Saturday, June 11, 2016

33 Paintings of Parisian Street Scenes, by Day & by Night, by the Artists of the time, with footnotes.

James Tissot, (1836–1902)
A Woman of Ambition (Political Woman) also known as The Reception, between 1883 and 1885
Oil on canvas
142.24 × 101.6 cm (56 × 40 in)
Albright-Knox Art Gallery

Jacques Joseph Tissot (French: [tiso]; 15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible. More

James Tissot, (1836–1902)
La Mondaine (The Woman of Fashion)
Oil on canvas
58 by 40 in. (147.32 by 101.60 cm

Tissot exerted himself to re-establish his reputation in Paris with a series of fifteen large-scale pictures called La Femme à Paris (The Parisian Woman).  Painted between 1883 and 1885, they portrayed the fashionable parisienne in various incarnations using brighter, modern colors than he had in his previous work. More

Charles Courtney Curran, (1861–1942)
Evening Illuminations at the Paris Exposition, (1889)
Oil on panel 
11.43 cm (4.5 in.), Width: 31.43 cm (12.38 in.)
Private collection

Charles Courtney Curran (1861–1942) was an American painter. He is best known for his canvases depicting women in various settings. Curran was born in Hartford, Kentucky in February, 1861.  He showed an early interest and aptitude for art, and in 1881 went to Cincinnati to study at the McMicken School (later the Fine Arts Academy of Cincinnati). He stayed there only a year before going to New York to study at the National Academy of Design and the Art Students League. Many of the pictures he created during this period featured young attractive working class women engaged in a variety of tasks.

Charles Courtney Curran, (1861–1942)
Paris at Night, c. 1889
Oil on panel
23 × 31.1 cm (9.1 × 12.2 in)
Terra Museum of American Art

Shortly thereafter Curran and his young bride Grace left the United States to study in Paris. After two and half years abroad, the family returned to the United States. For the next ten years Curran divided his time between New York and Ohio. He died in New York City in 1942. More

Bonnard, Pierre, 1867–1947
Place Pigalle at Night, c. 1905–08
Oil on panel
57.5 x 68.4 cm (22 5/8 x 26 15/16 in
Yale University Art Gallery, New Haven, Connecticut.

Pigalle is an area in Paris around the Place Pigalle. It is named after the sculptor Jean-Baptiste Pigalle (1714–1785). Pigalle is famous for being a tourist district, with many sex shops, theatres and adult shows on Place Pigalle and the main boulevards. The neighbourhood's raunchy reputation led to its Second World War nickname of "Pig Alley" by Allied soldiers. The Divan du Monde and the Moulin Rouge, a world-famous cabaret, are both located in Pigalle. More

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

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

Everett Shinn, (1876–1953)
The White Ballet, c. 1904
Oil on canvas
Height: 749.3 mm (29.5 in). Width: 933.45 mm (36.75 in).
Smithsonian American Art Museum

Everett Shinn and many of his contemporaries spent their early years as newspaper illustrators, learning, as he said, to "observe...and get the job done." For The White Ballet, he used his reportorial eye and the compositional devices of Degas and Toulouse-Lautrec to capture what he called "the uptown life." Cropped views of the orchestra pit and the stage collapse the distance between the spectators and the show, and dramatic lighting puts the viewer in the thick of the action. More

Everett Shinn (November 6, 1876 – May 1, 1953) was an American realist painter and member of the Ashcan School. He also exhibited with the short-lived group known as "The Eight," who protested the restrictive exhibition policies of the powerful, conservative National Academy of Design. He is best known for his robust paintings of urban life in New York and London, a hallmark of Ashcan art, and for his theater and residential murals and interior-design projects. His style varied considerably over the years, from gritty and realistic to decorative and rococo. More

Alfred Maurer, (USA 1868-1932)
Nocturne, Paris (n.d.)
oil on board, 
10.25 x 13.75 in.

