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
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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
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Manuel Álvarez Bravo Nude, circa 1985 Gelatin silver print 25.4 x 20.3 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…
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…
Kasia Derwinska, Spain Prayer Digital, Black & White, Manipulated, New Media, Paint on Paper 15.7 W x 15.7 H x 0 in Private collection
I talk to God but the sky is empty. Sylvia Plath
Sylvia Plath October 27, 1932 – February 11, 1963) was an American poet, novelist, and short-story writer. Plath was clinically depressed for most of her adult life, and was treated multiple times with electroconvulsive therapy. She died by suicide in 1963. More on Sylvia Plath
Kasia Derwinska “Photography is my way of communicating with the world. In my work, I talk about own experiences, thoughts, doubts, fears and hopes trying to reflect my own life’s path. In addition to my experiences, my creations are inspired by night dreams as since childhood I remember most of them and I believe that dreams are the most simbolic language of our subconscious, a guide to navigate in the modern world. I am autodidactic and I don´t recognize myself as a photographer. I use photography as a tool, like a brush for painting or an instrument to play music. My work is an attempt to connect substantiality of the world that surrounds us with elusiveness of feelings and thoughts. For that reason I describe my creations as building a bridge between the visible and the invisible. My works are divided in four basic series: fairytales and fantasies, conceptual black and white, night dreams, and the color serie called “who sings, frightens away his fears” More on Kasia Derwinska
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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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Lidia Wylangowska, United States Bohemian Angel Original Oil Painting 108 W x 80 H x 1.5 in Private collection
An angel is generally a supernatural being found in various religions and mythologies. In Abrahamic religions and Zoroastrianism, angels are often depicted as benevolent celestial beings who act as intermediaries between God or Heaven and Humanity. Other roles of angels include protecting and guiding human beings, and carrying out God’s tasks. More on Angels
Lidia Wylangowska: “My art tells my story. It’s a story of my world, of my thoughts and emotions entwined in an internal dialogue. And some of it can be expressed only through painting. It is incredible, how fairy-tales I heard once-upon-a-time, in my childhood actually influenced my life and defined who I am.
The technique I use in my works is changing and evolving as I do. There is a lot my very own inventions in it but the very base comes from Renaissance Masters. Masaccio, Leonardo da Vinci , Raphael are commonly considered to have pioneered the use of chiaroscuro to create the illusion of relief – notably in the modelling of the human body. Chiaroscuro modeling is supporting the effect of color. In order to use the under painting efficiently, I put the color transparently. The transparent layer of paint spread over the top of an opaque passage that has been given some time to dry. Light travels through the glaze and is reflected back off of the opaque layer below. The light in the painting constructed this way lit the color from the bottom. More on Lidia Wylangowska
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Henri Fantin-Latour, (French, 1836-1904) Stabat Mater, c. 1896 Oil on canvas 18 ¾ x 26 ½ in. (47.6 x 67.3 cm.) Private collection
The Stabat Mater is a 13th-century Christian hymn to Mary, which portrays her suffering as Jesus Christ’s mother during his crucifixion. Its author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III. The title comes from its first line, “Stabat Mater dolorosa”, which means “the sorrowful mother was standing”.
The hymn is sung at the liturgy on the memorial of Our Lady of Sorrows. The Stabat Mater has been set to music by many Western composers. More on Stabat Mater
Henri Fantin-Latour (14 January 1836 – 25 August 1904) was a French painter and lithographer best known for his flower paintings and group portraits of Parisian artists and writers. He was born Ignace Henri Jean Théodore Fantin-Latour in Grenoble, Isère. As a youth, he received drawing lessons from his father, who was an artist. In 1850 he entered the Ecole de Dessin. After studying at the École des Beaux-Arts in Paris from 1854, he devoted much time to copying the works of the old masters in the Musée du Louvre. Although Fantin-Latour befriended several of the young artists who would later be associated with Impressionism, including Whistler and Manet, Fantin’s own work remained conservative in style.
Whistler brought attention to Fantin in England, where his still-lifes sold so well that they were “practically unknown in France during his lifetime”. In addition to his realistic paintings, Fantin-Latour created imaginative lithographs inspired by the music of some of the great classical composers.
In 1875, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife’s family at Buré, Orne in Lower Normandy, where he died on 25 August 1904. More on Henri Fantin-Latour
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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…
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
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Joel-Peter Witkin, (American, 1939-) Ars Moriendi, c. 2007 Tirage argentique 66 x 71 cm Private collection
Joel-Peter Witkin is known for his grotesquely beautiful photographs that explore themes of death, religion, and the experience of being socially outcast. Witkin stages surrealistic scenes with cadavers, skeletons, and dismembered body parts so they recall Classical paintings and religious imagery. More on this work
The Ars moriendi (“The Art of Dying”) are two related Latin texts dating from about 1415 and 1450 which offer advice on the protocols and procedures of a good death, explaining how to “die well” according to Christian precepts of the late Middle Ages. It was very popular, and was the first in a western literary tradition of guides to death and dying.
