Sunday, September 17, 2017

12 Paintings, Streets of Paris, by its Artists , - Part 10 - With Footnotes

Paris, France's capital, is a major European city and a global center for art, fashion, gastronomy and culture. Its 19th-century cityscape is crisscrossed by wide boulevards and the River Seine. Beyond such landmarks as the Eiffel Tower and the 12th-century, Gothic Notre-Dame cathedral, the city is known for its cafe culture and designer boutiques along the Rue du Faubourg Saint-Honoré. More on Paris

Charles-Victor Guilloux,  (1866–1946)
Vue du Pont des Arts, Paris, c. 1905
Oil on canvas pasted on cardboard 
26 x 35 cm
Private Collection

The Pont des Arts or Passerelle des Arts is a pedestrian bridge in Paris which crosses the River Seine. It links the Institut de France and the central square of the Palais du Louvre, (which had been termed the "Palais des Arts" under the First French Empire). More on The Pont des Arts

Charles-Victor Guilloux (1866–1946) was a French symbolist artist, born in Paris in 1866 and died in Lormes, Nièvre, in 1946.

An employee of the Bibliothèque Nationale in Paris, Guilloux was a self-taught artist who critics liken to the time of the Symbolist movement. From 1891, his works were successfully received at the exhibitions of the Société des artistes indépendants, and then at the "Impressionists and Symbolists" exhibitions at the gallery of Le Barc de Boutteville.

This structuring of space and the distribution of forms and colors are found in many works painted by Guilloux: He exhibited at the Salon de la Société nationale des Beaux-Arts in 1905, and at the Salon des Indépendants between 1911 and 1914.[1] In 2007, the Musée d'Orsay bought his painting Crépuscule' More on Charles-Victor Guilloux

Frank Myers Boggs, SPRINGFIELD 1855 - 1926 MEUDON, ECOLE AMÉRICAINE
THE BANKS OF THE SEINE, PARIS
Oil on canvas
65,5 x 73,7 cm ; 25 3/4 by 29 in
Private collection

Frank Myers Boggs (* 6. December 1855 in Springfield , Ohio ; † August 8, 1926 in Meudon , Hauts-de-Seine )  was active, and naturalized in France .  He was a painter of urban landscapes, marine. Watercolorist , engraver , draftsman.

Mixing tonalist and impressionist elements, Frank Myers Boggs forged a novel artistic style at the juncture of fin-de-siècle American and European traditions. Born in Ohio, Boggs trained at the École des Beaux-Arts under Jean Léon Gerôme and spent the majority of his life in Paris. There, he accomplished the rare feat of gaining prominence in both the French and American art worlds. By the end of his life, Boggs had essentially transformed himself into a French impressionist: he became a French citizen in 1923 and earned the French Legion of Honor three years later. 

Boggs won a prize from the American Art Association in 1884 and silver medals from the Paris Universal Exposition of 1889 and the Chicago World’s Columbian Exposition of 1893. His paintings are now in the Metropolitan Museum of Art, Brooklyn Museum of Art, and Museum of Fine Arts, Boston, as well as the Réunion des Musées Nationaux of Paris, Luxembourg Museum, and Museum of Nantes in France. More on Frank Myers Boggs

Leonardi Manuel, France
Rue de la Roquette
Oil on Canvas
27.6 H x 39.4 W x 1.2 in

In the past the La Roquette district, next to the Marais and Place de la Bastille, was known for containing two prisons: the "petite Roquette" for young delinquents and women, and the "Grande Roquette" for major criminals. The guillotine was brought out at night to bring the lives of the imprisoned to a fateful end…

Today, evenings in the Roquette district are significantly happier: trendy art galleries, countless bars and restaurants. More on Rue de la Roquette

Leonardi Manuel, is a self-taught painter working in mainly in Paris. He mainly paints urban landscapes and people. Oil is his prefered medium, but also works with ink. More on Leonardi Manuel

M O, France
Left Bank Rooftops
Acrylic on Canvas
19.7 H x 7.9 W x 1.6 in

La Rive Gauche/ The Left Bank is the southern bank of the river Seine in Paris. Here the river flows roughly westward, cutting the city in two: looking downstream, the southern bank is to the left, and the northern bank (or Rive Droite) is to the right.

