Wednesday, December 26, 2018

01 Paintings, PORTRAIT OF A LADY, with Footnotes. #51

Titti Garelli, Italy
QUEEN ELENA
Acrylic on Wood
Size: 27.6 H x 19.7 W x 0.8 in

Princess Elena of Montenegro, or more commonly known as Queen Elena of Italy (8 January 1871 – 28 November 1952) was the daughter of King Nicholas I of Montenegro and his wife, Milena Vukotić. As wife of Victor Emmanuel III of Italy, she was Queen of Italy from 1900 until 1946 and Queen consort of the Albanians from 1939 until 1943.

On 28 December 1908 Messina was hit by a disastrous earthquake. Queen Elena helped with the rescuers. This helped to increase her popularity. During the First World War Elena worked as a nurse and turned Quirinal Palace and Villa Margherita into hospitals. To raise funds, she invented the "signed photograph", which was sold at the charity desks. 

On 25 July 1943 Victor Emmanuel III had Benito Mussolini arrested. The king left Rome on 9 September to flee to Brindisi with the help of the Allies and Elena followed her husband in his escape. In contrast, on 23 September their daughter Mafalda was arrested by the Nazis and sent to Buchenwald concentration camp, where she died in 1944.

On 2 June 1946 a referendum resulted in 52 percent of voters favouring an Italian republic over the monarchy. The republic was formally proclaimed four days later, and the House of Savoy's reign over Italy formally ended on 12 June 1946. Elena and Victor Emmanuel III went to Egypt, where they were welcomed with great honor by King Faruk, but forced to live the rest of their lives in exile. More on Queen Elena

Titti Garelli, 1948, was born in Turin, Italy. She studied art at the Turin artistic lyceum, under realist painter Sergio Saroni, and at the Albertina Academy of Fine Arts.

An exceptional watercolorist, Garelli exhibits her work at prestigious Italian and international art galleries. Her illustrations are also sought after by publishing houses and leading international marketing firms. An outstanding portrait artist, Garelli employs in her work the oil, acrylic and pastel techniques. More on Titti Garelli



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Friday, December 14, 2018

01 Paintings, PORTRAIT OF A LADY, Dolly Henry, with Footnotes. #50

Heywood Hardy, (British, 1843-1933) 
"Riding on the Dunes" 
Oil on canvas 
33" x 30"
Private collection

Heywood Hardy (25 November 1842 – 20 January 1933) was a British artist, in particular an animal painter and painter of horse riding scenes. He also painted landscapes and portraits, especially equestrian portraits.

Heywood Hardy was born on 25 November 1842 at Chichester in Sussex, the youngest of ten children of the artist James Hardy senior. When he was 17 years old Heywood Hardy left the family home in Bath and removed to Keynsham near Bristol. His first two paintings, landscapes, were accepted for exhibition at The Royal Academy in 1864. In the same year he was appointed an Ensign in the 7th Somersetshire Rifle Volunteer Corps, a part-time position. Later that year he left Keynsham to study at the École des Beaux-Arts in Paris.Hardy spent much of his spare time copying paintings in the Louvre.

After his years of bohemianism in Paris, Heywood returned to England via Antwerp and by 1869 was living at Goring in Oxfordshire, near the bridge over the Thames.

His pictures of horse riding by the seashore and riders in 18th century settings are among his most popular paintings. He was much in demand to paint equestrian portraits and pictures of the most famous Hunts and foxhounds of his day.

Heywood Hardy was a founder member of the Royal Society of Portrait Painters, a founder member of the Royal Society of Painter-Etchers, a member of the Royal Institute of Oil Painters, and an Associate of the Royal Watercolour Society. More on Heywood Hardy



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Tuesday, December 11, 2018

02 Paintings, PORTRAIT OF A LADY, with Footnotes. #48

PAUL DELVAUX, (1897-1994) 
Les baigneuses/The Bathers, c. 1930 

Chinese ink and watercolor on paper 
55 x 73,5 cm 
Private collection

Paul Delvaux (23 September 1897 – 20 July 1994) was a Belgian painter famous for his paintings of female nudes. He was influenced by the works of Giorgio de Chirico, and was also briefly associated with surrealism.

