Friday, August 19, 2022

11 Classic Works of Art by the Old Masters, Marine Paintings - With Footnotes, #21

Henry Bacon
La Bretagne
Oil on board
10 1/2 x 13 3/4in (26.8 x 35cm)
Private Collection

SS La Bretagne was an ocean liner that sailed for the Compagnie Générale Transatlantique (CGT) from her launch in 1886 to 1912, sailing primarily in transatlantic service on the North Atlantic. Sold to Compagnie de Navigation Sud-Atlantique in 1912, she sailed for that company under her original name and, later, as SS Alesia on France–South America routes. The liner was sold for scrapping in the Netherlands in December 1923, but was lost while being towed. More on La Bretagne

Henry Bacon (1839 in Haverhill, Massachusetts – 13 March 1912 in Cairo) was an American painter and author. Hewas born in Haverhill, Massachusetts in 1839. During the American Civil War, he and acted as a field artist for Frank Leslie's Weekly while he served as a soldier within the 13th Massachusetts Infantry. Badly wounded at Bull Run, he was discharged on 19 December 1862.

After the war, he studied art with Walter Gay, who suggested that he travel to Paris to undertake a formal art education. In 1864, he went to Paris. He was admitted to the National School of Fine Arts and was one of Alexandre Cabanel's scholars. 

He exhibited at the salon from 1868 through to 1896 with genre works which had found favour with the American market. He also worked as a journalist sending reports of events in Paris to the Boston Daily Evening Transcript. In 1897, he travelled to Egypt for the first time and began regularly spending Winters there. At that time, he switched from oils to watercolours which he believed was the optimal medium to capture the transparent light of the Middle East.

Bacon died of a heart attack in Cairo, Egypt in 1912. More on Henry Bacon

Adolf Heinrich Wriggers
Port Of Hamburg
Oil on board
15-1/2 x 22 in. (39.3 x 55.8 cm.)
Private Collection

The Port of Hamburg is a sea port on the river Elbe in Hamburg, Germany, 110 kilometres from its mouth on the North Sea. The port is almost as old as the history of Hamburg itself. Founded on 7 May 1189 by Frederick I for its strategic location, it has been Central Europe's main port for centuries and enabled Hamburg to develop early into a leading city of trade with a rich and proud bourgeoisie. More on Hamburg Harbor

Adolf Henry Wriggers (born April 27, 1896 in Hamburg , † November 30, 1984 ibid) was a German painter and graphic artist , who worked mainly in the style of impressionism.

n 1913 he received a scholarship for the School of Applied Arts Hamburg. Because of a hearing damage, he was used in wartime service as a coachman in East Prussia from 1915 to 1918 and then continued his education at the now so renamed Landeskunstschule with Carl Schroeder. From 1919 he lived freelance in Hamburg.
During the period of National Socialism , he was repeatedly imprisoned and temporarily taken into protective custody. Wriggers supported the resistance activities of the White Rose Hamburg . In 1949 he founded the Kleiner Hamburger Künstlerring with a number of other artists.

In 1956, he lost an eye during an operation, increasingly blinded until he was completely blinded in 1968. During this time, the forms and motifs of his works were increasingly coarsened. Already in the 1920s and then again from 1950 he had dealt with woodcuts and etchings, but mainly painted in impressionist style, even in small-format works. His subject was often the Port of Hamburg, which earned him the epithet “port painter”, also industrial landscapes and landscape painting in oil and watercolor.

Adolf Wiggers died in November 1984 in his hometown Hamburg. More on Adolf Henry Wriggers

Wilson Irvine
Low Tide
Oil on canvas
24 x 27in
Private Collection

Wilson Henry Irvine (28 February 1869 – 1936) was a master American Impressionist landscape painter. Irvine spent his early career near Chicago, a product of the School of the Art Institute of Chicago. Irvine also painted across Western Europe — where he produced outstanding American Impressionist versions of the local countryside.

Irvine is best known for his mastery of light and texture. Sometimes Irvine's obsession with light led him to paint rather pedestrian subjects — landscapes depicting little more than some trees, or a road or fence. But a number of Irvine masterpieces depict well-composed scenes including houses, boats, bridges — even a handful of portraits, including at least one self-portrait and a nude.

