Thursday, November 3, 2016

18 Paintings, PORTRAIT OF A LADY, from the 18th & 19th C., with Footnotes. #3

John Hoppner R.A., 1758-1810
Oil on canvas
68.5 by 53.5 cm., 27 by 21 in
Private Collection

The traditional title for the portrait is 'Portrait of a Lady as Evelina'. Evelina or A Young Lady's Entrance into the World was a novel by Fanny Burney published in 1778. It tells of the beautiful Evelina who was abandoned when a child by her father and brought up by a guardian. She goes to London where she falls in love with the handsome Lord Orville and is eventually recognised by her father as his heir. It was enormously popular and amongst its admirers were Dr. Johnson, Burke, Gibbon, Sheridan and Reynolds. More

John Hoppner RA (4 April 1758 – 23 January 1810) was an English portrait painter, who achieved fame as a brilliant colourist. Hoppner was born in Whitechapel, London, the son of German parents - his mother was one of the German attendants at the royal palace. King George showed a fatherly interest and patronage of the young boy that gave rise to rumours, quite unfounded, that he may have been his illegitimate son.

Hoppner became a chorister at the royal chapel, but, 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.

Hoppner first exhibited at the Royal Academy In 1780. 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 1803 he published A Series of Portraits of Ladies, and in 1805 a volume of translations of Eastern tales into English verse. More

Charles Sprague Pearce, 1851 - 1914
Oil on canvas
21 7/8 by 18 inches, (55.6 by 45.7 cm)
Private Collection

Charles Sprague Pearce (October 13, 1851 – May 18, 1914) was an American artist. Pearce was born at Boston, Massachusetts. In 1873 he became a pupil of Léon Bonnat in Paris, and after 1885 he lived in Paris and at Auvers-sur-Oise. He painted Egyptian and Algerian scenes, French peasants, and portraits, and also decorative work, notably for the Thomas Jefferson Building at the Library of Congress at Washington. He received medals at the Paris Salon and elsewhere, and was made Chevalier of the French Legion of Honor, decorated with the Order of Leopold, Belgium, the Order of the Red Eagle, Prussia, and the Order of the Dannebrog, Denmark. More

Circle of Sir John Hoppner (British, 1758–1810)
Portrait of Lady Mackintosh
Oil on canvas
30 x 25 in. (76.2 x 63.5 cm.)
Private collection

Lady Anne Farquharson-Mackintosh (1723–1784) was a Jacobite of the Clan Farquharson and the wife of Angus, Chief of the Clan MacKintosh. 

The Jacobite were a political movement in Great Britain and Ireland that aimed to restore the Roman Catholic Stuart King James VII of Scotland  to the thrones of England

Early in 1744 Angus was offered one of three new Independent Companies being raised by John Campbell, 4th Earl of Loudoun. Anne, dressed in male attire, rode around the glens and, in a very short time, enlisted 97 of the 100 men required for the captaincy. During the 1745 Jacobite Uprising, Angus' company fought with Lord Loudon's government forces, the Black Watch, in the Highlands.

When Bonnie Prince Charlie, Charles Edward Stuart, landed in Scotland in 1745, Anne, then 22 years old, forcefully raised between 200 and 400 men from Clan Mackintosh and the Chattan Confederation for the Prince. As women could not command in the field, the regiment was placed under the command of MacGillivray of Dunmaglass. 'Colonel' Anne's regiment joined the Prince's army at Bannockburne, in January 1746.

Portrait of Lady Mackintosh, c. 1745 - 1746
National Library of Scotland

A month later the Prince was staying at Moy Hall, Lady Anne's home. She received a message that 1,500 of Lord Loudon's men, including her husband's company, were planning a night raid on Moy Hall to snatch the Prince. Anne sent five of her staff out with guns to crash about and shout clan battle cries to trick the Government forces into thinking they were about to face the entire Jacobite army. The ploy worked and the Government force fled. The event became known as The Rout of Moy.

The next month her husband and 300 of Loudon's men were captured north of Inverness. The Prince paroled Captain Mackintosh into the custody of his wife, Lady Anne, commenting “he could not be in better security, or more honourably treated.” She famously greeted him with the words, "Your servant, captain" to which he replied, "your servant, colonel" thereby giving her the nickname "Colonel Anne". She was also called La Belle Rebelle by the Prince himself.

