Johann Baptist Reiter, Lady Holding Red Blanket 01 work, PORTRAIT OF A LADY, with Footnotes. #127

Johann Baptist Reiter, attributed to
Attributed to Johann Baptist Reiter, (Austrian, 1813-1890)
Portrait of a Lady Holding Red Blanket, , circa 1845
Oil on canvas
26 1/2 in. x 20 5/8 in
Private collection

Johann Baptist Reiter (28 May 1813, Linz – 10 January 1890, Vienna) was an Austrian portrait and genre painter of the Biedermeier period.

He spent three years as an apprentice at his father’s company, painting furniture, signs and crosses. He enrolled at the Academy of Fine Arts, Vienna. After 1830, he largely earned his living as a porcelain painter.

He was awarded a scholarship by the Upper Austrian Landstand that enabled him to continue his studies from 1834 to 1837. During this time he also exhibited and won the Lampi-Preis for model drawing in 1836. Originally, he did genre and historical scenes, but he decided to switch to portraits and soon became so popular that he was able to purchase a large house in Vienna with a four-horse carriage and a Moor as a servant.

During the Revolution of 1848 he sided with the revolutionaries. Possibly due to the trouble this caused, his wife left him in 1850. From then until 1870, he was a regular participant at the exhibitions of numerous Austrian art societies.

It is unclear if he was divorced or his first wife died, but he was remarried in 1866. His new wife’s extravagance eventually forced him to take more orders than he could handle, as well as turn to making copies of the Old Masters. She died in 1889, and he died the following year. He was interred at the Zentralfriedhof. More on Johann Baptist Reiter

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NATALIE GOLDSTEIN, QUINTESSENTIALLY BRITISH 01 work, PORTRAIT OF A LADY, with Footnotes. #97

NATALIE GOLDSTEIN
NATALIE GOLDSTEIN, b. 1974
QUINTESSENTIALLY BRITISH, 2018
Chromogenic print
121.9 by 91.4cm.; 48 by 36 in.
Private collection

Natalie Goldstein is a photographer. Having spent years in front of the camera as a model, Natalie developed her own unique understanding of the profession, both technically and artistically. Natalie’s eye is drawn to the aesthetics of the human form, beyond merely the body beautiful. Her subjects are poised and positioned to suggest Da Vinci’s divine proportions of humanity. They are athletic. They are graceful. They speak of refined elegance.

Natalie grew up surrounded by fashion as a culture, she immersed herself with magazines and books on Versace and the like. Natalie recognised that in order to create impactful photography, she had to take it out of the bounds of traditional fashion editorial work and create iconic images that transcend place or time.

Natalie’s work is suggestive and at times provocative. She has the technical know-how to create incredible moving lenticular pieces, undertakes private commissions and has fashioned an artistic form of expression that is energetic, exquisitely constructed and for the viewer captivatingly stunning. More on Natalie Goldstein




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JOHN BELLANY, R.A., WOMAN OF ASCHAFFENBURG 01 work, PORTRAIT OF A LADY, with Footnotes. #96

JOHN BRATBY, R.A.
JOHN BELLANY, R.A., 1942-2013
WOMAN OF ASCHAFFENBURG
Oil on canvas
76 by 61cm.; 30 by 24in.
Private collection

Aschaffenburg is a district in Bavaria , Germany

John Bellany CBE RA (18 June 1942 – 28 August 2013) was a Scottish painter. In 1968 Bellany graduated and his diploma show was hailed as great success. After graduation, Bellany was offered a teaching position at the Edinburgh College of Art but he carried on as a working artist and flit between various teaching jobs at different art colleges. He was elected to The London Group in 1973

When in 1974 he separated from his wife his art appears to take on a darker tone. The symbolism increases and it seems as though each picture can have a whole narrative of symbols within it, increasingly the pictures become wilder and wilder tending more to expressionism, at this point he suffered a nervous breakdown and returned to Port Seton for recuperation.

