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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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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