"Rive Gauche" or "Left Bank" generally refers to the Paris of an earlier era: the Paris of artists, writers and philosophers, including Colette, Margaret Anderson, Djuna Barnes, Natalie Barney, Sylvia Beach, Erik Satie, Kay Boyle, Bryher, Caresse Crosby, Nancy Cunard, Hilda Doolittle, Janet Flanner, Jane Heap, Maria Jolas, Mina Loy, Henry Miller, Adrienne Monnier, Anaïs Nin, Jean Rhys, Gertrude Stein, Alice B. Toklas, Renee Vivien, Edith Wharton, Pablo Picasso, Arthur Rimbaud, Paul Verlaine, Henri Matisse, Jean-Paul Sartre, Ernest Hemingway, F. Scott Fitzgerald, James Baldwin  and dozens of other members of the great artistic community at Montparnasse. The phrase implies a sense of bohemianism, counterculture and creativity. More on La Rive Gauche/ The Left Bank 

Mo is a Singaporean artist based in Paris, but he wanders the world's cities interpreting modern urban landscapes in his dispassionate, architectural style. His works are based on his impressions of cities ranging from Paris to Hong Kong, Barcelona to Tokyo. After he graduated with a diploma in graphic design, he took a trip to Europe to visit art museums and ended up staying for several years, painting and selling his works on the streets of Paris, Florence and London. More on Mo

Stanislas Lépine, CAEN 1835 - 1892 PARIS
LES TERRASSIERS, ANCIEN ABREUVOIR DE MONTMARTRE/ THE TERRACE DIGGERS FOR THE  FORMER EXTENSION OF MONTMARTRE.
Oil on canvas
26,5 x 36 cm ; 10 1/2 by 14 1/4 in
Private Collection

Stanislas Victor Edouard Lépine (October 3, 1835 – September 28, 1892) was a French painter who specialized in landscapes, especially views of the Seine. Lépine was born in Caen. An important influence in his artistic formation was Corot, whom he met in Normandy in 1859, becoming his student the following year.

Lépine's favorite subject was the Seine, which he was to paint in all its aspects for the rest of his life. He participated in the first Impressionist exhibition, held at Nadar's in 1874, although he is generally not considered an Impressionist. His paintings are placid in mood and are usually small in scale. Lépine was awarded the First Prize medal at the Exposition of 1889. He died suddenly in Paris in 1892. More Stanislas Victor Edouard Lépine

Clotilde Nadel, France
HOTEL DU NORD
Oil on Canvas
31.5 H x 31.5 W x 1.2 in
Private Collection

The Hôtel du Nord was built around 1912, and at that time belonged to a Mr and Mrs Dabit. The building still consists of three floors, with eight windows. Written in blue, tiled mosaics on its front façade are the words “Hôtel du Nord”. In 1938, the humble hotel consisted of 40 clean but modest rooms, and a narrow staircase. It was frequented during the week by workers, unemployed people and sailors. The canal could be seen out the windows, and from the attic, which was typically piled high with bric-a-brac. The panorama of Parisian rooftops seen from this window today has not changed since before the war. The Hôtel du Nord also had a picturesque courtyard with a little stable, chickens and a laundry. These days the restaurant has the same zinc floors, black and white tiles, and cozy tables. More on The Hôtel du Nord

Clotilde Nadel. From the graphic art school of the rue d'Ulm in Paris, she created her illustrating studio in the 1980s. After 25 years as an illustrator for advertising and publishing, she retained a precise and realistic touch. But this concrete aspect, almost photographic, both in the making and framing, is at the service of a sensitive reverie and a real poetry. "My imagination works on the places I cross, the images I meet, such as the manga drawings. From this I recompose my own reality. I like to make situations blending the secular tradition of certain cultures, like Japan, and the reality of the contemporary world. I start with images, memories, photographs or lived feelings. More on Clotilde Nadel

Victor Guerrier,  (French, 1893-1968)
Couple au restaurant 
Oil on canvas
73 x 100cm (28 3/4 x 39 3/8in)
Private Collection

Victor Guerrier, (French, 1893-1968)  was born and trained in Lyon living much of his life at Saint Cyr au Mont d’Or. He began his career as an illustrator but made his name painting Belle Epoque subjects and Parisian life between the wars. 

Clearly inspired by the work of Impressionist masters such Manet and Toulouse-Lautrec his work captures and celebrates the diversity of life in Paris at the turn of the century; from the nightclubs of Montmartre to the cafés of the Champ-Elysses, Guerrier depicts French high society in its pomp. There is often a subtle narrative to the work, where a stolen glance speaks volumes. Further evidence of Manet’s work is evident in his figures, who often stare directly at the viewer, creating images that are, at once, engaging and arresting, while the fashions of the age are beautifully rendered with a vivid palette and deftly applied impasto. 