Although he is better known for his innovative exploration of Modernism, Maurer’s early work such as this Paris, Nocturne reveals the artist’s initial interest in the movements of Tonalism and Impressionism. This night scene captures the glittering lights of the city reflected in the dark waters of the Seine as the Eiffel Tower looms majestically in the distance. More

Alfred Henry Maurer (April 21, 1868 – August 4, 1932) was an American modernist painter. He exhibited his work in avant-garde circles internationally and in New York City during the early twentieth century. Highly respected today, his work met with little critical or commercial success in his lifetime, and he died, a suicide, at the age of sixty-four. More

John Singer Sargent,  1856 - 1925
In the Luxembourg Gardens (1879)
oil on canvas
25 7/8 x 36 3/8 inches
Philadelphia Museum of Art, John G. Johnson Collection

Like many of his contemporaries, John Singer Sargent lived in the Latin Quarter of Paris in the 1870s, near the École des Beaux-Arts and the Palais du Luxembourg. In this twilight scene by Sargent, a vast expanse of gravel, tinted mauve by the setting sun, isolates a fashionably dressed couple walking arm in arm. Preoccupied by holding up her skirt and clutching her companion's arm, the woman seems distracted, while the man dispassionately smokes a cigarette. The detachment of the couple is echoed by other figures in the garden, all absorbed in their own activities. More

John Singer Sargent (January 12, 1856 – April 14, 1925) was an American artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.

John Singer Sargent (1856–1925) 
Le verre de porto (A Dinner Table at Night), c. 1884
Oil on Canvas
Height: 514.35 mm (20.25 in). Width: 666.75 mm (26.25 in).
Fine Arts Museums of San Francisco

Sargent sets his subjects in well-appointed, dramatic interiors with glowing lamplight and evocative shadows. Luxurious textiles and jewels often enhance these intimate portrayals, such as his image of Edith and Albert Vickers, two of the artist’s most devoted patrons. More

His parents were American, but he was trained in Paris prior to moving to London. Sargent enjoyed international acclaim as a portrait painter, although not without controversy and some critical reservation; an early submission to the Paris Salon, his "Portrait of Madame X", was intended to consolidate his position as a society painter, but it resulted in scandal instead. From the beginning his work was characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. He lived most of his life in Europe. More

Frederick Childe Hassam
Bois de Boulogne, (1888)
Oil on canvas 
30.48 cm (12 in.), Width: 23.81 cm (9.38 in.) 
Mead Art Museum - Amherst, MA (United States)

Hassam depicted the stylish noonday promenade of elaborate equipages near the Arc de Triomphe on the first Sunday in June, before their procession to the Bois de Boulogne for the great international horse race. Brilliant sunlight bathes the spectacle of two lines of carriages filled with well-dressed ladies and gentlemen. Spectators crowd the sidewalks, which are shaded by sun-dappled horse-chestnut trees. More

Theodore Earl Butler, (1860–1936)
Place de Rome at Night, c. 1905
Oil on canvas
59.7 × 73 cm (23.5 × 28.7 in)
Terra Museum of American Art

Butler’s Place de Rome at Night (in fact, the “Cour de Rome,”) reduces a rainy, nighttime urban vista to a shimmering, blurred mass of gray tones with pink, yellow, and white highlights. Butler pictures the Place de Rome from a vantage slightly above street level. Beneath three glowing street-lamps on an island in the plaza, shadowy figures are mirrored by their own dark reflections on the wet pavement. To the left, a horse-drawn carriage pulls away, one side-lamp a bold spot of red. On the right, the bright lights of a café glow from beneath a broad awning colored a smoky purple in the dimness. In the left distance, the lights of the fashionable Boulevard Haussmann blend into a twinkling mass in the rising moisture-laden vapors. Butler’s spontaneous, nearly monochromatic image captures the distortions effected by the combination of falling rain, shiny wet surfaces, nighttime darkness, and artificial illumination. More 

Theodore Earl Butler, (1861–1936) was an American impressionist painter. He was born in Columbus, Ohio, and moved to Paris to study art. He befriended Claude Monet in Giverny, and married his stepdaughter, Suzanne Hoschedé. After her death he married her sister, Marthe Hoschedé. Butler was a founding member of the Society of Independent Artists.

