Musée royal des Beaux-Arts, Brussels, 2018.

Royal Museums of Fine Arts of Belgium, September 2022.

Napoleon and Mary, Queen of Scots

Okay @isthenapoleoncute I don’t think this is exactly what you are looking for. But there is an artist, Jean-Baptiste Vermay, who made a painting in 1808 about the death of Mary, Queen of Scots. Title: Marie Stuart, reine d'Écosse, recevant sa sentence de mort que vient de ratifier le Parlement.

Napoleon was Vermay’s patron. He granted Vermay an award for the painting, and he and Josephine requested a replica of it.

Here is some info about the painting published in 1808: Annales du musée et de l'école moderne des beaux-arts: Salon de 1808, par Charles-Paul Landon. There are some really interesting parts. It talks about the long exile and injustice at the hands of the English queen. Also important to note that Mary was apparently Queen of France by marriage (according to this. Idk much about this part of history). So there is a French connection as well; an English ruler exiling a French ruler.

My (loose) translation:

The artful Elizabeth, Queen of England, held Mary Stuart prisoner for eighteen years. Her cruel policy demanded the sacrifice of this illustrious victim; she had Mary, her equal, judged as if she had been her subject. Forty-two members of parliament and five judges of the kingdom went to question her in her prison. She was sentenced to death: parliament confirmed the sentence and requested its execution. Elizabeth signed the fatal order, and the earls of Kent and Schrewbury, responsible for having it executed, accomplished it with a barbarity worthy of their ministry. Mary Stuart received her sentence with tranquility, and even with joy. A long captivity, violent sorrows, early infirmities made her regard death as the end of her sufferings. In her last days, she added to the exercises of courageous piety the most tender care for the people attached to her service; after having written on their behalf to Henry III and the Duke of Guise, she asked that they be witnesses to her torture. “Remember,” she said to Kent, who stubbornly refused her, “remember that I am a cousin of your queen, that I am of the royal blood of Henry III, that I was Queen of France by marriage, that I was crowned Queen of Scotland.”

Inhumanly deprived of all religious assistance, obliged to listen to the exhortations of a fanatic who threatened her with eternal damnation if she did not abjure the Roman faith, she opposed the outrages with dignity and gentleness, and preserved until the last moment a heroic firmness. She was beheaded in a room at Fotheringay Castle on February 7, 1588, at the age of 45.

This first work by a very young artist received the most favorable reception from the public. We noticed with what skill the author had arranged his scene and captured the character specific to each of the characters. The noble and calm attitude of Mary Stuart, the expression of her features, where both pride and righteous indignation are depicted, are perfectly consistent with the known sentiments of this unfortunate queen.

The hopes given by this painting, well thought out and wisely directed throughout its composition, are all the better founded as its execution announces a brush still little practiced.

His Majesty the Emperor awarded a medal to Mr. Vermay.

The painting of Mary Stuart was barely exhibited at the Salon when it ceased to belong to the author. A person of the highest rank even wanted to have a second one similar in every way to this one. It is an easel painting whose figures are approximately two feet in proportion.

Lucas Smout the Younger - The village square -

Lucas Smout the Younger or Lucas Smaut (27 February 1671 – 8 April 1713) was a Flemish painter of coastal and country scenes who was active in Antwerp.

Like his master Hendrik van Minderhout, Lucas Smout specialized mainly in marine views, which the populated with many ships and figures.

Only a few works by his hand are known. He painted a number of coastal scenes depicting various activities relating to the return of fishing boats with their catch or the loading of vessels. They include a view of The Beach of Scheveningen (Royal Museum of Fine Arts Antwerp). This work is typical of Smout's busy compositions: it includes many groups of people and a wide range of activities taking place on the beach, such as pulling fishing boats onto the land, men hauling wood, soldiers transporting two gun barrels, fishmongers and on the far right - next to a cannon - a man drawing, which is likely a self-portrait. Smout collaborated on a beach view with Pieter Bout who painted the staffage. This work referred to as Harbour and Fish Market (Musée des beaux-arts de Quimper) possibly also represents a view of the beach and port of Scheveningen as in its composition and figures it closely resembles Pieter Bout's Selling Fish at the Beach of Scheveningen (Van Ham Auctions, 11 May 2012, Lot 518).

Smout painted some village scenes with feasts such as The village square (Christie's, 19 March 2010, Paris, lot 75) or a cavalry engagement such as A cavalry skirmish in a village (Christie's, 23 May 2000, New York, lot 279).

