Art Blog

03 Paintings, Streets of Paris, François Gall's Montmartre, At the Cafe, with footnotes, Part 96

François Gall, French, 1912-1987

Montmartre, At the Cafe

Oil on canvas

8 3/4 x 10 1/2 inches

Private collection

Estimate for $3,000 - $5,000 in June 2023

Montmartre is a large hill in Paris's northern 18th arrondissement. It is 130 m high and gives its name to the surrounding district, part of the Right Bank. Montmartre is primarily known for its artistic history, for the white-domed Basilica of the Sacré-Cœur on its summit, and as a nightclub district. More on Montmartre

François Gall (FRENCH, 1912-1987)

Montmartre

Oil on canvas

19¾ x 24 in. (50.2 x 61 cm.)

Private collection

Sold for USD 4,375 in Aug 2012.

Montmartre is talked about by Parisians the way New Yorkers talk about the Village: It's not what it used to be, It's like Disneyland, the artists can't afford to live here anymore, too many tourists etc. There is some truth to these opinions, but there are two ways of approaching this incredibly unique village within the metropolis. The first is to follow the herd instinct and stampede your way up the famous hill, take a picture of yourself on the steps of the basilica, buy an overpriced crepe at the Place du Tertre, get conned into having your portrait sketched, and walk back down clutching newly bought key-rings, postcards, gaudy T-shirts feeling a little mystified about what all the fuss is about. More on Montmartre

François Gall (French/Hungarian, 1912-1987)

Montmartre

Oil on canvas

21 x 251⁄2 in. (53.3 x 64.8 cm.)

Private collection

Sold for USD 12,500 in May 2020.

François Gall (1912 - 1987) , Hungarian by birth, became an impressionist painter in the pure French tradition after he moved to Paris in 1936. He began his studies at the Royal Academy of Fine Arts in Rome while working in menial jobs to secure a living. Support came in 1939 when the Hungarian government awarded Gall with a scholarship.

Six years later, François Gall established himself in Paris and became a student of Devambez at the National Academy of Fine Arts. The artist greatly admired the first generation impressionist and adopted their concepts for his own interpretations. Parisian scenes and portrayals of women engaged in typically feminine activities were among his preferred subjects.

The artist participated in various Salon exhibitions in Paris and became a favorite with the public. In 1963, he was honoured with the Francis Smith Prize. He died in 1987. More on François Gall

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 and my art stores at deviantart and Aaroko

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

Gaza - The Return

01 painting, The amorous game, Vicente Palmaroli y Gonzales' A Secret Love, with Footnotes #96

Vicente Palmaroli y Gonzales (Spanish, 1834-1896)

A Secret Love

Oil on panel

54½ x 25¾ in. (138.4 x 65.4 cm.)

Private collection

Sold for USD 38,400 in Oct 2005

In the present work, Palmaroli, inspired by the anceint world, depicts two classical figures. He possessed a great sensitivity to rendering the human figure and has carefully considered the way the drapery of their togas fall on the body of the man and woman. More on this painting

Vicente Palmaroli González (5 September 1834 – 25 January 1896) was a Spanish portrait and genre painter.

He was born in Zarzalejo, the son of Gaetano Palmaroli, an Italian painter and lithographer, who was his first teacher. After his father's death in 1853, he took over his official position at the royal art collections. He requested leave in 1857 to go to Rome and complete his education. He participated in the National Exhibition in 1862 with two works he created in Italy, winning a First-Class Medal. The following year, he returned to Italy and remained until 1866.

After his return to the Court, he won a Gold Medal at the National Exhibition of 1867. That same year, he accompanied the Spanish delegation to the Exposition Universelle in Paris. While there, he met Ernest Meissonier, who would have an influence on his later work. Over the next few years, he would become a renowned portrait painter. In 1872, he was named a Professor at the Real Academia de Bellas Artes de San Fernando. A year later, he settled in Paris and specialized in creating "tableautins"; small format paintings on amusing or pleasant themes designed to be hung in the home. In 1883, he moved to Rome to become Director of the Academia Española de Bellas Artes de Roma.

