1 Painting, The art of War, John Singer Sargent's Gassed, with footnotes

John Singer Sargent

Gassed, c. 

Oil on canvas

Height 2310 mm, Width 6111 mm

Imperial War Museums 

A side on view of a line of soldiers being led along a duckboard by a medical orderly. Their eyes are bandaged as a result of exposure to gas and each man holds on to the shoulder of the man in front. One of the line has his leg raised in an exaggerated posture as though walking up a step, and another veers out of the line with his back to the viewer. There is another line of temporarily blinded soldiers in the background, one soldier leaning over vomiting onto the ground. More gas-affected men lie in the foreground, one of them drinking from a water-bottle. The crowd of wounded soldiers continues on the far side of the duckboard, and the tent ropes of a dressing station are visible in the right of the composition. A football match is being played in the background, lit by the evening sun. More on this painting

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.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 on John Singer Sargent

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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02 Painting, Streets of Paris, by John Singer Sargent, Part 14 - With Footnotes

John Singer Sargent,  (1856–1925)

A Parisian Beggar Girl, circa 1880

Oil on canvas

64.5 × 43.7 cm (25.4 × 17.2 in)

Terra Museum of American Art, Chicago, IL 

By ‘79 Sargent begins his major portraits and he never particularly showed any desire to paint scenes of Parisian life, opting for more exotic locals for his subject paintings, this was probably done when he was studying with Carolus-Duran's atelier.  

Carmela Bertagna has been identified as the model in the Parisian Beggar Girl,  which is hanging at the Terra Museum in Chicago. Carmela posed for many of Sargent's dancers and figures in interiors. More on this painting

A Parisian Beggar Girl was first exhibited in 1906 as Spanish Beggar Girl. The confusion of the two titles may be explained by the possibility that the model, Carmela, was a Parisian of Spanish or Italian descent who posed for a portrait by Sargent dated to around the time he painted A Parisian Beggar Girl. More on this painting

John Singer Sargent,  (1856–1925)

Carmela Bertagna, c. 1879

 Oil on canvas

59.69 x 49.53 cm (23.5 x 19.5 in.)

Columbus Museum of Art 

Very little is known about Carmela's life, except that she lived with her mother and brother. Her father is unknown. She and her family had to work in order to make ends meet for themselves. She is of Spanish descent and modelled with various artists, including John Singer Sargent. Her Mediterranean Latin looks fascinated Sargent, who was captivated by magnificent Rosina Ferrara of Capri a year earlier. More on Carmela Bertagna

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.

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 John Singer Sargent

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09 Paintings of the Canals of Venice by Amédée Rosier, Francesco Guardi, John Singer Sargent, Konstantin Ivanovich, Martín Rico y Ortega, OLIVER DENNETT GROVER, THOMAS MORAN, with foot notes. #7

Thomas Moran, 1837 - 1926

VIEW OF VENICE, c. 1897

Oil on canvas

11 1/8 by 17 1/8 inches, (28.3 by 43.5 cm)

Private collection

Thomas Moran (February 12, 1837 – August 25, 1926) from Bolton, England was an American painter and printmaker of the Hudson River School in New York whose work often featured the Rocky Mountains. Moran and his family, wife Mary Nimmo Moran and daughter Ruth, took residence in New York where he obtained work as an artist. He was a younger brother of the noted marine artist Edward Moran, with whom he shared a studio. A talented illustrator and exquisite colorist, Thomas Moran was hired as an illustrator at Scribner's Monthly. During the late 1860s, he was appointed the chief illustrator for the magazine, a position that helped him launch his career as one of the premier painters of the American landscape, in particular, the American West.

