43 Paintings, Streets of Paris, The Courtesans of Paris, as portrayed by Artists from 1850-1910 – Behind the Scenes, with footnotes #77

Vincent van Gogh
The Brothel (Le Lupanar), c. 1888
Oil on canvas
13 x 16 1/8 in. (33 x 41 cm)
The Barnes Foundation

Van Gogh painted this sketch of a brothel parlor while working in close dialogue with fellow artist Paul Gauguin. In the fall of 1888, Van Gogh convinced Gauguin to join him in Arles in the South of France, and the two artists often painted there side by side. They also visited brothels together, partly to find figural subjects for painting. Encouraged by Gauguin, Van Gogh painted this work from memory, capturing the types of people — women in bright dresses drinking with men, soldiers wearing distinctive red hats — encountered in such a setting. He used an underlying blue wash to suggest the lurid atmosphere. 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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43 Paintings, Streets of Paris, The Courtesans of Paris, as portrayed by the Artists from 1850-1910 – Behind the Scenes, with footnotes #77

Vincent van Gogh
The Brothel (Le Lupanar), c. 1888
Oil on canvas
13 x 16 1/8 in. (33 x 41 cm)
The Barnes Foundation

It seems that since the Musee dÓrsay’s Exhibition, everybody had something to say! Here are some Paintings that were in the exhibition, and others…

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02 Paintings, Streets of Paris, Louis Anquetin’s L’Intérieur de chez Bruant: le Mirliton, with footnotes, #83

Louis Anquetin (1861–1932)
The Interior of Bruant – The Mirliton, c. 1886 until 1887
Oil on canvas
145 × 157 cm (57 × 61.8 in)
Private collection

L’Intérieur de chez Bruant: le Mirliton is not only a large-scale group portrait representing many of the artist’s illustrious friends, but also a portrait of their preferred gathering place, Le Mirliton, the vivacious establishment opened in 1885 in what had been the second location of the Chat Noir. The cabarets, cafés and dance halls of Montmartre proved a source of endless inspiration for Anquetin, Toulouse-Lautrec, Bernard and others in their circle who frequented these establishments together. 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…

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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

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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01 work, The Art Of The Nude, Louis Anquetin’s FEMMES À LEUR TOILETTE, #244

Louis Anquetin
FEMMES À LEUR TOILETTE, circa 1890
Oil on board
13 3/4 by 10 1/2 in. (alt: 34.8 by 26.7 cm)
Private collection

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

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.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

42 Paintings, Streets of Paris, The Courtesans of Paris, as portrayed by the Artists from 1850-1910 – Behind the Scenes, with footnotes #77

Georges Bottini
AT THE BAR: THE WOMAN IN WHITE (AU BAR: LA FEMME EN BLANC), c. 1904
Watercolor On Paper
14 5/8 x 10 5/8 in.

Soliciting was prohibited in broad daylight, but was legal for registered girls at nightfall when the streetlamps were lit. This coincided with knocking-off time for women in the workshops in which some occasional prostitutes were employed. Prostitutes may have cultivated an air of ambiguity during the day, but their appearance gradually changed as the urban landscape, illuminated by gas lamps and later by electricity, was transformed. More on Soliciting

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