In 1914 Irvine packed up and moved his family to Old Lyme, Connecticut, becoming part of the famed Florence Griswold circle, now recognized as the "American Barbizon," hub of American Impressionism. It is as an Old Lyme painter that Irvine is best remembered today. More on Wilson Henry Irvine

Charles Haigh Wood
Mending the sail
Oil on canvas
12 x 18in (30.4 x 45.7cm)
Private Collection

Charles Haigh-Wood,  (British, 1856-1927) was a genre painter, who lived in London, Bury and Taplow, Buckinghamshire.

Haigh-Wood’s enchanting visions of romance, with attractive girls and pretty dresses are some of the most endearing and popular of all images. His patrons adored them, a successful businessman of Haigh-Wood’s day with any pretension to artistic taste had to own one.

He exhibited from 1874 to 1904, at the Royal Academy from 1879 to 1904, Suffolk Street, New Watercolour Society and elsewhere.

Titles at the Royal Academy include “The Harvest Moon” 1879, “Chatterboxes” 1889 and “The Old Love and the New” 1901. More on Charles Haigh-Wood

Joaquin Sorolla y Bastida (Spanish, 1863-1923) 
Net menders in Valencia, c. 1909 
Oil on canvas laid down on board 
15 x 22½ in. (38.1 x 57.1 cm.) 
Private Collection

Joaquín Sorolla y Bastida (27 February 1863 – 10 August 1923) was a Spanish painter. Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land. More on Joaquín Sorolla y Bastida

Ernest Slingeneyer (1820-1894),  Belgian
Fighting on the Sea, C. 1857
Oil on canvas
293 x 370 cm
Private Collection

The painting depicts a true incident from the war of the first French republic, as the artist remarks in the catalog of the exhibition in The Hague 1857. The French ship ‘Le Feu’ sank during a campaign in the North Sea, only five sailors managed to enter a raft. After two days they were spotted by a British ship which sent a sloop to them. But the French sailors defended themselves until death to avoid captivity. The subject of the painting with shipwrecked men, crowded together on a raft goes back to the famous painting ‘The Raft of the Medusa’ by Théodore Géricault (1819). But while Gericault chose to show a blameful, scandalous incident within the French navy, Slingeneyer decided to depict a heroic story with great pathos. More on this painting

Ernest Slingeneyer (1820-1894). His artistic training was at the academy of Antwerp by Gustave Wappers. From the beginning he prefered to paint historic themes. With only 19 years he exhibited his first painting. The colossal painting ‘Le Vengeur’, exhibited in 1845 at the ‘Salon of Brussels’, was admired by the Belgian king. He was showered with honours and received numerous orders. In 1878 he was in charge of executing 13 painting for the great hall of the ‘Academiënpalais’ in Brussels and was paid with a record payment of 122.000 Belgian Franc. His great success and influence led to a late political career in the Belgian Parliament. More on Ernest Slingeneyer

Arthur David McCormick
The Return of the Pirates, c. 1925
Oil on canvas
28 1/4 x 36 1/4in.
Private Collection

Arthur David McCormick FRGS (Coleraine 14 October 1860 – 1943) was a notable British illustrator and painter of landscapes, historical scenes, naval subjects, and genre scenes.

McCormick was born in Ulster and, after education at local schools, went to London. McCormick was educated at the Royal College of Art in 1883–1886. He worked for The English Illustrated Magazine. He was in 1892–1893 an artist on Sir Martin Conway's expedition to the Karakoram subrange of the Himalayas and in 1895 an artist on Clinton T. Dent's expedition to the Caucasus Mountains. His first exhibition at the Royal Academy of Art was in 1889, and through the end of 1904 he exhibited there eleven paintings. In 1927 he painted the Head of a Sailor for John Player & Sons for the promotion of Player's Navy Cut cigarettes. More on Arthur David McCormick

Leo Putz, 1869 - 1940, GERMAN
WALDESRUHE (FOREST CALM)
Oil on canvas
69 by 76.5 cm., 27 by 30in.
Private Collection

Painted in Gauting circa 1925 after the artist's return from exile in the Netherlands during the First World War, this painting exemplifies Putz's freely painted compositions of nudes and bathers by the water's edge. The setting for this and so many of Putz's paintings was the lake country around Schloss Hartmannsberg, where the artist and his family summered annually before the War, and again in the 1920s. More on this painting

Leo Putz (18 June 1869, in Merano – 21 July 1940, in Merano) was a Tyrolean painter. His work encompasses Art Nouveau, Impressionism and the beginnings of Expressionism. Figures, nudes and landscapes are his predominant subjects.