Butler's chosen subjects were domestic scenes of family and friends and the French landscape. Although his Impressionistic approach to painting sometimes reflected the influence of his father-in-law, his work also suggests Post-Impressionist tendencies as well. More

Jean-François Raffaëlli 1850 - 1924 FRENCH LE QUAI DEVANT LE PONT NEUF signed JF RAFFAËLLI lower left oil on canvas 65 by 84cm., 25½ by 33in.:
Jean-François Raffaëlli, 1850 - 1924
signed JF RAFFAËLLI lower left
oil on canvas
65 by 84cm., 25½ by 33in.

The Pont Neuf is the oldest standing bridge across the river Seine in Paris, France. Its name, which was given to distinguish it from older bridges that were lined on both sides with houses, has remained after all of those were replaced. It stands by the western (downstream) point of the Île de la Cité, the island in the middle of the river that was, between 250 and 225 BC, the birthplace of Paris, then known as Lutetia, and during the medieval period, the heart of the city.

The bridge is composed of two separate spans, one of five arches joining the left bank to the Île de la Cité, another of seven joining the island to the right bank. Old engraved maps of Paris show how, when the bridge was built, it just grazed the downstream tip of the Île de la Cité; since then, the natural sandbar building of a mid-river island, aided by stone-faced embankments called quais, has extended the island. Today the tip of the island is the location of the Square du Vert-Galant, a small public park named in honour of Henry IV, nicknamed the "Green Gallant". More

Jean-François Raffaëlli (April 20, 1850 – February 11, 1924) was a French realist painter, sculptor, and printmaker who exhibited with the Impressionists. He was also active as an actor and writer.

He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training.

Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time, particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style.

Jean-François Raffaëlli (1850–1924)
Place St. Augustin
Oil on canvas
Huntington Museum of Art, WV, United States

The Place Saint-Augustin is a place of the 8 th arrondissement of Paris . Roughly triangular shape, it is bordered on the west by the Boulevard Malesherbes , on the east by the Caesar Cairo Avenue and north by the street of Kindness. 

The Église Saint-Augustin de Paris (Church of St. Augustine) is a Catholic church located at 46 boulevard Malesherbes in the 8th arrondissement of Paris. The church was designed to provide a prominent vista at the end of the boulevard both of which were built during Haussmann's renovation of Paris under the Second French Empire. More

The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society, and led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans.

Jean-François Raffaëlli (1850–1924)
Boulevard Saint-Michel
Oil on canvas
15.3 x 12.8 inches

The Boulevard Saint-Michel is one of the two major streets in the Latin Quarter of Paris. It is a tree-lined boulevard which runs south from the pont Saint-Michel on the Seine river and the Place Saint-Michel, crosses the boulevard Saint-Germain and continues alongside the Sorbonne and the Luxembourg gardens, ending at the Place Camille Jullian just before the Port-Royal railway station and the avenue de l'Observatoire. It was created by Baron Haussmann to run parallel to the rue Saint-Jacques which marks the historical north-south axis of Paris.

As the central axis of the Latin Quarter, it has long been a hotbed of student life and activism, but tourism is also a major commercial focus of the street and designer shops have gradually replaced many small bookshops. 

The main buildings of the boulevard are the Musée de Cluny, the lycée Saint-Louis, the École des Mines, and the cité universitaire, the university area of the Sorbonne. More

Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."

Jean-François Raffaëlli (1850–1924)
Boulevard of the Italians, circa 1900
Color etching
15.3 x 12.8 inches
National Gallery of Art, Washington D.C.

