Jules Breton, 1827 - 1906, FRENCH
INNOCENTE, c. 1875
Oil on canvas
22 1/2 by 20 1/2 in., 57.2 by 52.1 cm
Innocente presents a moving portrait of a young peasant girl, and while the unusual and seemingly ambivalent treatment of the background suggests that this is a sketch or study, the vigorously painted and highly finished treatment of her facial features, together with the free, natural and vivid brushwork for her hair and scarf, align the painting with Breton's manner and technique for a finished painting at this time. While the tender subject and composition of Innocente invites comparison to the paintings of William Bouguereau, there is a psychological intensity to the girl’s expression that is unique to, and consistent with, Breton’s career-spanning devotion to the honest depiction of peasant life. More
Jules Adolphe Aimé Louis Breton (1 May 1827 – 5 July 1906) was a 19th-century French Realist painter. His paintings are heavily influenced by the French countryside and his absorption of traditional methods of painting helped make Jules Breton one of the primary transmitters of the beauty and idyllic vision of rural existence. More
Attributed to Pier Francesco CITTADINI (1616-1681)
Portrait of a gentlewoman with her her child
Oil on Canvas
92 X 73cm - 36 3/16 x 28 11/16 IN.
A gentlewoman in the original and strict sense is a woman of good family, analogous to the Latin generosus and generosa. The closely related English word "gentry" derives from the Old French genterise, gentelise, with much of the meaning of the French noblesse and the German Adel, but without the strict technical requirements of those traditions, such as quarters of nobility. More
Pier Francesco Cittadini (1616–1681) was an Italian painter of the Baroque period, active mainly in Bologna and painting lush and rich still lifes. Initially a pupil of Daniele Crespi, Cittadini moved to Bologna before the age of 20 to study with Guido Reni, whose influence is clearly evident in such early works as the "Stoning of Saint Stephen," the "Flagellation and the Crowning with Thorns" in the church of Santo Stefano, Bologna. He travelled to Rome in the mid-1640s and came into contact with the French and Flemish artists living there. This international melting pot gave rise to an original artistic vocabulary aimed at the naturalistic depiction of reality in a vast number of still lifes, landscapes and portraits. He also painted decorative frescoes for the Ducal Palace of Sassuolo. More
Vincenzo Migliaro (Italian, 1858-1938)
Oil on panel
24.6 x 21cm (9 11/16 x 8 1/4in)
Vincenzo Migliaro (1858–1938) was an Italian painter born in Naples. After learning the art of wood carving at courses held by the Società Centrale Operaia Napoletana and working in the studio of Stanislao Lista, Migliaro enrolled in 1875 at the Naples Institute of Fine Arts, where his masters included Domenico Morelli. While a short trip to Paris in 1877 afforded him the opportunity to study the works exhibited in the Louvre, the artist’s main source of inspiration was Naples and its highly animated everyday life. The works he presented in exhibitions at the national and international level – including Turin (1880, 1884, and 1898) and Barcelona (1911), where he won a silver medal – gained him a reputation as a keen observer of Neapolitan life. Involved in the decoration of the Caffè Gambrinus in the following decade together with Vincenzo Irolli and other painters, he took part in the Venice Biennale from 1901 to 1928 and exhibited alongside Vincenzo Caprile and Vincenzo Gemito, both Neapolitans, at the Galleria Pesaro, Milan, in 1927. More
Adolphe Weisz (French, 1838-circa 1910)
The bedroom mirror
Ooil on canvas
75 x 46.5cm (29 1/2 x 18 5/16in)
Adolphe Weisz (1838-aft.1900), is a Hungarian by birth, from Buda, but studied art in Paris under Jalabert. He carried away a medal at the Salon of 1875 and has since repeated his successes. More
Ernest Walbourn (British, 1872-1927)
A Devonshire fisherman's daughter
Oil on canvas
51 x 76.5cm (20 1/16 x 30 1/8in).