He returned to Madrid in 1894 when he was appointed Director of the Museo del Prado, a position he would hold until his death. Most of the works added to the Prado during his tenure were later moved to the collection at the new Museo de Arte Moderno.

He suffered a stroke while attending a theatrical performance, became an invalid, and died several months later in Madrid, aged 61. More on Vicente Palmaroli González

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

15 Works, The amorous game, Fifteen artists imbedded with Francesca de Rimini et de Paolo Malatesta, with Footnotes #101

Vitale Sala (1803 – 1835)

Dante meets Paolo and Francesca, c. before 1823

Oil on canvas

height: 162.5 cm (63.9 in); width: 228.5 cm (89.9 in)

Brera Academy

Differently from the usual representations of the famous Dante episode, Sala, in a convulsive visionary representation of Dante's circle, chooses the moment in which the poet fainted, moved by the recollection of that damned love. A happy choice, this, which decreed the positive evaluation of the judging commission which, in fact, "had to praise (...) a richer and more expressive composition accompanied by much ease of execution". In the canvas, the violent expressionism of Giuseppe Bossi and the lesson of Palagi emerge, of whom Sala was a pupil at his workshop in via Camperio; as Sandra Pinto rightly pointed out, through Palagi, Sala probably had the opportunity to get to know the French paintings of "Ossianic" theme that the master had seen in Rome, and the successful aquatints dedicated to Dante themes made by Palagi himself. More on this painting

“Vitale Sala is not an exceptional painter but in 1823 he introduced in this canvas a fundamental element, namely the fact that Francesca physically supports Paolo, who covers his face as a sign of desperation. Francesca takes on a dominant role in the couple not only as a narrator, but also because she consoles Paolo. In the twenties the dominant role of Francesca will be met with extraordinary success” (Valivi. 2015). Sala chose the moment in which the poet fell unconscious, moved by the re-enactment of that damned love. More on this painting

There is very little information about the artist, Vitale Sala, who died at the age of thirty-two. Author of portraits, historical, literary and religious subjects between neoclassicism and romantic taste, Vitale Sala trained in Milan between the Brera Academy and Pelagio Palagi's studio. From 1816 to 1823 he participated in academic competitions and in 1823 was awarded with the work Dante meets Paolo e Francesca (Milan, Brera Academy).

He was mainly active as a frescante, working essentially between Piedmont and Lombardy: in Milan, in the church of San Vincenzo with Palagio Palagi, in the basilica of Santo Stefano and in the church of San Nazaro (1820-1830); in Novara, in the Cathedral (1831-1834); again with Pelagi, in the Savoy residences of Stupinigi and in Racconigi (1833-1835). More on Vitale Sala

JOHANNES JACOBUS MARIA DIT JAN BOGAERTS (BOIS-LE-DUC 1878 - 1962 WASSENAAR)

Paolo and Francesca, c. 1902-07

Oil on canvas

101 x 150 cm. (39 ¾ x 59 in.)

Private collection

Sold for EUR 50,000 in Jun 2019

Dante tells the story of Paolo and Francesca, lovers as famous and ill-fated as Hero and Leander, Eloise and Abelard or Romeo and Juliet.

Of great beauty, Francesca da Rimini was promised to Gianciotto Malatesta, a condottiere of noble blood, violent and lame. The union, intended to seal a political alliance between the two families, had to be by consent to facilitate the young girl's agreement. Paolo, Gianciotto's brother, was charged with bringing the news to Francesca who fell in love with him, believing he was meeting her future husband when in reality he was only the messenger. More on this painting

Johannes Jacobus Maria (Jan) Bogaerts ( 's-Hertogenbosch , 6 July 1878 - Wassenaar , 2 November 1962 ) was a Dutch painter.

