Monday, August 8, 2022

02 Paintings, Streets of Paris, Louis Anquetin's L’Intérieur de chez Bruant: le Mirliton, with footnotes, #83

Louis Anquetin  (1861–1932)
The Interior of Bruant - The Mirliton, c. 1886 until 1887
Oil on canvas
145 × 157 cm (57 × 61.8 in)
Private collection

L’Intérieur de chez Bruant: le Mirliton is not only a large-scale group portrait representing many of the artist’s illustrious friends, but also a portrait of their preferred gathering place, Le Mirliton, the vivacious establishment opened in 1885 in what had been the second location of the Chat Noir. The cabarets, cafés and dance halls of Montmartre proved a source of endless inspiration for Anquetin, Toulouse-Lautrec, Bernard and others in their circle who frequented these establishments together. More on this painting

Louis Anquetin (26 January 1861 – 19 August 1932) was a French painter; born in Étrépagny, France and educated at the Lycée Pierre Corneille in Rouen.

In 1882 he came to Paris and began studying art at Léon Bonnat's studio, where he met Henri de Toulouse-Lautrec. The two artists later moved to the studio of Fernand Cormon, where they befriended Émile Bernard and Vincent van Gogh.

Louis Anquetin  (1861–1932) 
AU MOULIN ROUGE, circa 1893
Oil on canvas
168.7 by 207cm., 66 3/8 by 81 1/2 in.
Private collection

Au Moulin Rouge is a large scale depiction of the world famous cabaret that captures the bohemian and risqué ambiance of the café-concert in a vibrant, modernist style. Anquetin had begun to frequent the Moulin Rouge shortly after it opened in 1889, and together with his fellow artists Henri de Toulouse-Lautrec and Emile Bernard, became a regular at the cabaret throughout the 1890s. This work is Anquetin's largest and most compositionally complex work on this theme, and also is one of the final works from the distinctive Cloisonist phase of his artistic development. 
More on this painting

Around 1887, Anquetin and Bernard developed a painting style that used flat regions of color and thick, black contour outlines. This style, named cloisonnism by critic Edouard Dujardin, was inspired by both stained glass and Japanese ukiyo-e.

He eventually fell from the public's eye after abandoning the modern movements, opting instead to study the methods of the Old Masters. Thus, Anquetin's works following the mid-1890s, such as Rinaldo and Armida, were especially Rubensian and allegorical in nature. More on Louis Anquetin





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Sunday, July 17, 2022

01 Painting, The amorous game, Louis Anquetin's La Femme à la berthe rouge, Part 63 - With Footnotes

Louis Anquetin, 1861 - 1932
La Femme à la berthe rouge, c. 1891
Oil on canvas
73,5 x 60,1 cm; 29 x 23⅝ in.
Private collection

The spontaneous gesture gives this painting its energy and power. Through his mastery of oil painting, Anquetin emphasizes his volumes and endows his figures with a rare materiality. The canvas mattness, obtained with a blotter to absorb the shine of the medium, reinforces the dimensionality of the composition. More on this painting

Louis Anquetin (26 January 1861 – 19 August 1932) was a French painter; born in Étrépagny, France and educated at the Lycée Pierre Corneille in Rouen.

In 1882 he came to Paris and began studying art at Léon Bonnat's studio, where he met Henri de Toulouse-Lautrec. The two artists later moved to the studio of Fernand Cormon, where they befriended Émile Bernard and Vincent van Gogh.

Around 1887, Anquetin and Bernard developed a painting style that used flat regions of color and thick, black contour outlines. This style, named cloisonnism by critic Edouard Dujardin, was inspired by both stained glass and Japanese ukiyo-e.

He eventually fell from the public's eye after abandoning the modern movements, opting instead to study the methods of the Old Masters. Thus, Anquetin's works following the mid-1890s, such as Rinaldo and Armida, were especially Rubensian and allegorical in nature. 
More on Louis Anquetin




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Thursday, July 14, 2022

01 Painting, The amorous game, Tito Lessi's THE SACRED AND THE PROFANE. Part 62 - With Footnotes

Tito Lessi, 1858 Florence - 1917 ibid
THE SACRED AND THE PROFANE
Oil on canvas
47 x 64 cm.
Private collection

Tito Lessi (1858 – 1917) was born in Florence, then became a resident of Paris. He studied at the Florentine Academy of Fine Arts under Enrico Pollastrini and Antonio Ciseri.

