Art Blog: September 2023

01 painting, The amorous game, Jean-Honoré Fragonard's The Fountain of Love, With Footnotes #83

Jean-Honoré Fragonard (1732 - 1806)

La fontaine d'amour (The Fountain of Love), c. 1785

Oil on canvas

63.5 x 50.7 cm

The Wallace Collection

The scene depicts love as a natural force and uncontrollable passion, stronger than the people affected by it. This perception of love was still recent around 1785 when Fragonard painted the two versions. While the image of a fountain of love was known, e. g. from Aristotle, the image is Fragonard's pictorial invention without a direct literary source. More on this painting

Embodying the freedom and curiosity of the French Enlightenment, Jean Honoré Fragonard (1732–1806) developed an exuberant and fluid manner as a painter, draftsman, and printmaker. Prolific and inventive, he abandoned early on the conventional career path dictated by the hierarchical structure of the Royal Academy, working largely for private patrons. His work constitutes a further elaboration of the Rococo idiom established by Antoine Watteau and François Boucher, a manner perfectly suited to his subjects, which favored the playful, the erotic, and the joys of domesticity. More on Jean Honoré Fragonard

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, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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03 Works, Tyler Shields' Gators , with Footnotes #89

Tyler Shields

Gator

Dibond with Lustre Film lamination

54 x 72 in (137.16 x 182.88 cm)

Private collection

On a flight from Paris to London? British actress Jane Birkin, sitting next to Jean-Louis Dumas, Executive Chairman of Hermès (1978-2006), was complaining that she couldn't find a bag suitable for her needs as a young mother.

Tyler Shields

Gator Birkin Hands, c. 2012

Dibond with Lustre Film lamination

22.5" x 30"

Private collection

"Hermes Porosus Crocodile skin is considered the most exclusive of the exotics and is made from the smallest scales."

Tyler Shields

Black Birkin, c. 2021

Chromogenic Print on Kodak Endura Luster Paper

70" x 70"

Private collection

Born in 1982, Tyler Shields’ work derives from a unique history directing music videos and working with the legendary skateboarding icon Tony Hawk. Mr. Shields has produced images that play with notions of the gaze, power structures, hyper-realism, iconoclastic-tendencies and cinematographic practice.

Shield’s technical brilliance as a photographer has much more to do with the shift in focus from the fragility of the “celebrity photographer” to the output of the contemporary art medium. Most of the talented people who work with him include actors who are serious about their profession, but are not celebrities. People will go to him to make art rather than celebrity photography.

Mr. Shields’ work isn’t about celebrity – it’s about working with colleagues and friends in his social sphere who want to make art. They share an obsession to create, to make, to own, to expose, to play. His work is as much a collection of documentations of his sphere of influence and inspire his work. They are active participants rather that spectators. Eroticism, torture, decadence are all mere mediums that seem to remain eternally the same and only enhanced by the participant’s own injected identity and experience. It is the glossy mortality of the space of the human condition that is the only true crystal lens that the world inside and out, can be seen in the creation of a new type of fiction. Tyler Shields captures a new type of American life while exploring the fictional nature of the historical and the classic.--

Sotheby’s named Shields’s “The Warhol of his generation” in 2019. More on Tyler Shields

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01 Photograph The amorous game, Robert Doisneau's Le Baiser de l'Hôtel de Ville/ The Kiss at City Hall, with Footnotes #86

Robert Doisneau

Le Baiser de l'Hôtel de Ville/ The Kiss at City Hall

Offset Lithograph

23.75 x 31 inches

Private collection

Estimated for €20,000 EUR - €25,000 EUR in June 2011

Doisneau’s photo was not without controversy. Many years later, a couple, Jean and Denise Lavergne, stepped forward to pronounce themselves the lip-locked subjects. Doisneau took the couple to lunch, and not wanting to “shatter their dream,” he let them go on thinking they were indeed the young lovers. But lunch was not enough for the Lavergnes. They sued Doisneau for “taking their picture without their knowledge or consent”. Doisneau then revealed the truth behind his photo. It was staged. The lovers were not the Lavergnes, but rather Françoise Delbart (20) and Jacques Carteaud (23), a couple whom he had seen kissing earlier that morning, but had not initially photographed. Doisneau approached them and asked if they would repeat le baiser. Doisneau won the court case against the Lavergnes. More on this photograph

Robert Doisneau was born April 14, 1912 in Gentilly, Val-de-Marne, Paris. He is one of France’s most noted photographers. During his long career, his poetic approach to street photography recorded French everyday life in often playful and surreal images. Always charmed by his subjects, he enjoyed finding amusing juxtapositions or oddities of human nature.

