, most famously Toulouse Lautrec. Putz would have frequented Pigalle’s many cabarets and café concerts, including the Moulin Rouge, Moulin de la Galette and the Folies Bergère, which were synonymous with the dancers like La Goulue (Louise Weber) and Jane Avril who performed there. More on this painting
Leo Putz (18 June 1869, in Merano – 21 July 1940, in Merano) was a Tyrolean painter. His work encompasses Art Nouveau, Impressionism and the beginnings of Expressionism. Figures, nudes and landscapes are his predominant subjects. He began his studies at the age of sixteen at the Academy of Fine Arts Munich. His father then sent him to the Académie Julian in Paris. After military service, he returned to Munich and studied with Paul Hoecker. He opened his first studio in 1897. That same year, he became a member of the Munich Secession. He worked with the weekly magazine Jugend and many of his paintings were reproduced on the magazine’s title page. During this time, he also worked as a commercial artist, creating many posters in Art Nouveau style and billboards for the Moderne Galerie München.
He became an honorary citizen of Bavaria in 1909; a prerequisite for becoming a Professor, which appointment he received that same year. Between 1909 and 1914, he spent his summers at Schloss Hartmannsberg near Chiemgau to practice plein-air painting. It was there that he created his best-known works; the two series known as the “Boat Pictures” and the “Bathers”.
He accepted an invitation to move to Brazil in 1929. At the request of Lúcio Costa, he took a professorship at the Escola Nacional de Belas Artes in 1931. During his stay, his colors took on a more tropical flavor and the exotic plant life became a favorite subject. He returned to Germany in 1933.
He became an opponent of National Socialism and his art was labelled “degenerate”. Beginning in 1936, he was repeatedly interrogated by the Gestapo and was forced to flee back to his native region, the South Tyrol. In 1937, he was officially banned from working in Germany. For the remainder of his life, he concentrated on painting castles, villages and benign landscapes. He died in 1940. More on Leo Putz
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Pierre Carrier-Belleuse, French, 1851 – 1933 Les plaisirs de Paris/ The pleasures of Paris, c. 1878 Oil on canvas 19¾ by 25¾ in.; 50 by 65.5 cm Private collection
Belle Époque Paris was a city full of pleasures. A celebrated pocket guide to the city’s newest and newsworthy haunts, aptly titled Les plaisirs de Paris (written by the journalist Alfred Delvau and first published 1867), an advertisement for which is visible at the center of the painting, promised readers entrée into la ville du plaisir et des plaisirs par excellence. This desire to see and be seen lies at the heart of Carrier-Belleuse’s clever mise-en-scène, which plays on the conceit of the gaze. Set in a box at a café-concert, the tightly packed composition and compact format recall similar scenes of spectators at the opera. More on this painting
Laureano Barrau (1863, Barcelona –1957, Santa Eulària des Riu) was a Spanish impressionist painter.
Barrau began his education in Barcelona, his native city. Later, he studied in Madrid, finding the Spanish old masters. At 20, Barrau went to Paris and enrolled at the Académie des Beaux-Arts where Gerome was his tutor. Two years later, Barrau won the Prix de Rome in Barcelona. This afforded him the opportunity to study the great Italian masters for three years.
When he was 28, Barrau was given the title of Societaire (Member) of the Salon de la Nationales des Beaux-Arts de Paris. He earned medals in the principal cities in Europe and today his paintings hang in museums in Spain, Paris, Brussels, Buenos Aires, Montevideo and Rio de Janeiro.
At age 47, Barrau moved to picturesque Ibiza. He settled with his wife in the town of Santa Eulalia del Rio where he painted what is considered his best work.
He remained in Santa Eulalia for the rest of his life. He died in 1957 at the age of 94 and is buried in the cemetery in Santa Eulalia. More on Laureano Barrau
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Laureano Barrau Buñol, Spanish, 1863 – 1957 Sur la place de Clichy, c. 1893 Oil on canvas 35½ by 46 in.; 90.2 by 116.8 cm Private collection
The Place de Clichy, also known as “Place Clichy”, is situated in the northwestern quadrant of Paris. It is formed by the intersection of the Boulevard de Clichy, the Avenue Clichy, the Rue Clichy, the Boulevard des Batignolles, and the Rue d’Amsterdam.
