Wednesday, May 16, 2018

01 Painting, Streets of Paris, by the artists of the time, Part 29 - With Footnotes


Marko Stupar, (1936 - * French) 
"Marche Mouffetard (Market Mouffetard)" 
Oil on masonite 
13" H x 9.5" W 
Private collection

Rue Mouffetard is a street in the 5th arrondissement of Paris, France. Situated in the fifth arrondissement of Paris, Rue Mouffetard is one of Paris's oldest and liveliest neighbourhoods. These days the area has many restaurants, shops, and cafés, and a regular open market. It is centered on the Place de la Contrescarpe, at the junction of the rue Mouffetard and the rue de Lacepede. Its southern terminus is at the Square Saint-Médard where there is a permanent open-air market. It is closed to normal motor traffic much of the week, and is predominantly a pedestrian avenue. More on Rue Mouffetard 

Marko Stupar was born in 1936 in Yugoslavia.  He chose France as his permanent home in 1964 after completing his studies at the Beaux-Arts of Belgrade. Today we find that the art of Marko Stupar is totally integrated into the School of Paris. Although his work continues to be very personal, the graphic nature of his Slavic background is now uniquely combined with the subtlety found in Pierre Bonnard.?

Stupar has participated in juried exhibitions since 1966 when he won the Silver Medal at the Center of Diffusion of the Cote-d'Azur. He regularly participates in the Salon d'Automne*, the Salon National des Beaux-Arts, the Salon des Artistes Français* and the Salon Comparaison. 


Among his other honors, Stupar has won both the Silver and Gold medals of the Salon des Artistes Français.? One-man exhibitions of Stupar's work have been held in cities all over the world including Paris, Geneva, Lyon, Osaka, Dusseldorf, Strasbourg, Zagreb, Annecy, Havre, New York, Philadelphia, Dallas, and Houston. More on Marko Stupar








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01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #34

Vladimir Borovikovsky,  (1757–1825)
Portrait of Maria Lopukhina, (1777-1805), c. 1797
Oil on canvas
72 × 53.5 cm (28.3 × 21 in)
Tretyakov Gallery

Princess Anna Petrovna Lopukhina (Russian: 8 November 1777 – 25 April 1805) was a royal mistress to Emperor Paul of Russia. In 1798, She replaced Catherine Nelidova as the chief mistress. She was the daughter of Pyotr Vasilyevich Lopukhin, from the Lopukhin family, one of the oldest families of Russian nobility, which owed its distinction to Eudoxia Lopukhina's marriage to Peter the Great and of which the unfortunate Natalia Lopukhina was also a member.

Her life changed the day Paul cast an eye on her during a ball in 1796. Paul ordered her family to be brought to Saint Petersburg, the Empress ineffectually attempted to interfere and sent an angry letter to Lopukhina pressing her to stay at home. The letter was intercepted and presented to the emperor in the most unfavourable light, thus sparking a quarrel between the spouses and ensuring Lopukhina's ascendance at court.

Anna was showered with awards, including the Order of Saint John. Lopukhina's influence on the tsar's irascible character is reckoned to have been beneficial, although the Emperor's constant attention seemed to importune her so much that in 1799 she asked his permission to marry a childhood friend, Prince Pavel Gagarin. After the sovereign acquiesced, Gagarin was recalled from Alexander Suvorov's army then fighting in Italy and the wedding took place on 11 January 1800. The marriage was also to protect her from public spite.


A year later, the Emperor was murdered and the Gagarins proceeded to Turin. Theirs was a marriage of convenience, and he seems to have had little reason for grief when she died of consumption in 1805 at the age of 28. Anna's body was brought back to the Russian capital, where her tomb may be seen in the St Lazarus Church of the Alexander Nevsky Lavra. More on Princess Anna Petrovna Lopukhina


Vladimir Borovikovsky, (1757–1825) was a Russian painter of Ukrainian origin who dominated portraiture in Russia at the turn of the 19th century. Borovikovsky was born on July 24, 1757. His father, Luka Borovyk was a Ukrainian Cossack and an amateur icon painter. According to the family tradition, all four of Borovyk's sons served in Myrhorod regiment, but Volodymyr retired early at the rank of poruchik and devoted his life to art — mostly icon painting for local churches.

His friend Vasyl Kapnist was preparing an accommodation for Empress Catherine II in Kremenchuk during her travel to newly conquered Crimea. Kapnist asked Borovikovsky to paint two allegoric paintings (Peter I of Russia and Catherine II as peasants sowing seeds and Catherine II as a Minerva) for her rooms. The paintings so pleased the Empress that she requested that the painter move to Saint Petersburg.