Lessi painted a watercolor titled: L' anticamera del Papa. Charles Sedelmeyer invited him to Paris, where he painted small canvases: The Testament; Le lever du Dauphine; L'Interrogatorio (The Interrogation); and Le Lùeur, exhibited at Paris. He painted an Interior of the Public Library at Florence (1889).

For the editor Alinari of Florence, he made a hundred drawings for their edition of Decameron of Giovanni Boccaccio (1313–1375).[3]

He died in Florence in 1917. More on Tito Lessi






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Thursday, July 7, 2022

01 Painting, Streets of Paris, Arbit Blatas's Pont St. Michel, with footnotes #75

Arbit Blatas, Lithuanian, 1908-1999
Pont St. Michel, Paris
Oil on canvas
25 3/8 x 31 3/4 inches (64.5 x 80.6 cm)
Private collection

Pont Saint-Michel is a bridge linking the Place Saint-Michel on the left bank of the river Seine to the Île de la Cité. It was named after the nearby chapel of Saint-Michel. It is near Sainte Chapelle and the Palais de Justice. The present 62-metre-long bridge was first constructed in 1378, it has been rebuilt several times, most recently in 1857.. More on Pont Saint-Michel

Arbit Blatas was born in Lithuania in 1908. Blatas showed great skill and artistic talent from a very early age. He moved to Paris when he turned twenty-one, and quickly ingratiated himself in the Parisian art community becoming the youngest member of the “School of Paris”.

Paris offered a milieu of cultural richness, least of which included his fellow artists Pablo Picasso, Pierre Bonnard, Maurice de Vlaminck, and Maruice Utrillo. These talented peers provided immense inspiration for the young Blatas helping to nurture his distinct style.

Blatas was also influenced by the modest Jewish art community in Paris. This group helped foster the national aspirations as well as a continual experimentation with expressionism, many of whom would become members of the “School of Paris”.

During this period Blatas traveled back and forth between Paris and his native Lithuania, putting on exhibitions as well as opening a gallery in Lithuania. His profile grew immensely in 1933 after exhibiting in Paris, coupled with his relationship with the art dealer Pierre Matisse who organized the artist’s first exhibition in New York. Like many other artist’s living in Europe at the time, Blatas was forced to flee France and emigrated to the United States. He wouldn’t return until after the end of World War II.

Blatas was a multitalented artist, often working with painting, sculpture and theater design over the course of his career. His paintings often depicted portraits and landscapes, but also showed an adept understanding of many influential styles such as post-impressionism, fauvism, and expressionism. He never adhered to one “ism” but rather relied on his unique sense of color as a driving force. 

Many honors and prizes were bestowed upon Arbit Blatas during his career. He received the prestigious Chevalier de la Legion d’Honeur from the French government in 1978. Only two years later Blatas received a medal from the mayor of Venice in honor of his sculpture. More on Arbit Blatas






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Tuesday, June 21, 2022

02 Paintings, The amorous game, Vittorio Reggianini's Flirtatious Glances, With Footnotes, #78

Vittorio Reggianini, Italian, 1858 - 1938
Flirtatious Glances
Oil on canvas
24¾ by 16¼ in.; 63 by 41.5 cm
Private collection

Born in Modena, Vittorio Reggianini studied in the Academy of Arts of this city, of which he will become later one of the professors.

Following the example of the Italian artists of his period, he leaves to Florence, where he participates in 1900 in the Concours Alinari, with a painting entitled « Tristis Matris Nati Presaga Finis ». He also participates at the Salon of Florence of 1907-1908, and again in 1910-1911.