Jan Bogaerts went to the Royal School for Useful and Visual Arts in 's-Hertogenbosch at the age of 15, and started working in Van Welie's studio. The symbolist style that his teacher painted would prove to be of great influence on his work. After four years, he continued his studies at the Royal Academy of Fine Arts in Antwerp . In 1903, he returned to his birthplace, but the dreamy atmosphere that his paintings evoked did not catch on in 's-Hertogenbosch. In 1906, he went to work in Meerssen for a year . He painted many landscapes, parks and fairytale figures there. In 1918, he moved to Teteringen . His style gradually changed to realistic flower still lifes and still lifes of domestic objects. He had the talent to realistically depict characteristics such as shine, dullness, fluffiness or hardness. Yet his work still retains a dreamy atmosphere. With these realistic still lifes he is seen as a precursor of the hyperrealism movement . In 1922 he settled in Wassenaar and lived there until his death in 1962. He painted most of his still lifes there.

He was a member of, among others, the artist associations Pulchri Studio and Sint Lucas. More on Jan Bogaerts

Sir Frank Dicksee, P.R.A. (1853-1928)

Paolo and Francesca, c. 1894

Oil on canvas

52¼ x 52¼ in. (130 x 130 cm.)

Private collection

Sold for GBP 409,250 in Dec 2008

Sir Francis Bernard Dicksee KCVO PRA (27 November 1853 – 17 October 1928) was an English Victorian painter and illustrator, best known for his pictures of dramatic literary, historical, and legendary scenes. He also was a noted painter of portraits of fashionable women, which helped to bring him success in his own time.

Dicksee enrolled in the Royal Academy Schools in 1870 and achieved early success. He was elected to the Academy in 1891 and became its president in 1924.

He was knighted in 1925, and named to the Royal Victorian Order by King George V in 1927. In 1921 Dicksee exhibited at the first exhibition of the Society of Graphic Art in London. More on Sir Francis Bernard

Henry Treffry Dunn (1838–1899)

After Dante Gabriel Rossetti

The Theodore Watts-Dunton Folding Press Bed: Paolo and Francesca da Rimini, between circa 1896 and circa 1898

Oil on oak wood

height: 68.5 cm (26.9 in); width: 44.5 cm (17.5 in)

Wightwick Manor © National Trust

Henry Treffry Dunn (1838–1899) was Dante Gabriel Rossetti's assistant and a painter in his own right. Dunn's memoirs are a valuable source for the lives of the Pre-Raphaelites. He was paid to be Rossetti's factotum and to create copies of Rossetti's paintings. It has been said that the painting Lady Lilith in the Metropolitan Museum of Art was actually painted by Dunn and only "touched up" by Rossetti.

Dunn left Rossetti's house because he was owed his salary. After Rossetti died, Dunn received the money that was owing to him. He died while living with the poets Algernon Charles Swinburne and Theodore Watts-Dunton. More on Henry Treffry Dunn

Auguste Rodin 1840–1917

Le Baiser/ The Kiss

Pentelican marble

1822 × 1219 × 1530 mm, 3180 kg

Tate

The original title for Rodin's famous sculpture 'The Kiss' was 'Francesca da Rimini' before he was persuaded to change its name. The subject matter of this brave piece made it controversial for many years as Rodin intended to show that women were not just passive subjects when it came to sexual relations. He wanted to show that women also had sexual desires but the prevailing prudish attitudes of the time meant that his statue was often concealed from view.

There is one other aspect about this statue, the lips of the lovers are not actually meeting in a kiss ... almost as if he is implying that Francesca and Paolo were killed before they could consummate their love. More on this Sculpture

Auguste Rodin (born November 12, 1840, Paris, France—died November 17, 1917, Meudon) was a French sculptor of sumptuous bronze and marble figures, considered by some critics to be the greatest portraitist in the history of sculpture. His The Gates of Hell, commissioned in 1880 for the future Museum of the Decorative Arts in Paris, remained unfinished at his death but nonetheless resulted in two of Rodin’s most famous images: The Thinker and The Kiss. His portraits include monumental figures of Victor Hugo and Honoré de Balzac. Rodin’s enduring popularity is evident by the numerous posthumous casts of his sculptures that continue to be made. More on Auguste Rodin

Joseph Anton Koch (1768–1839)

Paolo da Malatesta and Francesca da Rimini surprised by Gianciotto Malatesta, c. between 1804 and 1805

Pen, ink and watercolor on paper

height: 26 cm (10.2 in); width: 33.5 cm (13.1 in)

