1 Work , Pal Fried's The Picador, with footnotes

Pal Fried (Hungarian/American, 1893-1976)

The Picador

Oil on canvas

28 x 38 inches (71.1 x 96.5 cm)

Private collection

A picador is one of the pair of horse-mounted bullfighters in a Spanish-style bullfight that jab the bull with a lance. They perform in the tercio de varas, which is the first of the three stages in a stylized bullfight.

If the public feels that a picador is better than the bull the public will whistle, boo or jeer as they see fit. This is because they do not want the bull to lose all its strength and energy as this can lead to a dull bullfight.

The picador is obliged to give the bull two lances in a first category bullring, but the matador may request that the second be waived in second and third category rings. The bull may receive three lances if it is particularly ferocious.

The aim of the bull to charge the picador is often cited as the biggest test of its courage. A bull that does not charge may be punished with a black banderilla, which although somewhat longer than a normal banderilla is largely symbolic and a mark of shame for the breeder. More on a picador

Pál Fried (16 June 1893 in Hungary – 6 March 1976 in New York City) was a Hungarian artist. His oil paintings were usually of dancers, nudes, and portraits, and his subjects were almost always women, although he also painted Paris, seascapes, and cowboys and landscapes of the American West. He signed his paintings, as is usual in Hungarian, with his surname first as "Fried Pál". At times, this particular artist would make several, almost identical versions of the same oil painting, except he would use slightly different facial expressions and/or would try different colour schemes.

Fried immigrated to the United States in 1946 after World War II, and became a U.S. citizen in 1953. He lived in Los Angeles and New York City. More on Pál Fried

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01 Classic Work by the Old Masters, Edward Coley Burne-Jones' The Answering String - With Footnotes, #22

Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)

The Answering String, c. 1896

Bodycolour, gold paint and coloured chalk

34.2 x 21.5cm (13 7/16 x 8 7/16in)

Private collection

A heavily draped female figure, her head covered, stands in an enclosed space beside a building of stone construction and with a single barred window. A woman stands in the foreground holding a dulcimer the strings of which she appears to pluck. The drawing's title – The Answering String – seems to imply that she has found a way to communicate with an unseen person who is held captive in a cell, by striking a note on her instrument and awaiting the reply. More on this painting

Sir Edward Coley Burne-Jones, 1st Baronet ARA (28 August 1833 – 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain. His early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic "voice". In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement. More on Edward Coley Burne-Jones

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08 Paintings, Streets of Paris, Pierre Bonnard's Place Clichy, with footnotes, Part #83

Pierre Bonnard, (1867, France - 1947, France)

La Place Clichy, c. 1912

Oil on canvas

138 x 203 cm

Musée des Beaux-Arts et d'archéologie de Besançon, Besançon, France

PIERRE BONNARD FRENCH, 1867-1947

LA PLACE CLICHY, C. 1900

Oil on board laid down on cradled panel

20 3/4 x 26 3/8 in, 52.7 x 67 cm

Private collection

Bonnard’s La Place Clichy depicts a busy Parisian square near Montmartre in the 18th arrondissement, which was a popular artists’ quarter in the early twentieth century. Bonnard and his fellow artist Édouard Vuillard, who lived nearby, took joy in observing and painting the crowded streets around Place Clichy and the bohemian lifestyle of its inhabitants. The present composition is dominated by the elegantly dressed ladies in the foreground, talking as they stroll down the street. The image here presents a radically modern approach, shifting the focus away from the center of the composition, towards two figural groups in the foreground. The positioning of the figures, as if leaving the scope of the picture, suggest a chance momentary glimpse, rather than a carefully staged ensemble. It is this nonchalance of composition that makes this one of Bonnard’s more accomplished street scenes.

In the autumn of 1899 the artist rented a studio and apartment at 65 rue de Douai, near Place Clichy and Place Pigalle, with a view towards Montmartre. Charles Terrasse later recalled Bonnard’s studio: "There were canvases. Easels all around, and in an angle a small table where one would have lunch. The balcony was a place that was particularly attractive. From there one could see so many things. A whole world. The street below was bustling… agitated like a sea" (C. Terrasse quoted in Pierre Bonnard: Early and Late, Washington, D.C., 2003, p. 33). More on this painting

Pierre Bonnard, French, 1867–1947

Place Clichy, c. 1922

Lithograph in colors

18 1/2 × 25 in, 47 × 63.5 cm

The Clark Art Institute

Pierre Bonnard

Place Clichy or the two elegant, c. 1905

Oil on cardboard mounted on panel

28 3/4 x 23 5/8 in. (73 x 60 cm.)

