Thursday, June 7, 2018

01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 21

Paul Joanowits, 1859 - 1957, SERBIAN
BASHI-BAZOUKS BEFORE A GATEWAY, c.  1887-88.
Oil on panel
46 by 35cm., 18 by 14¾in.
Private collection

Bashi-bazouks were irregulars in the Ottoman army and hailed from lands across the Ottoman empire, from Egypt to the Balkans. The strain on the Ottoman feudal system caused by the Empire's wide expanse required heavier reliance on irregular soldiers. They were armed and maintained by the government, but did not receive pay and did not wear uniforms or distinctive badges. Because not formally trained, they could not serve in major military operations, but were useful for other tasks such as reconnaissance and outpost duty.

Both men are armed with Ottoman flintlock rifles from Algeria, and the standing guard smokes an Ottoman chibouk pipe with a tophane bowl.  More on Bashi-bazouks

Paul Joanowits, 1859 - 1957, was born in Vršac, formerly southern Hungary and today Serbia. He studied at the Vienna Academy from 1876 to 1883 under K. L.Müller. From there he sent his first painting to the art society in Budapest, earning him a Hungarian state scholarship. Like his teacher, he painted oriental images, in Vienna and later in Munich. During the late 19th century he painted scenes of the Serbian uprising for King Alexander of Serbia. Back in Vienna, his main interest lay in painting portraits, amongst which is a picture of Emperor Francis Joseph I. Joanovitch exhibited in Vienna, Munich and Berlin and today his works can be found in museums in Belgrade, Budapest, London, Munich and Vienna. More on Paul Joanowits







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Saturday, June 2, 2018

01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 20

Raphael von Ambros, 1845-1895, AUSTRIAN
MERCHANT BEFORE THE SABIL OF NAFISA AL-BAYDA, CAIRO
Oil on panel
46 by 31cm., 18 by 12¼in.
Private collection

This Ottoman building built by Nafisa al-Bayda dates back to the year of 1796 AD.

Nafisa al-Bayda began her life as a slave and then was married in the mid 1700s to a man of power in the state named Ali Bey. Afterwards, she married the wealthy Murad Bey who was at first a Mamluk, but then later rose to power in 1784 and became the leader of the resistance against the Napoleon Bonaparte invasion.



Lady Nafisa al-Bayda, meaning the white one, was a woman of beauty, wealth, charity and known to be of great culture. She is also a symbol for womens participation in those days to the political life. During her husbands resistance, she played a major role in helping him acting as an intermediate between him and Napoleon. More on Nafisa al-Bayda

Born in Prague, Raphael von Ambros was a pupil of Hans Makart (1840-1884) at the famous Vienna Academy, where he would have studied alongside an extraordinary generation of Orientalist painters such as Jean Discart (French, 1856-1944), Ludwig Deutsch (1855-1935) and Rudolf Ernst (1854-1932). Like his contemporaries, Ambros found the perfect audience for his Cairo street scenes at the Paris Salon, where he exhibited from 1887. More on Raphael von Ambros





Please visit my other blogs: Art CollectorMythologyMarine Art, and The Canals of Venice

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01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #36

Gustave Clarence Rodolphe Boulanger, (FRENCH 1824 - 1888)
Aristocratic ladies promenading at the city walls, c. 1869
Oil on canvas
73 x 50cm
Private collection

Gustave Clarence Rodolphe Boulanger (25 April 1824 – October 1888) was a French figure painter known for his classical and Orientalist subjects. He was born at Paris in 1824, and orphaned at age 14 His uncle and guardian subsequently sent him to the studio of Pierre-Jules Jollivet and then to Delaroche in 1840. In 1849 took the Prix de Rome with his painting, Ulysses, a work which combined a classical approach with Orientalist overtones.

In 1845, he first visited Algeria and this gave him an interest in Orientalist themes. Boulanger's knowledge of Pompeii, which he visited while studying at the École de Rome, also gave him ideas for many future works. His paintings are prime examples of academic art of the time, particularly history painting. Boulanger had visited Italy, Greece, and North Africa, and his paintings reflect his attention to culturally correct details and skill in rendering the female form.