Michaelina Wautier (1604-1689), Portrait of a Commander in the Spanish Army, 1646, oil on canvas, 63 x 56.5 cm, Royal Museums of Fine Arts of Belgium, Brussels

Source: Wikimedia Commons | Musées royaux des Beaux-Arts de Belgique

Alexandre-Jean Dubois-Drahonet | France (1790–1834) | Female Nude | (French Portrait Painter)

Drahonet was a student and disciple of Neo-classical French master, Jean-Auguste-Dominique Ingres and first exhibited at the Salon in 1822. The young artist painted the future Queen of England (Queen Victoria) when a girl, commissioned by William IV in 1832 as part of a much larger commission of some ninety portraits of officers and soldiers in uniform (now in the Royal Collection, Windsor). It was part of the commission to paint a series of pictures illustrating recent changes in the uniforms and weapons of the British Army.

The artist also worked for Charles X, painting a portrait of his grandson, Henri, duke of Bordeaux (now in the Musée des Beaux-Arts, Bordeaux) and also worked for Louis-Philippe when duke of Orléans and after his accession.

This painting had been previously uploaded by me under the description "Marie Antoinette embracing Madame Elisabeth." However, some more research has revealed an unclear identification.

In 1960, the painting was part of a Paris Musee Galliera exhibition under the title "The Interrupted Music Lesson," attributed to Jean-Frédéric Schall. You can see a set-aside instrument with music books in the background. It is unclear whether or not this title was attributed to the painting when it was made or if it is the title given to the painting by the owner, museum or exhibition organizers.

In 2015, Osenat auctioned the painting, giving it the title “The embrace,” and attributing it only “in the style” of Schall. There is no indication where the title “The embrace” came from or why they didn’t use the 1960 title.

To make things more confusing, there is a black chalk drawing by Alexandre Moitte in the musée des Beaux-Arts de Lille which is labeled by the museum “Marie Antoinette and Madame Elisabeth kissing”:

However, the two women in the chalk drawing look quite different compared to the women in the painting.

While I can see some of Marie Antoinette in the woman on the right in the painting version (though it reminds me more of 19th century Marie Antoinette rococo revival genre paintings than contemporary Marie Antoinette depictions) the women in the chalk drawing look different than the women in the painting, and neither women in the drawing look particularly like Elisabeth or Marie Antoinette. There is unfortunately no provenance or explanation as to why the museum has given the drawing the “Elisabeth and Marie Antoinette” designation, either.

Which came first? The drawing, or the painting? Did Moitte view the (attributed) Schall painting and take his own inspiration? Or perhaps the painting is by Moitte or was done after Moitte’s work.

To make things even more confusing, there is an engraving attributed to Moitte of two women in the collection of the Minneapolis Museum of Art:

The MIA description claims that these are the same women as the chalk drawing, but I'm not sure how this was determined.

This engraving is inscribed: "Paired from their earliest childhood, they were always friends and remained so for life." Above them is the inscription Mors et via (life and death).

There is a MA monogram on the bottom center of the oval. However, neither women in the engraving has a strong resemblance to Marie Antoinette or Elisabeth, and ‘MA’ naturally does not always mean Marie Antoinette, queen of france.

Additionally, Marie Antoinette and Elisabeth didn't know each other from earliest childhood. The MIA website suggests that perhaps it was Marie Antoinette and one of her favorites, but the only friends she knew from childhood were from outside France, and it would be strange to depict them as adult women embracing--if, indeed, the women in the side-portrait drawing are the same as the 'embrace' drawing.

Moitte did do at least one portrait drawing of Louis-Charles, so he (like many artists) was no stranger to depicting the royal family. But I don’t know that there is an actual reason why the black chalk drawing, which does not resemble either woman’s facial features, was given the “Elisabeth and Marie Antoinette” designation in the first place. I can’t seem to find one.

It’s also unclear whether or not the women in the second double portrait with flower garlands are actually the same women in the drawing or painting.

More research is obviously needed, but since I saw the painting inaccurately called “Marie Antoinette and Polignac” today, I decided to do a deeper dive into it.