Portrait of a Russian actress, c. 1897
Oil on canvas
138 x 107 cm
The Regional Museum in Torun
One of the earliest works of Konrad Krzyzanowski, painted while still a student artist in Tsarist Academy of Fine Arts in St. Petersburg, in 1897. It is the only preserved work from this period of the artist.
Krzyzanowski almost invades the soul of a woman, bringing out her disturbing, shattering despair. Dynamic, expressive gesture reveals the intimate relationship between the artist and the portrait The work shows, not only the model's emotions, but Konrad's as well. The portrait probably had a personal meaning for the artist. It bears the inscription farewell: "Friend of the heart, for the moment, Konrad Krzyzanowski". According to reports from the artist's wife, Michalina Piotruszewskiej, the actress, unable to bear the thought of parting with Krzyzanowski, committed suicide, the portrait remained in the hands of the Konrad. More
Konrad Krzyżanowski (15 February 1872, Kremenchuk - 25 May 1922, Warsaw) was a Ukrainian-born Polish illustrator and painter, primarily of portraits; considered to be an early exponent of Expressionism. He grew up in Kiev and took his first art lessons at the Kiev Drawing School with Mykola Murashko. This was followed by studies at the Imperial Academy of Arts in Saint Petersburg. He was not there long, however, when his distaste for the school's teaching methods developed into a conflict with the Rector and he was expelled.
In 1897, he moved to Munich, where he took private lessons from Simon Hollósy. Three years later, he settled in Warsaw and, together with Kazimierz Stabrowski, established his own painting school, which he ran for four years. From 1904 to 1909, he taught at the Academy of Fine Arts, where he often took his students to paint en plein aire in Lithuania and Finland. He also did illustrations for Chimera, a literary and artistic journal that was published from 1901 to 1907.
In 1906, he married the artist, Michalina Piotruszewska, a student at the Academy. After her graduation in 1909, he resigned his position there. From 1912 to 1914 they lived in London and Paris, where she studied with Maurice Denis at the Académie Ranson.
In 1914, they returned to Warsaw but, following the outbreak of World War I, went to live with her relatives in Volhynia. From 1917 to 1918, they lived in Kiev, where he taught at the "Polish School of Fine Arts".
After the creation of the Polish Second Republic, they returned to Warsaw and he re-established his private art school. More
Alfred W. Elmore (British, 1815-1881)
Oil on canvas
53.5 x 43.5 cm (21.1 x 17.1 in)
Alfred W. Elmore (1815-1881), see below
JOHN LA FARGE, American (1835-1910)
The Sphinx, c. 1865
Gouache and watercolor on paper
4 5/8 x 6 1/2 inches
John La Farge (March 31, 1835 – November 14, 1910) was an American painter, muralist, stained glass window maker, decorator, and writer. La Farge was born in New York City to wealthy French parents. His interest in art began during his studies at Mount St. Mary's University in Maryland and St. John's College in New York. He initially intended to study law, but this changed after his first visit to Paris, France in 1856. Stimulated by the arts in the city, he studied with Thomas Couture and became acquainted with notable literary people.
La Farge's earliest drawings and landscapes, from his studies in Newport, show marked originality, especially in the handling of color values. Many of La Farge's mythological and religious paintings, including Virgil, were executed in an area of Rhode Island known as "Paradise," in a forest which La Farge called "The Sacred Grove" after Virgil.
John LaFarge (American, 1835-1910)
India ink on uncut woodblock
6 3/4 x 5 1/2 in. (17.2 x 14.0 cm),
La Farge made extensive travels in Asia and the South Pacific, which inspired his painting. He visited Japan in 1886, and the South Seas in 1890 and 1891, in particular spending time and absorbing the culture of Tahiti. Henry Adams accompanied him on these trips as a travel companion. He visited Hawaii in September 1890, where he painted scenic spots on Oahu and traveled to the Island of Hawaii to paint an active volcano.
