01 Painting, Streets of Paris, Ken Howard's Stormy Morning, Quai St Michel, Paris, Part #81

Ken Howard R.A. (British, born 1932) 

Stormy Morning, Quai St Michel, Paris

Oil on canvas

30 x 61cm (11 13/16 x 24in).

Private collection

The Quai Saint-Michel in the french capital Paris is a small section of the southern bank of the Seine between the bridges Pont Saint-Michel and Petit Pont. The naming references archangel Michael, who was patron to a chapel in the nearby former kings palace.

Ken Howard R.A. (British, born 1932) studied at Hornsey School of Art from 1949 to 1953. He then did his National Service with the Royal Marines before returning to study at the Royal College of Art from 1955 to 1958. He went on to win a British Council Scholarship to Florence from 1958 to 1959.

Howard’s first solo show was held at the Plymouth Art Centre in 1955. Subsequent exhibitions were held in 1966 and 1968 at the John Whibley Gallery. From then on he exhibited extensively, both nationally and internationally, particularly with the New Grafton Gallery from the early 1970s. He was given a retrospective in 1972 at the Plymouth City Art Gallery and in 1973 and 1979 was appointed by the Imperial War Museum as official artist in Northern Ireland. He also worked with the British Army in Germany, Cyprus, Oman, Hong Kong, Nepal, Norway, Canada, Belize and Brunei from 1973 to 1982.

Howard was elected a member of the New English Art Club in 1962, the Royal Institute of Oil Painters in 1966, the Royal Society of Painters in Watercolours in 1979, the Royal West of England Academy 1981, Honorary Member of the Royal Society of British Artists in 1988, Royal Academician in 1991 and President of the New English Art Club in 1998. Among his numerous awards are First Prize in the Lord Mayor’s Art Award in 1966, a Prize Winner in the John Moores Exhibition, Liverpool in 1978, first prize in the Hunting Group Awards and the Critics Prize at Sparkasse Karlsruhe in 1985. Ken Howard lives and works in London. More on Ken Howard

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01 Painting, of The amorous game, Filippo Indoni's The distracted shepherd - With Footnotes #3A

Filippo Indoni, (Italian, born circa 1842-1908)

The distracted shepherd

Watercolour and bodycolour 

76.5 x 54cm (30 1/8 x 21 1/4in)

Private collection

 Filippo Indoni, Italian (1800 - 1884). In a reaction against the frivolous and unrealistic images of early 19th century Romanticism, artists turned to less glamorous aspects of life and society in search of a direct experience. By 1850, they had formed a relatively cohesive movement that battled for popularity with Romanticism, a far more widespread style.

This movement, known as Realism, revolutionized art, and artists took a renewed interest in genre scenes - the everyday activities of middle and lower class citizens that previously had been excluded from the fine arts. Roman-born artist Filippo Indoni embraced this artistic movement, presenting jubilant peasants reaping the rewards of their hard work, thus encouraging viewers to seek aesthetic pleasure in the unheralded members of society and moments of daily living. Realists' work such as Indoni's suggests that the everyday movements of life can be as lovely as the life-changing events. More on Filippo Indoni

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01 Painting, The amorous game, Cornelis Corneliszoon van Haarlem's Monk and Nun, Part 66 - With Footnotes

Cornelis Corneliszoon van Haarlem

Detail; Monk and Nun, C. 1591

oil on canvas

116 x 103 cm

Frans Hals Museum, Haarlem, Netherlands

Cornelis Corneliszoon van Haarlem

Monk and Nun, C. 1591

oil on canvas

116 x 103 cm

Frans Hals Museum, Haarlem, Netherlands

According to legend a nun was accused of having become pregnant. To verify this a monk had to squeeze her breast and if it produced milk she was guilty. But instead of milk she produced wine — the reason for the wine glass on the table. Instead of proving the nun’s guilt the miracle was witness to her faith. Yet the legend may not have been the real subject of the painting. Pictures of amorous monks and nuns were a popular genre in the late 16th century. This may in fact be a satire on the immorality of the cloisters and the Catholic Church. More on this work

Cornelis Corneliszoon van Haarlem (1562 – 11 November 1638), Dutch Golden Age painter and draughtsman, was one of the leading Northern Mannerist artists in the Netherlands, and an important forerunner of Frans Hals as a portraitist. He is known among art historians as a member of the Haarlem Mannerists. He painted mainly portraits as well as mythological and Biblical subjects. Initially Cornelis Cornelisz painted large-size, highly stylized works with Italianate nudes in twisted poses with a grotesque, unnatural anatomy. Later, his style changed to one based on the Netherlandish realist tradition.

When his parents fled Haarlem in 1568, as the Spanish army laid siege to the city during the Eighty Years' War, Cornelis Cornelisz remained behind and was raised by the painter Pieter Pietersz the Elder. Later, in 1580-1581 Corneliszoon studied in Rouen, France, and Antwerp, before returning to Haarlem, where he stayed the rest of his life. In 1583 he received his first official commission from the city of Haarlem, a militia company portrait, the Banquet of the Haarlem Civic Guard. He later became city painter of Haarlem and received numerous official commissions. As a portrait painter, both of groups and individuals, he was an important influence on Frans Hals. More Cornelis Corneliszoon van Haarlem

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01 Painting, Streets of Paris, Louis Magre's Banks of the Seine, Part #79

Louis Magre

Les bords de Seine Paris/ The banks of the Seine Paris, c. 2018

Oil on canvas

40 x 40 x 3 cm

Private collection

Louis Magre was born in Paris in 1955. As a teenager, he studied drawing and architecture, which he gradually gave up to concentrate solely on drawing. He currently lives in Provence, an area which fascinates him and which he loves to admire and paint.

At the beginning of his career, he drew nudes and portraits in charcoal; later, as a fan of impressionist painters including Sisley, Pissaro, Monet and Seurat, he began to paint his local landscapes. Following in the footsteps of Cézanne and Van Gogh, he depicts cloudless skies, green olive trees, blooming flowers and Provencal farmhouses, transporting us into the world of Marcel Pagnol. Particularly contemplative when it comes to landscapes, he has also painted windy beaches in Brittany, flower-covered dunes in Normandy, the streets of Little Italy and the neon signs of Chinatown in New York, where he lived for three years.

His artwork is a journey through some of the most beautiful landscapes in the world, leaving observers of his work filled with wonder at the sensory experience created by nature. Increasingly, he has focused on choosing materials when creating his artwork to represent the undulating shapes of the countryside which he loves so much.

Since 2007, he has exhibited his work at the Arts and Regards gallery in Pessac, Gironde, Les Baux-de-Provence, Saint-Paul-de-Vence and many other galleries in France. More on Louis Magre

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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