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 Paintings, The amorous game, Thomas Saliot’s Lips and tongues, Part 46 – With Footnotes

Thomas Saliot, France
Lips and tongues
Oil on Canvas
37.4 H x 57.1 W x 0.4 in
Private collection

Thomas Saliot: “I live in Morocco, France and Spain where i paint simple iconic images from the net or my life, like big oil sketches. I have been painting professionally for over thirty years. Sort of a child of Hopper, figurative and Pop art, i love colors, provocation and big canvas.

Thomas Saliot was born in Paris, France, in 1968. He studied Graphic Design at the Met de Penninghen (Esag) for 3 years and opened his own gallery in le Marais in the historic district of Paris from 1990 to 2000. For the past 20 years he has been living the life, painting and travelling between Marrakech, Morocco and his home city of Paris, France.  More on Thomas Saliot

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01 painting, The amorous game, John Lewis Brown’s The charms of the grisette and the soldiers of the regiment, With Footnotes, #86

John Lewis Brown (1829–1890)
The charms of the grisette and the soldiers of the regiment, c. 1876
Oil on panel
59 x 49 CM
Private collection

The word grisette has referred to a French working-class woman from the late 17th century and remained in common use through the Belle Époque era, albeit with some modifications to its meaning. It derives from gris (French for grey), and refers to the cheap grey fabric of the dresses these women originally wore. By the 1835 she was described as:

a young working woman who is coquettish and flirtatious.

In practice, “young working woman” referred primarily to those employed in the garment and millinery trades as seamstresses or shop assistants, the few occupations open to them in 19th century urban France, apart from domestic service. The sexual connotations which had long accompanied the word are made explicit in Webster’s Third New International Dictionary (1976) which lists one of its meanings as a young woman who combines part-time prostitution with another occupation. More on a grisette
John 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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01 painting, The amorous game, Gurcharan Singh’s Saturday Night, With Footnotes, #85

Gurcharan Singh
Saturday Night, c. 2021
Acrylic and oil on canvas
60 x 48 in (152.3 x 122 cm)
Private collection

Gurcharan Singh is an Indian painter, known for his figurative paintings.[1] He was born in 1949 at Patiala, in the Indian state of Punjab and studied at Government College of Arts and Crafts, Chandigarh.[2] He has had several and group exhibitions in India and abroad and his works were exhibited at the International Biennale in Tokyo in 1984, at the Contemporary Art Show in Seoul in 1986 and the Festival of Contemporary Art in London in 1988.[2] The Lalit Kala Akademi, New Delhi, National Gallery of Modern Art, New Delhi and India House, Paris have his on display at their premises.[3] His signature paintings are based on the people from financially compromised classes; The Red Light in Black and White and Les Miserables are two of his notable works. More on Gurcharan Singh

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01 photograph, The amorous game, Sergii Mykhalkiv’s Boudery Fun # 11, With Footnotes, #82

Sergii Mykhalkiv
Boudery Fun # 11
Photography, Color on Paper
Size: 27.2 W x 18.1 H x 0 D in
Private collection

Sergiy Mykhalkiv was born in 1975 in Lviv. He was teaching the art of photography in several photo schools. In 2017 he opened his own photo studio “RedLight”. Mykhalkiv was a two-time winner of the annual contest of the “Playboy” magazine, and winner of National Union of Photo Artists of Ukraine Contest “Photo Portrait” in 2009, and winner in “Cannon” online competition in 2012.

Since 1998 Sergiy Mykhalkiv takes photos of his muses – beautiful naked women, inspired by the relaxed charm and natural beauty of the female body, which so admired by artists of different eras. He says that the genre of his work is not erotic. Mykhalkiv likes the definition intimate portrait. By taking off clothing – a woman removes her heavy social status and becomes such as it was created by nature. And at this moment, using his own boudoir situation created in the studio, Mykhalkiv creates his photo compositions – the stories from the boudoir. More on Sergii Mykhalkiv

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01 painting, The amorous game, K S Karnataka’s Embrace, With Footnotes, #84

K S KULKARNI
Embrace, Circa 1960s
Oil on canvas board
29.25 x 21.25 in (74 x 54 cm)
Private collection

