Norman Alfred William Lindsay, Woman Enchanting Man 01 Painting, The amorous game, Part 52 – With Footnotes

Norman Alfred William Lindsay, 1879-1969
Woman Enchanting Man (circa 1932)

Watercolour on paper
38.5 x 32.5 cm
Private collection

Norman Alfred William Lindsay (22 February 1879 – 21 November 1969) was an Australian artist, etcher, sculptor, writer, editorial cartoonist, scale modeller, and an accomplished amateur boxer.

In 1895, Lindsay moved to Melbourne to work on a local magazine with his older brother Lionel. In 1901, he and Lionel, his older brother, joined the staff of the Sydney Bulletin, a weekly newspaper, magazine and review. His association there would last fifty years.

Lindsay travelled to Europe in 1909. In Naples he began 100 pen-and-ink illustrations for Petronius’ Satyricon. Visits to the then South Kensington Museum where he made sketches of model ships in the Museum’s collection stimulated a lifelong interest in ship models. The Lindsays returned to Australia in 1911.

Lindsay wrote the children’s classic The Magic Pudding which was published in 1918. Many of his novels have a frankness and vitality that matches his art. In 1938, Lindsay published Age of Consent.

Cartoons, by Lindsay, were used both for recruitment and to promote conscription during World War I.

Lindsay also worked as an editorial cartoonist, notable for often illustrating the racist and right-wing political leanings that dominated The Bulletin at that time.

Lindsay influenced numerous artists, notably the illustrators Roy Krenkel and Frank Frazetta; he was also good friends with Ernest Moffitt. More on Norman Alfred William Lindsay

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Jean Dufy, Aerial view of Paris 01 Painting, Streets of Paris, by the artists of their time, Part 65 – With Footnotes

Jean Dufy, (1888-1964)
Vue aérienne de Paris: le jardin des Tuileries et la Basilique du Sacré Cœur de Montmartre/ Aerial view of Paris: the Tuileries Garden and the Basilica of the Sacred Heart of Montmartre

Gouache on paper
60.3 x 46.5 cm., 23 3/4 x 18 5/16 in.
Private collection

Jean Dufy (b Le Havre, France, 1888; d La Boissière, 1964) French Painter. Following his service in the military, from 1910-1912, Jean Dufy relocated to Paris. Inspired by the work of Braque and Picasso, Dufy created watercolors that expressed a heightened understanding of color and light. In the mid-1920s, Jean Dufy became captivated by the music of the time, such as Darius Millaud and Francis Poulenc, and incorporated this interest into his artwork. While depicting orchestral and musical subjects, Dufy later became enchanted by the coast of Northern France and began to create majestic and effecting landscapes. Throughout the 1950s Dufy explored Western Europe and North America, but inevitably returned to his watercolors and oils of Paris. Just two months after the death of his wife, Ismérie, Jean Dufy died in 1964 in La Boissiere. More Jean Dufy

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Claudio Missagia, Umbrellas 01 Work of Art, Marine Paintings – With Footnotes, #205

Claudio Missagia, France
Umbrellas

Acrylic and Plaster on Canvas.Painting
39.4 H x 70.9 W x 1 in
Private collection

Claudio Missagia was born in 1959 Italy. Claudio works with acrylique and plaster on canvas to produce large-scale paintings defined by a dream atmosphere. Exploring representations of chandeliers, lamps, cups and landscape scenes, Claudio plays with composition, utilising a moody colour palette to create a dream dimension to his work. He abandoned his career in business administration to realise his passion for art and to become a professional artist. Through his paintings, he wants to express his sensitivity towards the real and the profound poetry that can be witnessed in the everyday. Although he often abstracts the subjects that he depicts, what he wants to present to his viewer is his undiluted vision of reality. Claudio works with canvases made from cotton or burlap and then uses chalk and cement as the foundation for his compositions, which he usually executes in acrylic, pastels or pencil. His work has evolved over the years, from still lifes and interiors. Claudio’s more recent work explores urban landscapes and the butterfly, a symbol of his introspective self. His paintings have been shown worldwide, hosting solo shows in Siena, St Tropez, Mougins, Venice, Madrid and Germany. More on Claudio Missagia

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Vilhelm Karl Ferdinand Arnesen: Leaving Copenhagen 01 Classic Work of Art, Marine Paintings – With Footnotes, #203

Vilhelm Karl Ferdinand Arnesen (Danish, 1865–1948)
Detail, Prince Carl and Princess Maud of Denmark leaving Copenhagen for Oslo on the Royal Yacht as King Haakon VII and Queen Maud of Norway , 1905

Oil on canvas
48 x 70 cm. (18.9 x 27.6 in.)
Private collection
Vilhelm Karl Ferdinand Arnesen (Danish, 1865–1948)
Detail, Prince Carl and Princess Maud of Denmark leaving Copenhagen for Oslo on the Royal Yacht as King Haakon VII and Queen Maud of Norway , 1905

Oil on canvas
48 x 70 cm. (18.9 x 27.6 in.)
Private collection

Wilhem Karl Ferdinand Arnesen (Danish, 1865-1948). Arnesen’s father was a skipper and a builder of model ships developing Arnesen’s interest for maritime at a very young age. Later when Arnesen was educated at the Academy of Arts he was given the highly esteemed honour to accompany the Danish Royal family on their many travels abroad. Arnesen was known for his detailed and powerful seascapes with large sail ships and often portrayed famous historical events. Arnesen traveled and worked all around the world and his paintings were in high demand. Arnesen is known to be the last of the great old national marine artists. The paintings of Arnesen have been exhibited at the world fair in Chicago , Museum of Arts in Lübeck , Germany and frequently at Charlottenborg. 


