Art Blog: Sensual

Showing posts with label Sensual. Show all posts

02 paintings, The amorous game, Sir Lawrence Alma-Tadema's Welcome Footsteps and A Foregone Conclusion, with Footnotes #103

Sir Lawrence Alma-Tadema, 1836 - 1912

Welcome Footsteps (The Well-Known Footsteps), c. November 1883

Oil on panel

16 by 21¾ in.; 40.6 by 55.2 cm

Private collection

Sold for 252,000 USD in January 2023

Welcome Footsteps, also known as Well-Known Footsteps, was painted in November 1883 and debuted the following month at the inaugural exhibition of the Royal Institute of Painters in Oil Colour, founded in London the previous year. The present painting relates to a later painting, A Forgone Conclusion, commissioned by Sir Henry Tate (1819-1899), founder of the Tate Gallery (See Below) where it remains, as a wedding present for his second wife, Amy Hislop (1850-1919). More on this painting

Sir Lawrence Alma-Tadema 1836–1912

A Foregone Conclusion, c. 1885

Oil paint on wood

311 × 229 mm

TATE BRITAIN

Set in the time of the early Roman Empire, Alma-Tadema depicts a man bringing an engagement ring to his girlfriend in the hope that she will become his fiancée. The expectant look of the lady and her attendant holding hands at the top of the stairs reveals that the result of his proposal will be ‘a foregone conclusion’. Barrow has examined many of Alma-Tadema’s courtship scenes in the light of Roman law and practice. During this period women of high birth often married while they were young for political alliance and social advantage. ‘Love interests’, Barrow remarked, ‘developed through the illicit acquisition of lovers after marriage’ (Barrow, p.102). It is unlikely, however, that Henry Tate, a self-made businessman, would have taken the painting to mean anything other than that which was clearly intended, a compliment to his wife’s affection. Amy Hislop, who was 31 years his junior, was married to Tate in 1885, the year of this painting. More on this painting

Sir Lawrence Alma-Tadema, OM, RA (8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship.

Born in Dronrijp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky.

Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century English art. More on Lawrence Alma-Tadema

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01 painting, The amorous game, Le Pho's Idylle (Idyll), with Footnotes #101

Le Pho, (1907-2001)

Idylle (Idyll), c. 1940

Ink and gouache on silk

42 x 29 cm. (16 1/2 x 11 3/8 in.)

Private collection

Sold for HKD 2,000,000 in Nov 2017

Idylle is the term used in music to refer generally to a work evocative of pastoral or rural life, and more specifically to a kind of French courtly entertainment of the baroque era where a pastoral poem was set to music, accompanied by ballet and singing. Examples of the latter are Lully's Idylle sur la Paix set to a text by Racine and Desmarets' Idylle sur la naissance du duc de Bourgogne set to a text by Antoinette Deshoulières. More on Idylle

Le Pho was a French-Vietnamese painter best known for his stylized depictions of nudes, gardens, and floral still lifes. His work succeeded in merging Impressionism, Surrealism, and traditional Chinese painting into a sensual yet disconcerting vision of Eden, reminiscent of both Odilon Redon and Pierre Bonnard. Born on August 2, 1907 in Hanoi, Vietnam, he went on to study at the École des Beaux-Arts in Hanoi before attending the École des Beaux-Arts in Paris on a scholarship in 1932, studying under Victor François Tardieu. Pho briefly returned to Hanoi to teach painting before settling in Paris permanently, and today his works are held in the collections of the Musée d’Art Moderne in Paris and the Oklahoma Arts Center, among others. The artist died on December 12, 2001. More on Le Pho

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01 Etching, The amorous game, Gene Kloss' Chance Encounter, with Footnotes #101

Gene Kloss (American, 1903-1996)

Chance Encounter, c. 1965

Etching and drypoint on paper

11-3/4 x 15 inches (29.8 x 38.1 cm)

Private collection

Estimate for $700 - $1,000 in June 2023

Gene Kloss (Born Oakland, CA 1903-died Taos, New Mexico 1996) grew up in the Bay Area. She attended the University of California at Berkeley, where she studied with Perham Nahl, her instructor in life class and anatomy, who also gave a course in etching. Amazed by the first print she pulled from the press, Nahl predicted she would be an etcher. Kloss spent two additional years of study at the California School of Fine Arts in San Francisco and the College of Arts and Crafts in Oakland. In 1925 she married Phillips Kloss, a poet, and they made a honeymoon journey to New Mexico. It was a decisive point in Kloss's career, initiating a lifelong fascination with the the landscape of the Southwest and the Native American peoples who inhabited the region. More on Gene Kloss

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01 painting, The amorous game, Hans Makart's Richard III Courting Lady Anne, with Footnotes, #99

Hans Makart, Austrian, 1840 - 1884

Richard III Courting Lady Anne, c. 1869

Oil on panel

78.5 by 59cm., 31 by 23¼in.