He began teaching at the Institut de France in 1882 and was an influential teacher, noted for his dislike of the Impressionism. More on Gustave Clarence Rodolphe Boulanger




Please visit my other blogs: Art CollectorMythologyMarine Art, and The Canals of Venice

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01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #35

FAITH RINGGOLD, (1930 - ) 
Somebody Stole My Broken Heart, c. 2004
Acrylic and pen and ink on wove paper
610x457 mm; 24x18 inches
Private collection 

With this work on paper, Faith Ringgold depicts the first panel of her 2004 Jazz Stories: Mama can Sing, Papa can Blow series of story quilts. The quilt series was the subject of a solo exhibition at ACA Galleries, New York in January 2005. She also made two versions in color screenprint in 2004 and 2007. More on This painting

Faith Ringgold (born October 8, 1930, in Harlem, New York City) is an artist, best known for her narrative quilts. Ringgold took the traditional craft of quilt making (which has its roots in the slave culture of the south - pre-civil war era) and re-interpreted its function to tell stories of her life and those of others in the black community. One of her most famous story quilts is Tar Beach, which depicts a family gathered on their rooftop on a hot summer night.

As a social activist, she has used art to start and grow such organizations as Where We At that support African American women artists. Her foundation Anyone Can Fly, is devoted to expanding the art canon to include artists of the African diaspora and to introduce the African American masters to children and adult audiences. More on Faith Ringgold




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Saturday, May 26, 2018

01 Painting, Streets of Paris, by the artists of the time, Part 30 - With Footnotes

Unknown, School of Paris, 20th CENTURY 
Parisian Grand Boulevard
OIL ON CANVAS
30" by 40"
Private collection

Boulevards of Paris are boulevards which form an important part of the urban landscape of Paris. The boulevards were constructed in several phases by central government initiative as infrastructure improvements, but are very much associated with strolling and leisurely enjoyment in the minds of Parisians.


Parisian boulevards and avenues are usually tree-lined on one or both sides, which is rarely the case for smaller roads. More on Boulevards of Paris


School of Paris refers to the French and émigré artists who worked in Paris in the first half of the 20th century. The School of Paris was not a single art movement or institution, but refers to the importance of Paris as a center of Western art in the early decades of the 20th century. Between 1900 and 1940 the city drew artists from all over the world and became a centre for artistic activity. School of Paris was used to describe this loose community, particularly of non-French artists, centered in the cafes, salons and shared workspaces and galleries of Montparnasse.

Before World War I the name was also applied to artists involved in the many collaborations and overlapping new art movements, between post-Impressionists and pointillism and Orphism, Fauvism and Cubism. In that period the artistic ferment took place in Montmartre and the well-established art scene there. But Picasso moved away, the war scattered almost everyone, by the 1920s Montparnasse become a center of the avant-garde. After World War II the name was applied to another different group of abstract artists. More on School of Paris



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Wednesday, May 16, 2018

01 Painting, Streets of Paris, by the artists of the time, Part 29 - With Footnotes


Marko Stupar, (1936 - * French) 
"Marche Mouffetard (Market Mouffetard)" 
Oil on masonite 
13" H x 9.5" W 
Private collection

Rue Mouffetard is a street in the 5th arrondissement of Paris, France. Situated in the fifth arrondissement of Paris, Rue Mouffetard is one of Paris's oldest and liveliest neighbourhoods. These days the area has many restaurants, shops, and cafés, and a regular open market. It is centered on the Place de la Contrescarpe, at the junction of the rue Mouffetard and the rue de Lacepede. Its southern terminus is at the Square Saint-Médard where there is a permanent open-air market. It is closed to normal motor traffic much of the week, and is predominantly a pedestrian avenue. More on Rue Mouffetard 

Marko Stupar was born in 1936 in Yugoslavia.  He chose France as his permanent home in 1964 after completing his studies at the Beaux-Arts of Belgrade. Today we find that the art of Marko Stupar is totally integrated into the School of Paris. Although his work continues to be very personal, the graphic nature of his Slavic background is now uniquely combined with the subtlety found in Pierre Bonnard.?

Stupar has participated in juried exhibitions since 1966 when he won the Silver Medal at the Center of Diffusion of the Cote-d'Azur. He regularly participates in the Salon d'Automne*, the Salon National des Beaux-Arts, the Salon des Artistes Français* and the Salon Comparaison. 


