Art Blog: 2022

01 Painting, The amorous game, Ilia Balavadze's Lets Talk About War, With Footnotes, #79

Ilia Balavadze

Lets Talk About War, 2022

Oil on canvas

29.5 x 33.5 x 1.2 inch

Private collection

Ilia Balavadze is a Georgian artist born in 1968 who lives and works in Tbilisi, Georgia. From 1987 to 1993, he studied the painting at the Tbilisi State Academy of Art. Afterwards and for many years, he worked on painting the walls of many orthodox churches all around Georgia. The artist is very well distinguished by his style because you will find a lot of different and original details in his works. Starting with the streets of a modern city, ending with natural landscapes in a particular place, you will find almost every type of environment with a distinguished fact that human being is always predominant in his works. The artist's works are collected in many private collections in Georgia, Russia, Ukraine and USA. More on Ilia Balavadze

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01 Painting, MODERN & CONTEMPORARY MIDDLE EASTERN ART, Hassan Hajjaj's WINK, with Footnotes - #5A

Hassan Hajjaj, B. 1961, MOROCCAN

WINK, c. 2007

Metallic Lambda inset with kohl boxes mounted on board in artist's frame

94 by 66cm.; 37 by 26in.

Private collection

Hassan Hajjaj (born Larache, Morocco in 1961) is a contemporary artist who lives and works between London, UK and Marrakech, Morocco.

Hajjaj's work is in the collections of the Brooklyn Museum, New York; the British Museum, London; the Nasher Museum of Art, Duke University, Durham, NC; the Newark Museum, New Jersey; Los Angeles County Museum of Art, Los Angeles; Los Angeles Museum of Contemporary Art, Los Angeles; the Victoria & Albert Museum, London; the Farjam Collection, Dubai; Institut des Cultures d’Islam, Paris; Kamel Lazaar Foundation, Tunisia; and Virginia Museum of Fine Art, Richmond, VA.

Hajjaj was the winner of the 2011 Sovereign Middle East and African Art Prize and was shortlisted for Victoria & Albert Museum's Jameel Prize in 2009. In 2013, Rose Issa Projects published a monograph of the artist exploring his upbringing in Morocco and London. More on Hassan Hajjaj

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01 Painting, The amorous game, Giuseppe Barison's The courtship, With Footnotes, #80

Giuseppe Barison (Italian, 1853-1930)

The courtship

Oil on panel

54 x 45.7cm (21 1/4 x 18in).

Private collection

Giuseppe Barison (September 5, 1853 – January 7, 1931) was an Italian painter and engraver, active in Venice

Barison found a patron in the aristocratic Anna De Rin, who placed him in apprenticeship with the painter Karl Emil Haase in Trieste, and then enrolled him in the Academy of Fine Arts in Vienna. In 1872, Barison began to take lessons from the Nazarene painters Karl von Blaas and Eduard Von Engerth, and also took courses in art history from August Eisenmenger.

Returning to Trieste in 1876, the next year he participated at the Esposizione di Belle Arti, which gains him a two-year stipend from the city to study in Rome. After Rome, he spent some years in Venice. His wife Giulia, originally from Trieste, and not happily settled in Venice, successfully urged her husband to relocate to Trieste. He experienced a chilly reception there, in part due to his personality, in part due to his Venetian style of painting.

The First World War exiled Barison to the house of Roberto Amadi in Pegli, Liguria where he stayed from 1915 to 1918, and continued painting land- and sea-scapes. After the war, he returned to Trieste, and along with contemporaries Guido Grimani and Ugo Flumiani, continued to paint such themes. He often painted outdoors. In his last years Barison took on new influences. He died in Trieste on January 7, 1931. More on Giuseppe Barison

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01 Painting, Streets of Paris, Leo Putz's BACKSTAGE, with footnotes, Part 87

Leo Putz, 1869 - 1940, GERMAN

BACKSTAGE, c. 1905

Oil on canvas

207 by 226cm., 81½ by 89in.