Bellany was offered a show in New York which exhibited some of his earlier work.[citation needed] He lectured at Goldsmith’s College from 1978 to 1984. The New York 1982 tour presented his work to a much greater audience, resulting in purchases to important private collections as well as to the NY MOMA.

In 1985 a retrospective was arranged for the National Gallery of Modern Art. The exhibition at the National Portrait Gallery included a portrait of the cricketer Sir Ian Botham. This portrait attracted more publicity for Bellany than he had ever previously achieved.

In 1986, he remarried his first wife Helen. The liver disease was becoming unmanageable and by the end of 1987 it was clear death was near.[citation needed]

Bellany received an Honorary Doctorate from Heriot-Watt University in 1998 .

In 2005 he suffered a heart attack. He died in 2013. More on  John Bellany

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Bana Safar, Syrian Portrait, 01 work, PORTRAIT OF A LADY, with Footnotes. #95

Bana Safar - الفنانة بانه سفر (Syria)
Bana Safar, Syria
Syrian Portrait, c. 2018
Oil on Canvas
80x60cm
Private collection

Bana Safar, Syria, is a young Syrian artist graduated with Excellence from the Faculty of Fine Arts, Damascus University in 2001, the 1st in class for 4 years consecutively. From 2003 – 2006 She was professor assistant in the faculty of Fine Arts; Damascus and is a member of the Association of Fine Arts Damascus. She is a member of the Emirates Fine Arts Society Sharjah UAE. Bana Safar’s art is held in collections in Syria, UAE, USA, KSA and Germany.. Exhibitions and prizes include; Saudi Women Artists Exhibition 2002, “Malwan” Art contest for the Saudi Airlines 2003, group Exhibition at the Arab Cultural Centre in Damascus 2003, group Exhibition at” Amana” gallery Riyadh Saudi Arabia 2003, INSAN Exhibition at the Museum of King Abdul Aziz in Riyadh 2009, Stars Auction at Al Jowhara Ballroom Madinat Jumairah Dubai UAE 2012, Dubai international art symposium 2nd session 2015, Dubai international art symposium 3rd session 2016, “In the eyes of women “group art exhibition at Al Badia Golf Culp 2015. More on Bana Safar

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Othman Khuzaim, Untitled 01 work, PORTRAIT OF A LADY, with Footnotes. #94

01 work, PORTRAIT OF A LADY, with Footnotes. #94
Othman Khuzaim, Saudi
Untitled, c. 2008
Mixed Media on Canvas
90x60cm
Private collection

Othman Khuzaim (Saudi) is one of the prominent names of the first generations of Saudi artists who participated in the establishment of the visual art procession including Al-Saleem, Al-Ridawi, Nabila Al Bassam and Safia Bin Zaqer. He is a graduate of the Institute of art Education for Teachers in Riyadh and holds a Diploma of Fine Arts Academy in Florence, Italy and was Chairman of the Fine Arts in the Saudi Arabian Society for Culture and Arts in Riyadh, 1985. He is a comprehensive artist and orator who is held in high regard by Arabic artists. Othman is considered as one of the last great creative visual artists in Riyadh. He is a veteran artist who lived in his age and continues to influence the age of youth. Othman is highly influential and has the ability to change the visual movement in Arabic society. More on  Othman Khuzaim

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Man Ray, Dorothea Tanning 02 works, PORTRAIT OF A LADY, with Footnotes. #113

MAN RAY (1890–1976)
Man Ray, (1890–1976)
Dorothea Tanning, c. 1942
Gelatin silver print
7/8 x 7 5/8 in. (25 x 19.3 cm.)
Private collection