For his first ten years in Saint Petersburg, he lived in the house of the poet, architect, musician and art theorist, Prince Nikolay Lvov, whose ideas strongly influenced Borovikovsky's art. At the age of 30 years, he was too old to attend Imperial Academy of Arts, so he took private lessons from Dmitry Levitzky and later from Austrian painter Johann Baptist Lampi.


In 1795 he was appointed an academician. He became a popular portrait painter and created about 500 portraits during his lifetime, 400 of which survived to the 21st century. More on Vladimir Borovikovsky









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Sunday, May 13, 2018

01 Painting, Streets of Paris, by the artists of the time, Part 38 - With Footnotes

Victor Gabriel Gilbert, (1847–1933) 
A Parisian Flower Market
Oil on canvas
137.5 x 46.3 cm
Private collection

Victor Gabriel Gilbert 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



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Saturday, May 12, 2018

01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #33

Vladimir Borovikovsky, (1757–1825)
Portrait of Elena Aleksandrovna Naryshkina (1785-1855), c. 1799
Oil on canvas
72.8 × 59.6 cm (28.6 × 23.4 in)
Tretyakov Gallery

Elena Aleksandrovna Naryshkina, Serene Princess of Italy, Countess Suvorov-Rymniksky (1785 -1855 ) was a Russian noblewoman and maid of honour. Her portrait is one of the best female portraits painted by Borovikovsky at the end of the 18th century. More on Elena Aleksandrovna Naryshkina, 

Vladimir Borovikovsky, (1757–1825) was a Russian painter of Ukrainian origin who dominated portraiture in Russia at the turn of the 19th century. Borovikovsky was born on July 24, 1757. His father, Luka Borovyk was a Ukrainian Cossack and an amateur icon painter. According to the family tradition, all four of Borovyk's sons served in Myrhorod regiment, but Volodymyr retired early at the rank of poruchik and devoted his life to art — mostly icon painting for local churches.

His friend Vasyl Kapnist was preparing an accommodation for Empress Catherine II in Kremenchuk during her travel to newly conquered Crimea. Kapnist asked Borovikovsky to paint two allegoric paintings (Peter I of Russia and Catherine II as peasants sowing seeds and Catherine II as a Minerva) for her rooms. The paintings so pleased the Empress that she requested that the painter move to Saint Petersburg.

For his first ten years in Saint Petersburg, he lived in the house of the poet, architect, musician and art theorist, Prince Nikolay Lvov, whose ideas strongly influenced Borovikovsky's art. At the age of 30 years, he was too old to attend Imperial Academy of Arts, so he took private lessons from Dmitry Levitzky and later from Austrian painter Johann Baptist Lampi.

In 1795 he was appointed an academician. He became a popular portrait painter and created about 500 portraits during his lifetime, 400 of which survived to the 21st century. More on Vladimir Borovikovsky








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02 Painting, Streets of Paris, by the artists of the time, Part 37 - With Footnotes

Edouard Henri Leon Cortès, (French, 1882-1969)
Flower stalls at La Madeleine 
Oil on canvas
13 x 18in (33 x 46cm)
Private collection

Located on Place La Madeleine, the flower market has attracted avid gardeners and curious passers-by since 1808.


There is a covered as well as open-air section and it is fascinating to wander the pretty orangerie style pavilions, which are over 100 years old, that line the market, filled with flowers, plants and quirky gifts. Parisians come here to buy flowers for their balconies, for their homes and gardens and it is a truly unique and endearing place for a walk and for visitors to get a feel for the real pulse of the city. This vibrant, colourful little market is also a favourite with artists who come here for inspiration. More on La Madeleine

Edouard Henri Leon Cortès (French, 1882-1969)
A flower market at La Madeleine 
Oil on canvas
20 X 26in (51 x 66cm)
Private collection

Edouard Léon Cortès (1882–1969) was a French post-impressionist artist of French and Spanish ancestry. He is known as "Le Poete Parisien de la Peinture" or "the Parisian Poet of Painting" because of his diverse Paris cityscapes in a variety of weather and night settings.
Cortes was born on August 8, 1882, in Lagny-sur-Marne, about twenty miles east of Paris. His father, Antonio Cortès, had been a painter for the Spanish Royal Court.
At the age of 17, Edouard began his studies at the École des Beaux-Arts in Paris. His first exhibition in 1901 brought him immediate recognition. Cortès stressed his independence. Once, in responding to a journalist who asked if he was a student of Luigi Loir, he replied in pun: "No, a student of myself only."
life he was awarded the prestigious Prix Antoine-Quinson from the Salon de Vincennes
In 1914 Cortès married Fernande Joyeuse, with whom he had a daughter in 1916.
Although Cortès was a pacifist, when war came close to his native village he was compelled to enlist in a French Infantry Regiment at the age of 32. As a contact agent Cortès was wounded by a bayonet, evacuated to a military hospital, and awarded the Croix de Guerre. After recovery he was the reassigned to utilize his artistic talent to sketch enemy positions. Later in life his convictions led him to refuse the Légion d'Honneur from the French Government. In 1919 he was demobilized.
His wife had died in 1918 and he soon married his sister-in-law Lucienne Joyeuse.