After the Battle of Culloden, Lady Anne was arrested and turned over to the care of her mother-in-law for a time. She later met the Duke of Cumberland at a social event in London with her husband. He asked her to dance to a pro-Government tune and she returned the favour by asking him to dance to a Jacobite tune. She died on 2 March 1784 at Leith. More

John Hoppner R.A., 1758-1810, see above

Training works by contemporary students from Russian Academy of Painting - Repin Institute (St-Petersburg's Academy of Art) and Surikov Institute (Moscow) Russia

John Michael Wright
Portrait of a Lady, c. 17th Century
Oil on canvas
27 ¾ x 34 inches, 70.5 x 86.5cm
Private collection

The suggested sitter as Ann Suckling, daughter of Sir John Suckling, and wife of Sir John Davis of Pangbourne cannot be correct. However, Ann Suckling did have a daughter, also called Ann, who may well be the sitter. She was born 1630/1 and married, in 1656. 

This highly original portrait is notable for being quite unlike the majority of English portraits of the period. Wright’s varied international inspirations give his works a certain irreverence that even today appears fresh and modern. Clearly, the picture borders on the erotic – at least by seventeenth century standards. A picture with a similar theme by Wright’s contemporaries would have subsumed the sitter’s deshabillé pose into an ideal of beauty, and turned the sitter into a Restoration goddess. Wright’s talent for realism, with depth and density in the drapery, that manages to convey a true sense of revelation, with the charged atmosphere heightened by blushing flesh tones.  More

John Michael Wright (May 1617 – July 1694) was a portrait painter in the Baroque style. Described variously as English and Scottish, Wright trained in Edinburgh under the Scots painter George Jamesone, and acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. There he was admitted to the Accademia di San Luca, and was associated with some of the leading artists of his generation. He was engaged by Archduke Leopold Wilhelm of Austria, the governor of the Spanish Netherlands, to acquire artworks in Oliver Cromwell's England in 1655. He took up permanent residence in England from 1656, and served as court painter before and after the English Restoration. A convert to Roman Catholicism, he was a favourite of the restored Stuart court, a client of both Charles II and James II, and was a witness to many of the political maneuverings of the era. In the final years of the Stuart monarchy he returned to Rome as part of an embassy to Pope Innocent XI. More

Bartolomeo Veneto, (1470–1531)
Idealized Portrait of a Courtesan as Flora, c. 1520
Tempera and oil on poplar wood
44 × 35 cm (17.3 × 13.8 in)
Städel, Frankfurt

Flora from c. 1515 is currently attributed to Bartolomeo. The unknown figure is painted with hard-edges and a descriptive quality. Though the sitter is unknown, she is thought (and perhaps wrongly) to be Lucrezia Borgia. 

Documents suggest Bartolomeo went to Padua in 1512 and Milan in 1520. Leonardo da Vinci had recently been to Milan, where he transformed the current mundane portraiture into one of intrigue and sfumato. Leonardo's effect is evident in Bartolomeo's developing style. Flora's hair is flat and each detailed single strand is painted, much detail is paid to the flowers and jewelry draped across her body.

Lucrezia Borgia (18 April 1480 – 24 June 1519) was the daughter of Pope Alexander VI and Vannozza dei Cattanei. Her brothers included Cesare Borgia, Giovanni Borgia, and Gioffre Borgia.

Her family arranged several marriages for her that advanced their own political position including Giovanni Sforza (Lord of Pesaro), Alfonso of Aragon (Duke of Bisceglie), and Alfonso I d'Este (Duke of Ferrara). 

Lucrezia Borgia as Italian femme fatale (1481-1519)

Rumors about her and her family cast Lucrezia as a femme fatale, a role in which she has been portrayed in many artworks, novels and films. Many of these concern allegations of incest, poisoning, and murder on her part; however, no historical basis for these rumours has ever been brought forward beyond allegations made by rival parties. More

Bartolomeo Veneto 
(1470–1531) was an Italian painter who worked in Venice, the Veneto (the mainland), and Lombardy. During his time in Venice, he studied under Gentile Bellini. The little information available about Bartolomeo's life has been derived from his signatures, dates, and inscriptions. His best known works are portraits or pictures with portrait-like character. Bartolomeo's later works, and especially those done on commission in Milan, indicate an influence from the artist Leonardo da Vinci. More

Bartolomeo Veneto, (1470–1531)
Jewish woman with tools, c. 1512 or 1520
Private collection

Jewish woman with tools. One source seems to suggest (plausibly) that the hammer indicates that she is being painted as the biblical Yael. 

Sisera was commander of the Canaanite army of King Jabin of Hazor, who is mentioned in Judges 4-5 of the Hebrew Bible. Sisera was defeated by the forces of the Israelite tribes of Zebulun and Naphtali under the command of Barak and Deborah.