Vittorio Reggianini, Italian, 1858 - 1938
Welcome advances
Oil on canvas
64 x 82cm (25 3/16 x 32 5/16in)
Private collection

Specialist of the painting of genre, he describes the elegant life of the bourgeoisie, and particularly that of the women and the children. He excels at the luxurious depiction of the well-to-do, as well as silk the trades. Same as his Florentine contemporaries, Reggianini concentrates on an idealized images of the bourgeoisie liking the arts. His oil paintings often include a multitude of details, involving harmoniously sensualism and sensibility. More on Vittorio Reggianini




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Monday, June 20, 2022

01 Painting, Streets of Paris, Stanislas Lépine's Montmartre. La rue Saint-Vincent, Part #78

Stanislas Lépine, 1835 - 1892
Montmartre. La rue Saint-Vincent
Oil on canvas
55,5 x 34,2 cm; 21⅞ x 13½ in.
Private collection

Stanislas Lépine depicts here the rue Saint-Vincent, between the vineyards of Montmartre and the place du Tertre, close to the artist's home, rue Fontenelle.

While Montmartre is still an almost isolated village at the gates of the city, far from the modernity of Haussmann's Paris, two women converse, one leaning against her window, the second in the middle of a cobbled alley, in the preserved intimacy of the Butte.

A cloudy sky veils the foliage of the gardens and the damp grey stone of the walls in a pale light, underlining, with its discreet hues, the quietude of this meeting. More on this painting

Stanislas Victor Edouard Lépine (October 3, 1835 – September 28, 1892) was a French painter who specialized in landscapes, especially views of the Seine. Lépine was born in Caen. An important influence in his artistic formation was Corot, whom he met in Normandy in 1859, becoming his student the following year.

Lépine's favorite subject was the Seine, which he was to paint in all its aspects for the rest of his life. He participated in the first Impressionist exhibition, held at Nadar's in 1874, although he is generally not considered an Impressionist. His paintings are placid in mood and are usually small in scale. Lépine was awarded the First Prize medal at the Exposition of 1889. He died suddenly in Paris in 1892. More Stanislas Victor Edouard Lépine





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Sunday, June 19, 2022

09 Works - Maximilian I became Holy Roman Emperor, with footnotes

Bernhard Strigel  (1460–1528)
Portrait of Maximilian I, Holy Roman Emperor, c. around 1500
Oil on lime
60.7 × 40.9 × 3 cm
Kunsthistorisches Museum

Bernhard Strigel, see below

Maximilian I (1459-1519), Holy Roman emperor from 1493 to 1519, began the restoration of the power of the Hapsburgs. His intense interest in the arts and in public display earned him a place in legend as well as history.

Unknown author
Frederick III and Eleanor of Portugal
Abbey in Innsbruck
I have no further description, at this time

Eleanor of Portugal (18 September 1434 – 3 September 1467) was Empress of the Holy Roman Empire. A Portuguese infanta (princess), daughter of King Edward of Portugal and his wife Eleanor of Aragon, she was the consort of Holy Roman Emperor Frederick III and the mother of Holy Roman Emperor Maximilian I.

Although he was never crowned by the Pope, Maximilian became king of Germany in 1486 and emperor-elect in 1493, and he won papal approval as emperor in 1508. His talent, however, lay less in his success as emperor than in his securing the imperial title for the Hapsburg house and ensuring Hapsburg predominance in European diplomacy for the next 4 centuries. The empire had become by the end of the 15th century rather an aid to dynastic ambition than an effective form of government for Germany. Maximilian I's career was more an example of manipulating the advantages afforded by the imperial title than an actual rule of the fragmented empire. He was a better knight than he was a general, and he appears to have been far more a storybook king than a hardworking 15th-century monarch. He spent a great deal of time and money perpetuating his own memory, both in works and pictures about himself and in several romantic versions of his own life which he wrote.