Private collection

In Pierre Bonnard's Place Clichy, or the two elegant, the viewer is plunged into the throng of the Parisian nightlife. There is a sense of physical proximity with the women shown in the foreground, who dominate the composition, while the background dissolves into both the distance and a relative blur. Despite the nocturnal atmosphere of this painting, it is dominated by the bright colors of the central woman’s coat, which itself appears to have captured some of the artificial light of the street, allowing Bonnard to showcase his celebrated ability to examine and capture the greatest subtleties of hue, even in a work that conveys a sense of movement. Considering the balance between observation and the rapid motion of daily life in Paris, it is telling that Bonnard would refer to “the work of art” as “a stopping of time” More on this painting

Pierre Bonnard (French, 1867–1947)

Place Clichy , c. 1906–1907

Oil on canvas

102 x 116.5 cm. (40.2 x 45.9 in.)

Private collection

Pierre Bonnard  (1867–1947)

LA PLACE CLICHY, c. 1898

Oil on board

Private collection

Pierre Bonnard's Place Clichy,

The Place Clichy, Paris

Oil on cardboard (triptych) 

13-3/4 x 38-3/4 in. (34.9 x 98.4 cm) 

The Norton Simon Foundation

At the turn of the twentieth century, the Place Clichy marked the heart of Parisian bohemia. Located in the north of the city, at the foot of Montmartre, the square was a hub for nightlife and progressive art, surrounded by cafés and studios—including Bonnard’s own, just around the corner in the rue de Douai. In the three compositions that form this triptych, he portrayed the square in spring or summer, bustling with pedestrians, delivery carts, and an omnibus, at left. This work belongs to a series of seven triptychs representing the same neighborhood at various times of day, which Bonnard painted for his friend and dealer Jos Hessel. 

Pierre Bonnard delighted in depicting urban life and leisure in fin-de-siècle Paris. This charming view of the Place Clichy, one of three triptychs, or three-paneled works, was painted in 1900.

The panels are dominated by muted greens, enlivened by touches of red. The vantage point, slightly above street level, gives us a clear view of the bustling scene. Silhouetted against the pavement, the figures appear as flat patches of color. Notice, for example, the fashionable lady crossing the street in the center panel or the girl on the right in her pink dress, with red cheeks and shoes. The decorative tones and use of the triptych format reflect Bonnard’s interest in Japanese art.

Bonnard often painted around the Place Clichy, an area near Montmartre, just north of his studio. The neighborhood had been popular with artists for half a century. It was at the heart of Paris’s entertainment district, famous for its cafés and nightclubs, including the legendary Moulin Rouge. Degas, Toulouse Lautrec and Renoir had already painted this part of the city, but by the early 1890s, Bonnard was rapidly supplanting them in their role as visual interpreters of Paris. More on Place Clichy

Pierre Bonnard

Chevaux et filles au bois also known as La Place Clichy, c. c. 1894-95

Oil on canvas

Musée Bonnard

Pierre Bonnard (3 October 1867 — 23 January 1947) was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Bonnard preferred to work from memory, using drawings as a reference, and his paintings are often characterized by a dreamlike quality. The intimate domestic scenes, for which he is perhaps best known, often include his wife Marthe de Meligny.

Bonnard has been described as "the most thoroughly idiosyncratic of all the great twentieth- century painters", and the unusual vantage points of his compositions rely less on traditional modes of pictorial structure than voluptuous color, poetic allusions and visual wit. Identified as a late practitioner of Impressionism in the early 20th century, Bonnard has since been recognized for his unique use of color and his complex imagery. More on Pierre Bonnard

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05 Works, Sebastiaen Vrancx's Medieval soldiers scenes, with footnotes

The Tard-Venus pillage Grammont in 1362

Froissart’s Chronicles / Gallica Digital Library, Public Domain

I have no further description, at this time

An army always made sure to put in place what was called a " supply train" , this is even known from the times of Alexander´s campaigns.