Thorvaldsen Museum

Joseph Anton Koch was born in Obergiblen, in the Lechtal in Tyrol, Austria, in 1768. He studied for two years at the Catholic seminary in Dillingen and with the court sculptor in Augsburg before moving to Stuttgart in 1785 to accept an opening at the Hohe Karlsschule, a strict military academy. There he became infused with the ideas of the French Revolution and began drawing caricatures. Fearing punishment, he left the school in 1791. He first went to Strasbourg and from there to Basel, where he drew additional political caricatures until 1793. In 1794 he was awarded a stipend for a three-year sojourn in Italy. He first headed for Naples and then settled in Rome, where he came into contact with other German painters, among them the Nazarenes. He produced numerous etchings, drawings and oil paintings. With only a few exceptions Koch spent the rest of his life in Rome. He attracted a circle of young German artists who imitated his painterly realism. He died in Rome in 1839. More on Joseph Anton Koch

Joseph Noel Paton

The Murder of Paolo and Francesca, c. before 1901

Oil on canvas

35.6 x 42.5 cm. (14 x 16.7 in.)

Private collection

Sir Joseph Noel Paton FRSA (13 December 1821 – 26 December 1901) was a Scottish artist, illustrator and sculptor. He was also a poet and had an interest in, and knowledge of, Scottish folklore and Celtic legends.

Paton attended Dunfermline School and then Dunfermline Art Academy, further enhancing the talents he had developed as a child. He followed the family trade by working as the design department director in a muslin factory for three years. Most of his life was spent in Scotland but he studied briefly at the Royal Academy, London in 1843. While studying in London, Paton met John Everett Millais, who asked him to join the Pre-Raphaelite Brotherhood. More on Joseph Noel Paton

Gaetano Previati (1852–1920)

Paolo e Francesca, circa 1887

Oil on canvas

height: 98 cm (38.5 in); width: 227 cm (89.3 in)

Accademia Carrara

Gaetano Previati is one of the protagonists of Italian Divisionism and one of the most sensitive interpreters of Symbolist themes. The painting belongs to the painter's first season, linked to the late Romantic taste and the Scapigliatura, which precedes the conversion to the technique of color division. The story of Paolo and Francesca - told by Dante and widely exploited by the nineteenth-century figurative repertoire - is not depicted didactically: Previati aspires to paint emotions and ideas. From the claustrophobic horizontal format, occupied by the figures of the two unhappy lovers, lying on their deathbed and pierced by the same sword, a vigorous and dark image emerges, which is distinguished by its melodramatic emphasis and exasperated naturalism. More on this painting

Gaetano Previati (Ferrara, 1852 – Lavagna, 1920) was a student at the Scuola di Belle Ari in Ferrara, where he followed the courses of Gerolamo Domenichini and Giovanni Pagliarini, he attended the atelier of Amos Cassioli in Florence, and then concluded his training at the Brera Academy of Fine Arts under the guidance of Giuseppe Bertini between 1877 and 1880.

His academic manner that characterized the paintings of historical subjects of the 1870s and 1880s was gradually replaced by a looser and more luminous paintings. From 1889 his work evolved towards Divisionism, following his encounter with Vittore Grubicy. The filamentary and broken brushstrokes and the symbolic character of Maternità , presented amid controversy at the Brera Triennale in 1891, marked a turning point in his career and projected him into the European panorama. Alternating his activity as a painter with that of an illustrator, from 1899 Previati freed himself from economic worries. A rich exhibition season took him to Berlin in 1902, to Munich in 1905, and to Paris in 1907, taking part in the Salon des Peintres Divisionnistes Italiens organized by Grubicy himself. During these dates he spent long periods in Lavagna, where his painting turned to clear and luminous colors, always supported by a very personal use of chromatic decomposition. A theoretician of divisionism, he wrote in 1896 Memoirs on the technique of paintings, in 1905 The technique of painting, in 1906 Scientific principles of divisionism, in 1913 On painting. Technique and art . Distraught by a series of family bereavements, in 1917 he stopped painting. More on Gaetano Previati