Among his other honors, Stupar has won both the Silver and Gold medals of the Salon des Artistes Français.? One-man exhibitions of Stupar's work have been held in cities all over the world including Paris, Geneva, Lyon, Osaka, Dusseldorf, Strasbourg, Zagreb, Annecy, Havre, New York, Philadelphia, Dallas, and Houston. More on Marko Stupar








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01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #34

Vladimir Borovikovsky,  (1757–1825)
Portrait of Maria Lopukhina, (1777-1805), c. 1797
Oil on canvas
72 × 53.5 cm (28.3 × 21 in)
Tretyakov Gallery

Princess Anna Petrovna Lopukhina (Russian: 8 November 1777 – 25 April 1805) was a royal mistress to Emperor Paul of Russia. In 1798, She replaced Catherine Nelidova as the chief mistress. She was the daughter of Pyotr Vasilyevich Lopukhin, from the Lopukhin family, one of the oldest families of Russian nobility, which owed its distinction to Eudoxia Lopukhina's marriage to Peter the Great and of which the unfortunate Natalia Lopukhina was also a member.

Her life changed the day Paul cast an eye on her during a ball in 1796. Paul ordered her family to be brought to Saint Petersburg, the Empress ineffectually attempted to interfere and sent an angry letter to Lopukhina pressing her to stay at home. The letter was intercepted and presented to the emperor in the most unfavourable light, thus sparking a quarrel between the spouses and ensuring Lopukhina's ascendance at court.

Anna was showered with awards, including the Order of Saint John. Lopukhina's influence on the tsar's irascible character is reckoned to have been beneficial, although the Emperor's constant attention seemed to importune her so much that in 1799 she asked his permission to marry a childhood friend, Prince Pavel Gagarin. After the sovereign acquiesced, Gagarin was recalled from Alexander Suvorov's army then fighting in Italy and the wedding took place on 11 January 1800. The marriage was also to protect her from public spite.


A year later, the Emperor was murdered and the Gagarins proceeded to Turin. Theirs was a marriage of convenience, and he seems to have had little reason for grief when she died of consumption in 1805 at the age of 28. Anna's body was brought back to the Russian capital, where her tomb may be seen in the St Lazarus Church of the Alexander Nevsky Lavra. More on Princess Anna Petrovna Lopukhina


Vladimir Borovikovsky, (1757–1825) was a Russian painter of Ukrainian origin who dominated portraiture in Russia at the turn of the 19th century. Borovikovsky was born on July 24, 1757. His father, Luka Borovyk was a Ukrainian Cossack and an amateur icon painter. According to the family tradition, all four of Borovyk's sons served in Myrhorod regiment, but Volodymyr retired early at the rank of poruchik and devoted his life to art — mostly icon painting for local churches.

His friend Vasyl Kapnist was preparing an accommodation for Empress Catherine II in Kremenchuk during her travel to newly conquered Crimea. Kapnist asked Borovikovsky to paint two allegoric paintings (Peter I of Russia and Catherine II as peasants sowing seeds and Catherine II as a Minerva) for her rooms. The paintings so pleased the Empress that she requested that the painter move to Saint Petersburg.

For his first ten years in Saint Petersburg, he lived in the house of the poet, architect, musician and art theorist, Prince Nikolay Lvov, whose ideas strongly influenced Borovikovsky's art. At the age of 30 years, he was too old to attend Imperial Academy of Arts, so he took private lessons from Dmitry Levitzky and later from Austrian painter Johann Baptist Lampi.


In 1795 he was appointed an academician. He became a popular portrait painter and created about 500 portraits during his lifetime, 400 of which survived to the 21st century. More on Vladimir Borovikovsky









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Sunday, May 13, 2018

01 Painting, Streets of Paris, by the artists of the time, Part 38 - With Footnotes

Victor Gabriel Gilbert, (1847–1933) 
A Parisian Flower Market
Oil on canvas
137.5 x 46.3 cm
Private collection

Victor Gabriel Gilbert born in Paris the 13 February 1847 and died in the 21 July 1933. He was a French painter. He is buried in Montmartre cemetery in Paris. In 1860 he apprenticed to a painter and decorator. He followed with evening art classes under the direction of Father Levasseur, the School of the City of Paris. In the late 1870s, his taste for naturalism is developed and he turned to genre painting with scenes of streets, cafes, markets, especially that of Halles . He obtained a second class medal at the Salon of 1880 and a silver medal at the 1889 World Fair . It becomes a member of the French Society of Artists in 1914.


Victor Gilbert was appointed Knight of the Legion of Honour in 1897, and received the Prix Léon Bonnat in 1926. More on Victor Gabriel Gilbert



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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.