Dorothea Margaret Tanning, American painter and writer (born Aug. 25, 1910, Galesburg, Ill. — died Jan. 31, 2012, New York, N.Y.), was a prominent Surrealist, but her artistic career was overshadowed by that of her famous husband, German painter and sculptor Max Ernst, to whom she was married for 30 years (1946–76); her own dreamlike imagery, however, was considered more Gothic in nature than surreal. Tanning moved to New York City in 1936, where she established and made her living as a fashion illustrator. At a party in 1942, she met Ernst (then married to his third wife, art patron Peggy Guggenheim), and the two moved in together about a week after Ernst viewed her work and persuaded his wife to include Tanning’s self-portrait, Birthday (1942), in which she appears clothed but bare breasted and shoeless (Below). In 1944 Tanning was given her first solo show. After Tanning and Ernst married in 1946, the couple moved to Sedona, Ariz…

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Richard Larter, DONNA IN PARTY DRESS 01 work, PORTRAIT OF A LADY, with Footnotes. #93

Richard Larter, (1929 - 2014)
Richard Larter, (1929 – 2014)
DONNA IN PARTY DRESS, c. 1993
Acrylic & mixed media on canvas
112.5 x 84 cm
Private collection

Richard Larter (19 May 1929 – 25 July 2014) was an Australian painter, often identified as one of Australia’s few highly recognizable pop artists. Larter also frequently painted in a Pointillist style. He took advantage of unusual techniques with painting: using a syringe filled with paint to create his early works, and juxtaposing multiple images on to a canvas. Many of his works are brightly coloured and draw on popular culture for source materials, reproducing news photographs, film stills, and images from pornography. He was married to Pat Larter, an artist who was involved in the Mail art movement, then performance art and finally painting in a brightly coloured style similar to Richard’s. The Larters emigrated to Australia in 1962. Richard Larter’s pop art was less ironic than his American and English counterparts. In this Larter is similar to other noted Australian pop artists, such as, Mike Brown and Martin Sharp. More on Richard Larter




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Unknown; Anna Pavlova 01 work, PORTRAIT OF A LADY, with Footnotes. #92

Anna Pavlova
Unknown
Anna Pavlova
Silver print
24 cm by 18 cm
Private collection

Anna Pavlovna (Matveyevna) Pavlova (Russian: February 12 1881 — January 23, 1931) was a Russian prima ballerina of the late 19th and the early 20th centuries. She was a principal artist of the Imperial Russian Ballet and the Ballets Russes of Sergei Diaghilev. Pavlova is most recognized for her creation of the role of The Dying Swan and, with her own company, became the first ballerina to tour around the world. She toured South America, India and Australia.

Pavlova’s years of training were difficult. Classical ballet did not come easily to her. Her severely arched feet, thin ankles, and long limbs clashed with the small, compact body favoured for the ballerina of the time. Undeterred, Pavlova trained to improve her technique. She took extra lessons from the noted teachers of the day.

During her final year at the Imperial Ballet School, she performed many roles with the principal company. She graduated in 1899 at age 18, and chosen to enter the Imperial Ballet. 

Pavlova rose through the ranks quickly, becoming a favorite of the old maestro Petipa. She was named danseuse in 1902, première danseuse in 1905, and finally prima ballerina in 1906 after a resounding performance in Giselle. 

While touring in The Hague, Pavlova was told that she had pneumonia and required an operation. She was also told that she would never be able to dance again if she went ahead with it. She refused to have the surgery, saying “If I can’t dance then I’d rather be dead.” She died of pleurisy, three weeks short of her 50th birthday. More on Anna Pavlova




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James McNeill Whistler, ELLEN STURGIS HOOPER 01 work, PORTRAIT OF A LADY, with Footnotes. #91

Portrait_of_Ellen_Hooper_1890
James McNeill Whistler, 1834 – 1903
PORTRAIT OF ELLEN STURGIS HOOPER, c. 1890
Oil on panel
20 1/4 by 12 inches, (51.4 by 30.5 cm)
Private collector

Ellen Sturgis Hooper (February 17, 1812 – November 3, 1848) was an American poet. A member of the Transcendental Club, she was widely regarded as one of the most gifted poets among the New England Transcendentalists. Her work is occasionally reprinted in anthologies.