Cortès lived a simple life amid a close circle of friends. He died on November 28, 1969, in Lagny, and has a street named in his honor. More on Edouard Léon Cortès








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Thursday, May 10, 2018

01 Paintings, The amorous game, Part 18 - With Footnotes

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN
Almeh Flirting With An Armenian Policeman in Cairo
Oil on canvas
 55.5 cm (21.85 in.), Width: 46 cm (18.11 in.)
Private collection

Almeh (Egyptian Arabic) was the name of a class of courtesans or female entertainers in Arab Egypt, women educated to sing and recite classical poetry and to discourse wittily, connected to the qayna slave singers of pre-Islamic Arabia. They were educated girls of good social standing, trained in dancing, singing and poetry, present at festivals and entertainments, and hired as mourners at funerals.

In the 19th century, almeh came to be used as a synonym of ghawazi, the erotic dancers of Dom ethnicity whose performances were banned in 1834 by Muhammad Ali of Egypt. As a result of the ban, the ghawazi dancers were forced to pretend that they were in fact awalim. Transliterated into French as almée, the term came to be synonymous with "belly dancer" in European Orientalism of the 19th century. More on Almeh

Frederick Arthur Bridgman (November 10, 1847 - 1928) was an American artist, born in Tuskegee, Alabama. The son of a physician, Bridgman would become one of the United States' most well-known and well-regarded painters and become known as one of the world's most talented "Orientalist" painters. He began as a draughtsman in New York City, for the American Bank Note Company in 1864-1865, and studied art in the same years at the Brooklyn Art Association and at the National Academy of Design; but he went to Paris in 1866 and became a pupil of Jean-Leon Gerome. Paris then became his headquarters. A trip to Egypt in 1873-1874 resulted in pictures of the East that attracted immediate attention, and his large and important composition, The Funeral Procession of a Mummy on the Nile, in the Paris Salon (1877), bought by James Gordon Bennett, brought him the Cross of the Legion of Honor. Other paintings by him were An American Circus in Normandy, Procession of the Bull Apis (now in the Corcoran Gallery of Art, Washington, D.C.), and a Rumanian Lady (in the Temple collection, Philadelphia, Pennsylvania). More on Frederick Arthur Bridgman


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Tuesday, May 1, 2018

01 Paintings, The amorous game, Part 17 - With Footnotes

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN
Queen of the Brigands, c. 1882
Oil on canvas
Private collection

Brigandage refers to the life and practice of brigands: highway robbery and plunder. A brigand is a person who usually lives in a gang and lives by pillage and robbery.

The brigand is an outlaw who conducts warfare after the manner of an irregular or partisan soldier by skirmishes and surprises, who makes the war support itself by plunder, by extortion, by capturing prisoners and holding them to ransom, who enforces his demands by violence, and kills the prisoners who cannot pay. More on the Brigandage 

Frederick Arthur Bridgman (November 10, 1847 - 1928) was an American artist, born in Tuskegee, Alabama. The son of a physician, Bridgman would become one of the United States' most well-known and well-regarded painters and become known as one of the world's most talented "Orientalist" painters. He began as a draughtsman in New York City, for the American Bank Note Company in 1864-1865, and studied art in the same years at the Brooklyn Art Association and at the National Academy of Design; but he went to Paris in 1866 and became a pupil of Jean-Leon Gerome. Paris then became his headquarters. A trip to Egypt in 1873-1874 resulted in pictures of the East that attracted immediate attention, and his large and important composition, The Funeral Procession of a Mummy on the Nile, in the Paris Salon (1877), bought by James Gordon Bennett, brought him the Cross of the Legion of Honor. Other paintings by him were An American Circus in Normandy, Procession of the Bull Apis (now in the Corcoran Gallery of Art, Washington, D.C.), and a Rumanian Lady (in the Temple collection, Philadelphia, Pennsylvania). More on Frederick Arthur Bridgman,


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01 Painting, Streets of Paris, by the artists of the time, Part 28 - With Footnotes

Eugène Galien-Laloue, (French, 1854-1941)
Porte Saint-Martin, Paris 
Gouache over traces of pencil
26.5 x 45.5cm (10 7/16 x 17 15/16in).
Private collection

The Porte Saint-Martin is a Parisian monument located at the site of one of the gates of the now-destroyed fortifications of Paris. It is located at the crossing of Rue Saint-Martin, Rue du Faubourg Saint-Martin and the grands boulevards Boulevard Saint-Martin and Boulevard Saint-Denis.