Private collection

Painted in 1905, this monumental early work of cancan dancers at ease backstage is among Putz's most ambitious compositions.

Inspired by his stay in Paris, Backstage is a masterful evocation of the French capital's demi-monde that was the source of fascination to so many painters, most famously Toulouse Lautrec. Putz would have frequented Pigalle's many cabarets and café concerts, including the Moulin Rouge, Moulin de la Galette and the Folies Bergère, which were synonymous with the dancers like La Goulue (Louise Weber) and Jane Avril who performed there. More on this painting

Leo Putz (18 June 1869, in Merano – 21 July 1940, in Merano) was a Tyrolean painter. His work encompasses Art Nouveau, Impressionism and the beginnings of Expressionism. Figures, nudes and landscapes are his predominant subjects.
He began his studies at the age of sixteen at the Academy of Fine Arts Munich. His father then sent him to the Académie Julian in Paris. After military service, he returned to Munich and studied with Paul Hoecker. He opened his first studio in 1897. That same year, he became a member of the Munich Secession. He worked with the weekly magazine Jugend and many of his paintings were reproduced on the magazine's title page. During this time, he also worked as a commercial artist, creating many posters in Art Nouveau style and billboards for the Moderne Galerie München.

He became an honorary citizen of Bavaria in 1909; a prerequisite for becoming a Professor, which appointment he received that same year. Between 1909 and 1914, he spent his summers at Schloss Hartmannsberg near Chiemgau to practice plein-air painting. It was there that he created his best-known works; the two series known as the "Boat Pictures" and the "Bathers".

He accepted an invitation to move to Brazil in 1929. At the request of Lúcio Costa, he took a professorship at the Escola Nacional de Belas Artes in 1931. During his stay, his colors took on a more tropical flavor and the exotic plant life became a favorite subject. He returned to Germany in 1933.

He became an opponent of National Socialism and his art was labelled "degenerate". Beginning in 1936, he was repeatedly interrogated by the Gestapo and was forced to flee back to his native region, the South Tyrol. In 1937, he was officially banned from working in Germany. For the remainder of his life, he concentrated on painting castles, villages and benign landscapes.
He died in 1940. More on Leo Putz

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02 Paintings, The amorous game, Tayseer Barakat's The Hug and Love , Part 67 - With Footnotes

Tayseer Barakat, Palestinian, b. 1959

Love, c. 2020

Acrylic on canvas

23 1/5 × 29 1/2 in, 59 × 75 cm

Private collection

Tayseer Barakat, Palestinian, b. 1959

The Hug, c. 2020

Acrylic on canvas

31 1/10 × 25 1/5 in, 79 × 64 cm

Private collection

Tayseer Barakat was born in Gaza in 1959 and completed his arts education in Alexandria, Egypt, in 1983. After completing his studies, he moved to Ramallah where he has since based – both teaching and creating art. Barakat has worked with a variety media and has experimented widely – with wood, metal and glass – and has become one of Palestine’s foremost artists working today. Painting remains his first love and he continues to work at a prolific rate, drawing on the artistic heritage of the region and its ancient influences.

Tayseer Barakat is one of Palestine’s preeminent artists whose practice has drawn inspiration from the ancient past and from the oral traditions and cultural narratives that are intimately tied to life in Palestine. Working primarily in paint, inks, and dyes, he uses a color palette that is often limited to monochrome tones, which imbues his works with a certain soberness. In Barakat’s words, the dark colors he uses “reflect the hardships of our time and our present life. I think the pressure on us makes us use dark colors.” More on Tayseer Barakat

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01 Painting, The amorous games, Francesco Vinea's Merriment in the tavern, Part 78 - With Footnotes

Francesco Vinea (Italian, 1845-1902)

Merriment in the tavern, c. 1883

Oil on canvas

195/8 x 23½ in. (49.8 x 59.7 cm.)

Private collection

Francesco Vinea (Forlì, August 10, 1845 - Florence, October 22, 1902) was an Italian painter, known for his period costume genre subjects.