The supply train was the logistic mechanism that allowed resupplying the army with everything it needed. The bigger the army and the deeper it was into enemy territory, the bigger and longer the "supply train" was. More on supply train

Matthew Paris

A house is pillaged in the 14th century

The Island Race, a 20th century book

Matthew Paris, also known as Matthew of Paris (c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". 

His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes". More on Matthew Paris

Richard Hook, English (b.1938)

Medieval soldiers looting and pillaging.

I have no further description, at this time

Richard Hook, was born in Godstone Surrey, in 1938, the son of Ernest J. Hook and his wife Leonora J. (nee Warwick). He suffered from rheumatic fever as a child and developed a fascination with history and drawing and a result of enforced idleness. He trained at the Royal College of Art and, after his National Service with the Queen's Royal Regiment, he spent some years with a London advertising agency. In 1962--the same year he married Hilary Litherland--he became art editor of the educational magazine Finding Out, published by Purnell, which brought him into contact with many of the country's leading illustrators. He developed lifelong friendships with other artists, including Ron Embleton and Angus McBride. More on Richard Hook

Sebastien Vrancx

Pillage scene (Looting scene)

Oil on panel

Private collection

When the armed forces of the Catholic League and an imperial army – under Wallenstein’s leadership – invaded the north, the Lutheran Protestant King Christian IV of Denmark intervened. However, he suffered several defeats, which cost him most of the estates in Lower Saxony. In 1629, he made peace with the Holy Roman Emperor. The entire North was now open to the imperial army of the Catholic League, and Emperor Ferdinand II was at the height of his power.

Sebastiaen Vrancx  (1573–1647)

Soldiers plundering a farm during the thirty years' war, c. 1620

Oil on panel

height: 50.8 cm (20 in); width: 69.5 cm (27.3 in)

Deutsches Historisches Museum

As Wallenstein was a military entrepreneur, the upkeep of his army was closely linked to his duchy, Friedland, whose prosperity now relied entirely on war. His ever-expanding army required substantial contributions from the occupied territory, the Upper Palatinate, in the form of a tax. All military entrepreneurs (or, to use the modern term, ‘contractors’) lived off the land, supported by subsidies and foreign troops, and since the local farmers had limited means of subsistence, a desperate struggle for their own existence arose. The supply of the armies became the decisive strategic factor. This now became the crux of the war: local populations caught in between were murdered, tortured, and raped; their belongings were stolen and destroyed. The onslaught left behind burnt-out villages, depopulated cities, and ravaged landscapes. More on this painting

Sebastiaen Vrancx, Sebastiaan Vrancx or Sebastian Vranckx (22 January 1573 – 19 May 1647) was a Flemish Baroque painter, draughtsman and designer of prints who is mainly known for his battle scenes, a genre that he pioneered in Netherlandish painting. He also created landscapes with mythological and allegorical scenes, scenes with robbers, village scenes and celebrations in cities. He was a gifted figure painter who was regularly invited to paint the staffage in compositions of fellow painters. As an active member of a local chamber of rhetoric, he wrote comedies and a number of poems. He was further captain of the Antwerp civil militia (schutterij). More on Sebastiaen Vrancx

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1 Work , John Lewis Brown's Battle of Reichshoffen, with footnotes

John Lewis Brown, French, 1829 - 1890

Battle of Reichshoffen, 6 August 1870, c. 1872

Oil on canvas

148 by 146.5cm., 58¼ by 57¾in.

Private collection

The Battle of Reichshoffen (also known as the Battle of Wörth) took place near the village of Wœrth in Alsace, on the Sauer River at the beginning of the Franco-Prussian War. It is referred to as the second battle of Wörth (the first occurred during the French Revolutionary wars in 1793). In the second battle depicted here, troops from Germany defeated the French, primarily due to a much larger army and superior artillery. More on The Battle of Reichshoffen

John Lewis Brown (1829–1890) was a French battle, animal, and genre painter. He was born in Bordeaux of a Scottish family of Stuart partisans. He studied in the École des Beaux-Arts with Camille Roqueplan and Jean-Hillaire Belloc.[1] He is known for his pictures of hunting and military scenes, and his studies of horses and dogs. He painted a number of admirable pictures from the American Revolutionary War, the Seven Years' War, and the Franco-Prussian War of 1870. His presentation is clever and humorous, his work characterized by refinement and charm. The Luxembourg possesses his "Before the Start," the Gallery of Dublin, "The Mountebank." He was also an excellent etcher and aquarellist. More on John Lewis Brown