Alexandre Cabanel

Mort de Francesca de Rimini et de Paolo Malatesta, c. 1870

Oil on canvas

H. 184,0 ; L. 255,0 cm.

Musée d’Orsay,

This painting exhibits all the typical elements of the classical tradition which Alexandre Cabanel stayed true to. The composition is scholarly, the painting smooth and the drawing precise; care has been taken over the iconographic details. The book that has dropped from Francesca's hands is a reminder that the lovers were reading Lancelot, a story of courtly love, at the time of the murder, while the murderer hidden behind a thick hanging is still clutching his bloody sword. More on this painting

Alexandre Cabanel (28 September 1823 – 23 January 1889) was a French painter born in Montpellier, Hérault. He painted historical, classical and religious subjects in the academic style. He was also well known as a portrait painter. According to Diccionario Enciclopedico Salvat, Cabanel is the best representative of the L'art pompier and Napoleon III's preferred painter.

Cabanel entered the École des Beaux-Arts in Paris at the age of seventeen, and studied with François-Édouard Picot. He exhibited at the Paris Salon for the first time in 1844, and won the Prix de Rome scholarship in 1845 at the age of 22. Cabanel was elected a member of the Institute in 1863. He was appointed professor at the École des Beaux-Arts in 1864 and taught there until his death.

He was closely connected to the Paris Salon: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred. Through them, Cabanel did more than any other artist of his generation to form the character of belle époque French painting". His refusal together with William-Adolphe Bouguereau to allow the impressionist painter Édouard Manet and many other painters to exhibit their work in the Salon of 1863 led to the establishment of the Salon des Refusés by the French government. Cabanel won the Grande Médaille d'Honneur at the Salons of 1865, 1867, and 1878. More on Alexandre Cabanel

George Frederic Watts (1817–1904)

Paolo and Francesca, c. 1872–1875

Oil on canvas

H 152.4 x W 129.5 cm

Manchester Art Gallery

Scene from Dante's Inferno depicting Paolo and Francesca. Semi-naked Francesca, to the left, reclines in the arms of Paolo, to the right, who holds her in a protective embrace. He is naked but for grey robes swathed about his legs and over his head and shoulders. She rests her head on his right shoulder and they hold hands. They appear to be caught in a strong wind, which blows the drapery and her long blonde hair around them. The background is dark and rust-coloured, with heavy grey clouds. Two small figures in drapery appear suspended in the bottom right corner, the larger of which is the figure of Dante. He is in profile to the right, sobbing with his head in his hands. Two small figures in drapery appear suspended in the bottom right corner, the larger of which is the figure of Dante. He is in profile to the right, sobbing with his head in his hands. The other small figure, presumably Virgil, is drifting off, facing away from the viewer. . More on this painting

George Frederic Watts was born in Marylebone, London, the delicate son of a poor piano-maker. He showed promise very early, learning sculpture from the age of 10 with William Behnes and enrolling as a student at the Royal Academy at the age of 18. He came to the public eye with a drawing entitled Caractacus, which was entered for a competition to design murals for the new Houses of Parliament at Westminster in 1843. Watts won a first prize in the competition, which was intended to promote narrative paintings on patriotic subjects, appropriate to the nation's legislature. In the end Watts made little contribution to the Westminster decorations, but from it he conceived his vision of a building covered with murals representing the spiritual and social evolution of humanity.

Visiting Italy in the mid-1840s, Watts was inspired by Michelangelo's Sistine Chapel and Giotto's Scrovegni Chapel, but back in Britain he was unable to obtain a building in which to carry out his plan. In consequence most of his major works are conventional oil paintings, some of which were intended as studies for the House of Life. More on George Frederic Watts

Ary Scheffer, Dutch 1795 - 1858

Paolo and Francesca

Oil on panel

14 ¾ by 19 ½ in.; 37.5 by 49.5 cm

Private collection

Estimate for 20,000 - 30,000 USD in February 2025

In the first volume, Inferno, of The Divine Comedy, Dante and Virgil meet Francesca and her lover Paolo in the second circle of hell, reserved for the lustful.

