Sunday, November 27, 2022

01 Painting, Streets of Paris, Leo Putz's BACKSTAGE, with footnotes, Part 87

Leo Putz, 1869 - 1940, GERMAN
BACKSTAGE, c. 1905
Oil on canvas
207 by 226cm., 81½ by 89in.
Private collection

Painted in 1905, this monumental early work of cancan dancers at ease backstage is among Putz's most ambitious compositions.

Inspired by his stay in Paris, Backstage is a masterful evocation of the French capital's demi-monde that was the source of fascination to so many painters, most famously Toulouse Lautrec. Putz would have frequented Pigalle's many cabarets and café concerts, including the Moulin Rouge, Moulin de la Galette and the Folies Bergère, which were synonymous with the dancers like La Goulue (Louise Weber) and Jane Avril who performed there. 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




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02 Paintings, The amorous game, Tayseer Barakat's The Hug and Love , Part 67 - With Footnotes

Tayseer Barakat, Palestinian, b. 1959
Love, c. 2020
Acrylic on canvas
23 1/5 × 29 1/2 in, 59 × 75 cm
Private collection

Tayseer Barakat, Palestinian, b. 1959
The Hug, c. 2020
Acrylic on canvas
31 1/10 × 25 1/5 in, 79 × 64 cm

Tayseer Barakat was born in Gaza in 1959 and completed his arts education in Alexandria, Egypt, in 1983. After completing his studies, he moved to Ramallah where he has since based – both teaching and creating art. Barakat has worked with a variety media and has experimented widely – with wood, metal and glass – and has become one of Palestine’s foremost artists working today. Painting remains his first love and he continues to work at a prolific rate, drawing on the artistic heritage of the region and its ancient influences.

Tayseer Barakat is one of Palestine’s preeminent artists whose practice has drawn inspiration from the ancient past and from the oral traditions and cultural narratives that are intimately tied to life in Palestine. Working primarily in paint, inks, and dyes, he uses a color palette that is often limited to monochrome tones, which imbues his works with a certain soberness. In Barakat’s words, the dark colors he uses “reflect the hardships of our time and our present life. I think the pressure on us makes us use dark colors.” More on Tayseer Barakat





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Saturday, November 19, 2022

01 Painting, The amorous games, Francesco Vinea's Merriment in the tavern, Part 78 - With Footnotes


Francesco Vinea (Italian, 1845-1902)
Merriment in the tavern, c. 1883
Oil on canvas
195/8 x 23½ in. (49.8 x 59.7 cm.)
Private collection

Francesco Vinea (Forlì, August 10,
1845 - Florence, October 22, 1902) was an Italian painter, known for his period costume genre subjects.

He studied first at the Academy of Fine Arts of Florence, but had to discontinue his studies due to his poverty, and spent some time traveling without a home. He worked for a photographer, also as a designer of illustrated magazines, but returned to Florence and studied under professor Enrico Pollastrini for a year.

He was not inclined to the erudite historical or literary paintings, or earnest depictions of natural scenes, favored by some academic contemporaries. He meddled in an imaginative, often raffish or coquettish, and always elegant depictions of dramas in elegant period costume occurring in equally ornamented interiors. The paintings proved popular in England and France, and Vinea gained a comfortable living. His studio on boulevard Prince Eugene in Florence is depicted as hoard of exotic items, and eclectic furniture and decorative items: a collection easily finding his way as ornaments of his paintings. Gubernatis describes his studio as his best work of art. The ceiling painted in tempera with Olympic gods, in allegory to the fine arts, and his collected items haphazardly stored. More on 
Francesco Vinea




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Monday, November 14, 2022

01 Painting, Streets of Paris, Laureano Barrau Buñol's Les plaisirs de Paris, with footnotes, Part 86

Pierre Carrier-Belleuse, French, 1851 - 1933
Les plaisirs de Paris/ The pleasures of Paris, c. 1878
Oil on canvas
19¾ by 25¾ in.; 50 by 65.5 cm
Private collection

Belle Époque Paris was a city full of pleasures. A celebrated pocket guide to the city’s newest and newsworthy haunts, aptly titled Les plaisirs de Paris (written by the journalist Alfred Delvau and first published 1867), an advertisement for which is visible at the center of the painting, promised readers entrée into la ville du plaisir et des plaisirs par excellence. This desire to see and be seen lies at the heart of Carrier-Belleuse’s clever mise-en-scène, which plays on the conceit of the gaze. Set in a box at a café-concert, the tightly packed composition and compact format recall similar scenes of spectators at the opera. More on this painting

Laureano Barrau (1863, Barcelona –1957, Santa Eulària des Riu) was a Spanish impressionist painter.

Barrau began his education in Barcelona, his native city. Later, he studied in Madrid, finding the Spanish old masters. At 20, Barrau went to Paris and enrolled at the Académie des Beaux-Arts where Gerome was his tutor. Two years later, Barrau won the Prix de Rome in Barcelona. This afforded him the opportunity to study the great Italian masters for three years.

When he was 28, Barrau was given the title of Societaire (Member) of the Salon de la Nationales des Beaux-Arts de Paris. He earned medals in the principal cities in Europe and today his paintings hang in museums in Spain, Paris, Brussels, Buenos Aires, Montevideo and Rio de Janeiro.

At age 47, Barrau moved to picturesque Ibiza. He settled with his wife in the town of Santa Eulalia del Rio where he painted what is considered his best work.