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01 painting, The amorous game, Otto Aguiar's Miami Beach, With Footnotes, #87

Otto Aguiar, Brazilian (1938 - 2006)

Miami Beach, c. 1993

Screenprint

40 x 30 inches

Private collection

The son of a highly respected Brazilian general, Otto de Souza Aguiar graduated with honors and was awarded a Master's Degree in Graphic Art and Drawing from the University of Fine Arts in Rio de Janeiro, Brazil. After teaching drawing and design to aspiring architects, Otto began the extensive travels through Europe that were his induction into the world of High Fashion and Interior Design. As one of Brazil's top models, his engagements took him to Milan, Paris, and London. There, with his assignments in Harper's Bazaar Italia and others of the world's most prestigious publications, Aguiar developed an inspired aesthetic perception, which manifests itself boldly in his dramatic blending of color, texture and gilding. 

Otto has combined his vast fashion and theatrical background with his diversified experience in the Visual Arts. Thus, his work has been characterized by the portrayal of elegance and grace. His inner tranquility manifests in his paintings as he recaptures the lush topical beauty of the Brazilian beaches and gardens of his youth. Aguiar was greatly inspired by the romance of the Baroque and Colonial period of Brazilian. 

Renowned for his masterful integration of trompe l'oeil and unique figurative style, Aguiar's work has been an extraordinary enhancement to residential, public and corporate settings on several continents, for almost 30 years. More on Otto Aguiar

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1 Work by Julian A. Scott, A Friendly Game

Julian A. Scott (1846-1901)

A Friendly Game, c. 1894
signed and dated 'Julian Scott/1894' (lower right)
Oil on canvas
20 x 24 in. (50.8 x 60.9 cm.)

Private collection

The present painting likely depicts a friendly card game between a Confederate and Union soldier. Fraternizing with the enemy during downtime was not uncommon during the Civil War. More on this painting

Julian A. Scott (February 14, 1846 – July 4, 1901), was born in Johnson, Vermont, and served as a Union Army drummer during the American Civil War, where he received America's highest military decoration the Medal of Honor for his actions at the Battle of Lee's Mills. He was also an American painter and Civil War artist.

Scott received his early education at the Lamoille Academy, known today as Johnson State College where the main gallery is named in his memory. Scott continued his studies, graduating from the National Academy of Design in New York and subsequently studied under Emmanuel Leutze until 1868. During the Civil War, Scott enlisted in the 3rd Vermont Infantry on June 1, 1861, at the age of 15 as a fifer and, in February 1865, received the Medal of Honor for rescuing wounded soldiers while under enemy fire during the Battle at Lee's Mills, Virginia. More on Julian A. Scott

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01 painting, The amorous game, John Lewis Brown's The charms of the grisette and the soldiers of the regiment, With Footnotes, #86

John Lewis Brown (1829–1890)

The charms of the grisette and the soldiers of the regiment, c. 1876

Oil on panel

59 x 49 CM

Private collection

The word grisette has referred to a French working-class woman from the late 17th century and remained in common use through the Belle Époque era, albeit with some modifications to its meaning. It derives from gris (French for grey), and refers to the cheap grey fabric of the dresses these women originally wore. By the 1835 she was described as:

a young working woman who is coquettish and flirtatious.

In practice, "young working woman" referred primarily to those employed in the garment and millinery trades as seamstresses or shop assistants, the few occupations open to them in 19th century urban France, apart from domestic service. The sexual connotations which had long accompanied the word are made explicit in Webster's Third New International Dictionary (1976) which lists one of its meanings as a young woman who combines part-time prostitution with another occupation. More on a grisette

John Lewis Brown (1829–1890) was a French battle, animal, and genre painter. He was born in Bordeaux of a Scottish family of Stuart partisans. He studied in the École des Beaux-Arts with Camille Roqueplan and Jean-Hillaire Belloc.[1] He is known for his pictures of hunting and military scenes, and his studies of horses and dogs. He painted a number of admirable pictures from the American Revolutionary War, the Seven Years' War, and the Franco-Prussian War of 1870. His presentation is clever and humorous, his work characterized by refinement and charm. The Luxembourg possesses his "Before the Start," the Gallery of Dublin, "The Mountebank." He was also an excellent etcher and aquarellist. More on John Lewis Brown

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