Da: SGUARDI SULL’ARTE LIBRO QUARTO - di Gianpiero Menniti 

PARADIGMI 

Tre dipinti. Medesimo soggetto. Identico autore. Eppure, la scena muta: nell'ultima, scompaiono i due "ladroni". E nelle prime due, non sono in croce: il simbolo appartiene a Cristo. Fatta questa constatazione, banale, evidente, il pensiero corre altrove. S'innesta sul tema dei paradigmi, modelli interpretativi nei quali la cristianità, come religione e tradizione, espressione antropologica e riflessione culturale, s'è fatta storia. I vangeli sinottici narrano la predicazione di Cristo. Il vangelo di Giovanni è già un'interpretazione che fonda la teologia sulla figura di Gesù: la forma del linguaggio attribuito al Redentore appare fin subito differente, aulica, profonda. Dunque, già i Vangeli mettono in luce paradigmi diversi, segnando il corso del pensiero cristiano lungo direttrici che riflettono la molteplicità delle espressioni. Questo spiega la storia e consente di capire l'arte dedicata al culto, collocandola nella temperie degli eventi. Così, Antonello da Messina vive gli anni di culmine dell'arte sacra occidentale, tra la monumentalità iconica di Piero della Francesca, la pittura tonale veneta, le influenze fiamminghe. Nuovi paradigmi.  Nuove interpretazioni. Eppure, nonostante sia palese il crogiolo nel quale sobbolle, il pensiero cristiano giunge fino a noi, fino al tempo di un nuovo paradigma, quello della modernità. Una sorta di miracolo. Giustificato da un esempio: il sole non ha mai mutato la sua essenza e la sua collocazione, trapassando dalla teoria tolemaica a quella copernicana. In fondo, questo è il segno lasciato della teologia di Hans Küng. La storia si fonda sugli uomini. Il senso della religione, pur bistrattato e manipolato, riemerge, sempre, nella sua identità originaria. Questo richiamo ci permette ancora di ammirare, tra le molte altre, anche le opere di Antonello da Messina. E di riflettere. Sul passato. E sul presente. 

- Antonello da Messina (1430 - 1479): "Crocifissione", 1460, Museo Nazionale Brukenthal, Sibiu (Romania); "Crocifissione", 1475, Musée Royal des Beaux-Arts, Anversa; "Crocifissione", 1475 (data incerta), National Gallery, Londra

- In copertina: Maria Casalanguida, "Bottiglie e cubetto", 1975, collezione privata

Modo Italiano

Design et avant-garde au XXe siècle

Giampiero Bosoni, Vittorio Gregotti, Irène de Guttry, Maria Paola Maino

Skira, Milano 2006, 400 pagine, 343 ill.a colori, 24x28cm, ISBN 88-7624-874-9, Edizione francese

euro 95,00

email if you want to buy [email protected]

Tout au long du XXe siècle, le design italien a marqué de façon hautement originale la conception des objets d'usage courant dans notre société industrielle contemporaine. Ce " mode italien " a su, à travers un parcours aussi complexe qu'incertain d'Innovation industrielle et de mise à jour technologique, développer une culture du design autonome et multiforme, en mesure de concilier une tradition artisanale richissime et l'aspiration, souvent contestée, vers une modernité faite d'éclairs d'Improvisation et d'ironie joints à une tendance laborieuse à l'expérimentation. Les phénomènes culturels et artistiques de l'histoire du design italien n'ont pas encore fait l'objet d'une lecture approfondie en ce sens ; en particulier, on a jusqu'ici peu étudié la synergie qui tout au long du XXe siècle s'est opérée en Italie entre l'expérimentation artistique et le design innovateur. L'exposition et ce catalogue se proposent donc d'offrir une première reconnaissance de ces liens à travers l'exploration des différentes manières dont, en Italie, la société industrielle a été perçue, les artistes et les designers qui l'ont vécue, mais aussi en partie " inventée ". L'exposition, où figurent plus de 350 œuvres parmi les plus représentatives de la recherche artistique et de la culture du design en Italie au XXe siècle, se développe chronologiquement en quatre sections où sont définies les différentes périodes du propos philosophique, économique et esthétique qui a caractérisé le passé récent de l'art et du design italiens. Dans cette optique prennent forme les " philosophies " du design et les " esthétiques " qui, tout au long de cette période, ont trouvé dans ce pays une expression forte et dialectique et sont à la base d'un débat culturel très vivant sur l'art et le design. Ce catalogue a été publié à l’occasion de l’exposition Il modo italiano. Design et avant-garde en Italie au XXe siècle, produite par le Musée des beaux-arts de Montréal en collaboration avec le Musée royal de l’Ontario (ROM) et le Mart – Museo di Arte Moderna e Contemporanea di Trento e Rovereto.