He began his studies at the age of sixteen at the Academy of Fine Arts Munich. His father then sent him to the Académie Julian in Paris. After military service, he returned to Munich and studied with Paul Hoecker. He opened his first studio in 1897. That same year, he became a member of the Munich Secession. He worked with the weekly magazine Jugend and many of his paintings were reproduced on the magazine's title page. During this time, he also worked as a commercial artist, creating many posters in Art Nouveau style and billboards for the Moderne Galerie München.

He became an honorary citizen of Bavaria in 1909; a prerequisite for becoming a Professor, which appointment he received that same year. Between 1909 and 1914, he spent his summers at Schloss Hartmannsberg near Chiemgau to practice plein-air painting. It was there that he created his best-known works; the two series known as the "Boat Pictures" and the "Bathers". 

He accepted an invitation to move to Brazil in 1929. At the request of Lúcio Costa, he took a professorship at the Escola Nacional de Belas Artes in 1931. During his stay, his colors took on a more tropical flavor and the exotic plant life became a favorite subject.  He returned to Germany in 1933.

He became an opponent of National Socialism and his art was labelled "degenerate". Beginning in 1936, he was repeatedly interrogated by the Gestapo and was forced to flee back to his native region, the South Tyrol. In 1937, he was officially banned from working in Germany. For the remainder of his life, he concentrated on painting castles, villages and benign landscapes.

He died in 1940. More on Leo Putz 


Henri Montassier, 1880 - 1946, FRENCH
REPOS AU BORD DU LAC, c. 1912
Oil on canvas
122 by 204cm., 48 by 80¼in.
Private Collection

Henri Montassier, born on June 27 , 1880 in Courlon-sur-Yonne and died on June 7 , 1946 in Paris, was a French painter , caricaturist and illustrator of  the 20th century.

His father sent him to study law in Paris, but he decided to join the studio of Luc-Olivier Merson , head of the studio at the École nationale supérieure des beaux-arts. He lived in Montmartre then other districts of Paris .

On February 1918, he married Céline Rambach.

In 1934, he moved with his wife to the Gers . He did not return to Paris until the end of the Second World War and died there of his lung disease in 1946. More on Henri Montassier

Michael Zeno Diemer, 1867 - 1939, GERMAN
TALL SHIP OFF CRETE
Oil on canvas
90.5 by 120.5cm., 35½ by 47½in.
Private Collection

Michael Zeno Diemer (* 8. February 1867 in Munich ; † 28. February 1939 in Oberammergau ) was a German painter. He studied from 1884 in Munich with Gabriel Hackl and Sándor Liezen-Mayer . Diemer was known for his impressive battles scenes. An arisen in 1896 Panorama he described the battle for Bazeilles during the Battle of Sedan in the Franco-German War . It was shown in a specially constructed building in Mannheim. For the German Museum in Munich, he made several paintings, including a representation of a Roman aqueduct for the department "Hydraulic Engineering", an ideal image of a medieval herb garden and the landing of the Zeppelin in Munich 1909 . In Stuttgart he painted the Brauereigaststätte Ketterer with a cycle of 14 large-scale paintings on the history of Swabian Emigrants. Diemer also submitted numerous landscapes and marine pictures, watercolors (also including representations of airships), poster designs and postcard views.

He was also a musician and composer. More Michael Zeno Diemer

Johannes Hermanus Koekkoek, 1778 - 1851, DUTCH
A MERCHANTMAN OFF VEERE
Oil on canvas
164.5 by 84cm., 64½ by 33in.
Private Collection

Veere is a municipality in the southwestern Netherlands, in the region of Walcheren in the province of Zeeland.