The boulevard des Italiens is one of the four 'grands boulevards' in Paris, a chain running east west and also including boulevard de la Madeleine, Boulevard des Capucines and boulevard Montmartre. The origin of the name is the théâtre des Italiens built on it in 1783, shortly before the French Revolution (now replaced by the Opéra-Comique). More

After winning the Legion d'Honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that were well received by the public and the critics. Raffaëlli died in Paris on February 11, 1924. More

Edouard-Léon Cortès (French, 1882-1969) Place de la Bastille Oil on canvas 13 x 18 inches (33.0 x 45.7 cm) Signed lower left: Edouard Cortès:
Edouard-Léon Cortès (French, 1882-1969)
Place de la Bastille

Oil on canvas
13 x 18 inches (33.0 x 45.7 cm)
Signed lower left: Edouard Cortès

The Place de la Bastille is a square in Paris, where the Bastille prison stood until the 'Storming of the Bastille' and its subsequent physical destruction between 14 July 1789 and 14 July 1790 during the French Revolution; no vestige of it remains.

The square straddles 3 arrondissements of Paris, namely the 4th, 11th and 12th. The square and its surrounding areas are normally called simply Bastille.

The July Column (Colonne de Juillet) which commemorates the events of the July Revolution (1830) stands at the center of the square. Other notable features include the Bastille Opera, the Bastille subway station and a section of the Canal Saint Martin. Prior to 1984, the former Bastille railway station stood where the opera house now stands. More

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.

America's Auction House:
Edouard-Léon Cortès (French, 1882-1969)
Place du Châtelet
Oil on canvas
18-1/8 x 21-3/4 inches (46.0 x 55.2 cm)
Signed lower left: Edouard Cortès
Bears inscription on stretcher: By / E. Cortes / "Place.du.Chatelet" / Paris 1914 / Painted in 1959

The Place du Châtelet is a public square in Paris, on the right bank of the river Seine, on the borderline between the 1st and 4th arrondissements. It lies at the north end of the Pont au Change, a bridge that connects the Île de la Cité, near the Palais de Justice and the Conciergerie, to the right bank. The closest métro station is Châtelet.

The name "Châtelet" refers to the stronghold, the Grand Châtelet, that guarded the northern end of the Pont au Change, containing the offices of the prévôt de Paris and a number of prisons, until it was demolished from 1802-10  More

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."

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.

America's Auction House:
Edouard-Léon Cortès (French, 1882-1969)
Grands Boulevards et Porte St. Denis, sous la neige, circa 1920
Oil on canvas
13 x 18-1/8 inches (33.0 x 46.0 cm)
Signed lower right: Edouard Cortès

The Porte Saint-Denis is a Parisian monument located in the 10th arrondissement, at the site of one of the gates of the Wall of Charles V, one of the now-destroyed fortifications of Paris. It is located at the crossing of the Rue Saint-Denis continued by the Rue du Faubourg Saint-Denis, with the Boulevard de Bonne-Nouvelle and the Boulevard Saint-Denis. More

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.

America's Auction House:
Edouard-Léon Cortès (French, 1882-1969)
Place du Châtelet, vue sur le Théâtre Lyrique, circa 1950-60
Oil on canvas
18 x 21 inches (45.7 x 53.3 cm)
Signed lower left: Edouard Cortès

The Place du Châtelet  is a public square in Paris, on the right bank of the river Seine, on the borderline between the 1st and 4th arrondissements. It lies at the north end of the Pont au Change, a bridge that connects the Île de la Cité, near the Palais de Justice and the Conciergerie, to the right bank. The closest métro station is Châtelet. More

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

Edouard Cortès 1882 - 1969 FRENCH PLACE DE LA REPUBLIQUE, PARIS signed EDOUARD CORTÉS. lower right oil on canvas 33 by 46cm., 13 by 18in.:
Edouard Cortès, 1882 - 1969
oil on canvas
33 by 46cm., 13 by 18in.