Ellen Sturgis was born in Boston, Massachusetts. In 1837, she married physician Robert William . The couple had three children, one of whom, Marian “Clover” Hooper, married Henry Adams and became a celebrated Washington, D.C., hostess and photographer.

Her poetry was regularly commissioned by Ralph Waldo Emerson and published in The Dial. Her poems also appeared in Elizabeth Peabody’s Æsthetic Papers (1849), and the final stanzas of one of her poems, The Wood-Fire, appear in Henry David Thoreau’s Walden (1854).

Ellen Sturgis Hooper died of tuberculosis at age 36. Her early death is said to have “enshrined her in the memories of her associates as a Transcendental angel.” More on Ellen Sturgis Hooper

James Abbott McNeill Whistler (July 10, 1834 – July 17, 1903) was an American artist, active during the American Gilded Age and based primarily in the United Kingdom. He was averse to sentimentality and moral allusion in painting, and was a leading proponent of the credo “art for art’s sake”. His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail. The symbol was apt, for it combined both aspects of his personality—his art was characterized by a subtle delicacy, while his public persona was combative. Finding a parallel between painting and music, Whistler entitled many of his paintings “arrangements”, “harmonies”, and “nocturnes”, emphasizing the primacy of tonal harmony. His most famous painting is “Arrangement in Grey and Black No. 1” (1871), commonly known as Whistler’s Mother, the revered and oft-parodied portrait of motherhood. Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers. More James Abbott McNeill Whistler 

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Jean Jansem, Les âges de la vie/ The ages of life 01 work, PORTRAIT OF A LADY, with Footnotes. #90

Jean Jansem (1920-2013) Les âges de la vie, 1999
Jean Jansem, (1920-2013)
Les âges de la vie/ The ages of life, c. 1999
Oil on canvas
59 1/16 x 78 3/4 in
Private collection

Hovhannes “Jean” Semerdjian (9 March 1920 – 27 August 2013), also known as Jean Jansem, was a French-Armenian painter. Jansem’s artworks are internationally known, and are part of museum collections throughout France, Japan and the United States. A Foreign member of the National Academy of Sciences of Armenia (2002).

He was awarded the Ordre des Arts et des Lettres in 1953 and by the Knight of the French Legion of Honour in 2003. The President of Armenia awarded Jansem a Medal of Honor for his “reinforcement of Armenian-French cultural ties.”

Hovhannes Semerdjian was born in 1920 in Bursa, Turkey. In 1922, his family fled to Greece. He spent his childhood in Thessaloniki. They arrived to Issy-les-Moulineaux suburb of Paris, France in 1931 when he was 11 and that is when he begin to paint. The first professional schools for Jansem became free academies of Montparnasse (1934-1936). He studied in the Ecole des Arts Decoratifs. Jansem also studied at the Sabatie studio for a year. Early paintings by Jansem were mainly to national issues. He had individual exhibitions in Paris, New York, Chicago, London, Tokyo, Rome, Brussels, Lausanne, Beirut etc. Hovhannes Semerdjian was elected the President of the Young Artists’ Saloon in 1956.

Jansem’s primary sources of inspiration were Goya and Brueghel. His mother and his children were the main heroes in his earlier works. Jansem was characterized as a miserablist, an artist of unfortunate people.

Jansem died on 27 August 2013, aged 93, outside Paris. More on Jean Jansem

 

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Stanislaw Stückgold; Portrait of Artist’s daughter Felicitas 01 work, PORTRAIT OF A LADY, with Footnotes. #89

Stanislaw Stückgold (1868 - 1933)
Stanislaw Stückgold (1868 – 1933)
Portrait of Artist’s daughter Felicitas, c. 1910
Oil on canvas on cardboard
41 x 33 cm
Private collection

Stanislaw Stückgold (born May 18, 1868 in Warsaw , Russian Empire , died January 9, 1933 in Paris) was a Polish-German-French painter.