Doisneau initially studied engraving and lithography at the École Estienne in Paris. After his graduation in 1929, he started photographing professionally, first working for advertising photographer André Vigneau, in whose studio he met artists and writers with avant-garde ideas. He began photographing details of objects in 1930, and sold his first photo-story to the Excelsior newspaper in 1932. Beginning in 1934, he worked for Renault as an industrial and advertising photographer. When he was fired in 1939, he earned his living through advertising and postcard photography. That year he was hired by the Rapho photo agency, where he worked until the onset of World War II. A member of the Resistance both as a soldier and as a photographer, Doisneau also worked for the resistance forging documents. He photographed both the occupation and the liberation of Paris. In 1945 he started anew with his advertising and magazine work, including fashion photography and reportage for French Vogue from 1948 to 1952.

His first book of photographs, La Banlieue de Paris (“The Suburbs of Paris,”1949); was followed by over twenty publications of his photographs, often of Paris and Parisians. In the 1950s Doisneau became active in Group XV, an organization of photographers devoted to improving both the artistry and technical aspects of photography.

He photographed a vast span of people and events, often juxtaposing conformist and maverick elements in images marked by an exquisite sense of humor, by anti-establishment values, and, above all, by his deeply felt humanism. Doisneau was in many ways a shy and unassuming man, rather like his photography. He lived in the Paris suburb of Montrouge. He died on April 1, 1994 in Broussais, France. More on Robert Doisneau

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01 Work, Giovanni Battista Torriglia's The artist's studio , with Footnotes #87

Giovanni Battista Torriglia (Italian, 1858-1937)

The artist's studio

Oil on canvas

65 x 52 1/2in (165.2 x 133.4cm)

Private collection

Sold for $4,000 USD in February 2023

The studio of any artist, especially from the 15th to the 19th centuries, characterized all the assistants, thus the designation of paintings as "from the workshop of..." or "studio of..." An art studio is sometimes called an atelier, especially in earlier eras. More on The studio

Giovanni Battista Torriglia was an Italian painter of genre subjects. He was born in Genoa but his artistic training took place in Florence. He devoted himself to painting scenes of life in the countryside. Themes of charming peasants were in great demand in Italy and throughout Europe towards the end of the 19th Century. Torriglia was particularly adored for his warm and sympathetic view of the wholesomeness of peasant family life. His multi-figured compositions display great visual details enriched further by strong narrative elements.

Commissions to decorate the interior of churches in the towns of Sester Levante, Monte Figogna and Salviolan reinforced the popularity of his work. More on Giovanni Battista Torriglia

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01 Work, Robert Neal's The Agony of Ethiopia , with Footnotes #88

Robert Neal (1916-1987)

The Agony of Ethiopia, c circa 1985

Oil on canvas

35 1/2 by 30 in., 90.2 by 76.2 cm.

Private collection

Estimated for US$12,000 - US$18,000 in July 2022

A widespread famine affected Ethiopia from 1983 to 1985. The worst famine to hit the country in a century, it affected 7.75 million people (out of Ethiopia's 38–40 million) and left approximately 300,000 to 1.2 million dead. 2.5 million people were internally displaced whereas 400,000 refugees left Ethiopia. Almost 200,000 children were orphaned. More on the widespread famine

A native of Atlanta, Robert Neal was a student of Hale Woodruff's and became his studio assistant at Spelman College, working on the Talladega College Amistad murals in 1939. At the same time, Neal exhibited his own paintings and was included in the 1939 Baltimore Museum of Art's Contemporary Negro Art, the first museum group exhibition of African-American artists, and the 1940 Exhibition of the Art of the American Negro (1851-1940) at the Tanner Galleries in Chicago, the largest survey of African-American art at the time. Neal is also mentioned in Alain Locke's 1940 The Negro in Art: A Pictorial Record of The Negro Artist and of The Negro Theme In Art, and James A. Porter's 1943 Modern Negro Art. Robert Neal moved to Dayton, Ohio in the 1940s; unfortunately, little is known about his latter life or career. More on Robert Neal