Sisera fled to the settlement of Heber the Kenite in the plain of Zaanaim, where he was received by Jael, Heber's wife. Jael brought him into her tent with apparent hospitality and gave him milk. Jael promised to hide Sisera and covered him with a rug; but after he fell asleep, she drove a tent peg through his temple with a mallet, her blow being so forceful that the peg pinned his head to the ground. More

Bartolomeo Veneto, (1470–1531), see above

Master John (floruit 1544-1545)
Portrait of Mary I (1516-1558)
"Bloody Mary"
Oil on panel
711 × 508 cm (279.9 × 200 in)
National Portrait Gallery, London, UK

Mary I (18 February 1516 – 17 November 1558) was the Queen of England and Ireland from July 1553 until her death. Her executions of Protestants led to the posthumous sobriquet "Bloody Mary".

She was the only child of Henry VIII and his first wife Catherine of Aragon to survive to adulthood. Her younger half-brother Edward VI (son of Henry and Jane Seymour) succeeded their father in 1547.

When Edward became mortally ill in 1553, he attempted to remove Mary from the line of succession because of religious differences. On his death their first cousin once removed, Lady Jane Grey, was proclaimed queen. Mary assembled a force in East Anglia and deposed Jane, who was ultimately beheaded. Mary was—excluding the disputed reigns of Jane and the Empress Matilda—the first queen regnant of England. In 1554, Mary married Philip of Spain, becoming queen consort of Habsburg Spain on his accession in 1556.

Mary is remembered for her restoration of Roman Catholicism after her half-brother's short-lived Protestant reign. During her five-year reign, she had over 280 religious dissenters burned at the stake in the Marian persecutions. After her death in 1558, her re-establishment of Roman Catholicism was reversed by her younger half-sister and successor Elizabeth I, daughter of Henry and Anne Boleyn.

Master John was an English Tudor court painter (active 1544/45). More

Reginald Marsh,  1898 - 1954
Oil on canvasboard 
17 3/4 by 13 5/8 inches, (45.1 by 35.6 cm)
Private Collection

Reginald Marsh (March 14, 1898 – July 3, 1954) was an American painter, born in Paris, most notable for his depictions of life in New York City in the 1920s and 1930s. Crowded Coney Island beach scenes, popular entertainments such as vaudeville and burlesque, women, and jobless men on the Bowery are subjects that reappear throughout his work. He painted in egg tempera and in oils, and produced many watercolors, ink and ink wash drawings, and prints. More

William Chadwick, American, 1879-1962 
Seated Woman in a Kimono 
Oil on canvas 
30 x 24 inches 
Private Collection

The passion for Japanisme that swept through American art in the 1890s is exemplified in Seated Woman in Kimono. Taking an approach inspired by Whistlerian aestheticism, Chadwick offset the broad sweep of his subject's flowered garment against the compact geometry of her space, creating as much a decorative conception as a rendering of his subject. Chadwick's Impressionist brush handling serves to suppress individual detail, adding to the overall harmony of the image. More

William Chadwick, American, 1879-1962 was born in Yorkshire, England in 1879. However, in 1882, his father, a wool manufacturer, relocated the family to Massachusetts. Chadwick displayed an early aptitude for art, and after graduating from high school he moved to New York to pursue an artistic career. 

In the summer of 1902, Chadwick made his first visit to the Old Lyme Art Colony located on the coast of Connecticut. Due to its proximity to New York, the village of Old Lyme became a favorite retreat for American artists, including the well-known Impressionist, Childe Hassam. The colony soon became a gathering point for American Impressionists and a popular destination for landscape artists. Over the next seven years Chadwick divided his time between Old Lyme in the summer months and New York during the academic year where he served as the treasurer for the Art Students League. Following his marriage, Chadwick bought a home near the shore in Old Lyme which became his permanent residence in 1915.

From 1924-1926, Chadwick taught at the Telfair Academy in Savannah, Georgia and resided in the city during the school terms. By the time Chadwick was teaching in Savannah, he was working in a distinctive Impressionist style with an emphasis on the effects of light. Chadwick was one of several northern artists that spent time in Savannah between the late twenties and early forties, and the city welcomed this artistic flowering.In 1927, the Telfair Academy honored Chadwick by hosting the first, and only, solo exhibition of his career. More

Gustav Klimt
Portrait Of A Lady In White (Unfinished), c. 1917-1918
Oil on canvas
70 x 70 cm
The Österreichische Galerie Belvedere, Vienna, Austria

Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d'art. Klimt's primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.
Early in his artistic career, he was a successful painter of architectural decorations in a conventional manner. As he developed a more personal style, his work was the subject of controversy that culminated when the paintings he completed around 1900 for the ceiling of the Great Hall of the University of Vienna were criticized as pornographic. He subsequently accepted no more public commissions, but achieved a new success with the paintings of his "golden phase," many of which include gold leaf. More