John La Farge (American, 1835-1910)
A Quiet Reverie
Oil on canvas
9 7/8 x 11 7/8 in. (25.0 x 30.0 cm)
In 1892, La Farge was brought on as an instructor with the Metropolitan Museum of Art Schools to provide vocational training to students in New York City.[ He served as President of the National Society of Mural Painters from 1899 to 1904.
He learned several languages, and was erudite in literature and art; by his cultured personality and reflective conversation, he influenced many other people. Though naturally a questioner, he venerated the traditions of religious art, and preserved his Catholic faith.
La Farge died at Butler Hospital, in Providence, Rhode Island in 1910. More
ERNST MEISEL, German (1838-1895)
Marie Antoinette in Chambers
Oil on canvas
27 x 20 1/2 inches
Marie Antoinette (2 November 1755 – 16 October 1793), was the last Queen of France prior to the French Revolution. She was born an Archduchess of Austria, and was the fifteenth and second youngest child of Empress Maria Theresa and Francis I, Holy Roman Emperor.
In April 1770, upon her marriage to Louis-Auguste, heir apparent to the French throne, she became Dauphine of France. On 10 May 1774, when her husband ascended the throne as Louis XVI, she became Queen of France and Navarre, a title she held until September 1791, when, as the French Revolution proceeded, she became Queen of the French, a title she held until 21 September 1792.
After eight years of marriage, Marie Antoinette gave birth to a daughter, Marie-Thérèse Charlotte, the first of her four children. Despite her initial popularity, a growing number of the population eventually came to dislike her, accusing her of being profligate, promiscuous, and of harbouring sympathies for France's enemies, particularly her native Austria. The Diamond Necklace affair damaged her reputation further. During the Revolution, she became known as Madame Déficit because the country's financial crisis was blamed on her lavish spending and her opposition to the social and financial reforms of Turgot and Necker.
ERNST MEISEL, German (1838-1895) was a visual artist who was born in 1838. Numerous works by the artist have been sold at auction. The artist died in 1895. More
Alfred W. Elmore (1815-1881)
Marie Antoinette with her Children and Madame Élisabeth, When the Mob Broke into the Tuileries Palace on 20 June 1792
77 x 91 cm (30,3 x 35,8 in)
During the Revolution, after the government had placed the royal family under house arrest in the Tuileries Palace in October 1789, several events linked to Marie Antoinette, in particular the June 1791 attempt to flee, and her role in the War of the First Coalition, had disastrous effects on French popular opinion. On 10 August 1792, the attack on the Tuileries forced the royal family to take refuge at the Assembly, and on 13 August the family was imprisoned in the Temple. On 21 September 1792, the monarchy was abolished. After a two-day trial begun on 14 October 1793, Marie Antoinette was convicted by the Revolutionary Tribunal of high treason, and executed by guillotine on Place de la Révolution on 16 October 1793. More
Alfred Elmore RA (1815–1881) was a Victorian history and genre painter. He was born in Cork, Ireland. His family moved to London, where Elmore studied at the Royal Academy of Arts. His early works were in the troubadour style of Richard Parkes Bonington, but he soon graduated to religious work, notably The Martyrdom of Thomas à Becket. Between 1840 and 1844 Elmore travelled across Europe, visiting Munich, Venice, Bologna, and Florence.
Most of Elmore's later works were historical narrative paintings. Religious Controversy and The Novice were implicitly anti-Catholic in character. Other paintings set episodes from Shakespeare, or the history of the French Revolution. They often contained subtle explorations of the process of creation.
Elmore's best-known work is On the Brink (1865; Fitzwilliam Museum, Cambridge), a moral genre painting depicting a young woman who has lost her money gambling, and is 'on the brink' of responding to the blandishments of a seducer, who is depicted as a satan-like figure, luridly bathed in red light, and whispering corrupting thoughts in her ear.
By the late 1860s Elmore was moving away from such Hogarthian subjects towards a more classical style influenced by Edward Poynter and Lawrence Alma-Tadema. He also painted Arabic figures, in line with the vogue for Orientalism in art.