13/04/24

Andre Brasilier

https://archive.org/details/11155370Fullsize/rober.jpg

André Brasilier (1929 - )                                                                          

André Brasilier was born into an artistic family in Saumur, France. His father, Jacques Brasilier, was closely affiliated with the Symbolist movement, joining the studio of the celebrated Alphonse Mucha. His mother, Alice Chaumont, was a graduate of the Royal College of Art in London. At the age of twenty, André Brasilier went to Paris to study at the École des Beaux-Arts. In 1952 he received a grant from the Florence Blumenthal Foundation, and in the following year, when he was only 23, won the Premier Grand Prix de Rome, entitling him to study at the Académie de France in Rome. His first solo exhibition of paintings, focusing on music, was held at the Galerie Drouet in 1959. Over the years Brasilier has exhibited in numerous exhibitions all over the world including France, Germany, Japan, Switzerland, Canada, the United States, Russia, The Netherlands, Korea and Hong Kong - over one hundred solo exhibitions in twenty different countries. His travels have inspired several series of paintings, as well as ceramics, mosaics, theatrical sets and book illustrations. He had his first retrospective of one hundred artworks from 1950 -1980 at the Château de Chenonceau in 1980, and a retrospective exhibition at the Musée Picasso - Château Grimaldi in Antibes, the French Riviera, in 1988.He has since been honoured with major retrospectives both at Russia’s renowned State Hermitage Museum in Saint Petersburg in 2005 and at the Museum Haus Ludwig für Kunstausstellungen Saarlouis in Germany in 2007. Across the globe and for the last five years, we’ve been the witnesses to a revival in the appreciation of Brasilier’s work.

Claude-Jean-Baptiste HOIN

(Dijon 1750-1817)

PORTRAIT OF A YOUNG LADY HOLDING A FLOWER BASKET

H. 91 cm (36 in.), l. 72 cm (28 1⁄2 in.)

Within a gilded Louis XV style frame: H. 122 cm (48 in.), l. 99,5 cm (39 in.)

Provenance:

Comte de Rochefort, Paris c. 1963

Exhibition:

- Claude Hoin, peintre de Monsieur, Paris, galerie Weil, November-December 1934, n°2

- Claude Hoin, musée de Beaux-Arts, Dijon, 1963, n°2, ill.

This portrait of a young anonymous sitter can be considered the masterpiece of Claude-Jean-

Baptiste Hoin, a well-known artist during his lifetime, today unjustly forgotten. It may be

dated from his Parisian career around 1780.

Hoin was born in Dijon, Burgundy, on June 25th 1750, where his father was an important and

renowned doctor. He entered in 1768 the workshop of the architect Claude-François Devosge

in Dijon. In 1772 he moved to Paris and was trained by his fellow Burgundian artist Jean-

Baptiste Greuze. In 1776, he was appointed member of the Académie de Dijon. Two years

later, he entered several academies Lyon, Rouen and Toulouse.

Hoin also pursued an activity as an engraver after the work of Greuze and Fragonard.

In 1779, he exhibited for the first time in Paris at the Salon de la Correspondence. The same

year, he was made professor of drawing at the Royal Military School and then, in 1782, he

became the painter of Monsieur, brother of the king, future Louis XVIII. After the

revolutionary unrest, he exhibited at the Louvre in 1801 and 1802. He was also the curator of

the Museum of Dijon, where he died on 16 July 1817.

Bon, c'est avec le peu d'énergie que j'ai que je vous partage enfin le bilan de mon voyage au Canada.

Niveau évolution mentale :

- J'ai compris que je suis faite pour voyager. Mais j'aimerais bien essayer d'être vraiment toute seule la prochaine fois.

- Je n'étais plus dans l'ambiance toxique de ma famille donc je n'ai pas crié pendant 3 mois!!! Du coup à côté du stress que j'avais pour les choses de tous les jours, je me sentais quand même plus apaisée là où j'étais.

- Je suis sortie de ma grotte et je me suis rendu compte que le fait de m'être complètement renfermée depuis le covid m'a rendu intolérante aux moindres défauts des gens. Mais du coup le fait de n'être jamais seule m'a aidé à travailler là dessus.

Niveau expériences :

- Déjà entre Québec, Montréal et Ottawa, je préfère Québec.