The name Veere means "ferry": Wolfert Van Borssele established a ferry and ferry house there in 1281. More on Veere

Johannes Hermanus Koekkoek, (Veere, 17 August 1778 – Amsterdam, 9 January 1851) was a Dutch painter and draughtsman. He was the head of an artistic family. His sons were all successful artists; the first two specialized in marine art, and Marinus was primarily a landscape painter. His grandson Johannes Hermanus Barend Koekkoek also became an artist.

ohannes Hermanus Koekkoek initially trained under Thomas Gaal, working in a wallpaper factory. He became primarily a marine art and genre art painter. He was active between 1793 and 1851, and worked in Middelburg, Durgerdam, Amsterdam (1833–1851), and Medemblik (1838) and Katwijk aan Zee. More Johannes Hermanus Koekkoek





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Thursday, August 18, 2022

01 Painting, Streets of Paris, VICTOR GABRIEL GILBERT'S At the Flower Market, with footnotes, Part 77

VICTOR GABRIEL GILBERT (FRENCH, 1847-1933)
At the Flower Market
Oil on panel
173⁄4 x 215⁄8 in. (45.1 x 55 cm.)
Private collection

At the Flower Market, in contrast to many of Gilbert’s compositions, is set in one of the smaller flower stalls in the French capital. In the center of the composition, an elegant young lady deliberates over her choices for the day, testing the fragrance of pink roses, watched and perhaps encouraged by the stall’s proprietor. To the right and set on the ground are neatly arranged bright bouquets wrapped in white paper to set off their brilliant colors. Pots of brilliant red geraniums dot the foreground, while a small vegetable stand defines the background to the left. This vibrant image is enhanced by Gilbert’s virtuoso technique, realistic sense of detail and close observation of nature. In At the Flower Market, Gilbert beckons the viewer to enter a time gone by, where the fragrance of flowers still lingers. More on this painting

Victor Gabriel Gilbert was 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

Monday, August 15, 2022

01 Painting, Streets of Paris, Román Ribera Cirera's Leaving the ball, with footnotes, Part 76

Román Ribera Cirera (Spanish, 1849-1935)
Leaving the ball
Oil on canvas
58.5 x 81.3cm (23 x 32in)
Private collection

The present painting typifies Ribera's work of this period, with the elegantly dressed women being directed towards their cab after having attended a formal occasion. Here, Ribera focuses the viewer on his highly skilled rendering of the central figures' clothing and their sumptuous fabrics and fur. Although his later work took on a more social realist form with his depictions of the working classes, the present lot offers an insight into the chic lifestyle of those living in the higher society of the glittering Paris of Haussmann. More on this painting

Romà Ribera i Cirera (13 December 1848, Barcelona - 29 May 1935, Barcelona) was a Catalan genre painter. He specialized in contemporary scenes from upper-class social events, rendered in meticulous detail, but also did numerous scenes from life in the 17th and 18th centuries.

He studied at the Escola de la Llotja and at the private school operated by Pere Borrell del Caso. In 1873, he went to Rome to complete his studies. While there, he met Marià Fortuny, who works would influence his style. After leaving Italy, he visited London to exhibit.

Once he had established himself, he settled in Paris. At a time when most artists were attracted to impressionism, he found inspiration in the works of James Tissot and Alfred Stevens. In 1878, he enjoyed great success at the Exposition Universelle. This enabled him to retain Adolphe Goupil as his agent. To maximize his income, he chose to solicit clients from the upper classes, portraying their activities and possessions.

He had a major showing at the exhibition at the 1888 Barcelona Universal Exposition, where he presented a series of watercolors. He returned to Barcelona in 1889, exhibiting at the Sala Parés. He pursued the same upper class client strategy there that he had in Paris. Occasionally, he travelled to exhibit in Madrid.

In 1902, he became a member of the Reial Acadèmia Catalana de Belles Arts de Sant Jordi and was chosen to sit on the "Catalan Museum Board. More on Romà Ribera i Cirera




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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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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





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.

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