There was originally a “long version” and a later “short version” containing eleven woodcut pictures as instructive images which could be easily explained and memorized. More on Ars moriendi
Joel-Peter Witkin (born September 13, 1939) is an American photographer. His work often deals with such themes as death, corpses, and various outsiders such as dwarves, transsexuals, intersex persons, and physically deformed people. Witkin’s complex tableaux often recall religious episodes or classical paintings.
Witkin’s parents divorced when he was young. In 1961 Witkin enlisted in the United States Army with the intention of capturing war photography during the Vietnam war. However, Witkin never saw combat in Vietnam and spent his military time at Fort Hood, Texas, and was mostly in charge of Public Information and classified photos. In 1967, he became the official photographer for City Walls Inc. He attended Cooper Union in New York, where he studied sculpture, attaining a Bachelor of Arts degree in 1974. Columbia University granted him a scholarship for graduate school, but his Master of Fine Arts degree is from the University of New Mexico in Albuquerque More Joel-Peter Witkin
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Anwen Keeling (born 1971) Swathe, c. 2014 Oil on linen 102 x 152cm Private collection
Anwen Keeling (born 1971) The Radiance 2007 Oil on canvas 91 x 137cm Private collection
Anwen Keeling (born in 1976) is an Australian portrait painter. Working primarily with oil paints, her artworks have often focused on introspective women in private settings. She has „always been influenced by Caravaggio.“ Her artworks prominently contain areas of deep shadows.
Keeling was born in Sydney and received a Bachelor of Arts (Visual) with Honours (First Class) and University Medal, from the Canberra School of Art at the Australian National University. She received a Master of Arts (European Fine Art) from the Winchester School of Art at Southampton University in Barcelona, Spain. More on Anwen Keeling
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Unknown iconographer St. Leo, Bishop of Catania, Sicily Private collection
Icon with water-gilding on plywood. The wood has been prepared in heat and gilded with gold leaf 24K, in accordance with traditional Byzantine techniques. The icon has been painted with egg-tempera paints for best performance and endurance of colors used. The colors were chosen based on studies and analyses of older icons by renowned iconographers, after ARTIS had first conducted conservation treatments on them. More on this work
Saint Leo of Catania, nicknamed the Thaumaturgus, also known as St Leo the Wonderworker in Sicily (May 703 or 709–20 February 789) lived at the time of the first persecutions of the holy icons. He was born in Ravenna to a noble family, and became bishop of his native city. Soon his reputation spread, and he was elected Bishop of Catania in Sicily. As is so often true even today, the city, though nominally Christian, was plagued by superstition and paganism. The holy bishop set about to turn the people away from error: by his prayers he caused a pagan temple to collapse and built a church on its site, dedicated to the Forty Maryrs of Sebaste…
Cui Xiaodong (Chinese, born 1964) 裸女 油画/ Nude girl Oil on canvas 160 x 85 cm. (63 x 33.5 in.) Private collection
Cui Xiaodong was born in Qiqihar, Heilongjiang Province though his ancestral home was Yangzhou, Jiangsu Province. Cui Xiaodong graduated from the Department of Traditional Chinese Painting, CAFA in 1988 with a Master’s degree. Currently he is a professor of CAFA, Director of Yanhuang Art Museum.
With a profound traditional foundation in painting, Cui Xiaodong’s landscape painting is the combination of the tradition of Chinese painting and modern people’s aesthetic consciousness and the spirit of the age, he creates a dignified and vigorous, natural and fresh style of landscape painting, he is a representative of contemporary Chinese painting and has an important status in this field. His works are collected by the National Museum of China, CAFA, National Art Museum of China, The Great Hall of the People, Zhongnanhai Central Government Compound as well as in individual collections at home and abroad. He has published more than 30 books and individual workscatalogues. More on Cui Xiaodong
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Cui Xiaodong (Chinese, born 1964) Floating , c. 2010 Oil on canvas 130 x 130 cm. (51.2 x 51.2 in.) Private collection
Cui Xiaodong’s works are very pure oil paintings. The characteristics of oil paintings are fully exerted, and the interest of the shape and the expression of colors are combined very well. This kind of oil painting with traditional skills, the techniques are mastered so skillfully. Cui Xiaodong’s colors are thick, and his brushwork is delicate and vigorous. He has both the strictness of the northern style and the combination of the southern agile brushwork. The colors are very powerful. Chen Danqing…
Dina Larot, Austrian, born 1943 Virgin, c. 1993 Oil on canvas 43,3 x 27,6 Private collection
Dina Larot is a 20th-century Austrian painter. Known for both her landscapes and erotic female nudes, Larot’s stylized aesthetic is marked by the influence of earlier Austrian masters, the painters Gustav Klimt and Oskar Kokoschka. Her figures in particular recall the elongated forms and intimate sensuality of the Vienna Succession artists. Born in 1943 in Vienna, Austria, Larot studied under noted artist Rudolf Szyszkowitz at the School of Applied Art in Graz, as well as with Oskar Kokoschka himself in Salzburg. Larot lives and works in Vienna. More on Dina Larot
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Jean Jansem, (1920-2013) Loth et ses filles/ Lot and his two daughters, c. 1999 Oil on canvas 51 3/16 x 63 3/4 in Private collection
Lot and his two daughters, Genesis 19:30-38, left Zoar and settled in the mountains, for he was afraid to stay in Zoar. He and his two daughters lived in a cave. 31 One day the older daughter said to the younger, “Our father is old, and there is no man around here to give us children—as is the custom all over the earth. 32 Let’s get our father to drink wine and then sleep with him and preserve our family line through our father.”