The paintings show a scene from Dante's Inferno, of Dante and Virgil in the shadows to the right viewing the murdered lovers Francesca da Rimini and Paolo Malatesta in Hell. More on this painting

Ary Scheffer (10 February 1795 – 15 June 1858) was a Dutch-French Romantic painter. He was known mostly for his works based on literature, with paintings based on the works of Dante, Goethe, Lord Byron and Walter Scott, as well as religious subjects. He was also a prolific painter of portraits of famous and influential people in his lifetime. Politically, Scheffer had strong ties to King Louis Philippe I, having been employed as a teacher of the latter's children, which allowed him to live a life of luxury for many years until the French Revolution of 1848. More on Ary Scheffer

Jean-François Millet (1814–1875)

The Shooting Stars, c. 1847–1849

Oil on board

H 18.7 x W 34.5 cm

National Museum Cardiff

This cabinet painting of 1847–1849 depicts the lovers Paolo and Francesca, whose doomed souls are described in Dante's Inferno as 'across the sky in long procession trailing'. Millet may have been influenced by Ary Scheffer's academic painting of this subject (see above) which was well received at the 1835 Salon. More on this painting

This purely imaginary subject is unusual among Millet’s works. It refers to Dante’s Inferno which in one section describes the souls of the lustful being whirled endlessly around the skies of hell by a great gale. The epic poem was a common source of inspiration for artists and Millet here recognises this academic tradition. A later example is Auguste Rodin’s The Kiss. More on this painting

Jean-François Millet, (born October 4, 1814, Gruchy, near Gréville, France—died January 20, 1875, Barbizon), French painter renowned for his peasant subjects.

Millet spent his youth working on the land, but by the age of 19 he was studying art in Cherbourg. In 1837 he arrived in Paris and eventually enrolled in the studio of Paul Delaroche, where he seems to have remained until 1839.

After the rejection of one of his entries for the Salon of 1840, Millet returned to Cherbourg, where he remained during most of 1841, painting portraits. He achieved his first success in 1844 with The Milkmaid and a large pastel, The Riding Lesson, that has a sensual character typical of a large part of his production during the 1840s.

The peasant subjects, which from the early 1850s were to be Millet’s principal concern, made their first important appearance at the Salon of 1848 with The Winnower, later destroyed by fire. In 1849, after a period of great hardship, Millet left Paris to settle in Barbizon, a small hamlet in the forest of Fontainebleau. He continued to exhibit paintings of peasants, and, as a result, periodically faced the charge of being a socialist. Letters of the period defending Millet’s position underline the fundamentally classical nature of his approach to painting. More on Jean-François Millet

Giuseppe Frascheri

Meeting of Dante with Paolo and Francesca, c. 1850

Oil on canvas

123 x 81 cm;

Museo dArte di Palazzo Gavotti

Paolo and Francesca are encountered by Dante, who had actually known both Paolo and Francesca's brother, in the second circle of Hell, where carnal lovers are punished, and Francesca tells him how their reading of a romance about Queen Guinevere and Sir Lancelot had precipitated their affair. As she puts it in Laurence Binyon's translation,

One day together, for pastime, we read
Of Launcelot, and how Love held him in thrall.
We were alone, and without any dread.
Sometimes our eyes, at the word's secret call,
Met, and our cheeks a changing colour wore.
But it was one page only that did all.
When we read how that smile, so thirsted for,
Was kissed by such a lover, he that may
Never from me be separated more
All trembling kissed my mouth...
...We read no more that day.

Giuseppe Fraschieri (1808–1886) was an Italian painter.