Elmore suffered from neuralgia through much of his life, and in his late years he became lame following a fall from his horse. He died of cancer in January 1881 and was buried in Kensal Green cemetery in London. More
William Hamilton RA (1751–1801)
Marie Antoinette being taken to her executio, c. 1794
Museum of the French Revolution
"Even opponents of Marie Antoinette were forced to admit that very few people could behave so calm, majestic and dignified before their execution, as behaved Marie Antoinette".
William Hamilton RA (1751–1801) was an English painter and illustrator. Hamilton was born in Chelsea, London, but travelled and worked in Italy with Antonio Zucchi for several years. He trained first as an architectural draftsman, but soon moved to theatrical portraits and scenes from plays.
Hamilton became an associate member of the Royal Academy from 1784, and was made a full member in 1789. More
Ernst Meisel (1838–1895)
Madame Elizabeth and Her Niece
Oil on canvas
100.4 x 87 cm
Atkinson Art Gallery Collection
Élisabeth of France (Élisabeth Philippine Marie Hélène de France; May 1764 – 10 May 1794), known as Madame Élisabeth, was a French princess and the youngest sibling of King Louis XVI. During the French Revolution, she remained beside the king and his family and was executed at Place de la Révolution in Paris during the Terror.
Élisabeth was deeply religious. She was devoted to her brother the king, and refused to marry (as it would have been to a foreign prince) so that she might remain in France; in 1777, a marriage was suggested to Joseph II, Holy Roman Emperor, son of Empress Maria Theresa of Austria and brother of her sister-in-law, Queen Marie Antoinette, but she declined with her brother's consent. More
Edgar Bundy (British, 1862-1922)
Oil on canvas
55.9 x 76cm (22 x 29 15/16in)
Edgar Bundy (Brighton, 1862 – London, 1922) was an English painter. Bundy had no formal training but learned some of his craft at the studio of Alfred Stevens. He specialised in historical paintings in oil and watercolour, usually in a very detailed and narrative style, a genre which was very popular in the Edwardian time he lived in. Bundy exhibited at the Royal Academy in 1915 and at the Paris Salon in 1907. In the Tate Gallery is his Royal Academy painting of 1905 entitled The Morning of Sedgemoor depicting the Duke of Monmouth's rebels resting in a barn before the battle.
Influences in Bundy's work include Pre-Raphaelites such as John Millais, William Morris and the works of John Ruskin. More
John Hoppner RA (4 April 1758 – 23 January 1810)
Mary Robinson as Perdita, c. 1782
Mary Robinson (27 November 1757 – 26 December 1800) was an English actress, poet, dramatist, novelist, and celebrity figure. During her lifetime she was known as "the English Sappho". She earned her nickname "Perdita" for her role as Perdita, in Shakespeare's The Winter's Tale in 1779. She was the first public mistress of King George IV while he was still Prince of Wales.
From the late 1780s, Robinson became distinguished for her poetry and was called "the English Sappho". In addition to poems, she wrote eight novels, three plays, feminist treatises, and an autobiographical manuscript that was incomplete at the time of her death. She championed the rights of women and was an ardent supporter of the French Revolution. She died in late 1800 in poverty at the age of 43, having survived several years of ill health, and was survived by her daughter, who was also a published novelist.
While most of the early literature written about Robinson focused on her sexuality, emphasizing her affairs and fashions, she began to receive the attention of feminists and literary scholars in the 1990s. In addition to regaining literary and cultural notability, she has re-attained a degree of celebrity in recent years when several biographies of her appeared. More
John Hoppner RA (4 April 1758 – 23 January 1810) was an English portrait painter. Showing strong inclination for art, in 1775 he entered the Royal Academy. In 1778 he took a silver medal for drawing from life, and in 1782 the Academy's highest award, the gold medal for historical painting, his subject being King Lear.