Private collection

Estimated at 15,000 - 20,000 GBP in December 2022

Richard of Gloucester, the brother of King Edward IV, is determined to gain the crown of England for himself, no matter what. His plot begins as he romantically pursues Lady Anne Neville, daughter of the Earl of Warwick and a widow. He woos her as she accompanies the funeral procession of her father-in-law, King Henry VI (whom Richard murdered). He confesses the murder, and she spits at him. He offers himself to her sword, but she drops it. He offers to kill himself at her order, but she accepts his ring and becomes Duchess of Gloucester. Richard exults at having won her over so and tells the audience that he will discard her once she has served his purpose. More on this painting

Hans Makart (28 May 1840 – 3 October 1884) was a 19th-century Austrian academic history painter, designer, and decorator. Makart was a prolific painter whose ideas significantly influenced the development of visual art in Austria-Hungary, Germany, and beyond.

Both celebrated and condemned for his sensual, historical and legacy paintings, Hans Makart produced richly colored and atmospheric works that had an extraordinary impact on late-nineteenth century Viennese culture. Markart was so popular, in fact, that he gave his name to the so-called Makartstil - or Makart-Style - a virtual school of art and design that helped decorate many of the public places in Vienna in the second half of the nineteenth century. Makart's art was condemned however by academics who took exception to the artist's general lack of regard for factual accuracy and for denigrating important historical events by featuring gratuitous female nudity. In the public sphere, meanwhile, he was known as much for the outrageous society parties as for his art. His sumptuously decorated Venetian studio was where royalty, politicians, artists and writers came to mingle and to "be seen". Such was his celebrity in fact that he has be referred to by several commentators as the Andy Warhol of his day. More on Hans Makart

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01 painting, The amorous game, Simon de Vos' An interior scene, with Footnotes, #98

Simon de Vos, Antwerp 1603 - 1676

An interior scene with elegant figures playing musical instruments and merrymaking

Oil on marouflaged panel

49.5 x 63.9 cm.; 19½ x 25⅛ in.

Private collection

Sold for 16,380 GBP in December 2022

The scene is a delight for the ears as well as the eyes, as it features remarkably lively depictions of musicians playing bagpipes, fiddles, traverso flutes, clavichords, theorbos, not to mention a pair of singers at the front right. In this particular gathering the delights of music are joined by the ever-present temptations of drink. These themes are brought to life by finely dressed courtiers proudly showing off their courtly trappings and birds of prey. More on this painting

Simon de Vos (20 October 1603 in Antwerp – 15 October 1676 in Antwerp) was a Flemish painter, draughtsman and art collector. He started his career making small-format cabinet pictures of genre scenes, in particular of Caravaggesque merry companies. Later he switched to history painting, working on larger formats in a Flemish Baroque style which was influenced by Rubens and van Dyck. More on Simon de Vos

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01 painting, The amorous game, Francesco Bergamini's Life of the Party, with Footnotes #97

Francesco Bergamini, Italian, 1815 - 1883

Life of the Party

Oil on panel

16¾ by 11⅜ in.; 42.5 by 28.8 cm

Private collection

Sold for 3,528 USD in October 2021

Francesco Bergamini (1851 – 1900) was an Italian painter who specialised in producing genre scenes for an international audience. Born in Rome, he trained at the National academy where he was taught by Giuseppe Diotti, a traditional artist who still often received fresco commissions. Francesco received a wide-ranging pictorial education religious wall paintings to contemporary portraiture. Combining his eye for accuracy with a looser brushwork that was beginning to permeate Italian artistic circles thanks to the success of Realism and Impressionism, Bergamini became known for his immaculately rendered yet still colourful interior scenes. This engaging yet still academic style proved extremely successful in the foreign market, and the artist seems to have sold so many works to American and British travellers that he was unable to exhibit in the Italian Salon until the 1890s. The artist’s works are found widely outside Italy to this day, a testament to his international appeal. More on Francesco Bergamini

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02 paintings, The amorous game, Hayv Kahraman's Persian Couple 1 & 2, with Footnotes #96

Hayv Kahraman

Persian Couple 2, c. 2009

Oil on linen

106.7 by 172.7 cm. 42 by 68 in.

Private collection

Sold for 52,920 GBP in October 2022

Hayv Kahraman (American/Iraqi, born 1981)

Persian Couple 1, c. 2009

Paintings, Oil on linen

68 x 42 in. (172.7 x 106.7 cm.)

