01 work, PORTRAIT OF A LADY, John Melville Kelly’s Mokihana, with Footnotes. #112

John Melville Kelly, (American, Hawaii, 1879 – 1962)
Mokihana,” (Young Hawaiian Woman holding a Flower)
Etching on paper
8 x 9.75 inches
Private collection

John Melville Kelly (1879–1962) was an American painter and printmaker. He was born in Oakland, California in 1879. He studied art at the Mark Hopkins Institute of Art (now the San Francisco Art Institute), the Partington Art School (San Francisco) and with Eric Spencer Macky (1880–1958).

Kelly worked for fourteen years as an illustrator for the San Francisco Examiner before he and his wife, the sculptor Kate Kelly, went to Hawaii in 1923. Their plan was to stay a year, working for an advertising agency creating material to promote tourism. They fell in love with the islands and the people and stayed permanently. Kate took a class in printmaking at the University of Hawaii with Huc-Mazelet Luquiens (1881–1961), and then taught John the techniques.

The Kellys immediately identified with the native Hawaiians and became their champions in images and in print. John produced etchings and aquatints, primarily of human figures. He authored and illustrated “Etchings and Drawings of Hawaiians” in 1943, and “The Hula as Seen in Hawaii” in 1955. John Melville Kelly died in Honolulu in 1962. More on John Melville Kelly

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03 works , PORTRAIT OF A LADY, Lewis Morley’s Christine Keeler, with Footnotes. #102

Lewis Morley, 1925 – 2013
Christine Keeler, 1963
Silver print
53 by 45.5cm.; 20⅞by 17 7/8in.
Private collection

At the height of the Profumo affair in 1963, Keeler sat for a photographic portrait (Above) taken by Lewis Morley. The photo shoot, at a studio on the first floor of Peter Cook’s Establishment Club, with Morley was to promote a proposed film, The Keeler Affair, that was never released in the United Kingdom. Keeler was reluctant to pose in the nude, but the film producers insisted. Morley persuaded Keeler to sit astride a plywood chair, so that whilst technically she would be nude, the back of the chair would obscure most of her body. Keeler told cartoon historian Tim Benson in 2007 that she was not nude and was, in fact, wearing “knickers” during the entire photoshoot…

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01 work, PORTRAIT OF A LADY, by Krestniy Dmitriy, with Footnotes. #101

Krestniy Dmitriy, Ukraine
Secret promise
Oil on Canvas
39.4 W x 47.2 H x 0.8 in
Private collection

A look through Dmitriy Krestniy’s designs reveals a glamorous, feminine, provocative yet sensual style. He understands and respects the art’s body which continuously is at the center of his paintings. His preference goes by drawing with pastels, oil and charcoal to create innovative paintings among which are such style as photorealism where the artist writes such paintings as the pictorial art, seascapes, portraits and others.
Over the years, the list of the paintings and its styles are greatly grow, and has been complemented with collections of seascapes and women’s portraits.  More on Dmitriy Krestniy

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Jean-Baptiste-Camille Corot; Gitane à la mandoline/ Gypsy with mandolin; 01 work, PORTRAIT OF A LADY, with Footnotes. #99

Jean-Baptiste-Camille Corot
Gitane à la mandoline/ Gypsy with mandolin, c. 1874
Oil on canvas
Height: 80 cm; Width: 57 cm
Musée d’Art de Sao Paulo

Jean-Baptiste-Camille Corot (July 16, 1796 – February 22, 1875) was the son of a cloth merchant and a milliner. After an education at the Collège de Rouen and two abortive apprenticeships with drapers, he was given the financial freedom at the age of 26 to devote himself to painting.

 In 1825 to 1828 Corot made the trip to Italy considered so essential to the formation of a landscape artist, spending time in Rome and the Campagna, before travelling to Naples. In 1827 he sent his first paintings to the Paris Salon.

Corot returned to Italy in 1834 and 1843. He also travelled extensively in France, to Normandy, Provence, the Morvan region in Burgundy, to which he returned for many years, and to north-east France in 1871 during the Commune. In 1854 he travelled in Holland and Belgium; he regularly visited Switzerland, and in 1862 he was in London.

During these trips Corot painted in the open air and filled numerous notebooks with drawings. His early oil sketches, such as those painted in Italy, were clearly defined and fresh, using bright colours in fluid strokes. During the winter months he worked in the studio on ambitious mythological and religious landscapes destined for the salon. 

His reputation was established by the 1850s, which was also the period when his style became softer and his colours more restricted. In his late studio landscapes, which were often peopled with bathers, bacchantes and allegorical figures, he employed a small range of colours, often using soft coloured greys and blue-greens, with spots of colour confined to the clothing of the figures.

At the Exposition Universelle of 1855 Corot showed six paintings and won a gold medal. His influence on later 19th-century landscape painting, including the Impressionists, was immense. More on Jean-Baptiste-Camille Corot

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Zofia Atteslander, Portrait of a lady, 01 work, PORTRAIT OF A LADY, with Footnotes. #98

Zofia Atteslander, (1874 – 1924)
Portrait of a lady, c. 1904
Oil on cardboard
61 x 50.5 cm
Private collection

Zofia Atteslander (12 March 1874 in Luborzyca – c. 1928 in Berlin) was a Polish painter, active from 1889–1928 in inter alia Berlin, Paris and Wiesbaden. Primarily she began studying privately with Jacek Malczewski in Kraków, later with Franz von Lenbach, Heinrich Knirr (1862–1944), with Stanisław Grocholski in Munich, and since 1902 with Adolf Hölzel in Dachau. She specialised in portrait painting and still life.
During her stay in Wiesbaden in 1904 she painted portraits for the Romanian Royal Family. During her stay in Paris in 1908 she received an honour at the Saloon of French Artists. In 1904, she took part in Warsaw’s Society of the Incentive for Fine Arts, as well as in 1903, in Kraków’s Society of the Friends of Fine Arts. Apart from oil painting she also practised pastel drawing. She has often marked her paintings with “Zo”. More on Zofia Atteslander

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

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 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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Othman Khuzaim, Untitled 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)
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)
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

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

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/ 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)
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, (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

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, and 365 Saints, also visit my Boards on Pinterest

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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., 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

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, and 365 Saints, also visit my Boards on Pinterest

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

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

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, and 365 Saints, also visit my Boards on Pinterest

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

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

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, and visit my Boards on Pinterest

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

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

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, and visit my Boards on Pinterest

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

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…

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