Place de Clichy, borders between the Batignolles and Montmartre neighborhoods. Though far from the city center, Montmartre was the heart of Bohemian life, brimming with dance halls, cafés-concerts, and cabarets-artistiques that attracted artists, writers, singers, and actors as well as middle-class Parisians and tourists seeking various pleasures and entertainment. More on Place de ClichyLaureano Barrau (1863, Barcelona –1957, Santa Eulària des Riu) was a Spanish impressionist painter.
Barrau began his education in Barcelona, his native city. Later, he studied in Madrid, finding the Spanish old masters. At 20, Barrau went to Paris and enrolled at the Académie des Beaux-Arts where Gerome was his tutor. Two years later, Barrau won the Prix de Rome in Barcelona. This afforded him the opportunity to study the great Italian masters for three years.
When he was 28, Barrau was given the title of Societaire (Member) of the Salon de la Nationales des Beaux-Arts de Paris. He earned medals in the principal cities in Europe and today his paintings hang in museums in Spain, Paris, Brussels, Buenos Aires, Montevideo and Rio de Janeiro.
At age 47, Barrau moved to picturesque Ibiza. He settled with his wife in the town of Santa Eulalia del Rio where he painted what is considered his best work.
He remained in Santa Eulalia for the rest of his life. He died in 1957 at the age of 94 and is buried in the cemetery in Santa Eulalia. More on Laureano Barrau
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Lucien Genin La Place de L’Opera, 20th Century Oil on linen Height: 32 inches / 81.28 cm, Width: 39.5 inches / 100.33 cm Private collection
The Place de l’Opéra is a square in the 9th arrondissement of Paris, at the junction of boulevard des Italiens, boulevard des Capucines, avenue de l’Opéra, rue Auber, rue Halévy, rue de la Paix and rue du Quatre-Septembre. It was built at the same time as the Opéra Garnier (designed by Charles Garnier), which is sited on it and after which it is named. Both structures were part of the Haussmannian redesign of Paris under Napoleon III of France. More on The Place de l’OpéraLucien Génin (9 November 1894 in Rouen – 26 August 1953 in Paris) was a French painter in the milieu of pre-World War I, and 1920s Montmartre and Saint-Germain-des-Prés.
After the devastation of the First World War, Lucien left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Not concerning himself with producing “art”, he beautifully captured the spirit if Paris between the wars while enjoying a truly Bohemian existence. Genin’s works in all their forms, perfectly convey these eclectic and friendly characters of the city and he was so well loved that one collector said “separate me from my Vlaminck, my foujita, my Derain, my Dunoyer de Segonzac and I will survive…but my Genin, never!”. More on Lucien Génin
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Stanislas Victor Edouard Lépine (CAEN 1835-1892 PARIS) Les bords de Seine vers Pont Marie Oil on canvas 33 x 46,5 cm (13 1⁄8 x 18 1⁄2 in.) Private collection
The Pont Marie is a bridge which crosses the Seine in Paris, France.
The bridge links the Île Saint-Louis to the quai de l’Hôtel de Ville and is one of three bridges designed to allow traffic flow between the Île Saint-Louis and the Left and Right banks of Paris. The Pont Marie links the Right Bank and is the counterpart of the Pont de la Tournelle which is built along the same line but serves to connect the Île Saint-Louis with the Left Bank. More on the Pont Marie Stanislas Victor Edouard Lépine (October 3, 1835 – September 28, 1892) was a French painter who specialized in landscapes, especially views of the Seine. Lépine was born in Caen. An important influence in his artistic formation was Corot, whom he met in Normandy in 1859, becoming his student the following year.
