Artists – Zaidan Gallery

01 Work, The Art Of The Nude, Alphonsine de Challié’s Young brunette woman with a pink veil at her toilet, with footnotes # 31

Alphonsine de Challié, French, 1858 – 1904
Young brunette woman with a pink veil at her toilet
Oil on canvas
62.5 by 81½ cm., 24½ by 32 in.
Private collection

Alphonsine de Challie worked in the studio of Charles Joshua Chaplin and was a friend of Berthe Morisot. In 1875, Berthe Morisot painted the’ Woman with her toilet ‘which is today preserved at the Art Institute of Chicago. Is she undressing or getting ready? The same mystery surrounds this picture of Alphonsine Challie who was probably influenced by his elder. More on this painting
Having grown up in an intellectual family that encouraged her talent for drawing, Alphonsine de Challié studied painting under Charles Chaplin, one of the first artists to open his studio to female students among whom were Mary Cassatt, Louise Abbéma and Madeleine Lemaire. De Challié befriended fellow artist Berthe Morisot and exhibited regularly at the Salon between 1878 and 1882. More on Alphonsine de Challié

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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05 Works, Sebastiaen Vrancx’s Medieval soldiers scenes, with footnotes

The Tard-Venus pillage Grammont in 1362
Froissart’s Chronicles / Gallica Digital Library, Public Domain
I have no further description, at this time

An army always made sure to put in place what was called a “ supply train” , this is even known from the times of Alexander´s campaigns.

The supply train was the logistic mechanism that allowed resupplying the army with everything it needed. The bigger the army and the deeper it was into enemy territory, the bigger and longer the “supply train” was. More on supply train

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1 Work , John Lewis Brown’s Battle of Reichshoffen, with footnotes

John Lewis Brown, French, 1829 – 1890
Battle of Reichshoffen, 6 August 1870, c. 1872
Oil on canvas
148 by 146.5cm., 58¼ by 57¾in.
Private collection

The Battle of Reichshoffen (also known as the Battle of Wörth) took place near the village of Wœrth in Alsace, on the Sauer River at the beginning of the Franco-Prussian War. It is referred to as the second battle of Wörth (the first occurred during the French Revolutionary wars in 1793). In the second battle depicted here, troops from Germany defeated the French, primarily due to a much larger army and superior artillery. More on The Battle of ReichshoffenJohn Lewis Brown (1829–1890) was a French battle, animal, and genre painter. He was born in Bordeaux of a Scottish family of Stuart partisans. He studied in the École des Beaux-Arts with Camille Roqueplan and Jean-Hillaire Belloc.[1] He is known for his pictures of hunting and military scenes, and his studies of horses and dogs. He painted a number of admirable pictures from the American Revolutionary War, the Seven Years’ War, and the Franco-Prussian War of 1870. His presentation is clever and humorous, his work characterized by refinement and charm. The Luxembourg possesses his “Before the Start,” the Gallery of Dublin, “The Mountebank.” He was also an excellent etcher and aquarellist. More on John Lewis Brown

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02 Paintings, Middle East Artists, Anna Boghiguian’s Alexandria , with Footnotes, #69

Anna Boghiguian, B. 1947, EGYPTIAN
ALEXANDRIA, JUNE – SEPT.
Oil on canvas
50 by 50cm.; 19 5/8 by 19 5/8 in.
Private Collection

Alexandria is a Mediterranean port city in Egypt. Founded in c. 331 BC by Alexander the Great, Alexandria grew rapidly and became a major centre of Hellenic civilisation, eventually replacing Memphis, in present-day Greater Cairo, as Egypt’s capital. During the Hellenistic period, it was home to the Lighthouse of Alexandria that ranked among the Seven Wonders of the Ancient World, as well as the storied Library of Alexandria. Today, the library is reincarnated in the disc-shaped, ultramodern Bibliotheca Alexandrina. Its 15th-century seafront Qaitbay Citadel is now a museum. Called the “Bride of the Mediterranean” by locals, Alexandria is a popular tourist destination and an important industrial centre due to its natural gas and oil pipelines from Suez. More on Alexandria…

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01 painting, The amorous game, Otto Aguiar’s Miami Beach, With Footnotes, #87

Otto Aguiar, Brazilian (1938 – 2006)
Miami Beach, c. 1993
Screenprint
40 x 30 inches
Private collection

The son of a highly respected Brazilian general, Otto de Souza Aguiar graduated with honors and was awarded a Master’s Degree in Graphic Art and Drawing from the University of Fine Arts in Rio de Janeiro, Brazil. After teaching drawing and design to aspiring architects, Otto began the extensive travels through Europe that were his induction into the world of High Fashion and Interior Design. As one of Brazil’s top models, his engagements took him to Milan, Paris, and London. There, with his assignments in Harper’s Bazaar Italia and others of the world’s most prestigious publications, Aguiar developed an inspired aesthetic perception, which manifests itself boldly in his dramatic blending of color, texture and gilding.