Stückgold studied at the Warsaw Polytechnic and subsequently chemistry and philosophy in Zurich and the Sorbonne in Paris. After his military service in the Russian army, he worked as an assistant at a state-owned chemical laboratory in Berlin and in Dusseldorf. In Warsaw he became manager of a chemical plant. He set up a free technical office and registered patents in the textile industry and boiler firing. He worked in London for railway and steamship companies and in Poland for coal mining.

In 1905/06 Stückgold supported a socialist party in Poland. He was arrested several times and imprisoned in Moscow and Petersburg.  After suppression of the revolution, he gave up his work as an engineer and began studying art in Warsaw. In 1907 he fled from Poland to Munich. 

In October 1908, Stückgold moved to Paris and became a pupil of Henri Matisse. During this time he met Henri Rousseau. In March 1909, Stückgold exhibited for the first time at the Salon des Indépendants .

In 1913, Stückgold he moved to Munich where he joined the Anthroposophical Society . He opened a painting school in Munich, which he ran until 1921. He was back in Paris from 1923, where he again led a painting school until 1926. More on Stanislaw Stückgold




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Hassan Hajjaj, Saida, 01 work, PORTRAIT OF A LADY, with Footnotes. #88

Hassan Hajjaj
Hassan Hajjaj, (Morocco, born 1961)
Saida, c. 2000
Lambda Print, Wooden Frame With Kohl Packaging
92cm x 64cmcm (36 1/4 x 25 3/16in)
Private collection
  • An example of Moroccan-born photographer Hassan Hajjaj’s pop art sourced from the souks and alleyways of modern day Morocco, ‘Saida’ represents this idiosyncratic artist’s continuing fascination with notions of identity and representation. Appropriating and re-contextualising traditional ‘Orientalist’ views of women, Hajjaj playfully subverts the tropes and clichés of the Islamic world. More on this work

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

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Edwin Longsden Long, Egyptian Beauty 01 work, PORTRAIT OF A LADY, Egyptian Beauty, with Footnotes. #88

EDWIN LONGSDEN LONG, R.A.
Edwin Longsden Long, R.A., 1829-1891
Egyptian Beauty, c. 1875
Oil on paper laid on canvas
34 by 24.5cm., 13½ by 9½in.
Private collection

Long visited Cairo in 1875 during an extensive trip to Egypt and Syria which began in 1874. This was a turning point in his career when he began to paint scenes of Babylonian and Egyptian history rather than his earlier Spanish subject.

Edwin Longsden Long RA (12 July 1829 – 15 May 1891) was an English genre, history, biblical and portrait painter. Long was born in Bath, and was educated at Dr. Viner’s School in Bath. Adopting the profession of a painter, Long came to London and studied in the British Museum. He was subsequently a pupil in the school of James Mathews Leigh in Newman Street London, and practiced first as a portrait artist painting Charles Greville, Lord Ebury and others.

Long made the acquaintance of John Phillip RA, and accompanied him to Spain, where they spent much time. Long was greatly influenced by the paintings of Velasquez and other Spanish masters, and his earlier pictures, such as ‘La Posada’ (1864) and ‘Lazarilla and the blind beggar’ (1870), were painted under Spanish influence. His first important pictures were ‘The Suppliants’ (1872) and ‘The Babylonian marriage market’ (both subsequently purchased by Thomas Holloway). In 1874, he visited Egypt and Syria, and subsequently his work took a new direction. He became thoroughly imbued with middle-eastern archaeology and painted oriental scenes like ‘The Egyptian Feast’ (1877), ‘The Gods and their makers’ (1878) etc.

Long was elected an associate of the Royal Academy in 1870 and an academician (RA) in 1881. His pictures suited the taste and appealed to the religious sentiment of a large portion of the public, and their popularity was increased by a wide circulation of engravings. He consequently determined to exhibit his next pictures in a separate gallery of his own in Bond Street, London and there in 1883, and the following years, his ‘Anno Domini’ and ‘Zeuxis at Crotona’ met with great commercial success.