Québec est tellement safe et cocooning. Les gens sortent tôt et repartent tôt. Tu peux rentrer toute seule en pleine nuit. Il y a plus de nature mais il faut impérativement avoir une voiture. C'est trop galère de faire tout en bus.

Montréal est incroyable. L'ambiance est folle. Y a des lumières partout, des magasins partout. Il y a trop de choses à faire. Dont une expo Barbie gratuite!! (Nan mais c'était vraiment stylé par contre)

Ottawa est... méga flippant. Y a des sdf DANGEREUX. Ils se trimballent avec des couteaux énormes, certains te poursuivent en tapant des casseroles et en criant, les serveurs sortent de leur resto et te suivent si tu ne leur a pas donné de pourboire?? Et la police est partout mais apparemment elle n'agit pas beaucoup.

- J'ai goûté des tas de spécialités : poutine, pudding chômeur, tourtière, la queue de castor (une dinguerie), la tire d'érable (j'en rafolle), pâté à la viande, tarte au sucre, et j'en oublie sûrement. Je crois que parmi tout ça, mon préféré était la tire d'érable, je vous jure c'est incroyable. Concernant la poutine, j'ai été un peu déçue parce que tout le monde en parlait tellement que je pensais que ça aurait un goût particulier mais c'est assez banal en vrai. Après c'est très "réconfortant" et je comprends qu'ils en rafollent même si c'est pas ULTRA bon. Je ne sais pas si vous comprenez ce que je veux dire? C'est comme les pop corn devant un cinéma, c'est un classique dont tu ne te passes pas.

- J'ai découvert plusieurs artistes québecois. J'ai beaucoup écouté "Les trois accords". Ma chanson préférée d'eux s'appelle "les amoureux qui s'aiment", je la trouve hyper réconfortante :

On a bien rigolé en écoutant "coton ouaté" de "Bleu jeans bleu" :

Et sinon une chanson du folklore Québécois qui va vous rester en tête toute la journée si vous l'écouter :

- Concernant ce qu'on a visité au Québec : on a vu les chutes Montmorency, les chutes de la Chaudière, le vieux-Québec et son marché de Noël Allemand (toujours pas compris pourquoi Allemand), des show de Drag Queen pour la première fois, on a été dans un bar à arcade pour la première fois aussi, le parc Jacques Cartier en automne ET en hiver (c'était vraiment dingue), on a voulu tester le chien de traîneau mais y avait pas assez de neige donc on a juste pu faire coucou aux chiens 🥲, les plaines d'Abraham, le parc du bois de Coulonge, on a été à Lévis en prenant le traversier, on a été dans un bar à jeu de société, on a fait un escape game qu'on a foiré mdr, on a fait du patinage sur une patinoire naturelle, on a vu la rue St-Joseph, on est allées dans une cabane à sucre, on a vu des illuminations dans les bois qui racontaient l'histoire du peuple des Huron-Wendat, on a vu un match de hockey, on a été à l'observatoire de Québec, et sûrement d'autres choses mais je m'en rappelle pas.

Concernant Montréal on a vu la ville souterraine, le plateau Mont-Royal, la pointe à Caillière, le vieux Montréal, le vieux-port, l'oratoire, le musée des Beaux-arts, la Grande Roue, et des rues avec de beelles maisons mais on est restées que 4 jours donc on a pas pu tout voir.

À Ottawa on est restées à l'intérieur la plupart du temps parce qu'on s'est vite rendu compte que ce n'était pas safe et en plus à ce moment là il faisait extrêmement froid. On est quand même allées voir le parlement qui était vachement stylé.

Depuis que je suis revenue :

- Le jetlag est ultra présent. Je dors de 23h à 1h puis j'arrive à me rendormir seulement vers 5h du mat. J'ai faim en plein milieu de la nuit?? Je n'arrive à rien faire de mes journées pour l'instant....

- J'essaye d'être méga tolérante avec ma famille parce que je ne veux plus être dans cette ambiance de dispute h24.

- Mes chats reviennent dans ma chambre. Apparemment ils l'avaient désertée depuis que j'étais partie 🥺

Je pense que ça résume plutôt bien mon séjour là-bas et ce que j'en retiens!

(15/01/2023)

More from 1911 -

1911 Euphimia Nosova by Konstantin Somov (State Tretyakov Gallery - Moskva, Russia). From Wikimedia 2075X3293. This is the epitome of Edwardian dress.