K S Kulkarni, (1918 – 1994) was born in Karnataka, Kulkarni studied at the Sir J.J. School of Art, Bombay. He had his first one-man show in 1945, organized by the All India Fine Arts and Crafts Society. In 1948 he founded the Triveni Kala Sangam where he served as Director of the Art Department until 1968. In 1955, he was awarded the first of his three national awards and in 1958 he traveled through Mexico, Guatemala, Peru and Brazil and came into contact with the Mayan and Inca civilizations which were to become an important influence in his work. In 1962, Kulkarni was elected to the General Council of the Lalit Kala Academy. The artist passed away in 1994. More on K S Kulkarni

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01 photograph, The amorous game, Helmut Newton’s Rich Girl, With Footnotes, #81

Helmut Newton, Australian/German, 1920–2004
Rich Girl, From Private Property Suite II, c. 1982
Gelatin silver print
10.8 x 10.8 in. (27.43 x 27.43 cm.)
Private collection

Frequently depicting nude subjects in high heels, Newton instead hones in on the shoes themselves in the present work from Private Property Suite II. Beginning an exploration of what high heels represent in society, he investigates the way class presents itself through footwear. Newton later went on to photograph x-rays of feet in high heels and even donning a pair in his famed self-portrait. More on this photograph
Helmut Newton was born on October 31, 1920, in Berlin, Germany. He attended the American School in Berlin. From an early age, Newton developed a keen obsession with photography, purchasing his very first camera aged 12. Four years later, Newton was to turn his back on mainstream education, taking an apprenticeship with renowned German photographer, Elsle Simon, known as Yva. Her surreal, multiple exposure photographs that took in fashion, theater and the nude were to inspire Newton throughout his career.

On November 9, 1938, Newton, secured passage to China, where he stopped in Singapore until 1940 before leaving to Australia and finding work as a truck driver in the Australian Army.

In 1948, he married actress June Browne, herself a photographer under the name of Alice Springs, a name she chose from a map of Australia. High-profile contracts with Australian Vogue in the 1950’s; British Vogue in 1957-1958; French Vogue in 1961 provided Newton with the exposure that would allow him to stamp his style on fashion photography over the next 40 years.

Known as the ‘King of Kink’, Newton’s erotically charged imagery was provocative as it was masterful in its compositional and narrative direction. Creating highly charged images layered with voyeuristic, sado-masochist undertexts, Newton was drawn to empowered woman presenting a potent image of female sexuality in the 60’s and 70’s.

Newton died, aged 83, in 2004 following a major car accident in Los Angeles. More on Helmut Newton

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01 Painting, The amorous game, Ilia Balavadze’s Lets Talk About War, With Footnotes, #79

Ilia Balavadze
Lets Talk About War, 2022
Oil on canvas
29.5 x 33.5 x 1.2 inch
Private collection

Ilia Balavadze is a Georgian artist born in 1968 who lives and works in Tbilisi, Georgia. From 1987 to 1993, he studied the painting at the Tbilisi State Academy of Art. Afterwards and for many years, he worked on painting the walls of many orthodox churches all around Georgia. The artist is very well distinguished by his style because you will find a lot of different and original details in his works. Starting with the streets of a modern city, ending with natural landscapes in a particular place, you will find almost every type of environment with a distinguished fact that human being is always predominant in his works. The artist’s works are collected in many private collections in Georgia, Russia, Ukraine and USA. More on Ilia Balavadze

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01 Painting, The amorous game, Giuseppe Barison’s The courtship, With Footnotes, #80

Giuseppe Barison (Italian, 1853-1930)
The courtship
Oil on panel
54 x 45.7cm (21 1/4 x 18in).
Private collection

Giuseppe Barison (September 5, 1853 – January 7, 1931) was an Italian painter and engraver, active in Venice

Barison found a patron in the aristocratic Anna De Rin, who placed him in apprenticeship with the painter Karl Emil Haase in Trieste, and then enrolled him in the Academy of Fine Arts in Vienna. In 1872, Barison began to take lessons from the Nazarene painters Karl von Blaas and Eduard Von Engerth, and also took courses in art history from August Eisenmenger.

Returning to Trieste in 1876, the next year he participated at the Esposizione di Belle Arti, which gains him a two-year stipend from the city to study in Rome. After Rome, he spent some years in Venice. His wife Giulia, originally from Trieste, and not happily settled in Venice, successfully urged her husband to relocate to Trieste. He experienced a chilly reception there, in part due to his personality, in part due to his Venetian style of painting.