Long died from pneumonia resulting from influenza, at his home, “Kelston” in Netherhall Gardens, Hampstead, on 15 May 1891, in his sixty-second year. He was buried in West Hampstead Cemetery. More on Edwin Longsden Long

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Charles Camoin, Portrait of Jeanne Loviton, known as Jean Voilier 01 work, PORTRAIT OF A LADY, with Footnotes. #87

Charles Camoin (1879 - 1965)
Charles Camoin, (1879 – 1965)
Portrait of Jeanne Loviton, known as Jean Voilier
Oil on canvas
55 x 46.5 cm
Private collection

Jean Voilier, whose real name is Jeanne Loviton , Was a French publisher and novelist. Jeanne Loviton was born on April 1st, 1903 in Paris, of unknown father. Her mother was an artist known as Denise Fleury. In 1913 she married the publisher Ferdinand Loviton who adopts Jean the same year. Jeanne wass a high school student at Fénelon High School and Notre-Dame College in Sion. In 1925 she received her law degree.


She obtained a lawyer-trainee card on April 14, 1926; Maurice Garçon hired her as secretary for about a year. She did not practice the profession.

She married at the age of 24 the writer Pierre Frondaie , whom she divorced in 1936. It was at this time that she began her activities as a journalist and published under the pseudonym of Jean Voilier. Her first novel, Beauté raison majeure , was published in 1936 by Éditions Émile-Paul frères. She then published several other novels: Days of light in 1940 (J. Ferenczi and son), Open city in 1942 ( Emile-Paul brothers ) and Les Manèges in 1989 ( Belfond-youth ).

She died in Paris on July 20, 1996. She is buried in the Notre-Dame de Versailles cemetery , where her grave (Loviton) is simply named Jeanne. More on Jean Voilier

Charles Camoin (23 September 1879 – 20 May 1965) was a French expressionist landscape painter associated with the Fauves.

Born in Marseille, France, Camoin met Henri Matisse in Gustave Moreau’s class at the Ecole des Beaux Arts in Paris. Matisse and his friends (including Camoin, Henri Manguin, Albert Marquet, Georges Rouault, André Derain and Maurice de Vlaminck), formed the original group of artists labeled the Fauves (meaning “the wild beasts”) for their wild, expressionist-like use of color. Camoin always remained close to Matisse. He painted a portrait of Matisse, which is in the permanent collection of the Pompidou Museum in Paris.

Charles Camoin’s works have been widely shown in France and are in such major collections as the Musée d’Art Moderne de la ville de Paris in addition to the Centre Georges Pompidou and many of the French regional museums. In 1955, he was awarded the Prix du President de la Republique at the Biennale of Menton. He died in Paris on 20 May 1965. More on Charles Camoin





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Eugen von Blaas, Girl at the Window 01 work, PORTRAIT OF A LADY, with Footnotes. #86

EUGEN VON BLAAS3
Eugen von Blaas, Austrian, 1843 – 1931
Girl at the Window, c. 1889
Oil on panel
54 by 37cm., 21½ by 14½in.
Private collection

A young woman is leaning against the balustrade of a Venetian home. The delicacy of the rose held in her hand is reflected in her innocent features. Von Blaas strove to capture the inherent beauty of Italian women by capturing them in their conversations in the streets, selling flowers or courting with lovers.

The artist’s technical abilities are evident in his rendering of the sumptuous fabrics and lace in the woman’s corset and in the delicate still life. More on this painting

Eugen von Blaas was famed for depicting beautiful Italian women at work or in the company of admiring suitors. Anticipation shows a dark haired young woman leaning her elbow on a balustrade overlooking the Venetian lagoon. She dreamily gazes towards the water, where a gondola is just coming into view. The precise technique and bright palette of Blaas’ Venetian genre scenes were in tune with the Venetian tradition of painting. Famed for his depictions of everyday life in Venice, Blaas’ very commercial subjects and finely painted, vividly coloured canvases found a ready market among the wealthy travellers and tourists visiting the city. Above all he strove to capture the inherent beauty of the Italian women with vignettes of their conversations in the street or courting with lovers. More on Eugen von Blaas