Gustav Klimt
Dame mit Muff (Lady with a Muff), c. 1916
Oil on canvas
Private Collection

Dame mit Muff. Belonging to the group of late portraits Klimt shows a lady cuddled in her muff- a sophisticated fashion accessory. The background is covered with Asiatic motifs as in most of his lady portraits of 1916. More

Klimt painted portraits of contemporary women with a mysterious, dreamy expression, but also with energy and a lust for life. The painting Lady with a Muff dating from 1916–1917 is one such portrait. The coquettish way in which she obscures part of her face with the fur evokes Klimt’s earlier 1909 work Woman with Hat and Feather Boa (Österreichische Galerie Belvedere, Vienna). 

Last displayed in Viennain 1926, Lady with a Muff (1916–1917) has long been thought lost. Nevertheless, the list of Klimt’s paintings by F. Novotný and J. Dobai (Vienna 1967) and later sources refer to it as “in a private collection”. The private collector purchased Lady with a Muff in the late 1920s or early 1930s, and the National Gallery in Prague may once again present the painting to the public courtesy of its current owner. More

Gustav Klimt (July 14, 1862 – February 6, 1918) see above

Martha Walter, American, 1875-1976 
Immigration, Ellis Island 
Oil on canvas 
36 1/8 x 40 inches 
Private Collection

Martha Walter (March 19, 1875 – January 1976) was an American impressionist painter. A Philadelphia native, Walter studied art at the Pennsylvania Museum and School of Industrial Art from 1895–98 and at the Pennsylvania Academy of the Fine Arts, Philadelphia.[2] She was taught by William Merritt Chase. She won the school's Toppan Prize and Cresson Traveling Scholarship. In 1909 also she won the school's Mary Smith Prize for the best painting by a resident female artist. On her scholarship she traveled to Spain Italy, the Netherlands and France. In France she received tuition from Rene Menard and Lucien Simon at the Académie de la Grande Chaumière.

She went on to teach art at Chase's New York School of Art. More

Marie Laurencin, French, 1883-1956 
Jeune Femme et Jeunes Filles en Plein Air 
Watercolor and pencil on paper 
13 1/4 x 17 5/8 inches (33.7 x 44.7 cm) 
Private Collection

Marie Laurencin (31 October 1883 – 8 June 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or. Laurencin was born in Paris, where she was raised by her mother and lived much of her life. At 18, she studied porcelain painting in Sèvres. She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting.

A member of both the circle of Pablo Picasso, and Cubists associated with the Section d'Or, such as Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri le Fauconnier and Francis Picabia, exhibiting with them at the Salon des Indépendants (1910-1911) and the Salon d'Automne (1911-1912). She became romantically involved with the poet Guillaume Apollinaire, and has often been identified as his muse. 

During the First World War, Laurencin left France for exile in Spain with her German-born husband, Baron Otto von Waëtjen, since through her marriage she had automatically lost her French citizenship. The couple subsequently lived together briefly in Düsseldorf. After they divorced in 1920, she returned to Paris, where she achieved financial success as an artist until the economic depression of the 1930s. During the 1930s she worked as an art instructor at a private school. She lived in Paris until her death. More

Robert Brackman, American, 1898-1980 
Unmasked, circa 1949 
Oil on canvas 
60 x 50 inches
Private Collection

Robert Brackman (September 25, 1898 – July 16, 1980) was an American artist and teacher of Ukrainian origin, best known for large figural works, portraits, and still lifes. Born in Odes'ka Oblast, Ukraine, he emigrated from the Russian Empire in 1908.

Brackman studied at the National Academy of Design from 1919 to 1921, and the Ferrer School in San Francisco. From 1931, he had a long career teaching at the Art Students League of New York where he was a life member. He also taught at the American Art School in New York City, the Brooklyn Museum School, the Lyme Academy College of Fine Arts, and the Madison Art School in Connecticut. In 1932, Brackman was elected into the National Academy of Design as an Associate member, and became a full member in 1940.

He painted a portrait of actress Jennifer Jones for use as a prop in the 1948 film Portrait of Jennie, where it represents a portrait painted by the character of Eben Adams (Joseph Cotten) (below).

Robert Brackman
Portrait of Jennifer Jones
for Portrait of Jennie directed by William Dieterle, 1948

Brackman was married to Rochelle Post; they later divorced. He had two daughters with his second wife. More

Acknowledgement: DOYLE NEW YORK

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