Guerrier also worked in the Alps and Algeria producing a number of Orientalist subjects along with a series of paintings in St Paul de Vence. He exhibited at the Salon de Printemps. More on Victor Guerrier,

Victor Guerrier, (French, 1893-1968)
Couple marchant devant l'opera/ Couple walking in front of the opera
Oil on canvas
100 x 73cm (39 3/8 x 28 3/4in).
Private Collection

The Place de l'Opéra is a square in the 9th arrondissement of Paris, at the junction of boulevard des Italiens, boulevard des Capucines, avenue de l'Opéra, rue Auber, rue Halévy, rue de la Paix and rue du Quatre-Septembre. It was built at the same time as the Opéra Garnier (designed by Charles Garnier), which is sited on it and after which it is named. Both structures were part of the Haussmannian redesign of Paris under Napoleon III of France. More on The Place de l'Opéra 

Victor Guerrier (French, 1893-1968), see above


Doris Clare Zinkeisen, (British, 1898-1991)
Pavillion Dallphine, Champs Elysee
Oil on canvas 
61 x 50.8cm (24 x 20in).
Private Collection

Pavillon Dauphine Saint Clair offers an exceptional setting, close to the Champs-Elysées. Prestigious and emblematic venue of Paris, the Belle Epoque architecture blends decorative art in classic style.


Doris Clare Zinkeisen (31 July 1898 – 3 January 1991) was a Scottish theatrical stage and costume designer, painter, commercial artist and writer. She was best known for her work in theatrical design.

Zinkeisen attended the Harrow School of Art for four years and won a scholarship to the Royal Academy Schools in 1917 together with her sister Anna. They then shared a studio in London during the 1920s and '30s from where she embarked on her career.

Zinkeisen's realist style made her popular as a portraitist and she became a well-known society painter. The subject matter of her paintings, society portraiture, equestrian portraiture and scenes from the parks of London and Paris reflect the lifestyle of the upper class at the time. She also worked widely in other media as an illustrator and commercial artist.

During World War II, Zinkeisen joined the St John Ambulance Brigade. She worked in the casualty department in St Mary’s Hospital, Paddington the mornings and painted in the afternoons, recording the events of the day. Following the liberation of Europe in 1945, Zinkeisen was commissioned by the War Artists' Advisory Committee as a war artist for the North West Europe. 

Zinkeisen married Edward Grahame Johnstone, a naval officer in 1927. More on Doris Clare Zinkeisen

Arne Reynaert, Belgium
Je m’appelle Jane et je t’emmerde/ My name is Jane and you are buggered by me
Acrylic on Canvas and Wood
Size: 11.8 H x 19.7 W x 2 in
Private Collection


The abstract background is present and plays an important role in the composition. It might, at the same time, stimulate the spectator towards a story, or at least towards questioning why the forms are there. The abstract forms eliminate all reference to the geographical situation of the scene. It might be at the Djemaa el Fna square, in a Brussels suburb or downtown Paris. And maybe in a few hundred years, there won't be much difference anymore (between these places). More on this painting

Arne Reynaert examines personal and sensitive positions people adopt naturally towards each other, in relation to their environment and themselves. The figures seem somehow or other to be lost in the present, in the indefinable moment between a (the) past and a (the) future. His work represents captivity in the present which, scientifically, does not even exist. Because the artist detests gimmicks, none of the above is a rule: in some of the recent works, the depicted people as a landscape, or the manipulated canvas becomes the landscape, or the people are simply missing (or missed by the spectator). On top, or underneath, the artist questions, philosophically, seemingly ordinary concepts which are part of our daily consciousness, a consciousness that is limited by the resolution of our senses, the capacity of our brain, the limited understanding of our environment and our instinct driven behaviour. 

One often finds Reynaert reflections in scribblings directly in the painting, in writings hitched on or near by the paintings, and in titles. In his questions, thoughts and ideas he takes a distance that is so immense they become universal and often affect deeply. Besides his philosophical approach, Arne Reynaert longs for a purge in his painting(s). He is obsessed by the poetical essence of the image. More on Arne Reynaert


Eugene Galien-Laloue, (French, 1854-1941)
Street Scene with Figures by the Park
Oil on canvas
18"h x 24"w

Eugène Galien-Laloue (1854–1941) was a French artist of French-Italian parents and was born in Paris on December 11, 1854. He was a populariser of street scenes, usually painted in autumn or winter. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, la Belle Époque, with horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th-century art, but for the actual history, which they document. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France.

A typical Galien-Laloue painting depicts sidewalks and avenues crowded with people or tourists mingling before the capital's monuments. He also painted the landscapes of Normandy and Seine-et-Marne, as well as military scenes he was commissioned to produce in 1914. The Republic of France selected Galien-Laloue to work as a 'war artist,' both during the Franco-Prussian War and World War I, chiefly in watercolor. More on Eugène Galien-Laloue



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Friday, September 15, 2017

12 Paintings, PORTRAIT OF A LADY, including Madame Mottewith Footnotes. # 12

Willem Wissing, AMSTERDAM 1656 - 1687 BURGHLEY, LINCOLNSHIRE
PORTRAIT OF A LADY, TRADITIONALLY IDENTIFIED AS MARY 'MOLL' DAVISLAP
Oil on canvas
126.9 x 103 cm.; 50 x 40 1/2  in.
Private Collection

Mary "Moll" Davis (1648 – 1708) was a seventeenth-century entertainer and courtesan, singer, and actress who became one of the many mistresses of King Charles II of England.