Queen Alexandra's daughters

Left 1911 Duchess of Fife, Princesses Alexandra and Maude. From the lost gallery's photostream on flickr 5384X3684 @800 4.1Mj.

Right 1911 HH Princess Maud and HRH Princess Royal Louise. From eBay reduced contrast and removed mono-color tint 957X1522.

1911 Evening dress of Queen Alexandra (Fashion Museum - Bath, Somerset, UK). From tumblr.com/fashionsfromthepast 1280X1812.

1911 Geneviève Vix, a singer by Jean Coraboeuf (Musée des Beaux-Arts de Nantes - Nantes, Loire-Atlantique, Pays de la Loire, France). From history-of-fashion.tumblr.com/image/177126241755 643X975.

1911 Hélène d'Orléans, duchesse d'Aosta by ?. From tumblr.com/blog/view/jeannepompadour/683841884513288192; fixed a few spots w Pshop 1450X2000.

1911 Frau Luther by Lovis Corinth (Landesmuseum Hannover - Hanover, Niedersachsen, Germany). From cutlermiles.com/portrait-of-frau-luther-lovis-corinth/ 966X1280.

1911 Lady in Lavender by Lawton S. Parker (private collection). From the discontinued Athenaeum Web site 716X955.

Left Maria Josefa of Austria with Karl. Posted to Foro Dinastias by Katyusha on 25 May 2010 614X800

Right ca. 1911 (based on age of child) Grand Duchess-Mother Anastasia Mikhailovna of Mecklenburg-Schwerin with her grandson Friedrich. From eBay; removed mono-color tint 891X1433.

1911 Dolors Vidal by Ramon Casas (Museu Nacional d'Art de Catalunya - Barcelona, Catalunya, Spain). From artsandculture.google.com; fixed obvious flaws w Pashop 1332X2652 @144 4.9Mp.

1911 (1 August issue) Le Theatre Mlle Lantelme. From verbinina.wordpress.com/2012/12/05/le-theatre-303/le-theatre-303-1-aout-1911-vkl/; fixed spots w Pshop 1182X1616

Jules Bastien-Lepage - Self portrait - 1880

oil on canvas, height: 31 cm (12.2 in) Edit this at Wikidata; width: 25 cm (9.8 in) 

Panier (0)Musée Jules Bastien-Lepage et de la Fortification, Montmédy

Montmédy (German: Mittelberg) is a commune in the Meuse department in Grand Est in north-eastern France.

Jules Bastien-Lepage (1 November 1848 – 10 December 1884) was a French painter closely associated with the beginning of naturalism, an artistic style that emerged from the later phase of the Realist movement.

His most famous work is his landscape-style portrait of Joan of Arc which currently resides at the Metropolitan Museum in New York City.

Bastien-Lepage was born in the village of Damvillers, Meuse, and spent his childhood there. Bastien's father grew grapes in a vineyard to support the family. His grandfather also lived in the village; his garden had fruit trees of apple, pear, and peach up against the high walls. Bastien took an early liking to drawing, and his parents fostered his creativity by buying prints of paintings for him to copy.

Jules Bastien-Lepage's first teacher was his father, himself an artist. His first formal training was at Verdun. Prompted by a love of art, he went to Paris in 1867, where he was admitted to the École des Beaux-arts, working under Cabanel. He was awarded first place for drawing, but spent most of his time working alone, only occasionally appearing in class. Nevertheless, he completed three years at the école. In a letter to his parents, he complained that the life model was a man in the pose of a mediaeval lutanist. During the Franco-Prussian war in 1870, Bastien fought and was wounded. After the war, he returned home to paint the villagers and recover from his wound. In 1873 he painted his grandfather in the garden, a work that would bring the artist his first success at the Paris Salon.

After exhibiting works in the Salons of 1870 and 1872, which attracted no attention, in 1874 his Portrait of my Grandfather garnered critical acclaim and received a third-class medal. He also showed Song of Spring, an academically oriented study of rural life, representing a peasant girl sitting on a knoll above a village, surrounded by wood nymphs.