Moran along with Albert Bierstadt, Thomas Hill, and William Keith are sometimes referred to as belonging to the Rocky Mountain School of landscape painters because of all of the Western landscapes made by this group. More on Thomas Moran

OLIVER DENNETT GROVER, 1861 - 1927

View of Venice, c. 1912

Oil on canvas laid down on panel 

18 by 24 inches (45.7 by 60.9 cm)

Private collection

Oliver Dennett Grover (1861 Earlville, Illinois – 1927 Chicago), was an American landscape and mural painter. Grover's family moved to Chicago early in his life. There he spent much of his time sketching at the Academy of Design. Showing great promise he was enrolled at Munich’s Royal Academy in 1879, where he studied under Frank Duveneck. At the age of 19 he exhibited at Munich’s International Exposition. Grover followed Duveneck to Venice and Florence, and then went on to study in Paris from 1883 to 1885 under Gustave Boulanger, Jean-Paul Laurens and Lefebvre.

He returned to Chicago in 1885 and was appointed as an instructor at the Art Institute of Chicago for five years, also opening a studio and founding the Western Art Association. Between 1887 and 1892 he served on the faculty of the Chicago Art Academy. Ada Walter Shulz was among his pupils.

Grover became an Associate of the National Academy of Design in 1913. During the last years of his life, he also became a board member of the Association of Arts and Industries which was a major influence in Chicago design in the 1920s and 1930s.  More on Oliver Dennett Grover

Martín Rico y Ortega, 1833 - 1908, SPANISH

RIO SAN BARNABA, VENICE

Oil on canvas

27 1/2 by 19 in., 70 by 48.2 cm

Private collection

The rio di ( or San Barnaba) ( canal of San Barnabé ) is a canal of Venice in the Dorsoduro (Sestiere of Venice).  It connects the rio dell'Avogaria in the east with the Grand Canal. More on RIO SAN BARNABA

Martín Rico y Ortega (12 November 1833, El Escorial – 13 April 1908, Venice, Italy) was a Spanish painter of landscapes and cityscapes. Rico was one of the most important artists of the second half of the nineteenth century in his native country, and enjoyed wide international recognition.

Rico was born in Madrid and received his earliest formal training at the city’s Real Academia de Bellas Artes de San Fernando, where he studied under Jenaro Pérez Villaamil, the Academy’s first professor of landscape painting. Under the tutelage of Pérez Villaamil, Rico’s earliest works show him influenced by Romanticism, the style for which his teacher was known. In 1860, having been awarded a government-sponsored scholarship, Rico moved to Paris to continue his studies.

His landscapes from this decade depict the French and Swiss countryside in a fully accomplished Realist style. Toward the end of 1870, due to political and social unrest caused by the outbreak of the Franco-Prussian War, Rico decided to leave France and return to his native Spain.

At the invitation of his good friend and colleague Marià Fortuny, Rico moved to the southern city of Granada, joining Fortuny and his wife Cecilia, as well as the painter Ricardo de Madrazo. The three artists worked closely during this period, with the styles of Rico and Fortuny overlapping so much that their watercolors—a specialty for both artists—were often confused for one another. It was during this time that, through Fortuny’s influence, Rico’s paintings began to reveal a newfound sense of luminosity and color. His time in Andalucía was, according to his memoirs, one of his happiest, and also one of his most artistically productive periods. More Ortega

Konstantin Ivanovich, (1876 Stavropol - 1945 Berlin) 

La Guidecca Venedig

Aquatint on opaque white over pencil on thin cardboard

32, 4 x 41, 7 cm

Private collection

Konstantin Ivanovich (1876 Stavropol - 1945 Berlin)  was a Russian post-impressionist painter. Gorbatov was born in Stavropol. He lived in Riga from 1896 to 1903, and studied civil engineering before painting. Gorbatov moved to St. Petersburg in 1904 and studied at the Baron Stieglitz Central School for Technical Draftsmanship. He initially entered the architecture department of the Imperial Academy of Arts before switching to paintin. Gorbatov received a scholarship and studied art in Rome and Capri. He returned to St. Petersburg and participated in the Peredvizhniki exhibitions.