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Gerda Wegener, Danish, Les femmes fatales, 01 work, PORTRAIT OF A LADY, meet Gerda Wegener, with Footnotes. #85

GERDA WEGENER
Gerda Wegener, Danish, 1886 – 1940
Les femmes fatales, c. 1933
Oil on canvas
110.5 by 119.4cm., 43.5 by 47in.
Private collection

A femme fatale, sometimes called a maneater or vamp, is a stock character of a mysterious and seductive woman whose charms ensnare her lovers, often leading them into compromising, dangerous, and deadly situations. She is an archetype of literature and art. Her ability to enchant and hypnotise her victim with a spell was in the earliest stories seen as being literally supernatural; hence, the femme fatale today is still often described as having a power akin to an enchantress, seductress, vampire, witch, or demon, having power over men. More on femme fatale

Gerda Marie Fredrikke Wegener (née Gottlieb; 15 March 1886 – 28 July 1940)  was a Danish painter best known for her progressive feminist portraits. Steeped in Art Deco aesthetics, her paintings were considered radical for their engagement with gender, identity, and sexuality. Reversing the traditional art history model of the male gaze, Wegener gazes upon women with a different eroticism and admiration for her female subjects, whom she depicted as powerful individuals. Born Gerda Marie Fredrikke Gottlieb on March 15, 1886 in Hammelev, Denmark, she moved to Copenhagen to attend the Royal Danish Academy of Fine Arts. While attending school, she met her future husband and muse Einar Wegener, who would later transition genders to become Lili Elbe. The couple married in 1904 and settled in Paris in 1912. Wegener’s portraits of Elbe brought her acclaim, as did her erotic illustrations and glass mosaics for Parisian patrons. She went on to win two gold medals and one bronze for her work at the World’s Fair in 1925. After Elbe’s death in 1931, however she struggled to support herself and moved back to Denmark. The artist died on July 28, 1940 in Frederiksberg, Denmark at the age of 54. More on Gerda Wegener

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Isidre Nonell i Monturiol, Consuelo 02 works, PORTRAIT OF A LADY, meet Isidre Nonell i Monturiol, with Footnotes. #85

ISIDRO NONELL
Isidre Nonell i Monturiol, Spanish, 1872 – 1911
Consuelo, c. 1902
Oil on panel
73 by 59cm., 28¾ by 23¼in.
Private collection
Consuelo ( Barcelona , 1888 – Barcelona, 1905 ) was a model of Gypsy ethnic group that had a close relationship with Isidre Nonell . The painter repeatedly portrayed her between 1901 and 1905, until she died tragically at seventeen.
In the middle of the year 1900, Isidre Nonell returned from Paris to Barcelona. In a shared study, he saw how Ossó often used gypsy models, as they were much more affordable than professional models. Nonell abandoned his landscapes and began an era in which practically only painted portraits of gypsies, to the point of being known as the “painter of gypsies.”
In this context he met Consuelo, a thirteen years old, who became one of his favorite models and possibly the lover…

Louise Élisabeth Vigée Le Brun, Self-portrait in a Straw Hat 01 Painting, PORTRAIT OF A LADY, with Footnotes. #41

Elizabeth_Vigée-Lebrun
Louise Élisabeth Vigée Le Brun, (1755–1842)
Self-portrait in a Straw Hat, c. 1782
Oil on canvas
97.8 × 70.5 cm (38.5 × 27.8 in)
National Gallery

Louise Élisabeth Vigée Le Brun (Marie Élisabeth Louise; 16 April 1755 – 30 March 1842), also known as Madame Lebrun, was a prominent French painter.