The young Delvaux took music lessons, studied Greek and Latin, and absorbed the fiction of Jules Verne and the poetry of Homer. All of his work was to be influenced by these readings, starting with his earliest drawings showing mythological scenes. He studied at the Académie Royale des Beaux-Arts in Brussels, attending painting classes taught by Constant Montald and Jean Delville. The painters Frans Courtens and Alfred Bastien also encouraged Delvaux, whose works from this period were primarily naturalistic landscapes. 

PAUL DELVAUX (1897-1994) 
The two friends, c. 1967 
Watercolor, Indian ink and pencil on paper 
63 x 100 cm
Private collection

Delvaux's paintings of the late 1920s and early 1930s, which feature nudes in landscapes. A change of style around 1933 reflects the influence of the metaphysical art. In the early 1930s Delvaux found further inspiration in visits to the Brussels Fair, where the Spitzner Museum, a museum of medical curiosities, supplying him with motifs that would appear throughout his subsequent work.


In 1959 he executed a mural at the Palais des Congrès in Brussels, one of several large scale decorative commissions Delvaux undertook. He was named director of the Académie Royale des Beaux-Arts in 1965. In 1982 the Paul Delvaux Museum opened in Saint-Idesbald. Delvaux died in Veurne in 1994. More on Paul Delvaux



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Saturday, November 10, 2018

03 Paintings, PORTRAIT OF A LADY, Dolly Henry, with Footnotes. #49

John S. Currie, (British, circa 1884-1914)
Dolly Henry on Hampstead Heath, c. 1913
Oil on canvas
61 x 46cm (24 x 18 1/8in)
Private collection

Currie met Dorothy Henry, a tall, attractive seventeen-year-old who modelled dresses at a Regent Street department store. Currie's friend and patron, Michael Sadleir, remarked that she "was of flower-like loveliness, but lascivious and possessive to the last degrees. Her lure for men were irresistible, and Currie was of course utterly enslaved to her physical attraction, a fact of which she was well aware." Currie's wife discovered the affair in August 1911 and he abandoned her and his young son and set-up home with Dolly in Primrose Hill.

Dolly was poorly educated, unintelligent, and had no interest in art. She resented Currie's absorption in his work, and attempted to make herself the centre of his life." Haycock quotes a friend who later recalled that Dolly used the power of her beauty and sexuality "to goad him from abject desire to baffled fury and then, suddenly complaisant, to win him back again. This dangerous cruelty led to violent quarrels and blows."

Dolly Henry left Currie at the beginning of 1914. He told Michael Sadleir he was contemplating suicide. He explained that the main sources of his anguish was Dolly faithlessness, and his fear that his period of artistic genius had passed. 

John S. Currie c.1884–1914
Head of a Woman, c. 1913
Oil paint on wood
454 x 349 mm
Tate

In March 1914, Dolly agreed to return to Currie and they decided to move to Brittany. Dolly Henry took a flat in Paultons Square, just off the King's Road. When Currie returned to London he heard rumours that Dolly had modelled for pornographic photographs and was spreading rumours about him in an attempt to ruin his career.

On 8th October 1914, Currie murdered Dolly Henry. The Times reported the following day. "A young woman, whose name is said to be Dorothy or Eileen Henry, was found fatally shot in a house in Chelsea... At a quarter to eight yesterday morning shots and screams were heard. The other occupants of the house ran upstairs and found the woman on the landing in her nightdress bleeding from wounds. In the bedroom a man partly dressed was discovered with wounds in the chest. He was taken to Chelsea infirmary, but the woman died before the arrival of a doctor." Currie died three days later. More on Dolly and John

John Currie (ca. 1884 – 11 October 1914) was an English painter. Born in Staffordshire, the illegitimate son of an Ulster-Scottish father who was a 'navvy' working on the railways and an English mother, he worked as an artist in the Potteries, painting ceramics, before going to the Royal College of Art in 1905, and later becoming Master of Life Painting at Bristol. He married in 1907. In the summer of 1910 he briefly attended the Slade School of Art, where he joined the 'Neo-Primitive' group. The contemporary art collector Michael Sadleir described him as 'blazing with genius'; others likened him to a character in a Dostoevsky novel.