The Place de la République (formerly known as the Place du Château d'Eau) is a square in Paris, located on the border between the 3rd, 10th and 11th arrondissements It is named after the French Republic and was called the Place du Château-d'Eau until 1879. More

America's Auction House:
Edouard-Léon Cortès (French, 1882-1969)
Flower Market at La Madeleine, circa 1950-60
Oil on canvas
26 x 36 inches (66.0 x 91.4 cm)
Signed lower left: Edouard Cortès

La Madeleine, see above

Johan Jongkind (1819–1891)
Paris, Notre Dame for the Quai de la Tournelle, c. 1852
Oil on canvas
Petit Palais , Paris

Construction of the Docks, with Notre Dame Cathedral in the Background.  This embankment, now lined with old houses, offers a magnificent view over the chevet of Notre-Dame. Here you will find the Museum of Public Care or the legendary Tour d'Argent restaurant: Henri IV, it is said, was surprised to discover a strange instrument there, the fork.

Johan Barthold Jongkind (3 June 1819 – 9 February 1891) was a Dutch painter and printmaker. He painted marine landscapes in a free manner and is regarded as a forerunner of Impressionism. More

Louis Icart
The Docks of Notre Dames
19 X 23.5 in (48.26 X 59.69 cm)
Oil on canvas

Louis Icart Laurent Justin , born in 1888 in Toulouse and died in 1950 in Paris , is a painter, engraver and illustrator.

Impressed by its designer, his aunt made ​​the move to Paris: she showed his work to the House Valmont, milliner to the Belle Époque . Louis Icart was then introduced in the illustration media for the fashion press. He drew for periodic Theatrical Reviews and for home catalogs and couture .

Trained in carving, he presented his original works to the Salon comedians. His portraits of women, Parisian, began to appeal to the public.

He was a pilot during the First World War. He flew in several air missions, but did not stop drawing.

In 1920, he exhibited at the gallery Simonson in Paris, then in 1922 in New York's Belmaison gallery, where he exhibited more than thirty paintings in the Art Deco style. Following this exhibition, his prints experience some success in America, until 1932.

His work includes over five hundred engravings. He also participated in the illustration of thirty books, including a number of erotic illustrations.

During the Occupation , he composed an engraved series called Exodus .

His work was forgotten after the war, but aroused new interest when, in 1970 , part of his first paintings were found in the attic of an art school

His works were first exhibited in North America in 1945 and he subsequently achieved even greater success in his last years. More

Claude Monet (1840–1926)
Quai du Louvre, 1867
Oil on canvas
65.1 x 92.6 cm
Mauritshuis,  Den Haag, Netherlands

The Quai du Louvre is a quay by the River Seine in Paris, France, along the stretch where the Palais du Louvre is situated. Now called Quai François Mitterrand.

Oscar-Claude Monet (November 1840 – 5 December 1926) was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term "Impressionism" is derived from the title of his painting Impression, soleil levant (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.

Artist: Claude Monet (French, Paris 1840–1926 Giverny)
La Grenouillère, c. 1869
Oil on canvas
29 3/8 x 39 1/4 in. (74.6 x 99.7 cm)
The Metropolitan Museum of Art.

During the summer of 1869, Monet and Renoir set up their easels at La Grenouillère, a boating and bathing resort on the Seine, not far from Paris. Monet noted on September 25, "I do have a dream, a painting, the baths of La Grenouillère, for which I have made some bad sketches, but it is only a dream. Renoir, who has just spent two months here, also wants to do this painting." Of their various depictions of the subject, this composition closely resembles one by Renoir in the Nationalmuseum, Stockholm. More

Monet's ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, and began a vast landscaping project which included lily ponds that would become the subjects of his best-known works. In 1899 he began painting the water lilies, first in vertical views with a Japanese bridge as a central feature, and later in the series of large-scale paintings that was to occupy him continuously for the next 20 years of his life. More

America's Auction House:
Antoine Blanchard (French, 1910-1988)
Quai du Louvre
Oil on canvas
13 x 18 inches (33.0 x 45.7 cm)
Signed lower right: Antoine. Blanchard

Antoine Blanchard is the pseudonym under which the French painter Marcel Masson (15 November 1910 – 1988) painted his immensely popular Parisian street scenes. He was born in a small village near the banks of the Loire.