Lépine’s favorite subject was the Seine, which he was to paint in all its aspects for the rest of his life. He participated in the first Impressionist exhibition, held at Nadar’s in 1874, although he is generally not considered an Impressionist. His paintings are placid in mood and are usually small in scale. Lépine was awarded the First Prize medal at the Exposition of 1889. He died suddenly in Paris in 1892. More Stanislas Victor Edouard Lépine
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Victor Gabriel Gilbert (PARIS 1847-1933) Le pavillon de la Marée aux Halles-Centrales de Paris, c. 1881 Oil on canvas 86 x 122,5 cm (34 x 48 in.) Private collection
The building, which was an answer to Emperor Napoléon’s III (1808-18773) sanitary demands and reforms, fascinated the first photographers.
At each of the 1878, 1879, 1880 and 1881 Salons, Gilbert exhibited at least one painting depicting the Halles of Paris. Gilbert’s composition depicting the fish pavilion, which was at the time in the north of the market, at the intersection of Lescot and Rambuteau streets, was awarded a medal in the 1880 Salon. More on this painting
Victor Gabriel Gilbert born in Paris the 13 February 1847 and died in the 21 July 1933. He was a French painter. He is buried in Montmartre cemetery in Paris. In 1860 he apprenticed to a painter and decorator. He followed with evening art classes under the direction of Father Levasseur, the School of the City of Paris. In the late 1870s, his taste for naturalism is developed and he turned to genre painting with scenes of streets, cafes, markets, especially that of Halles . He obtained a second class medal at the Salon of 1880 and a silver medal at the 1889 World Fair . It becomes a member of the French Society of Artists in 1914.
Victor Gilbert was appointed Knight of the Legion of Honour in 1897, and received the Prix Léon Bonnat in 1926. More on Victor Gabriel Gilbert
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Harry Kernoff, R.H.A., 1900 – 1974 Sunday Evening – Place du Combat, Paris, c. 1937 Oil on board 63.5 by 94cm.; 25 by 37in. Private collection
In the present example, rather than the more customary Dublin scene, Kernoff provides a glimpse of Paris yet with the same distinctive flair. Bathed in the last of the evening sun which casts long and playful shadows, Parisiens – from flat-capped commuters, tradesmen and the rounded and suited gentleman half appearing behind the flowing canopy – conclude their day. A well-groomed poodle adds an extra note. Meanwhile, the glass on the distinctive Parisian table invites us to join Kernoff in taking it all in. Indeed a seat here feels rather irresistible. Kernoff was a master of his craft. More on this painting
Before the liberation of Paris, the square was called the Place du Combat and was renamed in honour of the French communist resistance hero, Pierre Georges, whose nom-de-guerre was Colonel Fabien.
The headquarters of the French Communist Party, designed by the Brazilian communist and utilitarian architect Oscar Niemeyer is located here, as is a station of the Paris Métro. Nearby is the former location of the medieval Gibbet of Montfaucon, a multi-tiered gibbet that was for most of its history outside Paris’ city walls. More on Place du Combat
Harry Aaron Kernoff RHA (1900-1974) was a portrait, landscape and decorative painter, born in London to a Russian father and Spanish mother, but relocated to Dublin when he was 14. Kernoff studied drawing and painting during night classes at the Metropolitan School of Art. In 1923, he won the Taylor Scholarship and became a full-time art student.
Harry Kernoff was to remain in Dublin for the rest of his life. Noted above all for his genre-painting, he was one of few artists to paint the city and its people, which he did with great empathy. In addition, he painted the Irish landscape as well as numerous portraits.
In 1926 he began showing at the Royal Hibernian Academy, averaging about five paintings in each exhibition from then until 1974 – an extraordinary achievement.
Portrait art was another of his specialities, and he completed many portraits in a single sitting. Among his many subjects were: WB Yeats, James Joyce, James Connolly, Sean O’Casey, Liam O’Flaherty, Brendan Behan, Jerome Connor and Maurice MacGonigal. More on Harry Aaron Kernof
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Maurice Brazil Prendergast, 1858 – 1924 Montparnasse, circa 1907 Watercolor and pencil on paper 13 ¾ by 20 in., 34.9 by 50.8 cm. Private collection
The Boulevard du Montparnasse is a two-way boulevard in Montparnasse, in the 6th, 14th & 15th arrondissements in Paris. Students in the 17th century who came to recite poetry in the hilly neighbourhood nicknamed it after “Mount Parnassus”, home to the nine Muses of arts and sciences in Greek mythology.