Otto has combined his vast fashion and theatrical background with his diversified experience in the Visual Arts. Thus, his work has been characterized by the portrayal of elegance and grace. His inner tranquility manifests in his paintings as he recaptures the lush topical beauty of the Brazilian beaches and gardens of his youth. Aguiar was greatly inspired by the romance of the Baroque and Colonial period of Brazilian.

Renowned for his masterful integration of trompe l’oeil and unique figurative style, Aguiar’s work has been an extraordinary enhancement to residential, public and corporate settings on several continents, for almost 30 years. More on Otto Aguiar

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01 Photograph, The Art Of The Nude, Manuel Álvarez Bravo’s Fruta prohibida/ Forbidden Fruit, with footnotes # 170

Manuel Álvarez Bravo (Mexican, 1902 – 2002)
Fruta prohibida [Forbidden Fruit] 1976, printed 1990s
Silver print
6 7/8×9 inches (17.5×22.9 cm.)
Private collection

Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston.

In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization. More on Manuel Álvarez Bravo

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

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.

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18 Works, March 23rd. is artist Giovanni Benedetto Castiglione’s day, his story, illustrated with footnotes #81

Giovanni Benedetto Castiglione (1609–1664)
God Creating the Animals
Oil on canvas
101 ¼ x 117 ¼ ( 258 x 298 cm.)
Private collection

Myths of creation occur in Mesopotamian and Canaanite literature and it is from these bodies of literature that the Old Testament book of Genesis derived some of its motifs surrounding the acts of creation. Genesis contains an account of eight works of creation that were actually spread over six days, the first four of which are known as the Works of Division and the second as the Works of Ornamentation. The subject of Castiglione’s painting, God’s Creation of the Animals, took place on the sixth day, when the creation of man also took place. The subject of the creation was extremely popular during the High Renaissance and was treated on a monumental scale by both Michelangelo in the Sistine Chapel and Raphael in the Vatican Logge. More on this painting

Giovanni Benedetto Castiglione (baptized 23 March 1609–5 May 1664) was an Italian Baroque painter, printmaker and draftsman, of the Genoese school. He is best known now for his etchings, and as the inventor of the printmaking technique of monotyping. He was known as Il Grechetto in Italy and in France as Le Benédette…

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06 Photographs, The Art Of The Nude, Manuel Alvarez Bravo’s La Desvendada/ The Unveiled, with footnotes # 168

Manuel Álvarez Bravo
Nude, circa 1985
Gelatin silver print
25.4 x 20.3 cm
Private collection

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06 Works, The Art Of The Nude, Steve Hanks’ Morning Rituals, with footnotes # 165

Steve Hanks, 1949-2015
Comfort in Solitude
Paper Lithograph
7 3/4 x 13 1/2
Private collection

Steve Hanks, 1949–2015, is recognized as one of the best watercolor artists today. The detail, color and realism of Steve Hanks’ paintings are unheard of in this difficult medium. Steve Hanks captures these patterns of life better than anyone.

Steve Hanks was born into a military family in San Diego in 1949. His father was a highly decorated WWII Navy flyer. Hanks grew up playing tennis and surfing along the beaches of Southern California…

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02 Orientalist Paintings, Adolf Schreyer’s The Chase, with footnotes, #120

Adolf Schreyer (German, 1828-1899)
The Chase
Oil on canvas
51½ x 32¼ in. (130.8 x 82 cm.)
Private collection

The Chase, depicts a group of Bedouin warriors in full gallop charging through the desert landscape. The rapidity and nervous quality of the brushstroke emphasizes the forward momentum of the riders; the vivid red cloak of the rider in the center identifying him as the leader…

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01 Painting, Middle East Artists, Adham Wanly’s The singer, with Footnotes, #68

Adham Wanly (Egyptian, 1908–1959)
The singer , c. 1952
Oil on board
45.5 x 59 cm. (17.9 x 23.2 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

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01 work, PORTRAIT OF A LADY, Edgardo Saporetti’s Italian Mother with two children, with Footnotes. #100

Edgardo Saporetti, 1865 – 1909
Italian Mother with two children
Oil on canvas.
74 x 62 cm.
Private collection

The young woman leans against a house wall with a view of the viewer, a small child on her breast, the older daughter looking at the child.

Edgardo Saporetti (Bagnacavallo, 1865 – Bellaria, 1909) was an Italian painter of eclectic subjects, including portraits, landscapes, and genre subjects.