Private collection

Hayv Kahraman is an Iraqi artist born in 1981. At the age of 11, her family left Baghdad during the Gulf War and settled in Sweden for several years, where her status of refugee became a catalytic experience for her artistic practice. Having studied graphic design at the Accademia di Arte e Design di Firenze, Italy, Kahraman uses a variety of media including sculpture, drawing and painting to address difficult issues relative to gender inequalities, war and the migrant experience. Channeling refined aesthetics inspired from Islamic arts, Art Nouveau and Japanese paintings to confront the viewer with controversial scenes, the artist engages with the notion of femininity in Middle Eastern cultures. Her approach to gender roles and female identity encapsulates how women are persecuted in their own culture through systematic submission to the male gaze, physicality and politics. More on Hayv Kahraman

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01 painting, The amorous game, Vicente Palmaroli y Gonzales' A Secret Love, with Footnotes #96

Vicente Palmaroli y Gonzales (Spanish, 1834-1896)

A Secret Love

Oil on panel

54½ x 25¾ in. (138.4 x 65.4 cm.)

Private collection

Sold for USD 38,400 in Oct 2005

In the present work, Palmaroli, inspired by the anceint world, depicts two classical figures. He possessed a great sensitivity to rendering the human figure and has carefully considered the way the drapery of their togas fall on the body of the man and woman. More on this painting

Vicente Palmaroli González (5 September 1834 – 25 January 1896) was a Spanish portrait and genre painter.

He was born in Zarzalejo, the son of Gaetano Palmaroli, an Italian painter and lithographer, who was his first teacher. After his father's death in 1853, he took over his official position at the royal art collections. He requested leave in 1857 to go to Rome and complete his education. He participated in the National Exhibition in 1862 with two works he created in Italy, winning a First-Class Medal. The following year, he returned to Italy and remained until 1866.

After his return to the Court, he won a Gold Medal at the National Exhibition of 1867. That same year, he accompanied the Spanish delegation to the Exposition Universelle in Paris. While there, he met Ernest Meissonier, who would have an influence on his later work. Over the next few years, he would become a renowned portrait painter. In 1872, he was named a Professor at the Real Academia de Bellas Artes de San Fernando. A year later, he settled in Paris and specialized in creating "tableautins"; small format paintings on amusing or pleasant themes designed to be hung in the home. In 1883, he moved to Rome to become Director of the Academia Española de Bellas Artes de Roma.

He returned to Madrid in 1894 when he was appointed Director of the Museo del Prado, a position he would hold until his death. Most of the works added to the Prado during his tenure were later moved to the collection at the new Museo de Arte Moderno.

He suffered a stroke while attending a theatrical performance, became an invalid, and died several months later in Madrid, aged 61. More on Vicente Palmaroli González

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01 Works The amorous game, Potentially Gillis Mostaert's Couple in love on a stormy sea, with Footnotes #98

Flemish school, Second half of the 16th century

Potentially Gillis Mostaert (1534-1598)

Couple in love on a stormy sea

Oil on panel

13.2 x 18cm.

Private collection

This painting was Estimate at €800 - €1,200 in May 2023

Gillis Mostaert the Elder (27 or 28 November 1528 – 28 December 1598) was a Flemish Renaissance painter and draughtsman active in Antwerp in the second half of the 16th century. He was a versatile artist who worked in various genres including landscape, genre and history painting. Gillis Mostaert was known in particular for his winter landscapes and his scenes with fires and nocturnal scenes and his works in this genre were among the most sought after pieces of his time. The artist operated a large workshop in Antwerp, which supplied works to prominent patrons. He was a regular collaborator with leading Antwerp artists of his time. More on Gillis Mostaert the Elder

Flemish painting flourished from the early 15th century until the 17th century, gradually becoming distinct from the painting of the rest of the Low Countries, especially the modern Netherlands. In the early period, up to about 1520, the painting of the whole area is typically considered as a whole, as Early Netherlandish painting. This was dominated by the Flemish south, but painters from the north were also important. Dutch and Flemish Renaissance painting, of which Antwerp became the centre, covers the period up to about 1580 or later, by the end of which the north and south Netherlands had become politically separated. Flemish Baroque painting was especially important in the first half of the 17th century, dominated by Rubens.