The hill was levelled to construct the Boulevard Montparnasse in the 18th century. During the French Revolution many dance halls and cabarets opened their doors.
The area is also known for cafés and bars, such as the Breton restaurants specialising in crêpes located a few blocks from the Gare Montparnasse. More on The Boulevard du Montparnasse Maurice Prendergast was born in St. John’s, Newfoundland, on Oct. 10, 1859. When his father’s grocery business failed in 1861, the family moved to Boston. He and his younger brother Charles finished their formal education by the time each was 14. Maurice worked in a dry-goods store, lettered show cards, and began sketching landscapes and cattle. In 1886, he and his brother worked their way to England on a cattle boat; they may have gone to Paris as well. Returning to Boston, they worked at routine jobs in order to save $1,000 for a return to Europe. Maurice went to Paris in 1891 and studied with Jean Paul Laurens at the Académie Julian. He made rapid progress in 3 years, working from the model rather than from casts. He was fascinated with the life and movement in the parks, boulevards, and cafés.
When he returned to America in 1894, Prendergast was an accomplished watercolorist and had assimilated qualities from Édouard Manet, James McNeill Whistler, Edgar Degas, Henri de Toulouse-Lautrec, Pierre Bonnard, and Édouard Vuillard and from Japanese prints. He was the first American artist to appreciate and understand the importance of Paul Cézanne. Until 1905 the Prendergast brothers lived together in Winchester, Mass., their principal means of support being a frame-making shop. Maurice’s work was included for the first time in a public exhibition at the Pennsylvania Academy of Fine Arts in 1896; there was a one-man show in Boston the next year, and from this time until his death his paintings appeared in many exhibitions. More on Maurice Prendergast
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Gaston La Touche (French, 1854-1913) La promenade Oil on panel 18 1/2 x 21 3/4in (47.1 x 55.3cm) Private collection
In this work, La Touche finds a later echo in the closing scenes in the film of Colette’s novella, Gigi, where Louis Jourdan and Leslie Caron promenade in the Bois de Boulogne. In the shade, other figures relax and enjoy the afternoon sun. This is the Belle Epoque at its height. However, in a social statement he includes two workers toiling by the roadside; showing he was aware of the divide between the rich and the poor. More on this work
French painter Gaston La Touche [1854-1913] post-impressionist painter, draughtsman and pastellist was a leading colorist of the late nineteenth/early twentieth centuries, who associated with all the important artists of the period. He was close friends with many of the Impressionists, but chose to follow an independent path in both technique and subject matter. His extraordinary imagination revealed itself in his wonderful depictions of monkeys, fetes, balls, theatrical subjects and interiors, all tinged with a wry sense of humor. His Versailles-inspired firework and fountain paintings are unique in quality and spectrum of color. Neglected for almost a century, with little or no research, La Touche’s work is now being re-evaluated. In both commercial and art-historical circles, his paintings are now highly sought after. More on Gaston La Touche
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VICTOR GABRIEL GILBERT (FRENCH, 1847-1933) At the Flower Market Oil on panel 173⁄4 x 215⁄8 in. (45.1 x 55 cm.) Private collection
At the Flower Market, in contrast to many of Gilbert’s compositions, is set in one of the smaller flower stalls in the French capital. In the center of the composition, an elegant young lady deliberates over her choices for the day, testing the fragrance of pink roses, watched and perhaps encouraged by the stall’s proprietor. To the right and set on the ground are neatly arranged bright bouquets wrapped in white paper to set off their brilliant colors. Pots of brilliant red geraniums dot the foreground, while a small vegetable stand defines the background to the left. This vibrant image is enhanced by Gilbert’s virtuoso technique, realistic sense of detail and close observation of nature. In At the Flower Market, Gilbert beckons the viewer to enter a time gone by, where the fragrance of flowers still lingers. More on this painting Victor Gabriel Gilbert was born in Paris the 13 February 1847 and died in the 21 July 1933. He was a French painter. He is buried in Montmartre cemetery in Paris. In 1860 he apprenticed to a painter and decorator. He followed with evening art classes under the direction of Father Levasseur, the School of the City of Paris. In the late 1870s, his taste for naturalism is developed and he turned to genre painting with scenes of streets, cafes, markets, especially that of Halles . He obtained a second class medal at the Salon of 1880 and a silver medal at the 1889 World Fair . It becomes a member of the French Society of Artists in 1914.