Twice he won one of the Neuhausens Prizes ( 1893 for A major sailing ship is behind the pilot , 1899 for the school ship Georg Stage ). He received the Aarsmedaillen in 1907 (for the bright nights ) and became Knight of the Dannebrog in 1931. More on Wilhem Karl Ferdinand Arnesen

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Maximilien Luce, NU ASSIS/ SITTING NUDE 01 Work, The Art Of The Nude, with footnotes # 43

Maximilien Luce, 1858 – 1941
NU ASSIS/ SITTING NUDE, c. 1910

Oil on paper
38,6 x 30,2 cm; 15 1/4 x 11 7/8 in.
Private collection

Maximilien Luce (13 March 1858 – 6 February 1941) was a prolific French Neo-impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and finally returning to Impressionism. 

In 1872, the fourteen-year-old Luce became an apprentice for a wood-engraver. During his three-year xylography apprenticeship, he also took night classes in drawing. During this period, Luce started painting in oils. His art education continued as he attended drawing classes at the Gobelins tapestry factory.

Luce began work producing woodcut prints for various publications. He took additional art courses, at l’Académie Suisse, and also in the studio of portrait painter Carolus-Duran (1837–1917).

Maximilien Luce, 1858 – 1941
NU ASSIS/ SITTING NUDE, c. 1910

Oil on paper
38,6 x 30,2 cm; 15 1/4 x 11 7/8 in.
Private collection

Luce spent four years in the military, starting in 1879, serving in Brittany at Guingamp. The next year, he received a promotion to corporal, and he became friends with Alexandre Millerand, who, in 1920, assumed the office of President of France. 

Gausson and Cavallo-Péduzzi introduced Luce in about 1884 to the Divisionist technique developed by Georges Seurat. This influenced Luce to begin painting in the Pointillist style. In contrast to Seurat’s detached manner, Luce’s paintings were passionate portrayals of contemporary subjects, depicting the “violent effects of light”. 

Luce exhibited in every show at Les Indépendants from 1887 until he died in 1941.

Luce depicted a diverse range of subjects in his works over a long career. He most frequently created landscapes, but his other works include portraits, still lifes, domestic scenes, such as bathers, and images of welders, rolling mill operators, and other laborers. More on Maximilien Luce

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Francesco da Ponte, Banishment from paradise 01 Work, RELIGIOUS ART – Interpretation of the bible, With Footnotes – 177

Francesco da Ponte, called Francesco Bassano, (1549 – 1592 Bassano)
Spring (banishment from paradise), after 1576

Oil on canvas
83 x 115 cm
Kunsthistorisches Museum Wien, Gemäldegalerie

The banishment from paradise, or the fall of man, or the fall, is a term used in Christianity to describe the transition of the first man and woman from a state of innocent obedience to God to a state of guilty disobedience. Although not named in the Bible, the doctrine of the fall comes from a biblical interpretation of Genesis chapter 3. At first, Adam and Eve lived with God in the Garden of Eden, but the serpent tempted them into eating the fruit from the tree of knowledge of good and evil, which God had forbidden. After doing so, they became ashamed of their nakedness and God expelled them from the Garden to prevent them from eating from the tree of life and becoming immortal. More on banishment from paradise

Jacopo da Ponte, called Bassano (1510-1592) was born in Bassano del Grappa. His father, Francesco da Ponte, was also a painter and influenced the style of the young Bassano. Bassano lived and worked, at least temporarily, in Venice. Here he studied the works of his fellow painters Bonifazio, Titian, Tintoretto and Veronese. He painted a large number of Christian themes, but also animals and genre motifs emerged in large numbers. His works were characterized especially by his lucid colors. He ran a workshop where four of his sons, trained by himself, participated. Bassano was one of the most influential Venetian painters of the 16th century. More on Jacopo da Ponte

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William-Adolphe Bouguereau, The Madonna of the Roses 01 Works, RELIGIOUS ART – Paintings from the Bible by the Old Masters, 5k

William-Adolphe Bouguereau, 1825 – 1905
La Madone aux Roses, The Madonna of the Roses, c. 1903

Oil on canvas
130 x 90.5 cm, (51″ x 35½”)
The Gould Mansion Tarrytown (New York, New York, United States)

In her apparition at Guadeloupe, the Madonna made use of roses as a sign of her presence and even arranged them with her own hands in the tilma of Juan Diego. At La Salette she wore a profusion of roses in three garlands and had tiny roses around the rim of her slippers. She brought beautiful roses with her at Lourdes, Pontmain, Pellevoisin, Beauraing, and Banneaux. To Sister Josefa Menendez she showed her heart encircled with little white roses. More on the Madonna of the Rose.

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau

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