Gorbatov left Russia permanently in 1922 following the Russian Revolution of 1917 and settled on the Italian island of Capri. He moved to Berlin in 1926, where he remained until his death. Gorbatov became a member of a Russian emgiree artistic circle. He became a well-known established artist. Gorbatov traveled throughout Europe during the late 1930s, visited Palestine and Syria in 1934 and 1935, and often came by Italy. Gorbatov's art became unneeded in the Nazi Germany and the family soon became impoverished. As a Russian émigré, he was forbidden to leave Germany during World War II. Gorbatov died shortly after the allied victory over Germany on 12 May 1945. 

Gorbatov bequeathed to the Academy of Arts in Leningrad. The works were delivered to the Moscow Regional Museum of history and Arts near the New Jerusalem Monastery, where they have since been exhibite. More on Konstantin Ivanovich

John Singer Sargent,  (1856–1925)

A Street in Venice, c. 1880-82

Oil on canvas

75.1 × 52.4 cm (29.6 × 20.6 in)

Clark Art Institute,  Williamstown, Massachusetts, United States

John Singer Sargent, American, 1856-1925, Florence, Italy, based in Paris & London. A popular society portraitist and landscape painter, John Singer Sargent was born in Florence to wealthy American parents. He studied painting in France, where he enjoyed both critical acclaim and important patronage. Although he spent most of his time in Europe, he frequently accepted commissions from collectors in the United States. Whether rendered in oil, watercolor, or charcoal, Sargent’s works are characterized by naturalism, lively mark-making, and a sense of immediacy. Influenced by his friendship with Claude Monet, Sargent loved working en plein air, depicting the various places he traveled, including Italy, rural England, Giverny, the Mediterranean, northern Africa, and the Alps. During his later years, Sargent completed several mural projects, as well as working as an artist-correspondent during World War I. More on John Singer Sargent

John Singer Sargent,  (1856–1925)

A Street in Venice, c. 1882

Oil on wood

45.1 x 53.9 cm (17 3/4 x 21 1/4 in.)

National Gallery of Art, Washington D.C.

John Singer Sargent , (1856–1925), see above

John Singer Sargent,  (1856–1925)

On the Canal, c. 1903 

Watercolor on paper 

34.29 x 49.53 cm (13.5 x 19.5 in)

Musée du Petit Palais, Paris, France 

John Singer Sargent,  (1856–1925), see above

Amédée Rosier, MEAUX 1831 - 1898

ESCLAVON BANKS, VENICE

Oil on canvas

97,5 x 150 cm ; 38 3/8 by 59 in.

Private collection

Étienne Amédée Rosier, born on the 20 August 1831 in Meaux and died on November 1914 in  Boulogne-Billancourt was a  French orientaliste painter.  Rosier was the pupil of the painters Léon Cogniet and Carolus-Duran . His first painting presented to the Salon of 1857 was a painting of history, The Naval Combat in Sevastopol . He traveled extensively in Venice and Constantinople . It also crosses Egypt and North Africa .

He received a third-class medal at the Salon of 1876 with The Lagoon at night in Venice 4 . He was awarded a bronze medal at the 1889 World Exposition for Venice, the Grand Canal. More on Étienne Amédée Rosier

Francesco Guardi, (Venice 1712-1793)

Venice: the Rialto Bridge with the Palazzo dei Camerlenghi, c. late 1760s

Oil on canvas

21 in. × 33 3/4 in. (53.3 × 85.7 cm)

 The Metropolitan Museum of Art

Guardi depicts the Rialto Bridge with the Palazzo dei Camerlenghi at the center and a vegetable market beneath a series of canopies at the right. The seemingly arbitrary cropping of buildings creates an effect of snapshotlike immediacy; the open windows tempt the eye inside, even as the composition unfolds across the vista of the Grand Canal with its flurry of gondolas. More on this painting

Rialto Bridge. The first dry crossing of the Grand Canal was a pontoon bridge built in 1181 by Nicolò Barattieri. It was called the Ponte della Moneta, presumably because of the mint that stood near its eastern entrance.