The First World War exiled Barison to the house of Roberto Amadi in Pegli, Liguria where he stayed from 1915 to 1918, and continued painting land- and sea-scapes. After the war, he returned to Trieste, and along with contemporaries Guido Grimani and Ugo Flumiani, continued to paint such themes. He often painted outdoors. In his last years Barison took on new influences. He died in Trieste on January 7, 1931. More on Giuseppe Barison

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02 Paintings, The amorous game, Tayseer Barakat’s The Hug and Love , Part 67 – With Footnotes

Tayseer Barakat, Palestinian, b. 1959
Love, c. 2020
Acrylic on canvas
23 1/5 × 29 1/2 in, 59 × 75 cm
Private collection

Tayseer Barakat was born in Gaza in 1959 and completed his arts education in Alexandria, Egypt, in 1983. After completing his studies, he moved to Ramallah where he has since based — both teaching and creating art. Barakat has worked with a variety media and has experimented widely — with wood, metal and glass — and has become one of Palestine’s foremost artists working today. Painting remains his first love and he continues to work at a prolific rate, drawing on the artistic heritage of the region and its ancient influences…

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01 Painting, The amorous games, Francesco Vinea’s Merriment in the tavern, Part 78 – With Footnotes

Francesco Vinea (Italian, 1845-1902)
Merriment in the tavern, c. 1883
Oil on canvas
195/8 x 23½ in. (49.8 x 59.7 cm.)
Private collection

Francesco Vinea (Forlì, August 10, 1845 – Florence, October 22, 1902) was an Italian painter, known for his period costume genre subjects.

He studied first at the Academy of Fine Arts of Florence, but had to discontinue his studies due to his poverty, and spent some time traveling without a home. He worked for a photographer, also as a designer of illustrated magazines, but returned to Florence and studied under professor Enrico Pollastrini for a year.

He was not inclined to the erudite historical or literary paintings, or earnest depictions of natural scenes, favored by some academic contemporaries. He meddled in an imaginative, often raffish or coquettish, and always elegant depictions of dramas in elegant period costume occurring in equally ornamented interiors. The paintings proved popular in England and France, and Vinea gained a comfortable living. His studio on boulevard Prince Eugene in Florence is depicted as hoard of exotic items, and eclectic furniture and decorative items: a collection easily finding his way as ornaments of his paintings. Gubernatis describes his studio as his best work of art. The ceiling painted in tempera with Olympic gods, in allegory to the fine arts, and his collected items haphazardly stored. More on Francesco Vinea

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01 Painting, The amorous game, Francesco Vinea’s The courtly guest in the wine cellar, Part 78 – With Footnotes

Francesco Vinea (1845–1902)
The courtly guest in the wine cellar
Oil on canvas
48 x 65 cm
Private collection

Francesco Vinea (Forlì, August 10, 1845 – Florence, October 22, 1902) was an Italian painter, known for his period costume genre subjects.

He studied first at the Academy of Fine Arts of Florence, but had to discontinue his studies due to his poverty, and spent some time traveling without a home. He worked for a photographer, also as a designer of illustrated magazines, but returned to Florence and studied under professor Enrico Pollastrini for a year.

He was not inclined to the erudite historical or literary paintings, or earnest depictions of natural scenes, favored by some academic contemporaries. He meddled in an imaginative, often raffish or coquettish, and always elegant depictions of dramas in elegant period costume occurring in equally ornamented interiors. The paintings proved popular in England and France, and Vinea gained a comfortable living. His studio on boulevard Prince Eugene in Florence is depicted as hoard of exotic items, and eclectic furniture and decorative items: a collection easily finding his way as ornaments of his paintings. Gubernatis describes his studio as his best work of art. The ceiling painted in tempera with Olympic gods, in allegory to the fine arts, and his collected items haphazardly stored. More on Francesco Vinea

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01 Painting, The amorous game, Quiringh van Brekelenkam’s A soldier drinking with a young woman, Part 77 – With Footnotes

Quiringh Gerritsz. van Brekelenkam
A soldier drinking with a young woman in an inn, c. 1664
Oil on panel
18 by 14¼ in.; 45.7 by 36.2 cm.
Private collection

Quiringh van Brekelenkam was probably trained in Leiden, probably under Gerard Dou (1613–75). He was one of the founders of the Guild of St Luke there in 1648. He continued to be active as a painter, paying his guild fees until 1667. His last known painting, a portrait, is dated 1669.