He studied first at the Academy of Fine Arts of Florence, but had to discontinue his studies due to his poverty, and spent some time traveling without a home. He worked for a photographer, also as a designer of illustrated magazines, but returned to Florence and studied under professor Enrico Pollastrini for a year.

He was not inclined to the erudite historical or literary paintings, or earnest depictions of natural scenes, favored by some academic contemporaries. He meddled in an imaginative, often raffish or coquettish, and always elegant depictions of dramas in elegant period costume occurring in equally ornamented interiors. The paintings proved popular in England and France, and Vinea gained a comfortable living. His studio on boulevard Prince Eugene in Florence is depicted as hoard of exotic items, and eclectic furniture and decorative items: a collection easily finding his way as ornaments of his paintings. Gubernatis describes his studio as his best work of art. The ceiling painted in tempera with Olympic gods, in allegory to the fine arts, and his collected items haphazardly stored. More on Francesco Vinea

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01 Painting, Streets of Paris, Laureano Barrau Buñol's Les plaisirs de Paris, with footnotes, Part 86

Pierre Carrier-Belleuse, French, 1851 - 1933

Les plaisirs de Paris/ The pleasures of Paris, c. 1878

Oil on canvas

19¾ by 25¾ in.; 50 by 65.5 cm

Private collection

Belle Époque Paris was a city full of pleasures. A celebrated pocket guide to the city’s newest and newsworthy haunts, aptly titled Les plaisirs de Paris (written by the journalist Alfred Delvau and first published 1867), an advertisement for which is visible at the center of the painting, promised readers entrée into la ville du plaisir et des plaisirs par excellence. This desire to see and be seen lies at the heart of Carrier-Belleuse’s clever mise-en-scène, which plays on the conceit of the gaze. Set in a box at a café-concert, the tightly packed composition and compact format recall similar scenes of spectators at the opera. More on this painting

Laureano Barrau (1863, Barcelona –1957, Santa Eulària des Riu) was a Spanish impressionist painter.

Barrau began his education in Barcelona, his native city. Later, he studied in Madrid, finding the Spanish old masters. At 20, Barrau went to Paris and enrolled at the Académie des Beaux-Arts where Gerome was his tutor. Two years later, Barrau won the Prix de Rome in Barcelona. This afforded him the opportunity to study the great Italian masters for three years.

When he was 28, Barrau was given the title of Societaire (Member) of the Salon de la Nationales des Beaux-Arts de Paris. He earned medals in the principal cities in Europe and today his paintings hang in museums in Spain, Paris, Brussels, Buenos Aires, Montevideo and Rio de Janeiro.

At age 47, Barrau moved to picturesque Ibiza. He settled with his wife in the town of Santa Eulalia del Rio where he painted what is considered his best work.

He remained in Santa Eulalia for the rest of his life. He died in 1957 at the age of 94 and is buried in the cemetery in Santa Eulalia. More on Laureano Barrau

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01 Painting, Streets of Paris, Laureano Barrau Buñol's Sur la place de Clichy, with footnotes, Part 85

Laureano Barrau Buñol, Spanish, 1863 - 1957

Sur la place de Clichy, c. 1893

Oil on canvas

35½ by 46 in.; 90.2 by 116.8 cm

Private collection

The Place de Clichy, also known as "Place Clichy", is situated in the northwestern quadrant of Paris. It is formed by the intersection of the Boulevard de Clichy, the Avenue Clichy, the Rue Clichy, the Boulevard des Batignolles, and the Rue d'Amsterdam.

Place de Clichy, borders between the Batignolles and Montmartre neighborhoods. Though far from the city center, Montmartre was the heart of Bohemian life, brimming with dance halls, cafés-concerts, and cabarets-artistiques that attracted artists, writers, singers, and actors as well as middle-class Parisians and tourists seeking various pleasures and entertainment. More on Place de Clichy

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01 Painting, The amorous game, Francesco Vinea's The courtly guest in the wine cellar, Part 78 - With Footnotes

Francesco Vinea (1845–1902)

The courtly guest in the wine cellar

Oil on canvas

48 x 65 cm

Private collection

Francesco Vinea (Forlì, August 10, 1845 - Florence, October 22, 1902) was an Italian painter, known for his period costume genre subjects.