His initial success was confirmed in 1875 by the First Communion, a picture of a little girl minutely worked up in manner that was compared to Hans Holbein, and a Portrait of M. Hayern. In 1875, he took second place in the competition for the Prix de Rome with his Angels appearing to the Shepherds, exhibited again at the Exposition Universelle in 1878. His next attempt to win the Prix de Rome in 1876 with Priam at the Feet of Achilles was again unsuccessful (it is in the Lille gallery), and the painter determined to return to country life. To the Salon of 1877 he sent a full-length Portrait of Lady L. and My Parents; and in 1878 a Portrait of M. Theuriet and Haymaking (Les Foins). The last picture, now in the Musée d'Orsay, was widely praised by critics and the public alike. It secured his status as one of the first painters in the Naturalist school.

After the success of Haymaking, Bastien-Lepage was recognized in France as the leader of the emerging Naturalist school. By 1883, a critic could proclaim that "The whole world paints so much today like M. Bastien-Lepage that M. Bastien-Lepage seems to paint like the whole world." This fame brought him prominent commissions.

His Portrait of Mlle Sarah Bernhardt (1879), painted in a light key, won him the cross of the Legion of Honour. In 1879 he was commissioned to paint the Prince of Wales. In 1880 he exhibited a small portrait of M. Andrieux and Joan of Arc listening to the Voices (now in the Metropolitan Museum of Art); and in the same year, at the Royal Academy, the little portrait of the Prince of Wales. In 1881 he painted The Beggar and the Portrait of Albert Wolf; in 1882 Le Père Jacques; in 1885 Love in a Village, in which we find some trace of Gustave Courbet's influence. His last dated work is The Forge (1884).

Between 1880 and 1883 he traveled in Italy. The artist, long ailing, had tried in vain to re-establish his health in Algiers. He died in Paris in 1884, when planning a new series of rural subjects.

“Broche Camée" offerte à Rosa Bonheur par la Société Royale pour l'Encouragement des Beaux-Arts de Gand (1854) à l'exposition “Rosa Bonheur (1822-1899)” au Musée d'Orsay, novembre 2022.

Le Voyage À Nantes Dépeint Des Mondes En Mutation

Enfant, il aimait créer de petites sculptures en craie, sculptures qui persuadèrent son père de le laisser partir à l’école des Beaux-Arts d’Amiens à 14 ans. Il passa par l’atelier d’Arsène Letellier jusqu’à ses 23 ans, avant d’être admis à l’école des Beaux-Arts de Paris devenant ainsi l’élève de Jules Cavalier en 1874. Il s’installa complétement à Paris en 1885 et épousa Clémentine Geasmens. Galerie Perrotin est une galerie d’art située au 50 Connaugh Road Central à Hong Kong. De nombreux artistes contemporains de renommée internationale comme Heinz Mack, Laurent Grasso, Bernard Frize y ont organisé des expositions. Une exposition qui fait la part belle aux poissons et autres créatures marines réelles ou mythologiques. Johann Perathoner nous fait voyager et nous invite à admirer Paris, Londres ou New York vu du ciel, grâce à son exposition gratuite, visible à la galerie d'art du Royal Monceau, du 14 avril au 19 mai 2022. Sponsorisé - En mai, la Cohle Gallery est ravie d’annoncer la nouvelle exposition très attendue de l’artiste américain Adam Handler, du 18 au 29 mai 2022. Suite à son solo show, Twinkling Unknowns, en 2021, Adam est de retour avec Love Land et sera cette fois-ci présent pour l’inauguration, mercredi 18 mai 2022. Le Musée d'art moderne de Paris consacre une exposition à l'artiste tchèque Marie Čermínová, dit "Toyen". https://lacotedorcafe.com/bijoux-recyclés-k.html

Un travail expressif qui vient compléter une artiste peintre déjà établie.

On peut également parler de la Fondation Taylor ou Association des artistes peintres, sculpteurs, graveurs, architectes et dessinateurs fondée en 1844 qui entretient l’objectif de développer et partager la connaissance des arts.

Il a également fait appel à des artistes croates pour décorer et égayer la demeure.

Célèbre pour son savoir-faire, cet artiste français prêche le retour à la nature.

Des grisailles seront toutefois à nouveau présentes au lever du jour sur les côtes du Languedoc-Roussillon avant de se dissiper en matinée.

Bertrand Lavier est une artiste parisien qui se bat contre la société de consommation. Ses oeuvres montrent le délire de notre société de consommation. Nathalie Decoster travaille sur la condition humaine et exporte ses oeuvres dans le monde entier. Le messager, un être humain, délivre un message sur notre condition humaine.