His earliest love was for landscape, but necessity obliged him to turn to the more lucrative business of portrait painting. At once successful, he had throughout life the most fashionable and wealthy sitters. The Prince of Wales visited him especially often, and many of his finest portraits were hung in the state apartments at St James's Palace.
In his later years Hoppner suffered from a chronic disease of the liver. He died on the 23 January 1810. More
Frans Francken the Younger, (1581 – 1642)
Bravery of the Persian Women, circa 1605
Oil on panel
50 x 66.5 cm
Bravery of the Persian Women is an early example of Frans Francken the Younger’s celebrated history paintings. Here he portrays one of the stories related by Plutarch in volume five of his Moralia, which is dedicated to the courage of women. Beating a frantic retreat, the Persian army led by Cyrus the Great sought to re-enter the city from whence it came, at the risk of bringing the pursuing enemy with it. Furious that they should be placed in danger, the women of the city ran out to meet the soldiers and lifted up their garments to shame them. Accusing their husbands of cowardice, the women urged them back into battle. Mortified, the Persians renewed their courage and returned to rout the enemy. More
Frans Francken the Younger (Antwerp, 1581 – Antwerp, 6 May 1642) was a Flemish painter and the best-known member of the large Francken family of artists. He played an important role in the development of Flemish art in the first half of the 17th century through his innovations in genre painting and introduction of new subject matter. Francken was born in Antwerp where he trained with his father Frans Francken the Elder. He may also have trained with his uncle Hieronymus Francken I in Paris, together with his brother Hieronymus Francken II. He became a master in the Antwerp Guild of Saint Luke in 1605 and was deacon of the Guild in 1616. More
Follower of Caravaggio, (1571 – 1610)
Cimon and Pero, c. 17th Century
Oil on canvas
96.5 x 116 cm
This painting, by one of Caravaggio’s followers, depicts the moment at which Pero, a beautiful young woman, visits her father Cimon while he is incarcerated in prison. Cimon has been sentenced to death by starvation, and is close to perishing. Pero, however, is able to keep him alive by secretly breastfeeding him. When the jailers discover her actions, they are moved to pity. Cimon’s life is spared. More
Michelangelo Merisi da Caravaggio (29 September 1571 in Caravaggio – 18 July 1610) was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on Baroque painting.
Caravaggio trained as a painter in Milan under Simone Peterzano who had himself trained under Titian. In his twenties Caravaggio moved to Rome where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for a stylistic alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism. Caravaggio's innovation was a radical naturalism that combined close physical observation with a dramatic, even theatrical, use of chiaroscuro which came to be known as tenebrism (the shift from light to dark with little intermediate value).
He gained attention in the art scene of Rome in 1600 with the success of his first public commissions, the Martyrdom of Saint Matthew and Calling of Saint Matthew. Thereafter he never lacked commissions or patrons, yet he handled his success poorly. He was jailed on several occasions, vandalized his own apartment, and ultimately had a death sentence pronounced against him by the Pope after killing a young man, possibly unintentionally, on May 29, 1606. He fled from Rome with a price on his head. He was involved in a brawl in Malta in 1608, and another in Naples in 1609, possibly a deliberate attempt on his life by unidentified enemies. This encounter left him severely injured. A year later, at the age of 38, he died under mysterious circumstances in Porto Ercole in Tuscany, reportedly from a fever while on his way to Rome to receive a pardon.
Famous while he lived, Caravaggio was forgotten almost immediately after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered. More
Frederick Arthur Bridgman, 1847 - 1928, AMERICAN
Aicha, a Woman of Morocco, c. 1883
Oil on canvas
54.61 cm (21.5 in.), Width: 26.67 cm (10.5 in.)