He studied first at the Academy of Fine Arts of Florence, but had to discontinue his studies due to his poverty, and spent some time traveling without a home. He worked for a photographer, also as a designer of illustrated magazines, but returned to Florence and studied under professor Enrico Pollastrini for a year.

He was not inclined to the erudite historical or literary paintings, or earnest depictions of natural scenes, favored by some academic contemporaries. He meddled in an imaginative, often raffish or coquettish, and always elegant depictions of dramas in elegant period costume occurring in equally ornamented interiors. The paintings proved popular in England and France, and Vinea gained a comfortable living. His studio on boulevard Prince Eugene in Florence is depicted as hoard of exotic items, and eclectic furniture and decorative items: a collection easily finding his way as ornaments of his paintings. Gubernatis describes his studio as his best work of art. The ceiling painted in tempera with Olympic gods, in allegory to the fine arts, and his collected items haphazardly stored. More on Francesco Vinea

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01 Painting, Streets of Paris, Lucien Genin's La Place de L'Opera, with footnotes, Part 84

Lucien Genin

La Place de L'Opera, 20th Century

Oil on linen

Height: 32 inches / 81.28 cm, Width: 39.5 inches / 100.33 cm

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

Lucien Génin (9 November 1894 in Rouen – 26 August 1953 in Paris) was a French painter in the milieu of pre-World War I, and 1920s Montmartre and Saint-Germain-des-Prés.

After the devastation of the First World War, Lucien left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Not concerning himself with producing “art”, he beautifully captured the spirit if Paris between the wars while enjoying a truly Bohemian existence. Genin’s works in all their forms, perfectly convey these eclectic and friendly characters of the city and he was so well loved that one collector said “separate me from my Vlaminck, my foujita, my Derain, my Dunoyer de Segonzac and I will survive…but my Genin, never!”. More on Lucien Génin

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01 Painting, The amorous game, Quiringh van Brekelenkam's A soldier drinking with a young woman, Part 77 - With Footnotes

Quiringh Gerritsz. van Brekelenkam

A soldier drinking with a young woman in an inn, c. 1664

Oil on panel

18 by 14¼ in.; 45.7 by 36.2 cm.

Private collection

Quiringh van Brekelenkam was probably trained in Leiden, probably under Gerard Dou (1613–75). He was one of the founders of the Guild of St Luke there in 1648. He continued to be active as a painter, paying his guild fees until 1667. His last known painting, a portrait, is dated 1669.

Brekelenkam’s genre scenes share their subject matter with the Leiden fijnschilders or ‘fine painters’, of whom the most famous is Gerard Dou. His pictures are however more ‘painterly’, without their careful finish. They also refrain from explicit symbolism, and do not idealise their subjects.

In the 1660s Brekelenkam moved up the social scale by beginning to paint images of society ladies receiving letters or at their toilette. Some of these show knowledge of the work of Gerard ter Borch II (1617–81). More on Quiringh van Brekelenkam

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09 paintings on Halloween night with John William Waterhouse, Mariska Karto, Johfra Bosschart, Francisco de Goya, Jan or Frans Verbeeck, Norman Lindsay, Gustave Moreau, and Franz von Stuck, with Footnotes

John William Waterhouse (1849–1917)

The Magic Circle, c. 1886

Oil on canvas

height: 182.9 cm (72 in); width: 127 cm (50 in)

Tate Britain

This is one of Waterhouse's earlier works, and reflects his fascination with the exotic. The woman in this picture appears to be a witch or priestess, endowed with magic powers. Her dress and general appearance is highly eclectic, and is derived from several sources: she has the swarthy complexion of a woman of middle-eastern origin; her hairstyle is like that of an early Anglo-Saxon; her dress is decorated with Persian or Greek warriors. In her left hand she holds a crescent-shaped sickle, linking her with the moon and Hecate. With the wand in her right hand she draws a protective magic circle round her. Outside the circle the landscape is bare and barren; a group of rooks or ravens and a frog – all symbols of evil and associated with witchcraft – are excluded. But within its confines are flowers and the woman herself, objects of beauty. More on this painting