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01 Work, The amorous game, Abraham Bloemaert's Amorous Shepherd and Shepherdess, with Footnotes #87

Abraham Bloemaert, Gorinchem 1566 - 1651 Utrecht

Amorous Shepherd and Shepherdess, standing half-length

Black chalk and brown wash, heightened with white;

121 by 98 mm; 4¾ by 3⅞ in.

Private collection

Estimate for 4,000 - 6,000 USD in January 2023

Abraham Bloemaert (1566 - 27 January 1651) was a Dutch painter and printmaker in etching and engraving. He was one of the "Haarlem Mannerists" from about 1585, but in the new century altered his style to fit new Baroque trends. He mostly painted history subjects and some landscapes. He was an important teacher, who trained most of the Utrecht Caravaggisti, at least for a period. More on Abraham Bloemaert

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01 Work, Adrienne, Alexis Joseph Mazerolle's L’Atelier du peintre/ Artist's Studio, with Footnotes #86

Alexis Joseph Mazerolle, French, 1826 - 1889

L’Atelier du peintre/ The Artist's Studio, c. 1853

Oil on canvas

36 3/4 by 43 1/4 in.; 93.3 by 109.8 cm

Private collection

Estimated for $12,000 USD - $18,000 USD in May 2022

Alexis-Joseph Mazerolle (29 June 1826 – 29 May 1889) was a French painter.

He was admitted to the École des Arts et Métiers (School of Arts and Crafts), where he showed unusual ability in drawing. In 1843, at the age of 17, he was admitted to the École des Beaux-Arts where he was a pupil of Marc-Charles-Gabriel Gleyre. He also studied under Pierre Dupuis.

Mazerolle's first submission to the Salon was in 1857 with The Old Woman and the Two Servants. He continued to be a regular exhibitor in the Salon for most of his life. In 1857 he won a 3rd class medal for Chilperic and Fregigonde, and in 1859 won a "rappel" for Nero and Locusta Experimenting with Poisons upon a Slave. He won a second "rappel" in 1861. Most of his paintings were of historical or mythological subjects.

He served in the National Guard during the Siege of Paris in 1870. He was awarded the Legion of Honour in 1870. In the early years of the French Third Republic Mazerolle created decorative tapestry designs for the Manufacture Nationale des Gobelins. In 1880 President Jules Grévy made him an officer of the Legion of Honour when the new ceiling of the Théâtre Français was inaugurated, for which he received much praise. He died on 29 May 1889 from an attack of asthma, aged 62. More on Alexis-Joseph Mazerolle

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07 Paintings, The Battle of Arsūf, on September 7th., The Bloodiest Day of the Third Crusade, Richard I and Saladin at the Battle of Arsuf

Glyn Warren Philpot (1884–1937)

Richard I Leaving England for the Crusades, 1189, c. 1925–1927

Oil on canvas

H 304.8 x W 442 cm

Parliamentary Art Collection

Glyn Warren Philpot (1884-1937), was a painter and sculptor.

Philpot trained at Lambeth Art School and in the Paris studio of Jean-Paul Laurens at the Académie Julian. He quickly established himself as a successful society portraitist in the years before the First World War. A devout Catholic, he also painted classical and religious subject pictures. He was elected as an Associate Member of the Royal Academy in 1915 and an Academician in 1923, following his first retrospective exhibition at the Grosvenor Gallery, London. In 1931, he moved to Paris and dedicated himself to sculpture. When he resumed painting, he made the courageous step of embracing modernist influences in his art, producing a body of work marked by a new simplicity of form and technique. More on Glyn Warren Philpot (1884-1937)

The Battle of Arsuf took place on 7 September 1191, as part of the Third Crusade. It saw a multi-national force of Crusaders, led by Richard I of England, defeat a significantly larger army of the Ayyubid Sultanate, led by Saladin.