Davis was born around 1648 in Westminster and was said to be "a bastard of Collonell Howard, my Lord Barkeshire" - probably meaning Thomas Howard, third Earl of Berkshire, although her parentage has also been attributed to Robert's older brother Charles, the second Earl.

During the early 1660s she was an actress in the 'Duke's Theatre Company' and boarded with the company's manager, Sir William Davenant. She became a popular singer, dancer and comedian. She flaunted the wealth she acquired from her association with Charles, and gained a reputation for vulgarity and greed. 

Davis gave up the stage in 1668 and in 1669 had a daughter by Charles, Lady Mary Tudor, who became famous in her own right. Later, Charles dismissed Davis. Charles awarded her an annual pension for life of £1,000, and furnished a house fon Suffolke Street. At the time this street belonged to James Howard, Moll's natural father. 

In October 1673, Davis bought a new house in St James's Square, paying £1800. In December 1686, Davis married the French musician and composer James Paisible (c. 1656-1721). The Paisibles joined James's court in exile at St Germain-en-Laye, but in 1693 returned to England, where Paisible became composer to Prince George of Denmark, the husband of Princess Anne, heir to the throne. More on Mary "Moll" Davis

Henri Gascars, (1634–1701)
Louise de Querouaille (1649–1734), Duchess of Portsmouth, c. 1673
Oil on canvas
96 x 81 cm
Madingley Hall, University of Cambridge

Louise de Querouaille (Kérouaille),Duchess of Portsmouth, (September 1649 - 14 November 1734), an ancestress of Princess Diana, was born into a noble but relatively poor Breton family. The name Kérouaille derived from an heiress whom Louise's ancestor François de Penhoët had married in 1330.

Louise was placed in the household of Henrietta Anne Stuart, Duchess of Orléans, the favourite youngest sister of Charles II. In 1670 Louise accompanied Henrietta on a visit to Dover to negotiate a treaty with her brother Charles II, by the terms of the treaty, Charles was to convert to Catholicism when the time was ripe in return for a lucrative French pension.

The Duchess of Orleans died suddenly soon after this meeting. Louise was left unprovided for, but Charles II wrote to the French king requesting that Louise should come to England to serve as a maid of honour to his wife Catherine of Braganza.

It was claimed that she had been planted by the French court to lure the king of England. The support she received from France was certainly provided on the understanding that she should serve the interests of her native country. This deal was confirmed by gifts and honours from Louis XIV. However, she became highly unpopular with the English people. Louise yielded to Charles' advances only after she had established a strong hold in his affections. 

Henri Gascars, (1634–1701)
Louise de Querouaille (1649–1734), Duchess of Portsmouth, c. 1670
Oil on canvas
42 x 32 inches 106.7 x 81.3 cm
Private Collection

Her only child, a son Charles, was born in 1672 and was created Duke of Richmond, Earl of Darnley and Lord of Torbolton, by his father the king in 1675. He was given the surname Lennox, after Charles' Stuart ancestors, the Dukes of Lennox.

Louise herself was granted the titles of Baroness Petersfield, Countess of Fareham and Duchess of Portsmouth in 19 August 1673. In December 1673 she was appointed Duchess of Aubigny in the Peerage of France at the request of Charles II. Nell Gwynne, Charles' Cockney mistress, and Louise would prove rivals for many years.

Louise was strong enough to maintain her position during a long illness in 1677 retained her hold on Charles right to the end. In February 1685 she assisted in ensuring the king did not die without a Catholic confession and absolution. Soon after the king's death, Louise returned to France with her son the Duke of Richmond

During her last years Louise became more religious and resided at Aubigny, deeply in debt. The French king, Louis XIV, and after his death the regent Philippe II, Duke of Orléans, provided a pension, Louise died in Paris on 14 November 1734, at the age of 85. More Louise de Querouaille

Henri Gascars, (1634–1701)
Louise de Querouaille (1649–1734), Duchess of Portsmouth, c. 1675
Oil on canvas

Henri Gascar (1635 – 1 Jan 1701) was a French-born portrait painter who achieved artistic success in England during the reign of Charles II. He painted many leading ladies at court, including several of the King's mistresses, before returning to Paris. He subsequently relocated to Rome, where he died in 1701.

Gascar was born in Paris, the son a minor painter and sculptor. Gascar came to England about 1674, probably at the behest of Louise de Keroualle, Duchess of Portsmouth, Charles II's favourite mistress. Gascar was already known as a skillful portrait-painter.

The patronage of the Duchess of Portsmouth ensured Gascar a rapid success in England. His flamboyant style, contrasting with the stolid English approach, seemed to suit the frivolity of the time and he painted many of the ladies of Charles II's court. His lack of attention to detail in the likeness he made up for by the sumptuous draperies and tawdry adornments around the subject. 