John William Waterhouse (April 6, 1849 – February 10, 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading to his sobriquet "the modern Pre-Raphaelite". Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Born in Italy to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace the Pre-Raphaelite style of painting despite the fact that it had gone out of fashion in the British art scene several decades before. More on John William Waterhouse

Mariska Karto

Soul collectors, ca. 2021

Photograph on Aluminum

43 1/2 × 43 1/2 in | 110.5 × 110.5 cm

Private collection

Soul collectors are supernatural creatures, spirits, entities, angels, demons or deities in many religions whose responsibility is to escort newly deceased souls from Earth to the afterlife. Their role is not to judge the deceased, but simply to guide them. Appearing frequently on funerary art, psychopomps have been depicted at different times and in different cultures as anthropomorphic entities, horses, deer, dogs, whip-poor-wills, ravens, crows, vultures, owls, sparrows, and cuckoos. When seen as birds, they are often seen in huge masses, waiting outside the home of the dying. More on Soul collectors

Mariska Karto is a fine art photographer born in Suriname and raised in the Netherlands. The breadth of her oeuvre is a masterful homage to Classicism in art history. Her multidisciplinary skill as a figurative sketcher draws a connection to the meditative practises of Renaissance draughtsmen like Leonardo, and her knowledge of fabrics as a textile artist is comparable to the dexterity of Ingres and Titian. However it is Karto’s mastery of contemporary photography that leads viewers to witness realistic images compelled by classical tradition.

Her sensual portraits depict the beauty of the female form; soft, glowing skin that venerates these women as cult icons. She conjures up an environment of lushly draped fabrics.

Karto has impressed collectors and establishments around the world, and garnered a faithful following. Her wild success is consistently documented by prize competitions across the globe; most recently she was awarded First Prize Gold Award at the Prix De La Photographie De Paris in 2016. More on Mariska Karto

Johfra Bosschart

Witches sabbath, c. 1972

Oil on panel

98 x 67 cm

Private collection

Witches’ sabbath, nocturnal gathering of witches, a colourful and intriguing part of the lore surrounding them in Christian European tradition. The concept dates from the mid-14th century when it first appeared in Inquisition records. The sabbath, or sabbat, derived probably from the term for the seventh day used by the Jews, might be held on any day of the week, though Saturday was considered rare as being sacred to the Virgin Mary.

Reports of attendance at sabbaths varied; one confessed witch reported a gathering of 10,000. Witches reputedly traveled to the sabbath by smearing themselves with special ointment that enabled them to fly through the air, or they rode on a goat, ram, or dog supplied by the devil.

Occurrences at the sabbath were represented by inquisitors as including obeisance to the devil by kissing him under his tail, dancing, feasting, and indiscriminate intercourse. More on the Witches’ sabbath

Franciscus Johannes Gijsbertus van den Berg (15 December 1919, in Rotterdam – 6 November 1998, in Fleurac) or just Johfra Bosschart was a Dutch modern artist. Johfra and his wife, Ellen Lórien, established in Fleurac (Dordogne - France) in 1962. They lived in the Netherlands before that. Johfra described his works as "Surrealism based on studies of psychology, religion, the Bible, astrology, antiquity, magic, witchcraft, mythology and occultism." More on Johfra Bosschart

Francisco de Goya (1746–1828)

Witches, or Incantation, c. circa 1797-1798

Oil on canvas

height: 45 cm (17.7 in); width: 32 cm (12.5 in)

Museo Lázaro Galdiano

Francisco de Goya (1746–1828)

Witches' Flight, Ca. 1798

Oil on canvas.

