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






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

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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






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.

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.