Shortly before the start of World War I he traveled to France, painting for a time in Brittany. Currie had previously abandoned his wife and young son to begin a long and tempestuous affair with an attractive though unintelligent Irish model, Dolly Henry. (In full, Dorothy Eileen Henry, though sometimes written O'Henry). This ended with Currie shooting her dead at her Chelsea apartment; he then turned the gun on himself, and died in hospital a few days later. More on John Currie


John Currie (1883–1914)
The Witch, c. 1913
Oil on panel
49 x 39 cm
The Potteries Museum & Art Gallery






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Saturday, October 27, 2018

01 Paintings, PORTRAIT OF A LADY, with Footnotes. #47

Robert Brackman, Ukrainian/American (1898 - 1980)
Seated Nude, circa 1970
Pastel on Paper
20.5 x 18.5 in. (52.07 x 46.99 cm)
Private collection

Robert Brackman (September 25, 1898 – July 16, 1980) was an American artist and teacher of Ukrainian origin, best known for large figural works, portraits, and still lifes. Born in Odes'ka Oblast, Ukraine, he emigrated from the Russian Empire in 1908.

Brackman studied at the National Academy of Design from 1919 to 1921, and the Ferrer School in San Francisco. From 1931, he had a long career teaching at the Art Students League of New York where he was a life member. He also taught at the American Art School in New York City, the Brooklyn Museum School, the Lyme Academy College of Fine Arts, and the Madison Art School in Connecticut. In 1932, Brackman was elected into the National Academy of Design as an Associate member, and became a full member in 1940.


Brackman was married to Rochelle Post; they later divorced. He had two daughters with his second wife. More on Robert Brackman




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Friday, October 26, 2018

01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #46

Gustav Klimt
Portrait of a Lady in Black/Portrait of Marie Breunig, About 1894
 Oil on canvas
155 x 75 cm
Privately owned, Austria

Marie Breunig was born in humble circumstances in one of the crownlands of the monarchy and married a successful Viennese businessman. She was also a client of the Flöge sisters' fashion salon and was already befriended with them at the time this painting was created. More on Marie Breunig

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

After the death of Klimt, the writer and art critic Berta Tsukerkandl wrote in the Vienna newspaper Wiener Zeitung: "One of the greatest died. A simple hero. Quiet , tenacious fighter. Invincible. Winner. [...] The death of Klimt permeates our souls as something incomprehensible , as the desecration of wonderful gift , prepodnesonnogo humanity. "  The Leopold Museum


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02 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #45

 Paul Delaroche, 1797 - 1856
The Execution of Lady Jane Grey, c. 1833
Oil on canvas
246 × 297 cm
National Gallery

The Execution of Lady Jane Grey was enormously popular in the decades after it was painted, but in the 20th century realist historical paintings fell from critical favour and it was kept in storage. Restored and displayed again since 1975, it immediately once again became a highly popular work, especially with younger visitors.

Lady Jane Grey was the great-granddaughter of Henry VII of England and first cousin once removed to his grandson, the short-lived Edward VI. After Edward's death she was proclaimed queen, being given precedence over Henry VIII's daughters, Mary Tudor and Elizabeth. Two weeks after the death of her brother, Mary, who had the support of the English people, claimed the throne, which Jane relinquished, having reigned for only nine days. Jane, her husband Lord Guilford Dudley, and her father, were imprisoned in the Tower of London on charges of high treason. On Friday 12 February, Mary had Jane, then aged 16, and her husband beheaded. Her father followed two days later. More on Lady Jane Grey

Paul Delaroche (Paris, 17 July 1797 – 4 November 1856) was a French painter. He became famous in Europe for his melodramatic scenes that often portrayed subjects from English and French history. The emotions emphasised in Delaroche's paintings appeal to Romanticism while the detail of his work along with the deglorified portrayal of historic figures follow the trends of Academicism and Neoclassicism. Delaroche aimed to depict his subjects and history with pragmatic realism. 


Delaroche was born into a generation that saw the stylistic conflicts between Romanticism and Davidian Classicism. Davidian Classicism was widely accepted and enjoyed by society so as a developing artist at the time of the introduction of Romanticism in Paris, Delaroche found his place between the two movements. Later in the 1830s, Delaroche exhibited the first of his major religious works. His change of subject and “the painting’s austere manner” were ill-received by critics and after 1837, he stopped exhibiting his work altogether. At the time of his death in 1856, he was painting a series of four scenes from the Life of the Virgin. Only one work from this series was completed: the Virgin Contemplating the Crown of Thorns. More on Paul Delaroche 

Fanny Nushka, France
Knee Down
Oil on Canvas.
20.5 H x 25.6 W x 1.2 in

"Discovering the painting The Execution of Lady Jane by Delaroche, I saw for one second a couple dancing. Realising it was a much darker subject, I decided to play on the ambiguity and to reconstruct the painting as such." Fanny Nushka