He was born in Savona. He initially trained at the Accademia Ligustica of Genoa, but then, under a stipend of the city of Savona, he went to study in the studio of Giuseppe Bezzuoli in Florence. In 1829, his drawing of the invention of painting won a first prize at the Accademia of Florence. He moved back to Sestri Ponente after a few years in Florence, interrupted by stays in Rome and London. In 1838, he was named Academic of Merit and Regent of the Painting classes at the Ligurian Academy. In 1842, he became director. From 1852 to 1869, he taught painting and color. His style was Romantic and among his pupils were Giacomo Ulisse Borzino, genre painter and portraitist; Antonio Caorsi; Giuseppe Ferrari; and Biagio Torrielli. In London he gained a number of portrait commissions. He died in 1886 in Sestri Ponente, Genoa. More on Giuseppe Fraschieri

STYLE OF ARY SCHEFFER

DANTE AND VIRGIL MEET FRANCESCA DA RIMINI AND PAOLO MALATESTA

Oil on canvas

28 ½ by 40 in.; 72.4 by 101.5 cm

Private collection

Estimate for 10,000 - 15,000 USD in June 2020

In the Inferno, the couple are condemned to float in an eternal whirlwind, forever swept through the air just as they allowed themselves to be swept away by their passions. In this work, Dante calls out to the lovers who briefly pause before him. Francesca shares a few oblique details of her life and Dante remembers her and identifies the couple. Francesca shares with Dante and Virgil the story of the couple’s damnation, which affects Dante so strongly that he faints out of pity. More on this painting

Nicola Monti

The meeting of Paolo and Francesca, c. 1810

Oil painting on canvas

Uffizi Galleries

Here Monti paints his version of Ary Scheffer's painting shown above!

Nicola Mónti or Niccola Monti (August 28, 1780 - 1863) was an Italian painter, active in a neoclassical style, painting mainly historical subjects.

Monti was born in Pistoia, where his initial training was with Jean-Baptiste Frederic Desmarais. He moved to Florence where he worked for Pietro Benvenuti, and also attended the Academy of Fine Arts in Florence. For the church of the Umilta in Pistoia, he painted a fresco depicting Cain cursed by God and San Felice exorcises an witch. He also worked in Poland and St Petersburg, Russia in 1818–1819.[2] He returned to Florence to fresco a hall in the Palazzo Pitti. For the basilica of the Santissima Annunziata, he frescoed a Resurrection of Lazarus. He painted a historical canvas depicting Michelangelo suspends work of the Sculpture of Moses, now in private collections. He published an autobiography titled Memorie Inutile (1860). He died in Cortona. More on Nicola Mónti

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

01 painting, The amorous game, Italian School, early 18th Century's Anthony and Cleopatra , with Footnotes #106

Italian School, early 18th Century

Anthony and Cleopatra

Oil on canvas, an oval made into a rectangle

122,5 x 103,5 cm ; 48¼ by 40¾ in.

Private collection

Sold for 18,900 EUR in June 2021

Anthony and Cleopatra are arguably the most famous lovers in history. Marcus Antonius of Rome stood at the pinnacle of power, fighting to be the most powerful man in the known world; and Cleopatra VII Philopator was the queen of one ancient civilization, Egypt, and heir to the unmatched cultural achievements of another, Greece.

Their love affair, their war together, their defeat and, finally, their suicides have been told and retold for centuries. More on Anthony and Cleopatra

Italy was the main centre of artistic developments throughout the Renaissance (1300-1600), beginning with the Proto-Renaissance of Giotto and reaching a particular peak in the High Renaissance of Leonardo da Vinci, Michelangelo and Raphael, whose works inspired the later phase of the Renaissance, known as Mannerism. Italy retained its artistic dominance into the 17th century with the Baroque (1600-1750), and into the 18th century with Neoclassicism (1750-1850). In this period, cultural tourism became a major prop to Italian economy. Both Baroque and Neoclassicism originated in Rome and spread to all Western art. Italy maintained a presence in the international art scene from the mid-19th century onwards, with movements such as the Macchiaioli, Futurism, Metaphysical, Novecento Italiano, Spatialism, Arte Povera, and Transavantgarde.

Italian art has influenced several major movements throughout the centuries and has produced several great artists, including painters, architects and sculptors. Today, Italy has an important place in the international art scene, with several major art galleries, museums and exhibitions; major artistic centres in the country include Rome, Florence, Venice, Milan, Turin, Genoa, Naples, Palermo, Lecce and other cities. Italy is home to 58 World Heritage Sites, the largest number of any country in the world. More on Italian art

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

01 Painting, Streets of Paris, José Navarro y Llorens' Boulevard de Paris, with footnotes, Part 95

José Navarro y Llorens (Valencia, 1867 - 1923)

Boulevard de Paris

Oil on panel.