Her artistic style is generally considered part of the aftermath of Rococo, while she often adopts a neoclassical style. Vigée Le Brun cannot be considered a pure Neoclassicist, however, in that she creates mostly portraits in Neoclassical dress rather than the History painting. While serving as the portrait painter to Marie Antoinette, Vigée Le Brun works purely in Rococo in both her color and style choices.

Vigée Le Brun left a legacy of 660 portraits and 200 landscapes. In addition to private collections, her works may be found at major museums, such as the Hermitage Museum, London’s National Gallery, and museums in continental Europe and the United States. More on Louise Élisabeth Vigée Le Brun

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Tamineh Monzavi; Brides of Mokhber al-Dowleh, 01 work, PORTRAIT OF A LADY, with Footnotes. #84

Tamineh Monzavi
Tamineh Monzavi
Brides of Mokhber al-Dowleh, 2012
Archival digital pigment print.
W.25 in; H.17.25 in; W.63.5 cm;H. 43.82 cm;
Private collection

“The brides of Mokhber al-Dowleh”, is named after an old Teheran district

Tahmineh Monzavi is an Iranian photographer. Her works have been exhibited in museums in several countries, and published by international art magazines and books. She received the Sheed Award in 2011.

Monzavi received a bachelor’s degree in photography from Azad Art & Architecture University of Tehran. In 2005, she began her professional career as a documentary photographer, with a focus on social issues. In 2009, she made a long documentary film about a group of addicted women who live in a shelter in south of Tehran. 

In 2011 she received the prestigious Sheed Award, an independent, non-profit, private photography award. This award is given to a social documentary photographer each year, and is the only Iranian photography competition to have internationally qualified members.

Her photographs have also been exhibited in several museums around the world, such as the Modern Art Museum of the City of Paris, and the Literature museum of Georgia. This series has been shown in Silkroad art Gallery in Tehran, as well as in Paris, Rome, Vienna, Boston and South Korea. She has also done a project on Transsexualism, which addresses how a minority within traditional Iranian society yearns for and attempts to find wider social acceptance and recognition. Monzavi’s vision was changed after a month of being imprisoned; she began looking at Iranian society differently. After a year of inactivity, she began to work on a project called “All about me; nicknamed Queen maker” in which she covers deep feelings of womanhood and womanly dreams. More on Tahmineh Monzavi





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Jules Frédéric Ballavoine, Portrait of Gypsy 01 work, PORTRAIT OF A LADY with Footnotes. #84

Jules Frédéric Ballavoine (1855 - 1901)
Jules Frédéric Ballavoine, (1855 – 1901)
Portrait of Gypsy
Oil on canvas
40 x 32.5 cm
Private collection

The Gypsy, or Romani, colloquially known as Roma, are an Indo-Aryan ethnic group, traditionally itinerant, living mostly in Europe and the Americas. The Romani originate from the northern Indian subcontinent,from the Rajasthan, Haryana, and Punjab regions of modern-day India. More on the Gypsy

Julles Frederick Ballavoine, American, 1855 – 1901, was born in Paris in 1855 and died in 1901. He is considered a still-life, genre and landscape painter from the French school. He received his formal art training at the L’Ecole de Beaux-Art.

Ballavoine found incredible success as a painter of small Paris street scenes, which have been compared to those of Jean Beraud (1849-1910) and small light filled still-lifes.

Ballavoine debuted at the Salon of 1877 with “le bouquet campagne.” At the Salon of 1882 with “Surprise”, “Le Marche aux fleurs” and “La Petite Bohemienne” and at the Salons of 1883 and 1886 with “Parmi les rochers” and “Sur la terrasse.” At the 1886 Paris Salon, Ballavoine and was awarded a metal for “La seance interrompue.” He also exhibited at the Salon of 1890 and 1897. He continued exhibiting his still-lifes, portraits, Paris street scenes and historical genre paintings. All of his exhibitions received critical acclaim, which helped him become a very successful painter. His works can be found in private and public collections in both the United States and Europe. 

Biography courtesy of Roughton Galleries, www.antiquesandfineart.com/roughton





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