Richard Caton Woodville (1856–1927)

Saladin's Cavalry Charging the Crusaders, c. 1892

Oil on panel

H 44 x W 36.5 cm

Okehampton Town Hall

Richard Caton Woodville, R.I. (1856-1927), son of an American painter but born in London, Woodville was educated in Russia and Germany and studied art in Dusseldorf and Paris. He worked for The Illustrated London News where he developed a reputation as a talented reporter and illustrator. He covered several military campaigns including the Russo-Turkey War (1878), the Egyption Rebellion (1882), the Boer War (1899 – 1902) and the First World War (1914-18). More on Richard Caton Woodville

Richard, having taken Acre in July 1191, was marching to Jaffa, but the Muslim army under Saladin slowed down the Crusaders’ progress when they advanced from Caesarea, which they had left on September 1. On September 7, after the Crusaders left the forest of Arsūf, the Muslim attacks became more intensive and were concentrated against the Hospitallers, who constituted Richard’s rear guard. Richard tolerated those attacks in the hope of drawing out the main body of the Muslim army.

Eloi Firmin Feron

Battle of Arsuf, c. 1837

Oil on canvas

Versailles, Palaces of Versailles and Trianon

Garnier de Nablus, the leader of the Knights Hospitaller, had pleaded with the King, but to no avail. He had begged him to sound the horn and begin the attack, to finally turn the tide against the enemy that had antagonized them all the way along the coastline.

Again and again, Saladin’s mounted archers would rush from the trees, launching deadly volleys into the column of armored and dreadfully fatigued men below. Then, even as the Crusader troops attempted to return fire, the horsemen would turn and vanish into the trees once more.

Philip James de Loutherbourg (1740–1812)

The Battle between Richard Coeur de Lion and Saladin in Palestine, c.1807

Oil on canvas

H 152 x W 184 cm

Leicester Museum & Art Gallery

Philip James de Loutherbourg RA (31 October 1740 – 11 March 1812), whose name is sometimes given in the French form of Philippe-Jacques, the German form of Philipp Jakob, or with the English-language epithet of the Younger, was a French-born British painter who became known for his large naval works, his elaborate set designs for London theatres, and his invention of a mechanical theatre called the "Eidophusikon". He also had an interest in faith-healing and the occult, and was a companion of the confidence-trickster Alessandro.

Loutherbourg decided to become a painter, and in 1755 placed himself under Charles-André van Loo in Paris and later under Francesco Giuseppe Casanova. His talent developed rapidly, and he became a figure in the fashionable society of the day. In 1767 he was elected to the French Academy, although below the age required by the rules of the institution, and painted landscapes, sea storms, and battles, all of which work had a celebrity above those of the specialists then working in Paris. He made his debut with the exhibition of twelve pictures, including Storm at Sunset, Night, and Morning after Rain. More on Philip James de Loutherbourg

At first, their efforts had been spread up and down the length of the line, but the Lionheart, insisting that his men maintain their positions, seemed unmoved. The day dragged on, and, in time, Saladin began to concentrate his forces on the army’s rear. The Hospitaller knights who marched at the end of the line soon found themselves under an increasingly intense assault.

Theodoor Schaepken

Crusader Battle

Oil on Canvas

Théodore Lambert Antoine, born in Maastricht on January 27 , 1810 and died at Saint-Josse-ten-Noode on December 17, 1883 was a Belgian-Dutch painter , also a lithographer, watercolourist, draftsman and engraver .

His palette is expressed indifferently in the academic style or in the romantic style . His work, like that of his brothers Alexander and Arnold , also active in the visual arts, has limited artistic value, but in some respects offers great documentary value. More on Théodore Lambert Antoine

Before long, the knights were walking backwards, holding their shields up against a barrage of arrows and javelins. Some of the men were able to maintain a fairly robust defence using their crossbows, but the situation was rapidly worsening.

Yet still, King Richard did not give the order to retaliate.

It was then, as the afternoon wore on and the enemy pressed ever harder against them, that Nablus made a sudden decision. Mounting his horse alongside Baldwin de Carreo, a friend and fellow Hospitaller, the Grand Master drew his sword and roared, “St George! St George!”

The Order of Knights of the Hospital of Saint John of Jerusalem, commonly known as the Knights Hospitaller was a medieval and early modern Catholic military order.