Fanny Nushka, "I was born in 1983 in Lille, France and I now live in Marseille, Southern France. I am a figurative painter. American painter Maggie Siner gave me my first painting lessons when I was a teenager. Since then, I always painted - even when I was a student or a busy contemporary art gallery manager. In 2014 I decided to dedicate myself to painting. I am now a happy, self-taught and full-time painter." More on Fanny Nushka



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Saturday, October 20, 2018

01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #45

Nikolai Vasilyevich Nevrev, (Russian 1830-1904) 
The Young Widow, 1867 
oil on canvas 
60.5 x 45.7 cm (23 3/4 x 18 in.) 
Private collection

Nikolai Vasilyevich Nevrev (Russian: 1830, Moscow – 3 May 1904, Mogilev Governorate) was a Russian painter who specialized in genre and historical scenes.

Nevrev was born to a family of merchants. His first art lessons came from his stepfather, who was a drawing teacher. At the age of 21, Nevrev entered the Moscow School of Painting, Sculpture and Architecture (MSPSA), where he studied under the Russian-Italian painter, Mikhail Scotti. Upon graduating in 1855, he was named a "Free Artist". In the 60s, Nevrev painted one of his masterpieces, "The Bargain" (1866), in which he depicted the sale of a serf. Some other paintings focused on criticisms of the Church.

He temporarily stopped working in the 1870s, for unknown reasons, but began painting historical art in the 80s. In 1881, he became a member of the Association of Travelling Art Exhibitions. His best work during this time was arguably his genre paintings, each exhibiting a human moral. From 1887 to 1890, he taught at the MSPSA and, in 1889, became curator at the Tretyakov Gallery.

In 1898, following the death of Pavel Tretyakov, he was offered the position of Director at the gallery, but declined, citing old age and poor health. At the age of 74, in great financial distress, he committed suicide by shooting himself at his estate near Mogilev.

On 25 September 1980, the Soviet Union issued a 6 kopek postage stamp commemorating the 150th anniversary of his birth. An international open-air painting festival is held annually in his honor in the Mogilev Region of Belarus. More on Nikolai Vasilyevich Nevrev




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Thursday, October 18, 2018

02 Works, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #44

Irving Ramsey Wiles (1861 - 1948)
Ada May Weeks
Oil on canvas
Height of 35-3/8" with Width of 27-1/2"
Private collection

Versatile dancer of the stage and screen, Ada-May (Ada May Weeks) first headlined on Broadway in the 1924 musical "Lollipop." A native of Long Island, she danced in public at age five, and by high school had mastered ballroom, ballet, tap, and "aesthetic" (modern) dance. At age fourteen, she understudied Marilyn Miller in "Around the World" and worked as a solo dancer for Ziegfeld in the Midnight Frolic. Ada-May discovered a talent for comedy and quickly adapted to speaking parts, playing effectively in minor roles in "Fancy Free," "Listen Lester," and "Jim Jam Jems." In 1927 she played a lead role in "Rio Rita," the musical hit that opened the new Ziegfeld Theater. More on Ada-May

Irving Ramsey Wiles (April 8, 1861 – July 29, 1948) was an American artist, born in Utica, New York. He was educated at the Sedgwick Institute in Great Barrington, and learned the basics of painting from his father, Lemuel M. Wiles (1826–1905), who focused primarily on landscapes. From 1879 to 1881 he studied in the Art Students League of New York under James Carroll Beckwith and William Merritt Chase, and later in Paris under Carolus-Duran.

In his early years, he worked as an illustrator for American magazines, and later he devoted himself with great success to portraiture. He was a member of the Society of American Artists, which prefaced his 1897 election into the National Academy of Design as an associate. Wiles was also a member of the American Water Color Society. More on Irving Ramsey Wiles

Ada May (1896–1978)





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Tuesday, October 16, 2018

01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #43

CIRCLE OF SIR PETER LELY
Portrait of a lady
Oil on canvas
60.8 x 49.1 cm.; 24 x 19 3/8  in.
Private collection

Peter Lely, Dutch, British, English (Born Soest, Westphalia, 14 September 1618; died London, 30 November 1680). Painter of Dutch origin who spent almost all his career in England and was naturalized in 1662. His family name was originally van der Faes, and the name Lely is said to have come from a lily carved on the house in The Hague where his father was born. Lely was born in Germany and trained in Haarlem.