Victor Gilbert was appointed Knight of the Legion of Honour in 1897, and received the Prix Léon Bonnat in 1926. More on Victor Gabriel Gilbert
Román Ribera Cirera (Spanish, 1849-1935) Leaving the ball Oil on canvas 58.5 x 81.3cm (23 x 32in) Private collection
The present painting typifies Ribera’s work of this period, with the elegantly dressed women being directed towards their cab after having attended a formal occasion. Here, Ribera focuses the viewer on his highly skilled rendering of the central figures’ clothing and their sumptuous fabrics and fur. Although his later work took on a more social realist form with his depictions of the working classes, the present lot offers an insight into the chic lifestyle of those living in the higher society of the glittering Paris of Haussmann. More on this paintingRomà Ribera i Cirera (13 December 1848, Barcelona – 29 May 1935, Barcelona) was a Catalan genre painter. He specialized in contemporary scenes from upper-class social events, rendered in meticulous detail, but also did numerous scenes from life in the 17th and 18th centuries.
He studied at the Escola de la Llotja and at the private school operated by Pere Borrell del Caso. In 1873, he went to Rome to complete his studies. While there, he met Marià Fortuny, who works would influence his style. After leaving Italy, he visited London to exhibit.
Once he had established himself, he settled in Paris. At a time when most artists were attracted to impressionism, he found inspiration in the works of James Tissot and Alfred Stevens. In 1878, he enjoyed great success at the Exposition Universelle. This enabled him to retain Adolphe Goupil as his agent. To maximize his income, he chose to solicit clients from the upper classes, portraying their activities and possessions.
He had a major showing at the exhibition at the 1888 Barcelona Universal Exposition, where he presented a series of watercolors. He returned to Barcelona in 1889, exhibiting at the Sala Parés. He pursued the same upper class client strategy there that he had in Paris. Occasionally, he travelled to exhibit in Madrid.
In 1902, he became a member of the Reial Acadèmia Catalana de Belles Arts de Sant Jordi and was chosen to sit on the “Catalan Museum Board. More on Romà Ribera i Cirera
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Gabriel Spat, Russia (1890-1967) Sortie de L’glise/ Exit from the church Oil on board 15.5″ X 6.5″ Private collection
Gabriel Spat, 1890–1967 was born in Kishinev, Russia, now Chisinau, Moldova. He was active in France from 1919 to 1942 and in the USA from 1942. Spat studied at the Académie des Beaux-Arts in Geneva, as well as in Paris, at the Académie Colarossi and the Académie de la Grande Chaumière.
After World War I, he lived in Paris, attending the studios of La Ruche, Soutine and Modigliani. He fled to the USA in 1942. In Paris between the wars, he was known as a painter and sculptor. He executed the portraits of celebrated figures, particularly actors. He also executed anti-German satirical drawings depicting Nazi society. These were destroyed during World War II.
Spat was painting by the age of eighteen, but as an art student in Paris he was so impoverished that he was forced to paint on scraps of canvas given to him by other artists. As a result, he learned to paint in miniature, and he continued to work on a small scale throughout his career…
Louis Anquetin (1861–1932) The Interior of Bruant – The Mirliton, c. 1886 until 1887 Oil on canvas 145 × 157 cm (57 × 61.8 in) Private collection
L’Intérieur de chez Bruant: le Mirliton is not only a large-scale group portrait representing many of the artist’s illustrious friends, but also a portrait of their preferred gathering place, Le Mirliton, the vivacious establishment opened in 1885 in what had been the second location of the Chat Noir. The cabarets, cafés and dance halls of Montmartre proved a source of endless inspiration for Anquetin, Toulouse-Lautrec, Bernard and others in their circle who frequented these establishments together. More on this painting
Louis Anquetin (26 January 1861–19 August 1932) was a French painter; born in Étrépagny, France and educated at the Lycée Pierre Corneille in Rouen.