Antoine Blanchard (French, 1910-1988) Place de la République Oil on canvas 13-1/4 x 18 inches (33.7 x 45.7 cm) Signed lower right: Antoine. Blanchard. Titled verso: Place de la République, Paris:
Antoine Blanchard (French, 1910-1988)
Place de la République
Oil on canvas
13-1/4 x 18 inches (33.7 x 45.7 cm)
Signed lower right: Antoine. Blanchard.
Titled verso: Place de la République, Paris

Place de la République, see above

Blanchard received his initial artistic training at the Beaux-Arts in Rennes, Brittany. He then moved to Paris in 1932 where he joined the Ecole des Beaux-Arts. He won the Prix de Rome.

Antoine Blanchard (French, 1910-1988) Le marché aux fleurs de la Madeleine Oil on canvas 13-1/8 x 18-1/8 inches (33.3 x 46.0 cm) Signed lower left: Antoine. Blanchard. Signed, titled, and inscribed verso: Le Marché aux Fleurs / de la Madeleine / Paris en 1900 / Antoine Blanchard:
Antoine Blanchard (French, 1910-1988)
Le marché aux fleurs de la Madeleine
Oil on canvas
13-1/8 x 18-1/8 inches (33.3 x 46.0 cm)
Antoine Blanchard

The flower market of Madeleine was established in 1832.

Like Édouard Cortès (1882–1969) and Eugène Galien-Laloue (1854–1941), Antoine Blanchard essentially painted Paris and the Parisians in bygone days, often from vintage postcards. The artist began painting his Paris street scenes in the late 1950s, and like Cortès, often painted the same Paris landmark many times, in different weather conditions or various seasons. The most recurrent topics were views of the capital city in cloudy or rainy days, showing streets busy with pedestrians in a rush to go home, and bright storefronts reflecting on wet streets.

Antoine Blanchard died in 1988. More

Antoine Blanchard (French, 1910-1988) Place de la Madeleine Oil on canvas 13 x 18 inches (33.0 x 45.7 cm) Signed lower right: Antoine. Blanchard.:
Antoine Blanchard (French, 1910-1988)
Place de la Madeleine
Oil on canvas
13 x 18 inches (33.0 x 45.7 cm)
Signed lower right: Antoine. Blanchard.

Place de la Madeleine, see above

America's Auction House:
Antoine Blanchard (French, 1910-1988)
Les Grands Boulevards, et Théâtre du Vaudeville
Oil on canvas
18-1/4 x 21-1/2 inches (46.4 x 54.6 cm)
Signed lower right: Antoine. Blanchard.

The Grands Boulevards are essentially 'the best' of the Parisian boulevards. They correspond to the Nouveau Cours built between 1668 and 1705 in place of the dismantled Louis XIII wall. The boulevards of Louis XIV were conceived by Pierre Bullet to link the Porte Saint-Antoine (situated where the Place de la Bastille now stands) to the Porte Saint-Honoré (situated where the Place de la Madeleine now stands). More

 Eugene Galien-Laloue (French, 1854-1941)
 "Parisian Street Scene in Winter", 
watercolor and gouache on paper, signed lower left, 
9-3/8" x 12-7/8".

Eugène Galien-Laloue (1854–1941) was a French artist of French-Italian parents and was born in Paris on December 11, 1854. He was a populariser of street scenes, usually painted in autumn or winter.

His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, la Belle Époque, with horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th-century art, but for the actual history, which they document. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France.

A typical Galien-Laloue painting depicts sidewalks and avenues crowded with people or tourists mingling before the capital's monuments. He also painted the landscapes of Normandy and Seine-et-Marne, as well as military scenes he was commissioned to produce in 1914. The Republic of France selected Galien-Laloue to work as a 'war artist,' both during the Franco-Prussian War and World War I, chiefly in watercolor.