27,5 x 43 cm; 45 x 60 cm (frame).

Private collection

Estimate value €6,000-€7,000 in June 2023

The boulevards form an important part of the urban and social identity of Paris . They were built on the initiative of the central power, on the site of successive concentric fortifications of the city when these became obsolete.

José Navarro y Llorens (1867–1923) was a Spanish painter, active in Valencia noted for his Orientalist paintings, still lifes and local landscapes.

Llorens was born in Godella, near Valencia, Spain in 1867. He received his art education at the San Carlos Academy in Valencia, a city to which he remained very attached throughout his life.

He lived in Madrid from around 1920. He travelled extensively through Europe and North Africa, to expand his knowledge of the arts. He visited Morocco while relatively young. In Morocco, he developed an affinity for oriental subject matter. Navarro was a great admirer of Mariano Fortuny, which was possibly the inspiration that impelled him to travel to Morocco.

He was a friend of the artist, Pinazo Camarlench and like him, landscapes are heavily represented in Navarro's work. However, Navarro's themes also included seascapes, Orientalist themes and people, especially gypsies and Moroccans. His work was influenced by the Spanish greats such as Maria Fortuny and Joaquín Sorolla.

On account of his talent, Navarro was considered as one of the most worthy painters to represent the Valencian School. In 1908 he made a trip to Rio de Janeiro, where he exhibited his works and obtained great recognition.

Navarro died on 6 February 1923 in Valencia. More on José Navarro y Llorens

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

01 Painting, The Artist's Studio, Jean Georges Vibert's A Break in the Studio, with footnotes

Jehan-Georges Vibert, French, 1840-1902

A Break in the Studio, c. 1872

Oil on board

13 ½ by 18 ⅕ in.; 34.3 by 46.5 cm

Private collection

Estimate at 20,000 - 30,000 USD in May 2023

Jehan Georges Vibert or Jean Georges Vibert (30 September 1840 – 28 July 1902) was a French academic painter.

He was born in Paris, the son of engraver and publisher Théodore Vibert, and grandson of the influential rose-breeder Jean-Pierre Vibert. He began his artistic training at a young age under the instruction of his maternal grandfather, engraver Jean-Pierre-Marie Jazet. Vibert was more interested in painting than engraving and entered the studio of Félix-Joseph Barrias and eventually the École des Beaux-Arts when he was sixteen. He remained at the École for six years under the instruction of history painter François-Edouard Picot.

Vibert debuted at the Salon of 1863 with La Sieste (The Siesta) and Repentir (Repentance).

During the Franco-Prussian War, Vibert became a sharpshooter and was wounded at the battle of Malmaison in October 1870. In recognition of his sacrifice, he was awarded a Knight in France's Legion of Honour on 18 June 1870, which was upgraded to the Legion of Honour rank of Officer on 18 February 1882.

Vibert submitted work to the Salon until 1899. The popularity of his works spread, notably in America, and fetched high prices including commissions from John Jacob Astor IV and William Vanderbilt. A large collection of works by Vibert was amassed by the heiress May Louise Maytag on behalf of then bishop of Miami Coleman Carroll, who greatly fancied them. This large cache was then donated to the Florida seminary St. John Vianney College in Miami. More on Jehan Georges Vibert

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

Subscribe

03 Paintings, Streets of Paris, François Gall's Montmartre, At the Cafe, with footnotes, Part 96

Gaza - The Return

01 painting, The amorous game, Vicente Palmaroli y Gonzales' A Secret Love, with Footnotes #96

15 Works, The amorous game, Fifteen artists imbedded with Francesca de Rimini et de Paolo Malatesta, with Footnotes #101

01 painting, The amorous game, Italian School, early 18th Century's Anthony and Cleopatra , with Footnotes #106

01 Painting, Streets of Paris, José Navarro y Llorens' Boulevard de Paris, with footnotes, Part 95

01 Painting, The Artist's Studio, Jean Georges Vibert's A Break in the Studio, with footnotes