The development and importance of the Rialto market on the eastern bank increased traffic on the floating bridge, so it was replaced in 1255 by a wooden bridge.[2] This structure had two inclined ramps meeting at a movable central section, that could be raised to allow the passage of tall ships. The connection with the market eventually led to a change of name for the bridge. During the first half of the 15th century, two rows of shops were built along the sides of the bridge. The rents brought an income to the State Treasury, which helped maintain the bridge. More on the Rialto Bridge

Palazzo dei Camerlenghi is a Renaissance palace in Venice, northern Italy, located in the sestiere (quarter) of San Polo. It faces the Canal Grande, adjacent to the Rialto Bridge.

The palace was built from 1525 to 1528 under design by Guglielmo dei Grigi, who was inspired by the style of Mauro Codussi and Pietro Lombardo. It was the seat of several financial magistrates, including the Camerlenghi whom it takes its name from, the Consuls of the Traders and the Supra-Consuls of the Traders. Due to this function, the lower floor was used as a jail for the insolvents: the location nearby the crowded Rialto Bridge served as an admonition for the people passing there.

The palace currently houses the regional seat of the Italian Comptroller and Auditor General. More on Palazzo dei Camerlenghi 

Francesco Lazzaro Guardi (October 5, 1712 – January 1, 1793) was an Italian painter of veduta, nobleman, and a member of the Venetian School. He is considered to be among the last practitioners of the classic Venetian school of painting.

In 1735, Guardi moved to the workshop of Michele Marieschi, where he remained until 1743. His first certain works are from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his older brother.

His works in this period included both landscapes and figure compositions. In 1763 he worked in Murano, in the church of San Pietro Martire, finishing a Miracle of a Dominican Saint.

Francesco Guardi's most important later works include the Doge's Feasts, a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno.

In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, of which only two remain, and two others for that of Pope Pius VI. On September 12 of that year he was admitted to the Fine Art Academy of Venice.

Guardi died at Campiello de la Madona in Cannaregio (Venice) in 1793. More on Francesco Guardi

Acknowledgement: Neumeister  , and others

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 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

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13 Classic Works, Art and the Egyptian Woman, by Michelangelo, John Singer Sargent, Wilhelm Kotarbiński, Laetitia Mathilde, Guido Bach, Jacques Clement Wagrez, Franz Xavier Kosler, Henri Guillaume Schlesinger, Luis Ricardo Falero and Karel Ooms, with Footnotes

Ancient Egypt is famous for its timeless beauties. Surrounded by a rich historic and urban heritage, and embroiled in the uncertainties of revolution, Egypt's contemporary artists are using the female form to express hopes and fears for the future...

Wilhelm Kotarbiński, (1848–1921)

Cleopatra

Oil on canvas

135 × 246 cm (53.1 × 96.9 in)

Private collection

Wilhelm Kotarbiński (born 30 November 1848, Nieborów; died 4 September 1921, Kiev) was a Polish Symbolist painter of historical and fantastical subjects who spent most of his working life in Ukraine. He began his studies at the Warsaw School of Art from 1867 to 1871. Afterward, he enrolled at the University of Warsaw, urged on by his parents who were opposed to an artistic career, but stayed for only a short time before borrowing money from his uncle and moving to Italy. The following year, he was able to arrange a stipend from the Imperial Society for the Encouragement of the Arts and enrolled at the Accademia di San Luca, where he studied with Francesco Podesti until 1875, living in poverty and barely surviving a case of typhoid.

Wilhelm Kotarbiński (1848–1921)

Egyptian, c. 1900

Oil on canvas

125 x 63 cm

Private collection

After graduating, with more help from the Imperial Society, he was able to set up his own studio in Rome and held his first solo exhibition. His first commission came from the art critic Vladimir Stasov, who engaged him to copy a 14th-century manuscript from the Vatican Museums. He soon acquired many wealthy customers.