Museo Nacional del Prado

Three bare-chested characters wearing dunce caps hold a fourth, nude character in the air while another lies on the floor, covering his ears, A sixth figure flees, his head covered with a white cloth. With his hand, he makes the gesture intended to protect him from the evil eye. At the right of the scene, a donkey stands out against the neutral background. This was one of six canvases Goya sold to the Duke and Duchess of Osuna in 1798, as decoration for their country house in La Alameda. They are linked to the etchings from his Caprichos series, in which he presented scenes of witches and witchcraft similar to this one. This painting was acquired by the Prado Museum in 1999 with funds from the Villaescusa legacy. More on this painting

Francisco José de Goya y Lucientes (30 March 1746 – 16 April 1828) was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his long career was a commentator and chronicler of his era. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns. He was also one of the great portraitists of modern times. More on Francisco José de Goya

Jan or Frans Verbeeck (Active Mechelen, 16th century)

The Witches' Sabbath

oil on panel

27 ¾ x 37 in. (70.5 x 93.9 cm.)

Private collection

While the influence of local traditions concerning witches and their degenerate night-time activities were rife in Germany and the Netherlands, and clearly had a great influence in informing the work produced by artists working in the region, in this Witches’ Sabbath the Verbeeck family reveal a more international trend of influence. Indeed, as Professor Vandenbroeck has discussed, it is likely that, as with many Netherlandish painters during the period, members of the Verbeeck family travelled to Italy. The impact of such travels can certainly be seen in the present work. While the iconographic programme and conception of the composition, as well as figures such as the crouching hooded figure at the left of the panel (which evidently references Dürer’s Saint Anthony of 1519), suggest the painter’s use of local visual traditions, other elements demonstrate wider knowledge. The figure at the summit of the dense clouds of smoke, looking back over her shoulder at the viewer, for example, suggests that the artist was familiar with the Libyan Sibyl from Michelangelo’s ceiling for the Sistine Chapel. The way in which the witches are clothed too suggests a knowledge of other figures from this scheme, like the women beneath the True Cross in the Sistine Last Judgement. Scenes of witchcraft in Italy were also known and Agostino Veneziano’s famous The Carcass (Lo Stregozzo) must have been known to the Verbeecks, given the inclusion of the skeletal mount ridden at the left of this picture. More on this painting

Frans Verbeeck or Frans Verbeeck the Elder (c. 1510 – 24 July 1570, Mechelen). There is very little known about Frans Verbeeck. He was a member of the Verbeeck family of artists based in Mechelen. There were about 15 painters recorded in the archives of Mechelen with the name Frans Verbeeck. There were also multiple artists with the name Jan Verbeeck active in Mechelen. Frans Verbeeck is the best-known of the artists in the family.

Frans Verbeeck became a master of the local painter's guild in Mechelen in 1531. He was dean of the guild on multiple occasions including in 1563, 1564 and 1565.

The Verbeeck family formed a dynasty of artists producing a large output of paintings in a workshop with multiple branches. They produced mainly compositions of a small scale using tempera rather than oil. Despite the difficulty of distinguishing between the artists in the Verbeeck group, some works have been attributed specifically to Frans Verbeeck. More on Frans Verbeeck

Norman Lindsay

Witches Carnival

Watercolour

45 x 33.5cm

Private collection

Norman Alfred William Lindsay (22 February 1879 – 21 November 1969) was an Australian artist, etcher, sculptor, writer, editorial cartoonist, scale modeller, and an accomplished amateur boxer.

In 1895, Lindsay moved to Melbourne to work on a local magazine with his older brother Lionel. In 1901, he and Lionel, his older brother, joined the staff of the Sydney Bulletin, a weekly newspaper, magazine and review. His association there would last fifty years.

Lindsay travelled to Europe in 1909. In Naples he began 100 pen-and-ink illustrations for Petronius' Satyricon. Visits to the then South Kensington Museum where he made sketches of model ships in the Museum's collection stimulated a lifelong interest in ship models. The Lindsays returned to Australia in 1911.

Lindsay wrote the children's classic The Magic Pudding which was published in 1918. Many of his novels have a frankness and vitality that matches his art. In 1938, Lindsay published Age of Consent.