Some time before 1680 he was shrewd enough to see that his success was merely due to a fashionable craze, and he retired to Paris before this had entirely ceased. On his return to Paris, Gascar was elected a member of the Académie Royale. He subsequently went to Rome, where he enjoyed a high reputation, and died there on 1 January 1701, aged 66. More on Henri Gascar

Elisabeth-Louise Vigée Le Brun, PARIS 1755 - 1842
PORTRAIT OF A LADY SAID PORTRAIT OF JEANNE DE VALOIS, COMTESSE DE LA MOTTE
Oil on canvas
74,5 x 60 cm ; 29 1/4  by 29 1/4  in
Private Collection

Jeanne de Valois-Saint-Rémy, "Comtesse de la Motte" (22 July 1756[1] – 23 August 1791) was a highly placed confidence woman whose greatest scam, the "Affair of the Diamond Necklace," sped the fall of the French monarchy.

Jeanne de Valois was born to a very poor family. Her father, Jacques de Valois de Saint-Rémy (1717–1762), was a direct male-line descendant of Henry de Saint-Rémy (1557–1621), an illegitimate son of King Henry II; despite having royal Valois blood, Jacques was known as a drunkard. Jeanne's mother was a debauched servant girl.

Jeanne was the third of six children. According to Count Beugnot they were rescued by his father and the abbot of Langres. According to another source, the family moved to Boulogne near Paris where a priest and one of his rich parishioners, Madame de Boulainvilliers, took care of them.

Their Valois ancestry was ascertained by a genealogist at Versailles, and as a result of legal dispositions set up to help children from poor nobility.  On 6 June 1780,[3] Jeanne married Marc-Antoine-Nicolas de la Motte, Mr Surmont's nephew and an officer of the gendarmes. At the time of her wedding, Jeanne was heavily pregnant at the time

While the de la Motte family's claim to nobility was dubious, both husband and wife assumed the title comte and comtesse de La Motte Valois.

JEANNE de St.REMY de VALOIS, COMTESSE DE LA MOTTE

The French jewelry firm Boehmer and Bassenge had invested a great deal of money into the stones needed to make a great necklace of diamonds, which they attempted unsuccessfully to sell, first to Madame du Barry, the mistress of Louis XV, and then to Louis XVI's wife, Marie Antoinette.   This necklace became an incredibly expensive prop in a convoluted intrigue:  Louis René Édouard, Cardinal de Rohan, was out of favor with the queen, and wished to regain her good graces.  The Comtesse de la Motte claimed to him that she was a favorite of the queen and could effect reconciliation.  She then encouraged the cardinal to correspond with the queen, but she herself provided the answers, which were inscribed by a confederate and signed with the queen's name.  She even arranged a meeting with a Marie Antoinette impersonator, and after a while the cardinal became persuaded that not only was the queen no longer angry with him, she was in love with him. The comtesse then convinced him that the queen wanted to buy the great diamond necklace – and that he should negotiate the purchase for 1,600,000 louis d'or, which he did, apparently in good faith.  He then handed the necklace over to the comtesse for delivery. The deception came to light when the jewelers asked to be paid.

This was the beginning of the most incredible swindle in the history of France. In 1784. Jeanne de la Motte was found guilty and sentenced to be whipped, branded and imprisoned. The public sympathized with her. She was condemned to prison for life in the Salpêtrière, but soon escaped disguised as a boy and made her way to London where, in 1789, she published her memoirs, which attempted to justify her actions while casting blame upon her chief victim, Marie Antoinette. More at Bryn Mawr College

Engraved by Meyer-Heine after De La Charlerie' From "Histoire de la Revolution Francaise" by Louis Blanc
The Torture of Madame de la Motte. Jeanne de Saint-Remy de Valois, Comtesse de la Motte. 

Louise Élisabeth Vigée Le Brun (Marie Élisabeth Louise; 16 April 1755 – 30 March 1842), also known as Madame Lebrun, was a prominent French painter.

Her artistic style is generally considered part of the aftermath of Rococo, while she often adopts a neoclassical style. Vigée Le Brun cannot be considered a pure Neoclassicist, however, in that she creates mostly portraits in Neoclassical dress rather than the History painting. While serving as the portrait painter to Marie Antoinette, Vigée Le Brun works purely in Rococo in both her color and style choices.