In 1888, he left Italy to go to Kiev and work on an upcoming project, and began painting in the local churches. Although he was Catholic, he did decorative work at the Orthodox St Volodymyr's Cathedral from 1889 to 1894. Under the supervision of Adrian Prakhov, an expert on old Russian and Byzantine art, he worked on 84 individual figures and 18 full paintings, including a large painting of the transfiguration of Christ. 

In 1890, he joined the Union of South Russian Artists and, in 1893, together with Jan Stanisławski and others, founded the Society of Kiev Painters. He was named an Academician of the Imperial Academy in 1905. More on Wilhelm Kotarbiński

John Singer Sargent, (1856–1925)

Egyptian Woman or Coin Necklace, c. 1891

Oil on canvas

64.8 cm (25.51 in.), Width: 50.8 cm (20 in.) 

The Metropolitan Museum of Art. 

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)

Egyptian Woman, c. 1890–91

Oil on canvas

25 1/2 x 21 in. (64.8 x 53.3 cm)

The Metropolitan Museum of Art. 

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 on John Singer Sargent

John Singer Sargent - 1891

Nude Study of an Egyptian Girl 

Painting - oil on canvas 

Height: 190.5 cm (75 in.), Width: 61 cm (24.02 in.)

Art Institute of Chicago (United States)

The nude Egyptian Girl, I believe, is the only female nude that Sargent did in oil. As the name implies, the painting was done in Egypt on his trip there to do research for the Boston Public Library murals. In some ways it harks back to the Velazquez's Venus at her Mirror. Like Sargent, this was Velazquez's only female nude and both men paint their subject facing away. Although it is not known for sure that Venus at her Mirror was the painting that influenced Sargent's Egyptian Girl, the importance of Velazquez work in influencing Sargent's art is well documented and if it wasn't on his mind, the coincidences are remarkable. Notice, particularly, the very delicate modulation of skin color in Sargent's painting which Velazquez used as well. More on this painting 

Karel Ooms (1845–1900)

The woman of Cairo, c. 1865-1900

Oil on canvas

Height: 65.5 cm (25.8 in). Width: 46 cm (18.1 in).

Private collection

Karel Ooms (27 January 1845, Dessel - 18 March 1900, Cannes) was a Belgian painter of portraits, genre paintings and history paintings. He was also known for his Orientalist scenes and Oriental landscapes. He was born in Dessel. At school his extraordinary talent for drawing was discovered. When he was twelve his hometown provided financial support which allowed him to study at the Antwerp Academy of Fine Arts.

Karel Ooms settled as an independent artist in Antwerp around 1871. He quickly established a reputation as a portrait painter. In addition he received commissions for religious paintings and history paintings. He gained particular recognition with two large paintings he made for the criminal courtroom of the Antwerp Courthouse.

Karel made many travels in Europe and the Middle East. His travels to Palestine and Egypt are documented through the landscape paintings he made on location. In the Middle East he found abundant inspiration for his Orientalist paintings. More on Karel Ooms

Luis Ricardo Falero, (1851–1896)

Egyptian Woman with Harp, c. 1874

Oil on panel

39 x 23.5 cm

Private collection

Luis Ricardo Falero (1851 – December 7, 1896), Duke of Labranzano, was a Spanish painter. He specialized in female nudes and mythological, oriental and fantasy settings.[1] Most of his paintings contained at least one nude or topless female. His most common medium was oil on canvas.

Falero was born in Granada and originally pursued a career in the Spanish Navy, but gave it up to his parents' disappointment. He walked all the way to Paris, where he studied art, chemistry and mechanical engineering. The experiments that he had to conduct in the latter two were so dangerous, however, that he decided to focus on painting alone. After Paris, he studied in London, where he eventually settled.