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Saturday, May 12, 2018

01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #33

Vladimir Borovikovsky, (1757–1825)
Portrait of Elena Aleksandrovna Naryshkina (1785-1855), c. 1799
Oil on canvas
72.8 × 59.6 cm (28.6 × 23.4 in)
Tretyakov Gallery

Elena Aleksandrovna Naryshkina, Serene Princess of Italy, Countess Suvorov-Rymniksky (1785 -1855 ) was a Russian noblewoman and maid of honour. Her portrait is one of the best female portraits painted by Borovikovsky at the end of the 18th century. More on Elena Aleksandrovna Naryshkina, 

Vladimir Borovikovsky, (1757–1825) was a Russian painter of Ukrainian origin who dominated portraiture in Russia at the turn of the 19th century. Borovikovsky was born on July 24, 1757. His father, Luka Borovyk was a Ukrainian Cossack and an amateur icon painter. According to the family tradition, all four of Borovyk's sons served in Myrhorod regiment, but Volodymyr retired early at the rank of poruchik and devoted his life to art — mostly icon painting for local churches.

His friend Vasyl Kapnist was preparing an accommodation for Empress Catherine II in Kremenchuk during her travel to newly conquered Crimea. Kapnist asked Borovikovsky to paint two allegoric paintings (Peter I of Russia and Catherine II as peasants sowing seeds and Catherine II as a Minerva) for her rooms. The paintings so pleased the Empress that she requested that the painter move to Saint Petersburg.

For his first ten years in Saint Petersburg, he lived in the house of the poet, architect, musician and art theorist, Prince Nikolay Lvov, whose ideas strongly influenced Borovikovsky's art. At the age of 30 years, he was too old to attend Imperial Academy of Arts, so he took private lessons from Dmitry Levitzky and later from Austrian painter Johann Baptist Lampi.

In 1795 he was appointed an academician. He became a popular portrait painter and created about 500 portraits during his lifetime, 400 of which survived to the 21st century. More on Vladimir Borovikovsky








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02 Painting, Streets of Paris, by the artists of the time, Part 37 - With Footnotes

Edouard Henri Leon Cortès, (French, 1882-1969)
Flower stalls at La Madeleine 
Oil on canvas
13 x 18in (33 x 46cm)
Private collection

Located on Place La Madeleine, the flower market has attracted avid gardeners and curious passers-by since 1808.


There is a covered as well as open-air section and it is fascinating to wander the pretty orangerie style pavilions, which are over 100 years old, that line the market, filled with flowers, plants and quirky gifts. Parisians come here to buy flowers for their balconies, for their homes and gardens and it is a truly unique and endearing place for a walk and for visitors to get a feel for the real pulse of the city. This vibrant, colourful little market is also a favourite with artists who come here for inspiration. More on La Madeleine

Edouard Henri Leon Cortès (French, 1882-1969)
A flower market at La Madeleine 
Oil on canvas
20 X 26in (51 x 66cm)
Private collection

Edouard Léon Cortès (1882–1969) was a French post-impressionist artist of French and Spanish ancestry. He is known as "Le Poete Parisien de la Peinture" or "the Parisian Poet of Painting" because of his diverse Paris cityscapes in a variety of weather and night settings.
Cortes was born on August 8, 1882, in Lagny-sur-Marne, about twenty miles east of Paris. His father, Antonio Cortès, had been a painter for the Spanish Royal Court.
At the age of 17, Edouard began his studies at the École des Beaux-Arts in Paris. His first exhibition in 1901 brought him immediate recognition. Cortès stressed his independence. Once, in responding to a journalist who asked if he was a student of Luigi Loir, he replied in pun: "No, a student of myself only."
life he was awarded the prestigious Prix Antoine-Quinson from the Salon de Vincennes
In 1914 Cortès married Fernande Joyeuse, with whom he had a daughter in 1916.
Although Cortès was a pacifist, when war came close to his native village he was compelled to enlist in a French Infantry Regiment at the age of 32. As a contact agent Cortès was wounded by a bayonet, evacuated to a military hospital, and awarded the Croix de Guerre. After recovery he was the reassigned to utilize his artistic talent to sketch enemy positions. Later in life his convictions led him to refuse the Légion d'Honneur from the French Government. In 1919 he was demobilized.
His wife had died in 1918 and he soon married his sister-in-law Lucienne Joyeuse.

Cortès lived a simple life amid a close circle of friends. He died on November 28, 1969, in Lagny, and has a street named in his honor. More on Edouard Léon Cortès








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