That night they got their father to drink wine, and the older daughter went in and slept with him. He was not aware of it when she lay down or when she got up.
The next day the older daughter said to the younger, “Last night I slept with my father. Let’s get him to drink wine again tonight, and you go in and sleep with him so we can preserve our family line through our father.” So they got their father to drink wine that night also, and the younger daughter went in and slept with him. Again he was not aware of it when she lay down or when she got up.
So both of Lot’s daughters became pregnant by their father. The older daughter had a son, and she named him Moab; he is the father of the Moabites of today. The younger daughter also had a son, and she named him Ben-Ammi; he is the father of the Ammonites of today. More Lot and his two daughters
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.
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Giacinto Brandi, (1621–1691) Christ in the Garden of Gethsemane, circa 1650 Oil on canvas Height: 99 cm (38.9 ″); Width: 75 cm (29.5 ″) Pinacoteca Vaticana
Gethsemane is an urban garden at the foot of the Mount of Olives in Jerusalem. In Christianity, it is the place where Jesus underwent the agony in the garden and was arrested the night before his crucifixion.
Christ in the Garden of Gethsemane refers to the events in the life of Jesus as recorded in the New Testament, between the Farewell Discourse at the conclusion of the Last Supper and Jesus’ arrest. More on this painting
According to all four Gospels, immediately after the Last Supper, Jesus took a walk to pray. The gospels of Matthew and Mark identify this place of prayer as Gethsemane. Jesus was accompanied by three Apostles: Peter, John and James, whom he asked to stay awake and pray. He moved “a stone’s throw away” from them, where He felt overwhelming sadness and anguish, and said “My Father, if it is possible, let this cup pass me by. Nevertheless, let it be as you, not I, would have it.” Then, a little while later, He said, “If this cup cannot pass by, but I must drink it, your will be done!”. He said this prayer three times, checking on the three apostles between each prayer and finding them asleep. He commented: “The spirit is willing, but the flesh is weak”. An angel came from heaven to strengthen him. During his agony as he prayed, “his sweat was as it were great drops of blood falling down upon the ground”.
At the conclusion of the narrative, Jesus accepts that the hour has come for him to be betrayed. More on Christ in the Garden
Giacinto Brandi (1621 – 19 January 1691) was an Italian painter of the Baroque era, active mainly in Rome and Naples. Born in Poli, in Lazio, he was trained in Rome in the studio of Alessandro Algardi, a noted sculptor, who noted that Brandi was more suited to painting. He joined the studio of Giovanni Giacomo Sementi. He traveled to Naples from 1638, and by 1647 had returned to Rome to work under Giovanni Lanfranco, where Brandi befriended Mattia Preti. The two latter artists would often collaborate.
His works are well distributed among baroque Churches of Rome. In 1647, he joined the Congregazione dei Virtuosi al Pantheon in Rome and from 1651 was inducted into the Accademia di San Luca for painters. In 1663, he frescoed the life of Saint Erasmus for the crypt of the cathedral of Gaeta. Some of his works are in Milan, Toledo, and Zaragoza. More on Giacinto Brandi
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Boris Kustodiev, (1878-1927) Model, c. 1919 Oil on canvas 20 ¼ x 15 7/8 in. (51.3 x 40.4 cm.) Private collection
Boris Mikhailovich Kustodiev was born in Astrakhan on March 7, 1878 into the family of a professor of philosophy, history of literature, and logic at the local theological seminary.
Between 1893 and 1896, Boris took private art lessons in Astrakhan. Subsequently, from 1896 to 1903, he attended Ilya Repin’s studio at the Academy of Arts in St. Peterburg. Concurrently he took classes in sculpture under Dmitry Stelletsky and in etching under Vasily Mathé.
In 1904, he traveled to Spain, in 1907 to Italy, and in 1909 visited Austria, France, and Germany, and again Italy. During these years he painted many portraits and genre pieces.
In 1909, Kustodiev developed the initial symptoms of the grave illness that in 1916 paralyzed the lower part of his body, thus confining him to his studio where he continued to paint, relying on memories from his boyhood and youth and on his imagination.
In 1923, Kustodiev joined the Association of Artists of Revolutionary Russia. He continued to paint, make engravings, illustrate books and design for the theater up until his death on May 28, 1927, in Leningrad. More on Boris Kustodiev
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Zaidan Gallery 