Cartoons, by Lindsay, were used both for recruitment and to promote conscription during World War I.

Lindsay also worked as an editorial cartoonist, notable for often illustrating the racist and right-wing political leanings that dominated The Bulletin at that time.

Lindsay influenced numerous artists, notably the illustrators Roy Krenkel and Frank Frazetta; he was also good friends with Ernest Moffitt. More on Norman Alfred William Lindsay

Gustave Moreau (1826–1898)

Diomedes devoured by his horses, c. 1865

Oil on canvas

height: 140 cm (55.1 in); width: 95.5 cm (37.5 in)

Rouen Museum of Fine Arts

Diomedes was a barbaric king of the Bistonian tribe of Thrake who fed his mares on a diet of human flesh. Herakles was sent to fetch these horses as the eighth of his twelve Labours. He captured the beasts alive and left them in the care of his young squire Abderos while he went off to deal with King Diomedes. He returned to discover the boy had been devoured by the mares and in anger fed them their master's corpse which stilled their unnatural appetites.

Gustave Moreau (6 April 1826 – 18 April 1898) was a French Symbolist painter whose main emphasis was the illustration of biblical and mythological figures. Moreau was born in Paris. His father, Louis Jean Marie Moreau, was an architect, who recognized his talent. His first painting was a Pietà which is now located in the cathedral at Angoulême. He showed A Scene from the Song of Songs and The Death of Darius in the Salon of 1853. In 1853 he contributed Athenians with the Minotaur and Moses Putting Off his Sandals within Sight of the Promised Land to the Great Exhibition.

Moreau became a professor at Paris' École des Beaux-Arts in 1891 and among his many students were fauvist painters Henri Matisse and Georges Rouault. Jules Flandrin, Theodor Pallady and Léon Printemps also studied with Moreau.

During his lifetime, Moreau produced more than 8,000 paintings, watercolors and drawings, many of which are on display in Paris' Musée national Gustave Moreau at 14 rue de la Rochefoucauld (9th arrondissement). The museum is in his former workshop, and began operation in 1903. André Breton famously used to "haunt" the museum and regarded Moreau as a precursor of Surrealism. More on Gustave Moreau

Franz von Stuck, (1863-1928)

The Murderer, c. 1891

47 x 46 cm

Oil on canvas

I have no further description, at this time

Inspired by Arnold Bocklin's painting, Murderer pursued by Furies, but with an even greater sense of excitement and drama, in 1891 Stuck painted his first version of the despair and remorse which pursue a criminal after his deed. The ancient Furies, the goddesses of vengeance, hide behind a rock as they lie in wait for the murderer who has just killed his victim. The sight of these ugly creatures is a foretaste of the torments awaiting the murderer. The figure of the murderer is derived from Klinger's etching 'Pursuit' in which a man in a similar pose runs away on a narrow path. More on this painting

Franz Stuck (February 23, 1863 – August 30, 1928) was a German painter, sculptor, engraver, and architect. Born at Tettenweis near Passau, Stuck displayed an affinity for drawing and caricature from an early age. To begin his artistic education he relocated in 1878 to Munich, where he would settle for life. From 1881 to 1885 Stuck attended the Munich Academy.

In 1889 he exhibited his first paintings at the Munich Glass Palace, winning a gold medal for The Guardian of Paradise. In 1892 Stuck co-founded the Munich Secession, and also executed his first sculpture, Athlete. The next year he won further acclaim with the critical and public success of what is now his most famous work, the painting The Sin. Also during 1893, Stuck was awarded a gold medal for painting at the World's Columbian Exposition in Chicago, and was appointed to a royal professorship. In 1895 he began teaching painting at the Munich Academy.
Having attained much fame by this time, Stuck was ennobled on December 9, 1905 and would receive further public honours from around Europe during the remainder of his life. He continued to be well respected among young artists as professor at the Munich Academy, even after his artistic styles became unfashionable. More on Franz von Stuck

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