Bernhard Strigel  (1460–1528)
Portrait of Emperor Maximilian and his family
Oil on lime
Height: 72.8 cm (28.6 in); Width: 60.4 cm (23.7 in)
Kunsthistorisches Museum

Probably painted after the double wedding of Maximilian I's grandsons in Vienna in 1515 and the resulting connection between the Habsburgs and the Jagiellonian royal family. Depicted are Emperor Maximilian I and his first wife Maria von Burgundy (she had been dead for more than thirty years when the picture was taken), between them their son Philip the Fair, who died in 1506; in front Maximilian's grandsons, the later emperors Charles V (centre) and Ferdinand I (left), on the right Ludwig, heir to the kingdoms of Hungary and Bohemia. The naming of those portrayed as members of a branch of the Holy Family, namely Maria Cleophas, also dates from this time. In 1520 this panel, painted on both sides, was possibly in the possession of the imperial historiographer Johannes Cuspinian when he had himself and his family painted by Strigel as the third branch of the Holy Family (today Memmingen, museum). Furthermore, the connection between Cuspinian's family portrait, which is approximately the same size and designed in a similar way, and the Wiener Tafel remains unclear. More on this painting

Bernhard Strigel (c. 1461 – May 4, 1528) was a German portrait and historical painter of the Swabian school, the most important of a family of artists established at Memmingen. He was born at Memmingen and was probably a pupil of Zeitblom at Ulm. He stood in high favor with the Emperor Maximilian I, in whose service he repeatedly journeyed to Augsburg, Innsbruck, and Vienna.

His religious paintings, which include four altar wings with scenes from the "Life of the Virgin," in the Berlin Gallery, and 10 paintings illustrating the "Genealogy of Christ," in the Germanic Museum, Nuremberg, are historically interesting, but of less artistic value than his portraits, which, though detailed, are ably handled and luminous in color. More on Bernhard Strigel


Unknown artist
Garden Scene with Maximilian and Mary of Burgundy
Der Weisskunig or The White King is a chivalric novel

Weisskunig, garden scene with Maximilian and Mary in Hortus conclusius. Maximilian wrote, "Had we but peace, we would sit here as in a rose garden."

Maximilian's marriage to Mary of Burgundy in 1477 plunged him into a conflict with the king of France, Louis XI, over the Burgundian territories. Holding his own against Louis, Maximilian also had to put down revolts in Flanders. His son and heir, Philip of Burgundy, was born in 1478, and his wife died in 1482. 

Probably Pieter van Coninxloo  (1460–1513)
Portrait of Philip I of Castile and Margaret of Austria, c. 1494
Oil on canvas
National Gallery

This teenage brother and sister were the heirs of royalty and future rulers themselves. Philip the Handsome and Margaret of Austria were the children of the Holy Roman Emperor, Maximilian I, and Mary of Burgundy. Each is identified by an inscription in gold above their head and by the coats of arms at the top of the arch. Around them are further coats of arms representing the states and towns their parents governed.

Philip (1478–1506), who was later King of Castile, wears the livery collar of the Order of the Golden Fleece – a prestigious chivalric order – which he received in 1481. Margaret (1480–1530) was to become one of the effective rulers of her day as regent of the Netherlands. This small diptych (a painting made up of two parts) was easily portable, and must have been done in the early 1490s, when various projects for Philip’s and Margaret’s marriages were matters of intense concern. More on this painting

Pieter van Coninxloo (c. 1460–1513) was an Early Netherlandish painter first documented as active in Brussels from 1479. Little is known of his life apart from his appearance in records of 1479, 1503 and 1513, in the archives of Margaret of Austria when he is mentioned in relation to the commission of portraits. He came from a family of artists; at least six generations were painters. His brother was Jan van Coninxloo.

He is sometimes associated with the unidentified artist known as the Master of the Legend of the Magdalen, thought to have been a court painter to Margaret of Austria, and who shares similarities of style, time and location. A number of art historians, including Max Friedländer, who first identified the Master of the Legend of the Magdalen, speculated that they may have been the same person. He may also have been a member of the master's workshop. More on Pieter van Coninxloo

Maximilian held his Burgundian dominions, and in 1496 married Philip to Juana, daughter of Ferdinand and Isabella of Spain, thus linking the Hapsburg house to the most vigorous dynasty of Europe. In 1500 the future emperor Charles V was born to Juana and Philip, and by a series of dynastic accidents Charles became the heir not only of Maximilian's Hapsburg territories and claim to the imperial title but to Burgundy and Spain as well, thus laying the foundations for the power of the Spanish monarchy for the next century.