He was the son of Pietro Saporetti, painter and docent of the Academy of Fine Arts of Ravenna, and initially studied there. At the age of 15 years, he traveled to Rome to work under Cesare Mariani, director of the Accademia di San Luca, then moved to Naples where he worked in the studio of Domenico Morelli. He was commissioned to complete portraits of the King Umberto I, his wife, and son Victor Emmanuel III.

His life and career is described as restless and stormy, and financial and other complications, forced him to exile himself to London. He was to return to Florence in 1903, where he obtained an appointment as adjunct professor of painting at the Academy of Fine Arts, Florence. Among his works there was a series of illustrations of the Divine Comedy for the publisher and photographer Vittorio Alinari. He also completed a Via Crucis in Florence. More on Edgardo Saporetti

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01 Painting, The Art Of The Nude, James Gleeson’s Salvage from Random’s Effigy, with footnotes # 165

James Gleeson, (1915 – 2008)
Salvage from Random’s Effigy, c. 1939 – 41
Oil on canvas on board
45.5 x 35.0 cm
Private collection

When James Gleeson first exhibited Salvage from Random’s Effigy, 1939 – 41 the Second World War had been raging for almost three years, eventually reaching Australian shores with the terrifying bombing of Darwin and the submarine attack on Sydney Harbour in February, then May of 1942. Gleeson and a number of his artist-associates had been concerned by the insidious rise of Fascism for many years, and utilised their individualistic styles in an attempt to illustrate or articulate the horror that they felt. Gleeson, a deeply read man who also wrote poetry, found a suitable strategy in Surrealism which, through its probing and analysis of the subconscious, explored ‘the realms of imagination and politics’.1 Nearly eighty years after their creation, his paintings remain some of the most enigmatic and haunting images to have been produced in Australia during this traumatic period. More on this painting

Known as the Father of Australian Surrealism, artist, poet, and critic James Gleeson examines human nature in Surrealist landscapes. His interest in classical figures and mythology inspired by artists like William Blake and El Greco, along with his unease about the fate of humanity as a result of the World Wars, resulted in a body of work featuring an apocalyptic fantasy world. In his alternative reality—as seen in works like Aspiring Echoes (1999)—punishment for historical brutalities are brought to bear in the near future in a mood of disturbing and seductive foreboding. His meticulously rendered and lusciously painted scenes of geological shapes and biomorphic forms merge into the macabre. The artist studied at East Sydney Technical College and the Sydney Teachers’ College. Gleeson’s work is in numerous collections including the Art Gallery of New South Wales, the National Gallery of Victoria, and the National Gallery of Australia. More on James Gleeson

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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.

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07 Paintings, Max Middleton, On the Beach with Hazel and Danielle, with footnotes # 163

Max Middleton (1922 – 2013)
Detail; Hazel On the Beach
Oil on canvas
57 x 41cm
Private collection

Max Middleton enjoyed a long and highly acclaimed career as a professional artist, exhibiting in 68 exhibitions over 66 years. He died in 2013. Max had a great interest in the Australian landscape. As an en plein air painter, he faithfully rendered what he saw. He had an extraordinary ability to capture light on canvas…

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1 Painting, Julian A. Scott’s A Friendly Game

Julian A. Scott (1846-1901)
A Friendly Game, c. 1894
signed and dated ‘Julian Scott/1894’ (lower right)
Oil on canvas
20 x 24 in. (50.8 x 60.9 cm.)
Private collection

The present painting likely depicts a friendly card game between a Confederate and Union soldier. Fraternizing with the enemy during downtime was not uncommon during the Civil War. More on this painting

Julian A. Scott (February 14, 1846 – July 4, 1901), was born in Johnson, Vermont, and served as a Union Army drummer during the American Civil War, where he received America’s highest military decoration the Medal of Honor for his actions at the Battle of Lee’s Mills. He was also an American painter and Civil War artist.

Scott received his early education at the Lamoille Academy, known today as Johnson State College where the main gallery is named in his memory. Scott continued his studies, graduating from the National Academy of Design in New York and subsequently studied under Emmanuel Leutze until 1868. During the Civil War, Scott enlisted in the 3rd Vermont Infantry on June 1, 1861, at the age of 15 as a fifer and, in February 1865, received the Medal of Honor for rescuing wounded soldiers while under enemy fire during the Battle at Lee’s Mills, Virginia. More on Julian A. Scott

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01 Painting, The Art Of The Nude, Harrington Mann’s Nude, with footnotes # 166

Harrington Mann, (British, 1864-1937)
Nude, c. 1933
Oil on canvas
50.8 x 63.5 cm. (20 x 25 in.)
Private collection

Harrington Mann (7 October 1864, Glasgow–28 February 1937, New York City) was a Scottish portrait artist and decorative painter. He was a member of the Glasgow Boys movement in the 1880s.Mann began his studies at the Glasgow School of Art. He then studied at the Slade School of Fine Art in London under professor Alphonse Legros. He then studied in Paris under the guidance of the figure painters Gustave Boulanger and Jules-Joseph Lefebvre at the Academie Julian for a short time.