Brekelenkam’s genre scenes share their subject matter with the Leiden fijnschilders or ‘fine painters’, of whom the most famous is Gerard Dou. His pictures are however more ‘painterly’, without their careful finish. They also refrain from explicit symbolism, and do not idealise their subjects.

In the 1660s Brekelenkam moved up the social scale by beginning to paint images of society ladies receiving letters or at their toilette. Some of these show knowledge of the work of Gerard ter Borch II (1617–81). More on Quiringh van Brekelenkam

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05 Paintings, The amorous game, The Unequal Lovers, Part 76 – With Footnotes

Cornelis Cornelisz. van Haarlem, Haarlem 1562 – 1638
The Unequal Lovers, c. 1619
Oil on panel
26 by 27 5/8 in.; 66 by 70.3 cm.
Private collection

The theme of unequal lovers has a long literary history, but in the visual arts it most often appeared in prints, usually accompanied by a moralizing inscription. The theme took two different forms, that of an old woman soliciting a handsome young man, and, more commonly, an old man soliciting a pretty young woman. Here Cornelis van Haarlem indicates the difference in ages quite subtly, adding a little grey to the man’s beard. The artist focuses instead on the mercenary aspects of the transaction, indicating the man’s wealth by the fur on his cloak, the gold medal on his hat and, most obviously, by the bulging money bag that the woman squeezes suggestively. More on this painting…

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01 Painting, The amorous game, Louis Anquetin’s La Femme à la berthe rouge, Part 63 – With Footnotes

Louis Anquetin, 1861 – 1932
La Femme à la berthe rouge, c. 1891
Oil on canvas
73,5 x 60,1 cm; 29 x 23⅝ in.
Private collection

The spontaneous gesture gives this painting its energy and power. Through his mastery of oil painting, Anquetin emphasizes his volumes and endows his figures with a rare materiality. The canvas mattness, obtained with a blotter to absorb the shine of the medium, reinforces the dimensionality of the composition. More on this painting

Louis Anquetin (26 January 1861 – 19 August 1932) was a French painter; born in Étrépagny, France and educated at the Lycée Pierre Corneille in Rouen.

In 1882 he came to Paris and began studying art at Léon Bonnat’s studio, where he met Henri de Toulouse-Lautrec. The two artists later moved to the studio of Fernand Cormon, where they befriended Émile Bernard and Vincent van Gogh.

Around 1887, Anquetin and Bernard developed a painting style that used flat regions of color and thick, black contour outlines. This style, named cloisonnism by critic Edouard Dujardin, was inspired by both stained glass and Japanese ukiyo-e.

He eventually fell from the public’s eye after abandoning the modern movements, opting instead to study the methods of the Old Masters. Thus, Anquetin’s works following the mid-1890s, such as Rinaldo and Armida, were especially Rubensian and allegorical in nature. More on Louis Anquetin

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01 Painting, The amorous game, Tito Lessi’s THE SACRED AND THE PROFANE. Part 62 – With Footnotes

Tito Lessi, 1858 Florence – 1917 ibid
THE SACRED AND THE PROFANE
Oil on canvas
47 x 64 cm.
Private collection

Tito Lessi (1858 – 1917) was born in Florence, then became a resident of Paris. He studied at the Florentine Academy of Fine Arts under Enrico Pollastrini and Antonio Ciseri.

Lessi painted a watercolor titled: L’ anticamera del Papa. Charles Sedelmeyer invited him to Paris, where he painted small canvases: The Testament; Le lever du Dauphine; L’Interrogatorio (The Interrogation); and Le Lùeur, exhibited at Paris. He painted an Interior of the Public Library at Florence (1889).