Wilhelm Koller  (1829–)
Albrecht Dürer is visited by Emperor Maximilian at work, c. 1870
Oil on panel
Height: 87 cm (34.2 in); Width: 139 cm (54.7 in)
Private collection

Wilhelm Koller ( French Guillaume Koller ) (* 1829 Vienna ; † 1884 near Nancy or 1885 in Brussels ) was an Austrian history painter .

Koller studied painting at the Academy of Fine Arts in Vienna under Ferdinand Georg Waldmüller , after which he continued his studies from 1851 to 1855 in Düsseldorf . From 1856 to 1859 he lived in Antwerp , from 1859 in Brussels and from 1869 he lived in Paris. More on Wilhelm Koller

Carl Jäger
Portrait session in the workshop of Albrecht Dürer, between 1882 and 1886
Nuremberg Town Hall

Karl Jäger (17 October 1833 – 15 December 1887) was a German painter. Born in Nuremberg, Jäger studied at the Munich Academy and at the Academy of Applied Arts in Nuremberg, where he later taught drawing. Between 1882 and 1886 he painted his best-known work, Maximilian I with Albrecht Dürer for the Nuremberg town hall. He also helped to illustrate the works of Friedrich Schiller and created grisaille portraits of prominent personalities, including composers Beethoven and Haydn. More on Karl Jäger

Albrecht Dürer  (1471–1528)
Portrait of Emperor Maximilian I, c. 1519
Oil paint, lime panel
Height: 74 cm (29.1 in); Width: 61.5 cm (24.2 in)
Kunsthistorisches Museum

Maximilian I was a learned ruler with a strong interest in the arts. Dürer first met him during a visit to Nuremberg in 1512 and was commissioned to work on the gigantic woodcuts of The Triumphal Arch and The Triumphal Procession, as well as decorations for Maximilian's prayer book. In 1515 he was awarded an annual payment of 100 florins by the Emperor.

On 28 June 1518 Dürer had sketched Maximilian during the Imperial Diet at Augsburg. He inscribed the drawing: `This is Emperor Maximilian, whom I, Albrecht Dürer, portrayed up in his small chamber in the tower at Augsburg on the Monday after the feast day of John the Baptist in the year 1518.' In the relatively informal sketch Dürer captured a hint of the fatigued resignation of the 59 year-old ruler.

Maxmilian I died on 12 January 1519 and Dürer then used his drawing as the basis for a woodcut and two painted portraits, one in tempera (Germanisches Nationalmuseum, Nuremberg) and this one in oil. These finished works are formal portraits and lack some of the human character which comes out in the original sketch. In the oil portrait, the Emperor is dressed in an elegant fur, which Dürer has painted with great care. Instead of an orb, the Emperor holds a broken pomegranate, a symbol of the Resurrection and Maximilian's personal emblem. At the top of the picture is the Habsburg coat of arms with the double-headed eagle and a lengthy inscription on Maximilian's achievements. The Emperor looks aloof and withdrawn, an expression of his dignity. More on this painting

Albrecht Dürer  (1471–1528)
Portrait of Maximilian I of Habsburg, c. 28 June 1518
Charcoal and chalk on paper
Height: 381 mm (15 in); Width: 319 mm (12.55 in)
Albertina, Vienna, Austria

Albrecht Dürer (21 May 1471 – 6 April 1528) was a painter, printmaker and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was still in his twenties, due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I.
His vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium.
Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions. More on Albrecht Dürer

Maximilian's success in the dynastic marriage market was greater than his military and diplomatic success. He failed to defeat France on an abortive expedition to Italy in 1496 and was himself defeated by the Swiss in 1499 and outmaneuvered in Italy by Louis XII of France in 1500. Between 1500 and 1504 Maximilian was busy putting down rebellions in Germany, and after the death of his son Philip in 1506 the problems of the Netherlands regency were added to those of Germany and Italy. In 1508 Maximilian's expedition to Italy was stopped by Venetian resistance, and the Emperor retaliated by entering into the League of Cambrai with France and the papacy against Venice. In 1510, however, Pope Julius II reversed his policy and rejected the league, and from 1510 until his death Maximilian was faced with the rising power of France in Italy.