He moved to England in the early 1640s, and although he first painted figure compositions in landscapes (Sleeping Nymphs, c.1650, Dulwich Picture Gal., London), he soon turned to the more profitable field of portraiture. 


Fortune shone on him, for within a few years of his arrival the best portraitists in England disappeared from the scene: van Dyck and William Dobson died in 1641 and 1646 respectively, and Cornelius Johnson returned to Holland in 1643. In 1654 he was described as ‘the best artist in England’. Lely portrayed Charles I and his children, Oliver Cromwell and his son Richard, and other leading figures of the Interregnum. With the aid of a team of assistants he maintained an enormous output, and his fleshy, sleepy beauties clad in exquisite silks and his bewigged courtiers have created the popular image of Restoration England. More on Peter Lely




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Saturday, October 13, 2018

01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #42

Isaac Israels, 1865-1934, DUTCH
Carmencita 
Oil on canvas
91.5 by 72cm., 36 by 28¼in.
Private collection

Carmen Dauset Moreno, better known simply as Carmencita (1868 – 1910), was a Spanish-style dancer in American pre-vaudeville variety and music hall ballet.

Born in Almería, Andalusia, Spain, Carmencita took dancing lessons in Malaga and first danced professionally at Malaga's Cervantes Theatre in 1880. In 1882 she toured Spain and later traveled to Paris and Portugal. She returned to Paris during the Exposition Universelle (1889) and danced at the Nouveau Cirque where theatrical agent Bolossy Kiralfy saw her performance and subsequently induced her to come to the United States under his management. She debuted in New York on August 17, 1889, dancing in the ballet of "Antiope." Her association with Kiralfy ended in early 1890, and she rose to fame under the management of John Koster and Albert Bial, who put her in their 23rd Street Concert Hall commencing 10 February 1890. Over the next several years Carmencita performed in major cities across the country. She appeared in Koster & Bial's new Music Hall in November and early December 1894 before selling her possessions and returning to Europe. She performed at the Palace Theatre, London in February 1895  and then periodically at the Théâtre des Nouveautés in Paris. More on Carmencita 

Jozef Israëls’s son, Isaac Israels (1865–1934) was raised on a diet of painting and travel. At thirteen, he entered art school in The Hague, where his prodigious talent was soon noticed. In 1881, he began a painting that was purchased before it was completed by Hendrik Willem Mesdag. In 1886, Israels enrolled at Amsterdam’s Art Academy, where he was considered ‘too good’. Israels often spent the summer months with his father in Scheveningen, where he painted seaside scenes in bright colours. In Amsterdam, Israels spent much of his time with George Hendrik Breitner. Both were fascinated by the idea of portraying city life by capturing a passing moment in time. To convey the sense of a snapshot, they cropped their subjects abruptly. Israels was in Paris, London and briefly in the Dutch East Indies from 1903 to 1923. He then returned to The Hague and took over his father's studio. There he remained, producing impressionist paintings in light colours. More on Isaac Israels




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Thursday, October 11, 2018

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

Mahmoud Said, 1897-1964, EGYPTIAN
PORTRAIT DE MME. BATANOUNI BEY, c. 1923
Oil on canvas
79.5 by 65cm.; 31 1/2 by 25 1/2 in.
Private collection

Ferdous, Mme Batanouni Bey, whose name means 'Paradise' in Arabic, was a lady of prominence in Alexandria, even serving as Queen Farida’s lady in waiting. A philanthropist by nature, she was one of the founders of the Red Crescent Society in Egypt, and spearheaded initiatives to improve orphanages and develop their financial sufficiency. Seated regally, Portrait de Mme Batanouni Bey shows Ferdous as a noblewoman, while retaining a connection to her Egyptian background. Ferdous embodies both the liberated Egyptian woman of the 1920s and the universal Art Deco style from the Belle Époque era of Alexandria. Ferdous was a pioneering and an independent woman. Said represented her with reverence as symbols of Egypt's national identity. The painting captures the heritage and splendor of an era in Alexandria that was fast fading.  It renders the viewer with nostalgia of the vibrant and cosmopolitan Alexandria of Mahmoud Saïd.