Vigée Le Brun left a legacy of 660 portraits and 200 landscapes. In addition to private collections, her works may be found at major museums, such as the Hermitage Museum, London's National Gallery, and museums in continental Europe and the United States. More on Louise Élisabeth Vigée Le Brun


Gustav Gaul, (German, 1836-1888)
A woman in folk dress, 1886
Oil on canvas laid down on masonite
50 x 34-1/4 inches (127 x 87.0 cm)
Private Collection

Gustav Gaul (born 6 February 1836 in Vienna , 7 September 1888 in Vorderbrühl, Stadt Mödling ) was an Austrian portraiteur and historian. Gustav was the older son of the painter Franz Gaul ; His younger brother was the later painter Franz Xaver Gaul . Gaul received his first lessons from his father; Sponsored by this, Gaul became a pupil at the art academy of his hometown. 

After five years, Gaul left the academy nd undertook a study trip to Upper Italy, and later spent several weeks in Dresden studying the Venetians. In 1855, Gaul was invited to present some of his paintings at the world exhibition in Paris. There followed a few study journeys through France and the Netherlands, from which he brought with him many landscaped sketches, which now and then reappeared in his histories.

One of his major commissioned works was the decoration of a hall at the Palais Todesco in Vienna. On behalf of the banker Edward von Todesco, Gaul designed a ceiling painting in Tempera with the train of Bacchus and scenes from the myth of Amor , Psyche and Venus .

At the age of 52, Gustav Gaul died on 7 September 1888 in Vorderbrühl, Stadt Mödling. More on Gustav Gaul

Alexandre-Jean Dubois-Drahonet, PARIS 1791 - 1834 VERSAILLES
PRESUMED PORTRAIT OF MARIA MALIBRAN, c. 1829
Oil on canvas
69 x 54,5 cm ; 27 1/4 by 21 1/2 in.
Private Collection

Maria Malibran (24 March 1808 – 23 September 1836) entered the world in 1808 with an uncommonly interesting backstory and set of genes. Her father, the famous tenor Manuel Garcia; her Spanish mother was a more minor opera singer. Garcia was a spectacular singer, a brilliant teacher, and a manic brute. Determined to make his daughter into one of the planet’s most brilliant vocalists, he battered and terrorized her regularly in service to this aim. She had a miraculous voice by the time she made her debut at a London concert at 16. 

Having made a strong start on fame, Maria began working her way toward notoriety. Her first taste of fame and her experiences with Garcia combined to make the attentions of a mild, middle-aged French businessman, Eugène Malibran, seem very acceptable. In 1826 she married him. Dissatisfaction followed soon enough.

She resumed her career in Paris in 1828, which brought her the frantic adulation that would follow her for the rest of her flamelike life, and the sobriquet La Malibran. When not performing or rehearsing, she was partying or thrilling onlookers with her skills as a dashing equestrienne. She created many of her iconic Rossini, Bellini, and Donizetti roles during this period. 

La Malibran’s conduct would not qualify her as a Shady Lady but for one event: In 1829, scandalously separated from her husband, she fell in love with Charles de Bériot, a violinist. Love led to pregnancy and a son, born well before she managed to obtain an annulment and marry de Bériot in 1836. Despite the abundant publicity around these events, she did not lose her public’s love and was widely mourned when her premature death came that same year, the result of a riding accident and probable head injury. More on Maria Malibran

DUBOIS-DRAHONET, Alexandre-Jean, (b. 1791, Paris, d. 1829, Versailles) was a French painter. Born and raised in Paris, Alexandre Dubois-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. More on DUBOIS-DRAHONET

François Bouchot, (1800–1842)
Title Portrait de la Malibran en Desdémone, c. 1831
Oil on canvas
Musée de la vie romantique

Portrait by François Bouchot (1800-1842) of the famous singer Maria Malibran, known as "La Malibran" (1808-1836) that sang Alfred de Musset in famous Stanzas. It is represented in the role of Desdemona in 1834 she sang in Rossini's Othello.

François Bouchot (1800–1842), a painter and engraver, was born in Paris in 1800. He studied engraving under Richomme, and then became a pupil of Regnault, and subsequently of Lethière, and obtained the 'grand prix de Rome' in 1823. He exhibited at the Salon from 1824 till his death, which occurred in Paris in 1842. A 'Drunken Silenus' by him is in the Lille Gallery, and the 'Burial of General Marceau ' in the Mairie at Chartres. He was also celebrated for his portraits. More on François Bouchot

Édouard Vuillard, 1868 - 1940
PORTRAIT DE GABRIELLE JONAS, c. 1927
Pastel on paper
19 3/4 by 25 1/2 in., 50.1 by 64.7 cm
Executed in 1927. 
Private Collection

The sitter is Gabrielle Jonas, wife of Édouard Jonas, an antique dealer. She is seated in the living room of Jos and Lucy Hessel at 33 rue de Naples, a location partially identifiable by the paintings behind her, most of them presumably obtained by Jos Hessel through his business as director of the Bernheim-Jeune Gallery owned by his cousins Gaston and Josse Bernheim.