Mann’s early paintings from the 1880s are mainly of fishing communities in Yorkshire. He began to develop a name for himself in portrait painting in the 1890s.

He had a strong sense of colour and design for decorating interior walls and for stained glass. In the 1890s he designed for the Scottish firm of J. and W. Guthrie. In 1893 he designed the stained glass for the west window of St Bartholomew’s Church, Barbon, in what is now Cumbria.

In 1900, he moved south to London, also opening a studio in New York, where his paintings became popular. In London, he found success in society portraits, especially of children and including members of the British royal family.

Mann was one of the founder members of the National Portrait Society in 1911. More on Harrington Mann

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

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.

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12 Works Dipicting the life and deeds of Lozen, an Chihenne-Chiricahua Apache warrior, shaman, and sage

Susan Kliewer
Lozen — Warrior Woman
Mark Sublette Medicine Man Gallery, Tucson/Santa Fe

Susan Kliewer, a native of California, has lived in Arizona for nearly 37 years, five of them at Marble Canyon Trading Post in a remote area of Northern Arizona near the Colorado River. Dreams of horses, deserts, canyons, rivers and sunsets have been her constant companions since she was a child.

A painter since the age of 10, she turned to sculpting in 1987 after working in an art casting foundry for 10 years. Susan won a competition to create a monument of Sedona Schnebly, in honor of one of the founders of Sedona, Arizona. Kliewer’s life-size fountain portraying the Sinagua people and a fountain of a Hopi Water Maiden are also to be found in Sedona.

Her depiction of the ways of Native Americans in everyday life, from the past as well as the present, has attracted major collectors from all over the world. More on Susan Kliewer

Lozen was a Chihenne-Chiricahua Apache warrior, shaman, and sage, or seer. She was born in the 1840s, in a section of New Mexico/Arizona/Northern Mexico known at that time as Apacheria, within sight of the Sacred Mountain near Ojo Caliente where the People began. Some reports place her birth in the late 1840s…

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01 Painting, PORTRAIT OF A LADY, William Henry Margetson’s Don’t Tell!, with Footnotes. #171

William Henry Margetson, RI, ROI (BRITISH, 1861-1940)
Don’t Tell! c. 1916
Oil on canvas
68.6 x 50.8cm (27 x 20in)
Private collection

William Henry Margetson RI (December 1861 – 2 January 1940) was an English painter and illustrator, mainly known for his aesthetic portraits of women.Margetson was born at Camberwell in Surrey. He studied at Dulwich College, and later at the Royal College of Art and the Royal Academy of Arts. In 1885 he first exhibited at the Royal Academy, and later also at the Royal Society of British Artists, the Royal Institute of Oil Painters and the Grosvenor Gallery.

Margetson painted in oils and watercolours. He made his name with portraits of beautiful women,. He also created religious and allegorical artwork. Later he would use a looser brushstyle inspired by the post-impressionists and the pre-raphaelites.

He lived and worked first in London and later in Blewbury and Wallingford. He died in Wallingford, Oxfordshire, in 1940, at the age of 78. More on William Henry Margetson

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

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.

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09 Paintings, Streets of Paris, by Claude Monet, Honoré Daumier, Paul Lucien Maze, Pierre-Auguste Renoir, MICHEL DELACROIX, Marc Chagall, Stanislas Lépine, Henri Lebasque and Paul Signac – Part 8 – With Footnotes

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

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15 Paintings, British Artists at the Dawn of the Twentieth Century, Edwardian period, with footnotes

Luke Fildes, (1843–1927)
Portrait of King Edward VII (1841-1910), c. 1902
Oil on canvas
National Portrait Gallery

The Edwardian era or Edwardian period of British history covers the brief reign of King Edward VII, 1901 to 1910, and is sometimes extended in both directions to capture long term trends from the 1890s to the First World War. The death of Queen Victoria in January 1901 marked the end of the Victorian era. The new king Edward VII was already the leader of a fashionable elite that set a style influenced by the art and fashions of Continental Europe. Samuel Hynes described the Edwardian Era as a “leisurely time when women wore picture hats and did not vote, when the rich were not ashamed to live conspicuously, and the sun really never set on the British flag’”.

Below the upper class, the era was marked by significant shifts in politics among sections of society that had been largely excluded from wielding power in the past, such as common labourers. Women became increasingly politicised…

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