Monday, August 22, 2016
Portrait of Madame Boucard
1931 Oil on Canvas
(53 1/2"x29 1/2"
Artist: Tamara de Lempicka
Tamara Łempicka, commonly known as Tamara de Lempicka (16 May 1898 – 18 March 1980), was a Polish Art Deco painter and "the first woman artist to be a glamour star". Influenced by Cubism, Lempicka became the leading representative of the Art Deco style across two continents, a favorite artist of many Hollywood stars, referred to as 'the baroness with a brush'. She was the most fashionable portrait painter of her generation among the haute bourgeoisie and aristocracy, painting duchesses and grand dukes and socialites. Through her network of friends, she was also able to display her paintings in the most elite salons of the era. Lempicka was criticized as well as admired for her 'perverse Ingrism', referring to her modern restatement of the master Jean Auguste Dominique Ingres, as displayed in her work Group of Four Nudes (1925) among other studies.
Sunday, August 21, 2016
Antoine Watteau, Was A French Painter Whose Brief Career Spurred The Revival Of Interest In Color And Movement, As Seen In The Tradition Of Correggio And Rubens
The Love Song
The Italian Comedians, 1721
Jean-Antoine Watteau better known as Antoine Watteau, was a French painter whose brief career spurred the revival of interest in color and movement, as seen in the tradition of Correggio and Rubens. He revitalized the waning Baroque style, shifting it to the less severe, more naturalistic, less formally classical Rococo.Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, suffused with a theatrical air. Some of his best known subjects were drawn from the world of Italian comedy and ballet.
Saturday, August 20, 2016
Niccolò Mauruzi da Tolentino at the Battle of San Romano (probably c. 1438–1440), egg tempera with walnut oil and linseed oil on poplar, 182 × 320 cm, National Gallery, London
The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 meters long. According to the National Gallery, London, the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.
Niccolò Mauruzi da Tolentino unseats Bernardino della Ciarda
at the Battle of San Romano (dating uncertain, c. 1435–1455), tempera on wood,
182 × 320 cm, Galleria degli Uffizi, Florence
The Counterattack of Michelotto da Cotignola at the
Battle of San Romano (c. 1455), wood panel, 182 × 317 cm,
Musée du Louvre, Paris
Thursday, August 18, 2016
Simon Vouet's Allegory La Richesse Was Painted About 1640, Possibly For One of the Royal Chateaux of France
Simon Vouet's Allegory La Richesse
(Oil on Canvas - painted about 1640)
Simon Vouet - Muses Urania and Calliope
(Oil on Canvas )
Simon Vouet - Allegory Of Prudence
(Oil on Canvas - painted about 1645)
Simon Vouet (9 January 1590 – 30 June 1649) was a French painter and draftsman, who today is perhaps best remembered for helping to introduce the Italian Baroque style of painting to FranceSimon Vouet was born on January 9, 1590 in Paris. His father Laurent was a painter in Paris and taught him the rudiments of art. Simon's brother Aubin Vouet (1595–1641) and his grandson Ludovico Dorigny (1654–1742) were also painters. Simon began his painting career as a portrait painter. At a young age he travelled to England and was part of the entourage of the Baron de Sancy, French ambassador to Constantinople. From there he went to Venice and was in Rome in 1614.
He spent an extensive period of time in Italy, from 1613 to 1627. He was mostly in Rome where the Baroque style was emerging during these years. He received a pension from the King of France and his patrons included the Barberini family, Cassiano dal Pozzo, Paolo Giordan Orsini and Vincenzo Giustiniani, He also visited other parts of Italy: Venice; Bologna, (where the Carracci family had their academy); Genoa, (where from 1620 to 1622, he worked for the Doria princes); and Naples. He was a natural academic, who absorbed what he saw and studied, and distilled it in his painting: Caravaggio's dramatic lighting; Italian Mannerism; Paolo Veronese's color and di sotto in su or foreshortened perspective; and the art of Carracci, Guercino, Lanfranco and Guido Reni. Vouet's immense success in Rome led to his election as president of the Accademia di San Luca in 1624. In 1626 he married Virginia da Vezzo who modelled Madonnas for Vouet's religious commissions.
Tuesday, August 16, 2016
Paul Cézanne's The Card Players Shatters Records For Highest Price Ever For A Work Of Art Of More Than $250 Million in 2011
Medium Oil Canvas
The Card Players
When Qatar purchased Cézanne’s The Card Players for more than $250 million, in 2011 it nearly doubled the previous auction record for a work of art. The oil painting, depicting a pair of Aix-en-Provence farmhands engaged in a game of cards, is one of five works in a series by famed French post-Impressionist, Paul Cézanne. The remaining four, all believed to have been created at the turn of the 20th century, reside in collections from the world’s most venerable fine arts institutions: the Metropolitan Museum of Art, the Courtauld, the Musée d’Orsay and the Barnes Foundation. Qatar’s own Card Players acquisition puts the country’s art stash in the same line of sight.
Sunday, August 14, 2016
Captain George K. H. Coussmaker
Sir Joshua Reynolds - Oil on canvas portrait
Coussmaker was born in London in 1759 to Evert and Mary Coussmaker, and entered the military in 1776. He was promoted several times but never saw active service and retired in 1795. He married Catherine Southwell in 1790 and fathered two children, George and Sophia (later, the Baroness de Clifford). He died in 1801. Coussmaker sat for Reynolds 21 times and his horse 8 times between February 9 and April 16, 1782 - an exceptional number of times. Reynolds was paid 205 pounds, plus 10 guineas for the frame. The portrait remained with Coussmaker and his descendants until 1884 when it was sold to William K. Vanderbilt and bequeathed to the Metropolitan Museum of Art in 1920. Museum curators describe the picture as "an exceptionally fine work ... The composition is complex and the whole vigorously painted."
Saturday, August 13, 2016
The Archers, Colonel Acland and Lord Sydney
Sir Joshua Reynolds - Oil Painting
The Archers is an oil-on-canvas painting by Sir Joshua Reynolds undertaken between 1769 and 1770. The artwork depicts the two aristocrats Colonel John Dyke Acland (1746–1778; at right) and Lord Sydney (1732–1774), a diplomat. Reynolds began the work in 1769, and completed it the next year. In 1769 Reynolds had become the first president of the new Royal Academy.
Artist: Sir Joshua Reynolds - Oil Canvas
The Ladies Waldegrave
The Ladies Waldegrave is a 1780-81 portrait by Joshua Reynolds, now in the National Gallery of Scotland, who acquired it in 1952. It shows the three daughters of James Waldegrave, 2nd Earl Waldegrave and Maria Walpole - from left to right, Charlotte (holding a skein of silk), Elizabeth (winding Charlotte's skein onto a card) and Anna (producing tambour lace). Exhibited at the Royal Academy in 1781, it was commissioned the previous year by the subjects' mother in the hope of attracting potential suitors for them - all three of them were then unmarried.
Sir Joshua Reynolds 16 July 1723 – 23 February 1792) was an influential eighteenth-century English painter, specializing in portraits. He promoted the "Grand Style" in painting which depended on idealization of the imperfect. He was a founder and first president of the Royal Academy of Arts, and was knighted by George III in 1769.