In 1882 he came to Paris and began studying art at Léon Bonnat’s studio, where he met Henri de Toulouse-Lautrec. The two artists later moved to the studio of Fernand Cormon, where they befriended Émile Bernard and Vincent van Gogh…
Arbit Blatas, Lithuanian, 1908-1999 Pont St. Michel, Paris Oil on canvas 25 3/8 x 31 3/4 inches (64.5 x 80.6 cm) Private collection
Pont Saint-Michel is a bridge linking the Place Saint-Michel on the left bank of the river Seine to the Île de la Cité. It was named after the nearby chapel of Saint-Michel. It is near Sainte Chapelle and the Palais de Justice. The present 62-metre-long bridge was first constructed in 1378, it has been rebuilt several times, most recently in 1857.. More on Pont Saint-MichelArbit Blatas was born in Lithuania in 1908. Blatas showed great skill and artistic talent from a very early age. He moved to Paris when he turned twenty-one, and quickly ingratiated himself in the Parisian art community becoming the youngest member of the “School of Paris”.
Paris offered a milieu of cultural richness, least of which included his fellow artists Pablo Picasso, Pierre Bonnard, Maurice de Vlaminck, and Maruice Utrillo. These talented peers provided immense inspiration for the young Blatas helping to nurture his distinct style.
Blatas was also influenced by the modest Jewish art community in Paris. This group helped foster the national aspirations as well as a continual experimentation with expressionism, many of whom would become members of the “School of Paris”.
During this period Blatas traveled back and forth between Paris and his native Lithuania, putting on exhibitions as well as opening a gallery in Lithuania. His profile grew immensely in 1933 after exhibiting in Paris, coupled with his relationship with the art dealer Pierre Matisse who organized the artist’s first exhibition in New York. Like many other artist’s living in Europe at the time, Blatas was forced to flee France and emigrated to the United States. He wouldn’t return until after the end of World War II.
Blatas was a multitalented artist, often working with painting, sculpture and theater design over the course of his career. His paintings often depicted portraits and landscapes, but also showed an adept understanding of many influential styles such as post-impressionism, fauvism, and expressionism. He never adhered to one “ism” but rather relied on his unique sense of color as a driving force.
Many honors and prizes were bestowed upon Arbit Blatas during his career. He received the prestigious Chevalier de la Legion d’Honeur from the French government in 1978. Only two years later Blatas received a medal from the mayor of Venice in honor of his sculpture. More on Arbit Blatas
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Stanislas Lépine, 1835 – 1892 Montmartre. La rue Saint-Vincent Oil on canvas 55,5 x 34,2 cm; 21⅞ x 13½ in. Private collection
Stanislas Lépine depicts here the rue Saint-Vincent, between the vineyards of Montmartre and the place du Tertre, close to the artist’s home, rue Fontenelle.
While Montmartre is still an almost isolated village at the gates of the city, far from the modernity of Haussmann’s Paris, two women converse, one leaning against her window, the second in the middle of a cobbled alley, in the preserved intimacy of the Butte.
A cloudy sky veils the foliage of the gardens and the damp grey stone of the walls in a pale light, underlining, with its discreet hues, the quietude of this meeting. More on this paintingStanislas Victor Edouard Lépine (October 3, 1835 – September 28, 1892) was a French painter who specialized in landscapes, especially views of the Seine. Lépine was born in Caen. An important influence in his artistic formation was Corot, whom he met in Normandy in 1859, becoming his student the following year.
Lépine’s favorite subject was the Seine, which he was to paint in all its aspects for the rest of his life. He participated in the first Impressionist exhibition, held at Nadar’s in 1874, although he is generally not considered an Impressionist. His paintings are placid in mood and are usually small in scale. Lépine was awarded the First Prize medal at the Exposition of 1889. He died suddenly in Paris in 1892. More Stanislas Victor Edouard Lépine
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I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.
I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.
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Thank you for visiting my blog and also for liking its posts and pages.
Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.
Zaidan Gallery 