In theory the term does not refer to modern Flanders but to the County of Flanders and neighbouring areas of the Low Countries. Flanders delivered the leading painters in Northern Europe and attracted many promising young painters from other countries. More on Flemish painting

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04 Works, The amorous game, Cornelis Bega's Peasants in a Tavern, with Footnotes, #98

Cornelis Bega (Artist, 1620-1664) Haarlem, Netherlands

Young Couple in a Tavernc. 1661

Oil on canvas

height: 39 cm (15.3 in); width: 34.5 cm (13.5 in)

Hallwyl Museum

The man on the left, facing the woman' and sitting on a rough gray bench, right arm in front of his chest, in his hand a chalk pipe, his left hand resting on his thigh and holding a red-brown four-sided dish on his knee. The woman seated apparently on the same bench, next to the man but in the opposite direction, her upper body facing him, in her right hand a tall glass, mostly hidden by the man's cap, her left hand on the man's left wris. Behind the man on another bench, a man sitting facing away in a dark brown beret-like cap. To the right, somewhat in the background, a seated man facing him in a brown hat with a dented peak and folded brim. Next to these on the left, a standing barrel with wooden bands, each containing a large four-sided glass bottle with yellowish-brown contents and a white paper. On golf course in front of the barrel is a grey-brown plank stump. To the right, behind the woman, a seated man, supporting his crossed arms against stacked dark packages. More on this painting

Cornelis Bega (Artist, 1620-1664) Haarlem, Netherlands

Peasants in a Tavern, c. 1662

Oil on canvas

48.6 x 41.5 cm

Szépművészeti Múzeum

Cornelis Bega (Artist, 1620-1664) Haarlem, Netherlands

A peasant woman seduced by a man in an interior

Oil on canvas

37.2 x 32.7 cm.

Private collection

Sold for EUR 213,600 in May 2005

HThe present work is afine example of the low-life genres Bega liked to paint. The influence of Adriaen van Ostade is evident in style, in the restrained palette, vivid accents and subject matter, and would suggest that the painting is a relatively early work by the artist. The attractive, balanced composition and intimate atmosphere of only a few people in an interior points however towards an already personalized style and therefore at least not from the artist's very earliest career. More on this painting

Cornelis Pietersz Bega, attributed to

Tavern Scene (Ill Matched Couple)

Oil on panel

32.5 x 24 cm.

Private collection

Estimated for €2,500 EUR - €3,500 EUR in May 2023

Cornelis Pietersz Bega, or Cornelis Pietersz Begijn (1631/32 – 27 August 1664) was a Dutch Golden Age painter and engraver.

He was a student of Adriaen van Ostade, and produced genre scenes of similar subjects, typically groups of a few peasant figures, often in interior settings.

From 1653 to 1654 he traveled by horse and boat on a Grand Tour with fellow painters Dirk Helmbreker, Vincent van der Vinne and Guillam Dubois through Germany, Switzerland and France. This trip was recorded in Vincent van der Vinne's diaries and gives an accurate view of the art in the cities they visited in those times. His dated works begin in 1652, and in 1654 he was accepted into the Haarlem Guild of St. Luke, dying only ten years later, which according to Houbraken was due to the plague. He was close friends with the Haarlem painter Leendert van der Cooghen. When he died he was buried in the grave of his grandfather Cornelis van Haarlem. More on Cornelis Pietersz Bega

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03 Works, The amorous game, Edward Portielje's Courtships, with Footnotes, #97

Edward Portielje (1861- 1949)

Courtship

Oil on panel

16in x 12.5in

Private collection

Estimated for $4,000 USD - $6,000 USD in Mar 2023

Signed in the lower left. Depicting a young woman knitting next to an open window as a fisherman peers in for a conversation.

Edward Portielje (1861- 1949)

Courting

Oil on panel

l. 14.96 inch X H. 18.11 inch

Private collection

Estimated for $4,000 USD - $6,000 USD in Mar 2023

In this painting we can see a young woman being courted by a young fisherman. The woman is wearing traditional Zeeland clothing that is often seen in Portielje’s paintings. The man is dressed in a white shirt and blue vest, wearing a basket on his back. He’s softly holding the hand of the woman, while grabbing her shoulder. His actions are making the woman blush, while she is looking away from her suitor. More on this painting

Edward Portielje (1861- 1949)

The Declaration

Oil on panel

46 x 35.5 cm

Private collection

Edward Antoon Portielje (8 February 1861, Antwerp - 18 December 1949, Antwerp) was a Belgian genre painter.

His first art lessons came from his father. Next, he attended the Royal Atheneum [nl] and, from 1873, took after-school classes at the Royal Academy of Fine Arts, with Edward Dujardin. From 1877 to 1881, he was a full-time student there, under the tutelage of Polydore Beaufaux, Charles Verlat and Nicaise de Keyser.

Genre scenes were his speciality, with an occasional portrait or seascape. Much of his inspiration came from the fishing communities in Zeeland. Many of his works are series of similar interior scenes, created according to the wishes of his agents, Albert D'Huyvetter [nl] and Guillaume Campo (1880-1952). They generally consist of a room with a sunny window, occupied by women in traditional costume, engaged in some daily activity. These paintings were very popular; selling throughout Europe and the United States.

In 1894, he worked together with Edouard de Jans and Joseph Dierickx to create murals for the Exposition Internationale d'Anvers. More on Edward Antoon Portielje

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