The beauty of the woman is unmistakably Egyptian, depicted with characteristic full lips, high cheekbones and dusky skin, imbued with a serene yet sensual sense of magnificence. Saïd’s masterful grasp of light is particularly evident in the distinctive luminosity of her skin. The rich palette of this painting draws on the exotic colours of Egypt, accentuating the artist's affinity for the distinctive colours of the Middle East. Indeed, the work cannot simply be said to be a portrait, as the background encapsulates all the components of Saïd’s celebrated landscapes – from the boats on the Nile to the traditional buildings. More on Mme Batanouni Bey

Portrait of Mrs Batanouni Bey

Mahmoud Said, 1897-1964, EGYPTIAN. Born into a wealthy Alexandrian family, Mahmoud Said first studied jurisprudence at the French School of Law in Cairo in the 1910s. During his studies, he became interested in painting, and joined the studios of Italian painters Amelia Casonato da Forno and Arturo Zanieri, before travelling to France to study in Paris, briefly at the Académie Julian. Though he worked for almost thirty years as a lawyer and then a judge, he continued to paint in his free time until he quit law in the late 1940s and devoted himself to art completely. He is considered the foremost painter of the ‘Pioneer’ generation of Egyptian artists, renowned for his bold, richly coloured portraits, nudes, and landscapes. He painted continuously until his death in 1964.


 Said’s works are housed in private and public collections including Mathaf: Arab Museum of Modern Art, Doha; Museum of Modern Egyptian Art, Cairo; Mahmoud Said Museum, Alexandria, and Ministry of Culture, Egypt. More on Mahmoud Said

Portrait of Mrs Batanouni Bey




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Tuesday, October 2, 2018

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

Ignacio Zuloaga, 1870 - 1945, SPANISH
MADEMOISELLE SOUTY, C. 1915
Oil on canvas
190 by 120cm., 74¾ by 47¼in.
Private collection

Mlle. Souty was half Spanish, half French. 

Zuloaga was introduced to Marcelle Souty by his friend the painter Jean-Gabriel Domergue, for whom she also modelled. Attracted to her distinctive, sophisticated elegance she became one of Zuloaga's favourite models from 1914 until the early 1920s. In his catalogue raisonné Ferrari records at least five large scale finished portraits of her, the present work plus one of her standing dressed as a torero, one reclining clothed, one sitting holding a carnation, one dressed in black, and one reclining nude (bottom). More on this painting

Ignacio Zuloaga, in full Ignacio Zuloaga y Zabaleta (born July 26, 1870, Eibar, near Bilbao, Spain—died Oct. 31, 1945, Madrid) Spanish genre and portrait painter noted for his theatrical paintings of figures from Spanish culture and folklore.

The son of a successful metalworker, Zuloaga was a largely self-taught artist who learned to paint by copying Old Masters in the Prado Museum in Madrid. Beginning about 1890, he split his time between Paris and Spain. In Paris he became acquainted with the artists Paul Gauguin, Edgar Degas, and Auguste Rodin. Despite his contact with these prominent French artists, however, his main influences were the Spanish masters El Greco, Diego Velázquez, and Francisco de Goya.

Inspired by a visit to the Andalusia region of Spain in 1892, Zuloaga began to focus on subject matter from Spanish culture and folklore, such as bullfighters, peasants, and dancers. He used earthen colours almost exclusively and often placed his figures against dramatic landscapes. Zuloaga began to achieve international success with the painting Daniel Zuloaga and His Daughters, which was exhibited in 1899 and purchased by the French government for the Luxembourg Museum in Paris. About 1907 he became a popular society portraitist, an aspect of his career that brought him considerable wealth.


After spending much of his career working in Paris, Zuloaga settled permanently in Spain in 1924. His paintings were exhibited in a highly successful one-man show in New York City in 1925. He was awarded the grand prize for painting at the Venice Biennale in 1938. More on Ignacio Zuloaga

Ignacio Zuloaga, 1870 - 1945, SPANISH
Madame Souty Reclining on a Sofa, c. 1921
Oil on canvas
Private collection

Painted in 1921, Zuloaga's gloriously brazen depiction of Marcelle Souty reclining in the artist's Paris studio is one of his most audacious portraits, and arguably his greatest painting of the nude. The work is a remarkable culmination of a series of large scale oils of the sitter that Zuloaga painted over a seven year period. More on this painting




Please visit my other blogs: Art CollectorMythologyMarine Art, and The Canals of Venice

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

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.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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Thank you for visiting my blog and also for liking its posts and pages.