Falero had a particular interest in astronomy and incorporated celestial constellations into many of his works, such as "The Marriage of a Comet" and "Twin Stars". His interest and knowledge of astronomy also led him to illustrate the works of Camille Flammarion. More on Luis Ricardo Falero

Michelangelo

Cleopatra, c. 1533-34

Black chalk on paper

225 x 170 mm

Casa Buonarroti, Florence

This highly decorative, virtuoso drawing was one of a series of gifts for Tommaso de' Cavalieri, a young artist whom Michelangelo wished to teach and of whom he was deeply fond. The elder painters's celebrated draftsmanship is visible in the extreme twist of head and neck, known as 'serpentinata' - perhaps a play on words, given the fatal, coiling asp.

In many of his drawings Michelangelo created ideal portraits of women, in which he frequently emphasized the beauty of the female figures with imaginative hair styles plaited with scarves, other fabrics, or pieces of jewellery and adorned with exquisite headdresses and similar accessories. These portraits were in keeping with Florentine traditions, influenced by the works of Sandro Botticelli, Antonio del Pollaiuolo, Leonardo da Vinci, and Piero di Cosimo. More on this painting

Michelangelo di Lodovico Buonarroti Simoni (March 1475 – 18 February 1564), was an Italian sculptor, painter, architect, poet, and engineer of the High Renaissance who exerted an unparalleled influence on the development of Western art. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with contemporary rival and fellow Florentine Medici client, Leonardo da Vinci.

A number of Michelangelo's works in painting, sculpture, and architecture rank among the most famous in existence. His output in every field of interest was prodigious; given the sheer volume of surviving correspondence, sketches, and reminiscences taken into account, he is the best-documented artist of the 16th century.

Two of his best-known works, the Pietà and David, were sculpted before the age of thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library. At the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan, the western end being finished to Michelangelo's design, the dome being completed after his death with some modification.

In his lifetime he was also often called Il Divino ("the divine one"). One of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and it was the attempts of subsequent artists to imitate Michelangelo's impassioned and highly personal style that resulted in Mannerism, the next major movement in Western art after the High Renaissance. More on Michelangelo

Henri Guillaume Schlesinger, (1814-1893)

An Egyptian Girl Preparing for the Bath, c. 1869

Oil On Canvas

90 x 117.5 cm, (35.43" x 46.26")

Private collection

Henri Guillaume Schlesinger (6 August 1814 in Frankfurt am Main , died on 21 February 1893 in Neuilly-sur-Seine ) was a German painter of portraits and genre. Besides his oil painting, he used watercolor painting, and miniature painting on ivory.

Schlesinger studied at the Academy of Fine Arts Vienna, where he was active initially. He oved to Paris and continued his artistic education. In the period 1840-1889, he exhibited his work at the Paris Salon . Henri Guillaume Schlesinger in 1837 realizes several official portraits including a large equestrian portrait of Sultan Mahmud II . In 1870-1871 years he lived in London .

Schlesinger received the Legion of Honor in 1866, and his French citizenship in 1870. More on Henri Guillaume Schlesinger

Franz Xavier Kosler, (Austrian ,1864-1906)

Portrait of a young Egyptian girl, Cairo 1900

Oil on canvas

23 3/4 x 17 1/4 in. (60.3 x 43.8 cm.)

Private collection

In Egypt Kosler opened a one-man exhibition, in Cairo, in 1894. The show was a great success and secured Kosler many wealthy Egyptian clients including Prince Said Halim Pasha, the grandson of Mehemet Ali Pasha, the future Grand Vizier of the Ottoman Empire, who commissioned a series of portraits from the artist. 