 Vuillard portrayed Jonas in a series of works in both pastel and, oil—eleven works center on her, and she appears with other figures in at least two additional images. More on Gabrielle Jonas

Jean-Édouard Vuillard (11 November 1868 – 21 June 1940) was a French painter and printmaker associated with the Nabis. The son of a retired captain, he spent his youth at Cuiseaux (Saône-et-Loire); in 1878 his family moved to Paris in modest circumstances. After his father's death in 1884, Vuillard received a scholarship to continue his education. In the Lycée Condorcet Vuillard met Ker Xavier Roussel (also a future painter and Vuillard's future brother in law), Maurice Denis, musician Pierre Hermant, writer Pierre Véber, and Lugné-Poe.

Vuillard was a member of the Symbolist group known as Les Nabis (from the Hebrew and Arabic term for "prophets" and, by extension, the artist as the "seer" who reveals the invisible). However, he was less drawn to the mystical aspects of the group and more drawn to fashionable private venues where philosophical discussions about poetry, music, theatre, and the occult occurred. Because of his preference for the painting of interior and domestic scenes, he is often referred to as an "intimist," along with his friend Pierre Bonnard. He executed some of these "intimist" works in small scale, while others were conceived on a much larger scale made for the interiors of the people who commissioned the work. More Jean-Édouard Vuillard

Lilla Cabot Perry, (1848–1933)
The Green Hat, c. 1913
Oil on canvas
Terra Foundation for American Art, Daniel J. Terra Collection, 1987.25

Lilla Cabot Perry (January 13, 1848 – February 28, 1933) was an American artist who worked in the American Impressionist style, rendering portraits and landscapes in the free form manner of her mentor, Claude Monet. Perry was an early advocate of the French Impressionist style and contributed to its reception in the United States. Perry's early work was shaped by her exposure to the Boston School of artists and her travels in Europe and Japan. She was also greatly influenced by Ralph Waldo Emerson's philosophies and her friendship with Camille Pissarro. Although it was not until the age of thirty-six that Perry received formal training, her work with artists of the Impressionist, Realist, Symbolist, and German Social Realist movements greatly affected the style of her oeuvre. More Lilla Cabot Perry





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Sunday, September 10, 2017

17 Paintings, Streets of Paris, by its Artists from 1850-1910 - Part 6 - With Footnotes

Paris, France's capital, is a major European city and a global center for art, fashion, gastronomy and culture. Its 19th-century cityscape is crisscrossed by wide boulevards and the River Seine. Beyond such landmarks as the Eiffel Tower and the 12th-century, Gothic Notre-Dame cathedral, the city is known for its cafe culture and designer boutiques along the Rue du Faubourg Saint-Honoré. Wikipedia

Marie-François Firmin-Girard, FRENCH
LE DIMANCHE AU BAS-MEUDON
Oil on canvas 
39 3/8 by 59 in., 100 by 150 cm
Private Collection

Meudon is a municipality in the southwestern suburbs of Paris. The northwest part of Meudon, overlooking the Seine, is known as Bellevue.

Marie-François Firmin-Girard, FRENCH
LE DIMANCHE AU BAS-MEUDON
Detail

François-Marie Firmin-Girard, born 29 May 1838 in Poncin ( Ain ) and died 8 January 1921 in Montlucon ( Allier ), is a historical painter of religious subjects, genre scenes, portraits, landscapes, still lifes and flowers.

He established himself very early, in Paris. He entered the School of Fine Arts in 1854 in the workshops of Charles Gleyre and Jean-Léon Gérôme . He won the second Prix de Rome in 1861 and set up his studio at Boulevard de Clichy in Paris. From 1859 he exhibited at the Paris Salon and the Salon of French artists , winning numerous medals. Sometimes with a realistic style, sometimes close to Impressionism, always with a beautiful light, he painted with equal ease his history paintings, genre scenes, landscapes and flowers. Among his many works are cited San Sebastian, After the Ball, Shopping flowers, The Betrothed, The Terrace at Le Quai Onival or flowers. Firmin-Girard was certainly one of the most popular painters of the public of his time in Paris. More

Pierre Bonnard
LA PLACE CLICHY
Oil on board laid down on cradled panel
20 3/4 by 26 3/8 in. 52.8 by 67.4 cm
Private Collection

Pierre Bonnard
Goûter au jardin
Oil on canvas 
14 7/8 x 17 7/8 in. (38 x 45.4 cm.)
Private Collection

Pierre Bonnard
The rue Tholozé and the Moulin de la Galette
Oil on canvas 
Height: 66 cm (25.98 in.), Width: 34.3 cm (13.5 in.)
Private Collection

Pierre Bonnard
Rue Tholozé (also known as Montmartre in the Rain), c. 1897
Oil on canvas 
Height: 70 cm (27.56 in.), Width: 95 cm (37.4 in.)
Van Gogh Museum  (Netherlands - Amsterdam) 

Theo Tobiasse
Les bouffons du jardin Notre Dame
Oil on paper glued on canvas
20 1/4 x 26 3/8 in.
Private Collection

Luigi Loir
Le Louvre, Paris
Oil on canvas 
39 3/8 by 59 in., 100 by 150 cm
Private Collection


Luigi Aloys Francois Joseph Loir, born 22 December 1845 in Goritz, Austria (now Nova Gorica in Slovenia ), and the died 9 February 1916 in Paris , was a painter , illustrator and lithographer.