The Porte Saint-Martin was designed by architect Pierre Bullet at the order of Louis XIV in honor of his victories on the Rhine and in Franche-Comté. Built in 1674, it replaced a medieval gate in the city walls built by Charles V. It was restored in 1988. More on The Porte Saint-Martin

Eugène Galien-Laloue (1854–1941) was a French artist of French-Italian parents and was born in Paris on December 11, 1854. He was a populariser of street scenes, usually painted in autumn or winter. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, la Belle Époque, with horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th-century art, but for the actual history, which they document. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France.

A typical Galien-Laloue painting depicts sidewalks and avenues crowded with people or tourists mingling before the capital's monuments. He also painted the landscapes of Normandy and Seine-et-Marne, as well as military scenes he was commissioned to produce in 1914. The Republic of France selected Galien-Laloue to work as a 'war artist,' both during the Franco-Prussian War and World War I, chiefly in watercolor. More on Eugène Galien-Laloue





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01 Paintings, PORTRAIT OF A LADY, from the 18th & 19th C., with Footnotes. #3a

Gustav Klimt
Dame mit Muff (Lady with a Muff), c. 1916
Oil on canvas
Private Collection

Dame mit Muff. Belonging to the group of late portraits Klimt shows a lady cuddled in her muff- a sophisticated fashion accessory. The background is covered with Asiatic motifs as in most of his lady portraits of 1916. More

Klimt painted portraits of contemporary women with a mysterious, dreamy expression, but also with energy and a lust for life. The painting Lady with a Muff dating from 1916–1917 is one such portrait. The coquettish way in which she obscures part of her face with the fur evokes Klimt’s earlier 1909 work Woman with Hat and Feather Boa (Österreichische Galerie Belvedere, Vienna). 

Last displayed in Viennain 1926, Lady with a Muff (1916–1917) has long been thought lost. Nevertheless, the list of Klimt’s paintings by F. Novotný and J. Dobai (Vienna 1967) and later sources refer to it as “in a private collection”. The private collector purchased Lady with a Muff in the late 1920s or early 1930s, and the National Gallery in Prague may once again present the painting to the public courtesy of its current owner. More on this painting

Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d'art. Klimt's primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.

Early in his artistic career, he was a successful painter of architectural decorations in a conventional manner. As he developed a more personal style, his work was the subject of controversy that culminated when the paintings he completed around 1900 for the ceiling of the Great Hall of the University of Vienna were criticized as pornographic. He subsequently accepted no more public commissions, but achieved a new success with the paintings of his "golden phase," many of which include gold leaf. More Gustav Klimt







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Sunday, April 29, 2018

01 Paintings by the Orientalist Artists in the Nineteenth-Century, with footnotes, 15

Isidore-Alexandre-Augustin Pils, (FRENCH 1813-1875)
Family at doorway preparing cous-cous
Oil on canvas 
90 x 67cm (35.5 x 26.25in) 
Private collection

Isidore-Alexandre-Augustin Pils (19 July 1813/15, Paris – 3 December 1875, Paris) was a French painter. Pils was born in Paris. At the age of twelve, he studied with Guillaume Guillon-Lethière for four years. He later studied under François-Édouard Picot.

By 1840 he'd been admitted to the École des Beaux-Arts and was competing for the Prix de Rome, which he won in 1841 for a history painting, St. Peter Healing a Lame Man at the Door of the Temple. Although in poor health, Pils then spent the customary three years at the French Academy in Rome at the Villa Medici, which then had Jean Auguste Dominique Ingres as its director. While in Italy he visited Naples, Venice, and Florence.

After experiences travelling with French troops through the Crimea, his themes took on military and nationalistic subjects. He later produced many military scenes during the siege of Paris during the Franco-Prussian War of 1870.

Pils was appointed professor of painting at the École des Beaux-Arts in 1863 but left the same year for two years in Algeria. In 1868 he was elected to Académie des Beaux-Arts. More on Isidore-Alexandre-Augustin Pils





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