Galien-Laloue was in exclusive contract with one gallery and used 5 other names: "L.Dupuy", "Juliany", "E.Galiany", "Lievin" and "Dumoutier". More

Eugène Galien-Laloue 1854-1941 FRENCH PORTE DE CHATILLON signed E. Galien-Laloue lower left gouache, watercolour and pencil on paper 25 by 40cm., 9¾ by 15¾in.:
Eugène Galien-Laloue, 1854-1941
The door of Châtillon
signed E. Galien-Laloue lower left
gouache, watercolour and pencil on paper
25 by 40cm., 9¾ by 15¾in.

After the construction of the Wall of the Farmers-General in 1785, the gates of Paris bore the names barriers (barrières) until 1860. They were, in fact, toll gates used for collection of the octroi, an excise tax assessed on goods entering the city. 

The door of Châtillon is an important gateway in in to Paris, located west of the door Montrouge and east of the Didot door . Historically, it was on the boulevard Brune in the extension of the Jean Moulin Avenue at the current site of the Porte de Châtillon . More

EUGENE GALIEN-LALOUE ( French 1854 - 1941 )
La Madeleine 
8.25" x 11"

La Madeleine, see above

Eugène Galien-Laloue 1854-1941 FRENCH QUAI DE BERCY SOUS LA NEIGE signed E.Galien-Laloue lower left gouache on paper laid on board 19 by 31cm., 7½ by 12¼in.:
Eugène Galien-Laloue, 1854-1941
signed E.Galien-Laloue lower left
gouache on paper laid on board
19 by 31cm., 7½ by 12¼in.

The Quai de Bercy is a dock located along the Seine , in the 12th arrondissement . It begins with the entrance of the Seine in to Paris near the National Bridge, and extends downstream, after the bridge of Bercy.

Floris Arntzenius (Dutch, 1864-1925), 
"Rainy Day", 
oil on canvas,
 signed lower left, 
12" x 9-3/4". Frame

Pieter Florentius Nicolaas Jacobus Arntzenius (9 June 1864 – 16 February 1925) was a Dutch painter, water-colourist, illustrator and printmaker. He is considered a representative of the younger generation of the Hague School.

Arntzenius was born in Surabaya on the island of Java where his father served in the Royal Dutch East Indies Army. In 1875, at the age of 11, he was sent to the Netherlands to Amsterdam to live with his aunt and uncle in order to complete his education.

In 1882 he gaine admission to Rijksacademie van Beeldende Kunsten. After his studies in Amsterdam he spent another two years at the Koninklijke Academie voor Schone Kunsten in Antwerp, studying under Charles Verlat.

Floris Arntzenius (Dutch, 1864-1925),
 "Rainy Day", 
oil on canvas, 
signed lower left, 
12" x 9-3/4". Frame

Arntzenius became a member of the artist's societies Arte et Amicitiae (1890) and St. Lucas (1891), and he had a studio at the Sarphatistraat. In 1892 his mother became widowed and moved to The Hague and Arntzenius also moved there to keep her company. 

Arntzenius became a member of the artist's society Pulchri Studio in The Hague in 1892. From 1893 to 1895 he shared Bernard Blommers' former studio with Cornelis Antonie van Waning. He also contributed illustrations to Elsevier Geïllustreerd Maandschrift from 1892 to 1894. In 1896 he was admitted to the Hollandsche Teeken Maatschappij, a society that promoted the medium of watercolours among its members. He got married in 1900, to Lide Doorman, a talented painter, together they had four daughters, who he frequently painted.

Arntzenius gained high praise for his watercolours . During his first years in The Hague, he painted landscapes in the typical Hague School style. Arntzenius later switched to mainly painting cityscapes and street scenes. His cityscapes were painted mainly in misty or rainy weather, he made use of these weather conditions to have his subjects be reflected on the wet asphalt.

Though Arntzenius isn't considered to be a relevant artist nowadays, but was appreciated in his own day. He won prizes at the exhibitions of Munich, Venice, Pittsburgh and Brussels and his works sold well during his lifetime. In 1910 he opened a studio and started taking in students. During this time he mostly painted portraits on commission for wealthy patrons. This he continued to do until he died of tuberculosis in 1925, at the age of 60. More 

Acknowledgement: 19th Century European Paintings

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