Besides external political threats, Maximilian faced the perennial administrative chaos of Germany and accomplished a number of governmental and judicial reforms, including the establishment of the Imperial Court in 1495, in which Roman law was to be used. Maximilian also urged reform of the Church, particularly in Germany. At his death in 1519 the crises which would trouble the 16th century were already evident: the rivalry between Spain and France, the use of Italy and the papacy as a battleground for the conflict, and the stirrings of anticlericalism and the questioning of ecclesiastical dogma which would usher in the Reformation. Maximilian's reputation as the "last knight" was a fitting one. More on Maximilian I



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Friday, June 10, 2022

01 Painting, The amorous game, Vincent van Gogh's A Pair of Lovers , Part 66 - With Footnotes

Vincent van Gogh, 1853 - 1890
A Pair of Lovers/ Eglogue en Provence, c. 1888
Oil on canvas
32.5 by 23cm., 12¾ by 9 in.
Private collection

Painted in March 1888, the month after van Gogh arrived in Arles, the present work is an intimate depiction of two lovers walking along the bank of a river. It once formed the central motif of a larger composition depicting a pair of lovers walking along a canal path towards the Pont de Réginelle, known locally as the Pont Langlois after the man who operated it. More on this painting


Vincent van Gogh (born March 30, 1853, Zundert, Neth.—died July 29, 1890, Auvers-sur-Oise, near Paris, France). Dutch painter, generally considered the greatest after Rembrandt, and one of the greatest of the Post-Impressionists. The striking colour, emphatic brushwork, and contoured forms of his work powerfully influenced the current of Expressionism in modern art. Van Gogh’s art became astoundingly popular after his death, especially in the late 20th century, when his work sold for record-breaking sums at auctions around the world and was featured in blockbuster touring exhibitions. In part because of his extensive published letters, van Gogh has also been mythologized in the popular imagination as the quintessential tortured artist. More on Vincent van Gogh





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Wednesday, June 8, 2022

01 Painting, The amorous game, Edouard Manet's Au père Lathuille, 1879 , Part 66 - With Footnotes

Edouard Manet  (1832–1883)
Au père Lathuille/ At the Père Lathuille Restaurant, c. 1879 
Oil on canvas
Height: 92 cm (36.2 in); Width: 112 cm (44 in)
Tournai Museum of Fine Arts

Chez le Père Lathuille (At the Père Lathuille Restaurant) is an 1879 oil-on-canvas painting by Édouard Manet. In the background is the proprietor. Manet also painted a portrait of his daughter.

Père Lathuille's cabaret, and later restaurant, was situated in the Batignolles quarter, on the site now occupied by a cinema at 7 Avenue de Clichy, just after the Barrière de Clichy so as to escape Parisian wine taxes. During the defence of Paris on 30 March 1814, marshal Bon-Adrien Jeannot de Moncey had used it as his command post. Just before the enemy arrived, Père Lathuille had handed out complimentary drinks to the soldiers, saying "Drink, my friends, drink for free - don't leave a single bottle of my wine in the casks". More on this painting

Édouard Manet (23 January 1832 – 30 April 1883) was a French painter. He was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism.

His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art. More on Édouard Manet




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Thursday, May 26, 2022

01 Painting, The amorous game, Hans Buchner's The Ace of Hearts, Part 65 - With Footnotes

Hans Buchner, German, 1856 - 1941
The Ace of Hearts
Oil on canvas
22¼ by 27 in.; 56.5 by 68.5 cm
Private collection

Hans Buchner, 1856 - 1941, was born in Germany in 1856. Buchner enjoyed painting from an early age and it is probable that he studied in Paris, although he spent most of his life in Munich. Buchner, along with esteemed contemporaries such as Reggianini, Ricci and Soulacroix, focused on portraying images of the sheer luxury of the previous century. Taste and elegance were keynotes in the pictorial reinterpretation of the age and conversation pieces such as this example were an ideal vehicle for showing elegant figures in sumptuous surroundings. In this painting, Buchner dwells lovingly on the richness of texture in the lady's dress, the upholstery and wall coverings. The furniture is depicted in all its magnificence and the coquettish pose of the young lady is both attractive and intriguing. More on Hans Buchner




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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