Eloi Firmin Feron

Bataille d'Arsuf, Richard Coeur de Lion, 1191

Oil on Canvas

Éloi Firmin Féron (1802–1876) was a French neoclassicist painter. A student of Antoine-Jean Gros, he won the Prix de Rome for his Damon et Pythias in 1826, aged "twenty-four and a half". He went on to become a favourite of Louis Philippe I and his sons, contributing much to the galleries of Versailles, where most of his major works are now on exhibit. More on Éloi Firmin Féron

A moment later he was moving, breaking through his own ranks and charging towards the enemy infantry head-on. Behind him, the Hospitaller knights who formed the rear defense took up the same cry and began to surge forward, following their leader into battle.

Further, up the line, another large company of French knights saw the charge and drew their own weapons. Refusing to stand by as the Hospitallers rode into battle, they turned their mounts around and rallied to the Grand Master’s call.

The victory at Arsūf enabled the Crusaders to occupy Jaffa but was not a crushing blow to the Muslims. Saladin was able to regroup his forces, which the Crusaders had not pursued for fear of ambushes. From September 9 the Muslims renewed their harassing tactics, and Richard did not dare to push on to Jerusalem. More on Battle of Arsūf

Imaginary encounter between Richard I and Saladin

13th century manuscript

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01 Painting, The amorous game, Henry Guillaume Schlesinger's Dangerous liaisons, with Footnotes #85

Henry Guillaume Schlesinger (French, 1814-1893)

Dangerous liaisons, c. 1845

Oil on canvas

25 5/8 x 21 3/8 in. (65.5 x 54.4 cm.)

Private collection

Sold for GBP 13,700 in Jan 2008

The present work is a charming example of the subjects favoured by Schlesinger. The scene depicts a group of fashionable figures engaged in narrative interaction surrounding a print. The two ladies turn away in modesty and giggle at its content, while the gentleman leans over them. The elegant interior, opulent and luxurious, is depicted masterfully by the artist through close attention to detail and texture. Other paintings by the artist hang in the Kunsthistorisches Museum in Vienna and in the Palace of Versailles. More on this painting

Henri Guillaume Schlesinger (6 August 1814 in Frankfurt am Main , died on 21 February 1893 in Neuilly-sur-Seine) was a German painter of portraits and genre. Besides his oil painting, he used watercolor painting, and miniature painting on ivory.

Schlesinger studied at the Academy of Fine Arts Vienna, where he was active initially. He oved to Paris and continued his artistic education. In the period 1840-1889, he exhibited his work at the Paris Salon . Henri Guillaume Schlesinger in 1837 realizes several official portraits including a large equestrian portrait of Sultan Mahmud II . In 1870-1871 years he lived in London .

Schlesinger received the Legion of Honor in 1866, and his French citizenship in 1870. More on Henri Guillaume Schlesinger

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01 Painting, Streets of Paris, Elisée Maclet's Vue de Montmartre, with footnotes, Part 89

Elisée Maclet (French, 1881-1962)

Vue de Montmartre

Oil on canvas

38.1 x 55.5cm (15 x 21 7/8in).

Private collection

Estimated for £1,000 - £1,500 in July 2022

With its cobbled streets, stunning Basilica, artists, bistros ... Montmartre is full of charm! Perched on the top of a small hill in the 18th arrondissement, the most famous Parisian district has lost none of its village atmosphere that appealed so much to the artists of the 19th and 20th centuries. A real melting pot of art and inspiration for the cinema, Montmartre still gives as much pleasure to those who stroll around it and figures high on the list for a stay in Paris. More on Montmartre

Jules-Émile Élisée Maclet is famous for his Paris street scenes, much in the tradition that Utrillo would soon follow. Indeed, born in Lihons-en-Santerre, Picardie (April 12, 1881), the artist began his career while still a choirboy. He moved to Montmartre in 1906, after his mother's death, where he began painting the Montmartre landscape, anticipating the themes that Utrillo would eventually depict, as well as other colorful scenes of the city (and elsewhere in France and Italy). He would have had more works extant today, but he was institutionalized much of the last 30 years of his life. More on Jules-Émile Élisée Maclet

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