Newark Museum, United States
Frederick Arthur Bridgman (November 10, 1847 - 1928) was an American artist, born in Tuskegee, Alabama. The son of a physician, Bridgman would become one of the United States' most well-known and well-regarded painters and become known as one of the world's most talented "Orientalist" painters. He began as a draughtsman in New York City, for the American Bank Note Company in 1864-1865, and studied art in the same years at the Brooklyn Art Association and at the National Academy of Design; but he went to Paris in 1866 and became a pupil of Jean-Leon Gerome. Paris then became his headquarters. A trip to Egypt in 1873-1874 resulted in pictures of the East that attracted immediate attention, and his large and important composition, The Funeral Procession of a Mummy on the Nile, in the Paris Salon (1877), bought by James Gordon Bennett, brought him the Cross of the Legion of Honor. Other paintings by him were An American Circus in Normandy, Procession of the Bull Apis (now in the Corcoran Gallery of Art, Washington, D.C.), and a Rumanian Lady (in the Temple collection, Philadelphia, Pennsylvania). More
Sir Lawrence Alma-Tadema, O.M., R.A., 1836-1912, BRITISH
Oil on panel
21 1/8 by 14 1/2 in., 53.7 by 36.8 cm
Throughout the 1890s, Alma-Tadema’s ambitious reconstructions of Rome frequently depicted its wealthy citizens at leisure. Many of these works, like Fortune’s Favourite, were painted on an intimate scale, primarily featuring groups of women perched on balconies or exedras overlooking the Bay of Naples. The area was described in ancient sources as a popular resort during the early Empire, where the elite escaped from Rome to their villa maritime (luxury villas) nestled among the region’s cliffs. More
Sir Lawrence Alma-Tadema, OM, RA (8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship.
Born in Dronrijp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky.
Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century English art. More
William Merritt Chase, American, 1849-1916
Portrait of a Lady in Pink, ca. 1888–1889
Oil on canvas
178.4 x 102.2 cm (70 1/4 x 40 1/4 inches)
Rhode Island School of Design
The model for this painting was Chase’s student Marietta “Pansy” Benedict Cotton, a young New York socialite. Chase’s composition showcases his eclectic techniques, from the fine academic modeling of the sitter’s face and arms to the wide, bravura brushstrokes of her gown. Critics lauded the decorative backdrop and the “artistic quality” of the dress’s translucent pink layers. After exhibiting Lady in Pink at the 1893 World’s Columbian Exposition in Chicago,
William Merritt Chase, (born Nov. 1, 1849, Williamsburg [now Nineveh], Ind., U.S.—died Oct. 25, 1916, New York, N.Y.) painter and teacher, who helped establish the fresh colour and bravura technique of much early 20th-century American painting. Chase studied at the National Academy of Design in New York City and under Karl von Piloty for six years in Munich. He worked for a time in the grays and browns of the Munich school, but in the 1880s he took up a lighter palette, which was then popular in Paris.
An extremely effective teacher, Chase taught many pupils, first at the Art Students League of New York and then at his own school in New York City. He is best known for his portraits and figure studies, his still lifes. His mature style is notable for its bold and spontaneous brushwork and other marks of virtuoso execution. More
William Merritt Chase (American, Williamsburg, Indiana 1849–1916 New York)
Lady in Black, c. 1888
Marietta Benedict Cotton (1868–1947)
Oil on canvas
74 1/4 x 36 5/16 in. (188.6 x 92.2 cm)
The Metropolitan Museum of Art
Marietta Benedict Cotton (1868–1947) studied with Chase and became a successful society portraitist in New York and London. Chase later recalled: "One morning, a young lady came into my Tenth Street studio. . . . She came as a pupil but the moment she appeared before me I saw her only as a splendid model. . . . Such a model is a treasure-find. It is the personality that inspires, and which you depict on canvas." An unabashed eclectic, Chase echoed Whistler's devotion to monochromatic portraits and quoted the table at the left from Sargent's Madame X (Madame Pierre Gautreau). Like many of Chase's portraits, this one transcends individual characterization and functions as an aesthetic statement about the formal problems of composition, design, and color. More
William Merritt Chase (American, Williamsburg, Indiana 1849–1916 New York), see above
Rogier van der Weyden, 1399-1464, Brussels
Portrait of a Lady, c. 1460
Oil on panel
37 x 27 cm (14 9/16 x 10 5/8 in.)