For the editor Alinari of Florence, he made a hundred drawings for their edition of Decameron of Giovanni Boccaccio (1313–1375).[3]

He died in Florence in 1917. More on Tito Lessi

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02 Paintings, The amorous game, Vittorio Reggianini’s Flirtatious Glances, With Footnotes, #78

Vittorio Reggianini, Italian, 1858 – 1938
Flirtatious Glances
Oil on canvas
24¾ by 16¼ in.; 63 by 41.5 cm
Private collection

Born in Modena, Vittorio Reggianini studied in the Academy of Arts of this city, of which he will become later one of the professors.

Following the example of the Italian artists of his period, he leaves to Florence, where he participates in 1900 in the Concours Alinari, with a painting entitled « Tristis Matris Nati Presaga Finis ». He also participates at the Salon of Florence of 1907–1908, and again in 1910–1911…

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01 Painting, The amorous game, Vincent van Gogh’s A Pair of Lovers , Part 66 – With Footnotes

Vincent van Gogh, 1853 – 1890
A Pair of Lovers/ Eglogue en Provence, c. 1888
Oil on canvas
32.5 by 23cm., 12¾ by 9 in.
Private collection

Painted in March 1888, the month after van Gogh arrived in Arles, the present work is an intimate depiction of two lovers walking along the bank of a river. It once formed the central motif of a larger composition depicting a pair of lovers walking along a canal path towards the Pont de Réginelle, known locally as the Pont Langlois after the man who operated it. More on this painting

Vincent van Gogh (born March 30, 1853, Zundert, Neth.—died July 29, 1890, Auvers-sur-Oise, near Paris, France). Dutch painter, generally considered the greatest after Rembrandt, and one of the greatest of the Post-Impressionists. The striking colour, emphatic brushwork, and contoured forms of his work powerfully influenced the current of Expressionism in modern art. Van Gogh’s art became astoundingly popular after his death, especially in the late 20th century, when his work sold for record-breaking sums at auctions around the world and was featured in blockbuster touring exhibitions. In part because of his extensive published letters, van Gogh has also been mythologized in the popular imagination as the quintessential tortured artist. More on Vincent van Gogh

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01 Painting, The amorous game, Edouard Manet’s Au père Lathuille, 1879 , Part 66 – With Footnotes

Edouard Manet (1832–1883)
Au père Lathuille/ At the Père Lathuille Restaurant, c. 1879
Oil on canvas
Height: 92 cm (36.2 in); Width: 112 cm (44 in)
Tournai Museum of Fine Arts

Chez le Père Lathuille (At the Père Lathuille Restaurant) is an 1879 oil-on-canvas painting by Édouard Manet. In the background is the proprietor. Manet also painted a portrait of his daughter.

Père Lathuille’s cabaret, and later restaurant, was situated in the Batignolles quarter, on the site now occupied by a cinema at 7 Avenue de Clichy, just after the Barrière de Clichy so as to escape Parisian wine taxes. During the defence of Paris on 30 March 1814, marshal Bon-Adrien Jeannot de Moncey had used it as his command post. Just before the enemy arrived, Père Lathuille had handed out complimentary drinks to the soldiers, saying “Drink, my friends, drink for free – don’t leave a single bottle of my wine in the casks”. More on this painting

Édouard Manet (23 January 1832 – 30 April 1883) was a French painter. He was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism.

His early masterworks, The Luncheon on the Grass (Le déjeuner sur l’herbe) and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art. More on Édouard Manet

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

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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01 Painting, The amorous game, Hans Buchner’s The Ace of Hearts, Part 65 – With Footnotes

Hans Buchner, German, 1856 – 1941
The Ace of Hearts
Oil on canvas
22¼ by 27 in.; 56.5 by 68.5 cm
Private collection

Hans Buchner, 1856 – 1941, was born in Germany in 1856. Buchner enjoyed painting from an early age and it is probable that he studied in Paris, although he spent most of his life in Munich. Buchner, along with esteemed contemporaries such as Reggianini, Ricci and Soulacroix, focused on portraying images of the sheer luxury of the previous century. Taste and elegance were keynotes in the pictorial reinterpretation of the age and conversation pieces such as this example were an ideal vehicle for showing elegant figures in sumptuous surroundings. In this painting, Buchner dwells lovingly on the richness of texture in the lady’s dress, the upholstery and wall coverings. The furniture is depicted in all its magnificence and the coquettish pose of the young lady is both attractive and intriguing. More on Hans Buchner

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

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.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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