He remained in Santa Eulalia for the rest of his life. He died in 1957 at the age of 94 and is buried in the cemetery in Santa Eulalia. More on Laureano Barrau





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Thursday, November 10, 2022

01 Painting, Streets of Paris, Laureano Barrau Buñol's Sur la place de Clichy, with footnotes, Part 85

Laureano Barrau Buñol, Spanish, 1863 - 1957
Sur la place de Clichy, c. 1893
Oil on canvas
35½ by 46 in.; 90.2 by 116.8 cm
Private collection

The Place de Clichy, also known as "Place Clichy", is situated in the northwestern quadrant of Paris. It is formed by the intersection of the Boulevard de Clichy, the Avenue Clichy, the Rue Clichy, the Boulevard des Batignolles, and the Rue d'Amsterdam.

Place de Clichy, borders between the Batignolles and Montmartre neighborhoods. Though far from the city center, Montmartre was the heart of Bohemian life, brimming with dance halls, cafés-concerts, and cabarets-artistiques that attracted artists, writers, singers, and actors as well as middle-class Parisians and tourists seeking various pleasures and entertainment. More on Place de Clichy

Laureano Barrau (1863, Barcelona –1957, Santa Eulària des Riu) was a Spanish impressionist painter.

Barrau began his education in Barcelona, his native city. Later, he studied in Madrid, finding the Spanish old masters. At 20, Barrau went to Paris and enrolled at the Académie des Beaux-Arts where Gerome was his tutor. Two years later, Barrau won the Prix de Rome in Barcelona. This afforded him the opportunity to study the great Italian masters for three years.

When he was 28, Barrau was given the title of Societaire (Member) of the Salon de la Nationales des Beaux-Arts de Paris. He earned medals in the principal cities in Europe and today his paintings hang in museums in Spain, Paris, Brussels, Buenos Aires, Montevideo and Rio de Janeiro.

At age 47, Barrau moved to picturesque Ibiza. He settled with his wife in the town of Santa Eulalia del Rio where he painted what is considered his best work.

He remained in Santa Eulalia for the rest of his life. He died in 1957 at the age of 94 and is buried in the cemetery in Santa Eulalia.  More on Laureano Barrau 




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Wednesday, November 9, 2022

01 Painting, The amorous game, Francesco Vinea's The courtly guest in the wine cellar, Part 78 - With Footnotes

Francesco Vinea  (1845–1902)
The courtly guest in the wine cellar
Oil on canvas
48 x 65 cm
Private collection

Francesco Vinea (Forlì, August 10, 1845 - Florence, October 22, 1902) was an Italian painter, known for his period costume genre subjects.

He studied first at the Academy of Fine Arts of Florence, but had to discontinue his studies due to his poverty, and spent some time traveling without a home. He worked for a photographer, also as a designer of illustrated magazines, but returned to Florence and studied under professor Enrico Pollastrini for a year.

He was not inclined to the erudite historical or literary paintings, or earnest depictions of natural scenes, favored by some academic contemporaries. He meddled in an imaginative, often raffish or coquettish, and always elegant depictions of dramas in elegant period costume occurring in equally ornamented interiors. The paintings proved popular in England and France, and Vinea gained a comfortable living. His studio on boulevard Prince Eugene in Florence is depicted as hoard of exotic items, and eclectic furniture and decorative items: a collection easily finding his way as ornaments of his paintings. Gubernatis describes his studio as his best work of art. The ceiling painted in tempera with Olympic gods, in allegory to the fine arts, and his collected items haphazardly stored. More on 
Francesco Vinea




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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, November 5, 2022

01 Painting, Streets of Paris, Lucien Genin's La Place de L'Opera, with footnotes, Part 84

Lucien Genin
La Place de L'Opera, 20th Century
Oil on linen
Height: 32 inches / 81.28 cm, Width: 39.5 inches / 100.33 cm
Private collection

The Place de l'Opéra is a square in the 9th arrondissement of Paris, at the junction of boulevard des Italiens, boulevard des Capucines, avenue de l'Opéra, rue Auber, rue Halévy, rue de la Paix and rue du Quatre-Septembre. It was built at the same time as the Opéra Garnier (designed by Charles Garnier), which is sited on it and after which it is named. Both structures were part of the Haussmannian redesign of Paris under Napoleon III of France. More on The Place de l'Opéra 


Lucien Génin (9 November 1894 in Rouen – 26 August 1953 in Paris) was a French painter in the milieu of pre-World War I, and 1920s Montmartre and Saint-Germain-des-Prés.

After the devastation of the First World War, Lucien left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Not concerning himself with producing “art”, he beautifully captured the spirit if Paris between the wars while enjoying a truly Bohemian existence. Genin’s works in all their forms, perfectly convey these eclectic and friendly characters of the city and he was so well loved that one collector said “separate me from my Vlaminck, my foujita, my Derain, my Dunoyer de Segonzac and I will survive…but my Genin, never!”. More on Lucien Génin




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Thursday, November 3, 2022

01 Painting, The amorous game, Quiringh van Brekelenkam's A soldier drinking with a young woman, Part 77 - With Footnotes

Quiringh Gerritsz. van Brekelenkam
A soldier drinking with a young woman in an inn, c. 1664
Oil on panel
18 by 14¼ in.; 45.7 by 36.2 cm.
Private collection

Quiringh van Brekelenkam was probably trained in Leiden, probably under Gerard Dou (1613–75). He was one of the founders of the Guild of St Luke there in 1648. He continued to be active as a painter, paying his guild fees until 1667. His last known painting, a portrait, is dated 1669.

Brekelenkam’s genre scenes share their subject matter with the Leiden fijnschilders or ‘fine painters’, of whom the most famous is Gerard Dou. His pictures are however more ‘painterly’, without their careful finish. They also refrain from explicit symbolism, and do not idealise their subjects.

In the 1660s Brekelenkam moved up the social scale by beginning to paint images of society ladies receiving letters or at their toilette. Some of these show knowledge of the work of Gerard ter Borch II (1617–81). More on Quiringh van Brekelenkam




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