Franz Xavier Kosler (Austrian, 1864-1905), born in Vienna in 1864, was one of the most celebrated Orientalist painters of his generation. Kosler began his artistic studies at the Akademie der Bildenden Künste (The Academy of Fine Arts) in Vienna, studying under the renowned Austrian Orientalist artist Leopold Carl Müller. Highly influenced by his work Kosler went on to follow in his tutor's footsteps travelling abroad to paint the Near East firsthand, depicting richly coloured genre scenes and tender close-up portraits of young sitters dressed in traditional clothing, echoing the work of his mentor. Setting off in 1886, Kosler travelled to Dalmatia, Montenegro, Albania and Egypt, returning to the latter two years after he had returned to Vienna in 1866, sponsored by Archduke Ferdinand Karl. More on Franz Xavier Kosler

Jacques Clement Wagrez, French. 1846-1908

Cleopatra

Oil on canvas

I have no further description, at this time

Wagrez Jacques Clement, born in 1846 or 1850 in Paris where he died in 1908, is a genre painter , illustrator and designer. Jacques Clement followed the course of Fine Arts under the direction of master Isidore Pils and of Henri Lehmann , a pupil of Ingres . He enrolled in the studio of Jules Eugène Lenepveu before leaving Italy for a study tour. The Venetian and Florentine renaissance inspired his subjects and scenery. In 1870 he sent to the salon his first watercolors and portraits that earned him great fame. More on Jacques Clement Wagrez

Guido Bach, (1828-1905)

An Egyptian Woman Carrying a Brace of Chickens, Cairo, 1876

Watercolor 

Height: 54 cm (21.26 in.), Width: 37 cm (14.57 in.) 

Private collection

Guido Bach (1828-1905) was a German portrait and genre painter and watercolorist. He studied from 1843 to 1847 at the Academy of Fine Arts Dresden in Julius Hübner, mainly with the watercolors. Guido Bach visited Italy, Bohemia and Egypt. He created portraits and images from the Italian village life, as well as images from the life of the North African Arabs.

Since 1862 he lived in London. There he exhibited his works at the Royal Institute and at the Royal Academy of Arts (1880 and 1883), and at the Grosvenor Gallery from. His works "The Golden Age" and "Feathered Friends" found  recognition at the Royal Academy. At the Dresdner watercolor exhibition he participated 1887th. More on Guido Bach

Guido Bach, (1828-1905)

An Egyptian Mother and her Children, 1876

Watercolor 

Height: 59.5 cm (23.43 in.), Width: 44.5 cm (17.52 in.)

Private collection

Laetitia Mathilde, Princesse Bonaparte

Une fellah, c. 1861

92 x 63 cm

Huile et détrempe sur papier

Nantes, Musée des Beaux-Arts

Fellah is a farmer or agricultural laborer in the Middle East and North Africa. The word derives from the Arabic word for "ploughman" or "tiller".

Due to a continuity in beliefs and lifestyle, the fellahin of Egypt have been described as the "true" Egyptians. More on Fallah

Mathilde Laetitia Wilhelmine Bonaparte, Princesse Française (27 May 1820 – 2 January 1904), was a French princess and Salon holder. She was a daughter of Napoleon's brother Jérôme Bonaparte and his second wife, Catharina of Württemberg, daughter of King Frederick I of Württemberg. More on Mathilde Laetitia Wilhelmine Bonaparte

Statue of an Offering Bearer of wood

Middle Kingdom, Dynasty 12

Reign:early reign of Amenemhat I

Gesso, paint from Egypt

Metropolitan Museum of Art

This masterpiece of Egyptian wood carving was discovered in a hidden chamber at the side of the passage leading into the rock cut tomb of the royal chief steward Meketre, who began his career under King Nebhepetre Mentuhotep II of Dynasty 11 and continued to serve successive kings into the early years of Dynasty 12. Together with a second, very similar female figure (now in the Egyptian Museum, Cairo) this statue flanked the group of twenty two models of gardens, workshops, boats, and a funeral procession that were crammed into the chamber's narrow space. More on this Sculpture

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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