Luigi Loir is the son of Tancred Loir François and Thérèse Leban, his wife, respectively valet and housekeeper of the French royal family in exile in Austria. Housed in the duchy of Parma in 1847, Luigi Loir studied at the School of Fine Arts in Parma in 1853. His first painting wass the landscape in Villiers-sur Seine (1865), two years after his return to Paris. He became known for his ceiling paintings. He worked with Jean Pastelot (1820-1870).


He was appointed Knight of the Legion of Honour in 1898. More

Pierre Bonnard
Café Terrace, c. 1898
Oil on canvas 
Height: 33.8 cm (13.31 in.), Width: 49.5 cm (19.49 in.)
Cleveland Museum of Art  (United States - Cleveland, Ohio) 

Pierre Bonnard, see above


Pierre Bonnard
Narrow Street in Paris, c. 1897
Oil on canvas 
Height: 37.1 cm (14.61 in.), Width: 19.6 cm (7.72 in.)
 The Phillips Collection (United States - Washington, DC) 



Eugène Galien-Laloue
The Church of St. Augustin, Paris
Oil on canvas 
39 3/8 by 59 in., 100 by 150 cm
Private Collection

The Église Saint-Augustin de Paris (Church of St. Augustine) is a Catholic church located at 46 boulevard Malesherbes in the 8th arrondissement of Paris. The church was designed to provide a prominent vista at the end of the boulevard both of which were built during Haussmann's renovation of Paris under the Second French Empire. More

Eugène Galien-Laloue (1854–1941) was a French artist of French-Italian parents and was born in Paris on December 11, 1854. He was a populariser of street scenes, usually painted in autumn or winter. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, la Belle Époque, with horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th-century art, but for the actual history, which they document. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France.

A typical Galien-Laloue painting depicts sidewalks and avenues crowded with people or tourists mingling before the capital's monuments. He also painted the landscapes of Normandy and Seine-et-Marne, as well as military scenes he was commissioned to produce in 1914. The Republic of France selected Galien-Laloue to work as a 'war artist,' both during the Franco-Prussian War and World War I, chiefly in watercolor. More

Eugène Galien-Laloue, 1854-1941, FRENCH
PORTE SAINT-DENIS, PARIS
Gouache and watercolor on paper
31.5 by 49.5cm., 12½ by 19½in.
Private Collection

Edouard Léon Cortés
The flower market, Place de la Madeleine
Oil on canvas 
14 1/4 x 17 1/2in (36.2 x 44.4cm)
Private Collection

Edouard Léon Cortés
Le boulevard de la Madeleine
Oil on canvas 
20 1/2 x 31 1/2in (52 x 80cm)
Private Collection

Michele Cascella
Domenica Parigina, Sunday in Paris
Oil on canvas 
19 3/4 x 29in (50.2 x 73.6cm)
Private Collection

Michele Cascella (7 September 1892 – 31 August 1989) was an Italian artist. Primarily known for his oil paintings and watercolours, he also worked in ceramics, lithography, and textiles. He exhibited regularly at the Venice Biennale from 1924 until 1942, and his works are owned by major museums in Italy and Europe, including Victoria and Albert Museum in London, Galerie nationale du Jeu de Paume in Paris, and Galleria Nazionale d'Arte Moderna in Rome. More

Eugène Galien-Laloue
Promeneurs Et Vapeurs Sur Le Quai D'Orsay
Gouache on paper
7 7/8 x 12 1/2in.
Private Collection

Frits Thaulow
A Parisian Street Scene in Winter
Oil on canvas 
29 x 23 3/4in
Private Collection


Victor Dargaud, B. CIRCA 1850, FRENCH
L'HÔTEL DE VILLE DE PARIS
Oil on canvas
60 by 81.5cm., 23½ by 32in
Private Collection


PAUL EMMANUEL PÉRAIRE, (french 1829-1893) 
BORDS DE LA SEINE 
Oil on canvas 
15 3/4 x 25 3/8 in. (40 x 64.5cm)
Private Collection

LOUIS-ROBERT CARRIER-BELLEUSE, FRENCH (1848-1913)
Le vendeur de crêpe/ The pancake seller, c. 1874
 Oil on canvas
92 x 73cm. (36 ¼ x 28 ¾in.)
Private collection, United States




























Acknowledgement: BONHAMS NEW YORK Freeman's, Sotheby's

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