National Gallery of Art, Washington, D.C.,
This painting is an outstanding example of the abstract elegance characteristic of Rogier's late portraits. Although the identity of the sitter is unknown, her air of self–conscious dignity suggests that she is a member of the nobility. Her costume and severely plucked eyebrows and hairline are typical of those favored by highly placed ladies of the Burgundian court.
Rogier excelled as a portrait painter because he so vividly presented the character of the persons he portrayed. The downcast eyes, the firmly set lips, and the tense fingers reflect this woman's mental concentration. Rogier juxtaposed the strong sensation of the sitter's acute mental activity to his rigid control of the composition and the formality of her costume and pose, presenting the viewer with an image of passionate austerity. More
Rogier van der Weyden (1399 or 1400 – 18 June 1464), see below
Rogier van der Weyden (1399 or 1400 – 18 June 1464), see below
Rogier van der Weyden (1399/1400–1464)
Portrait of a Woman with a Winged Bonnet, circa 1440
Oil on oak wood
Height: 49.3 cm (19.4 in). Width: 32.9 cm (13 in).
Rogier van der Weyden (1399 or 1400 – 18 June 1464) was an Early Netherlandish painter. His surviving works consist mainly of religious triptychs, altarpieces and commissioned single and diptych portraits. He was highly successful and internationally famous in his lifetime; his paintings were exported – or taken – to Italy and Spain, and he received commissions from Netherlandish nobility and foreign princes. By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity. However his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. His reputation was slowly rebuilt during the following 200 years; today he is known, with Robert Campin and van Eyck, as the third of the three great Early Flemish artists, and as the most influential Northern painter of the 15th century. Karel van Mander wrote that the great artistic contribution of Rogier van der Weyden lies in his ideas, his composition and rendering of the soul's expression through pain, happiness or anger, and the tempering of this emotional testimony to the subject matter of his work.
Van der Weyden worked from life models, and his observations were acute, yet he often idealised certain elements of his models' facial features, and they are typically statuesque, especially in his triptychs. All of his forms are rendered with rich, warm colourisation and a sympathetic expression, while he is known for his expressive pathos and naturalism. His portraits tend to be half length and half profile. Van der Weyden used an unusually broad range of colours and varied tones; in his finest work the same tone is not repeated in any other area of the canvas; even the whites are varied. More
MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A.
PORTRAIT OF A YOUNG WOMAN
11.75 ins x 11.5 ins; 27.9 cms x 27.9 cms
Marc-Aurèle de Foy Suzor-Coté (April 6, 1869 – January 29, 1937) was a Canadian painter and sculptor. He was one of the first native-born Canadian artists whose works were directly influenced by the Old World's Impressionism of the 1860s.
He was born in Arthabaska, Quebec in 1869. His father was an artist. He studied at the Collège du Sacré-Coeur, Arthabaska. He was a baritone, who studied music at the Conservatory of Music in Paris in 1890. He studied painting and sculpture at the École des Beaux-Arts in Paris with Léon Bonnat during the 1890s. He studied painting and sculpture at the Julian and Colarossi Academies. He exhibited his works in 1894 at the Salon des Artistes Français. His "Death of Archimedes" won the Grand Prize at the Paris Salon.
After his return to Quebec in 1908, he established a studio in Montreal with classic interpretations of Canadian landscapes. He produced many impressionist paintings of the Quebec landscape, as well as portraits, nudes, historical paintings and later sculptures. He was also interested in the play of light on snow and water.
Suzor-Coté was made a member of the Royal Canadian Academy of Arts.
Suzor-Coté became paralyzed in 1927. In 1929, and moved to Daytona Beach, Florida, where he died on 29 January 1937. More
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