Plus Général Que Sculpteur

Il expose des sculptures en bronze et en marbre à la Galerie Albert Loeb et la Galerie des Beaux Arts. Il est sélectionné au concours mondial du diamant De Beers. François PomponFils d’un menuisier-ébéniste de Saulieu, apprenti tailleur de pierre chez un marbrier funéraire à Dijon il se forma aux cours du soir et gagna Paris à 20 ans. Tailleur de pierre le jour, élève de la Petite École la nuit – ancêtre de l’École nationale des arts décoratifs – Dès 1879 il exposa au Salon des portraits, le gagne-pain des sculpteurs. Pompon maîtrisait aussi bien l’art du bronze que la taille directe. Elle est montrée régulièrement à partir de 1974 dans la galerie d'Eric Fabre à Paris et chez Albert Baronian à Bruxelles. En 1982, Toni Grand est invité à partager le pavillon français à la Biennale de Venise avec le peintre Simon Hantaï. Originaire de Nancy, la famille Adam est la plus grande dynastie de sculpteurs français du XVIIIe siècle. Sur trois générations, ses membres déploient leurs talents auprès des plus grands mécènes et participent à plusieurs chantiers majeurs.

Difficultés De Sculpteur

Voici les 6 sculpteurs contemporains les plus en vogue aujourd’hui. Sculpteur français (né à Paris le 8 juillet 1821, décédé en 1902), fils de Claude-Jacques Aizelïn, dessinateur, Eugène Aizelin entre à l'Ecole des Beaux-Arts, le 3 avril 1844. Les leçons de notre passé survivent de manière très présente dans les sculptures de Patrick Berthaud. Ce n’est pas seulement de la technicité ancestrale qu’il s’agit là et que l’on ressent dans la maitrise du geste, mais bel et bien aussi d’un esprit qui règne dans la matière, qui rode dans la facture et le traitement, dans le fondement même de l’œuvre. Il aime la sculpture sur marbre, la sculpture sur bois, la sculpture sur métaux, la sculpture sur pierre, mais avant tout l’association et le mélange de ces matériaux, sans contraintes ni règles établies. Artiste depuis vingt ans, cet autodidacte a su puiser son inspiration chez les grands artistes modernes et contemporains que sont Van Gogh, Gauguin, Gaudí et Soulages. Jean Cardot, artiste et membre de la section de sculpture de l'Académie des beaux-arts de l'Institut de France, est décédé le 13 octobre 2020, à l'âge de 90 ans. Le sculpteur, qui a exercé en tant que directeur d'institution et professeur, laisse derrière lui de multiples créations pérennes. L'art assyrien et égyptien sous la domination des prêtres resta stationnaire, toujours le même, sans progrès comme sans décadence. Quelques œuvres de l’artiste sont exposées au musée des Beaux-Arts de Nancy. Parcours croisés de sculptrices françaises en Belgique et de leurs collègues belges en France, leur présence dans les Salons et leur réception par la critique d’art. Ses sculptures ont évolué au fil du temps et évoquent désormais les mots et la lumière, la sérénité et la douceur, comme dans Spiegel en 2010. Anish Kapoor est un artiste contemporain d’origine indienne. Ces marchands d'art en ligne sont un choix populaire pour les collectionneurs car ils leur permettent de visualiser et de commenter le travail d'autres artistes à différentes étapes de la création. L'art contemporain est la forme d'art populaire d'aujourd'hui, réalisée au cours de la seconde moitié du XXe siècle ou du début du XXIe siècle. Ce que l'on entend par « contemporain » est toute œuvre réalisée au cours des dernières années, qui peut être étiquetée comme étant influencée par l'art contemporain. L'art contemporain se compose de plus d'œuvres abstraites que toute autre catégorie d'art. Les artistes de cette catégorie utilisent des couleurs, des formes, des textures et des thèmes pour donner vie à des sujets aussi vastes que l'espace, le temps et les êtres humains eux-mêmes. Lui qui vient du pied des Pyrénées se plaît à retrouver des montagnards. Ce sont de personnes très travailleuses, comme chez moi », ajoute-t-il dans un nuage de poussière, lui qui réalise une pièce intitulée « Chemin de non-retour ». La conception des notices de chaque ouvrage tient naturellement compte des sources disponibles. La particularité du point de vue de Lami tient de sa « double nature », à la fois artiste et amateur érudit. Cette spécificité fut par ailleurs soulignée par les critiques à chaque nouvelle publication.