Archive for the 'Fine Art' Category

The Art of Interior Design

February 2nd, 2017 | posted by Danielle Halikias

Some collectors of fine art begin with their favorite masterpiece to build the color scheme of their room, but for most of us, redecorating around a single painting is not always feasible. Lucky for us, it is possible to find museum-quality art that will fit right in with your home design scheme using just a few, easy interior design tips. A basic understanding of interior color schemes can help you choose a piece you love that is the perfect fit for your home.

First, begin with the basic color scheme of your room. The following three examples are the most popular, and each offer a myriad of options for inspired design!


 

1. Monochromatic
Perhaps the easiest to understand, the monochromatic color scheme is also the most versatile, and can range from soothing to dramatic depending on your chosen color. This scheme uses just one shade of a single color throughout the entire design. Most often seen in neutral schemes of white and grey, other more adventurous types may choose a bold blue or theatrical red to pull a room together. Regardless of your hue, choose a painting that matches it to complement this scheme. Or, get daring and add a dramatic pop of color to an otherwise neutral room.

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Falaise by Claude Monet exudes tranquility with its blueish-grey monochrome palette

An Italian Beauty by Tito Conti

Tito Conti’s An Italian Beauty would suit a neutral white scheme


 

2. Analogous

Allowing for more diversity in a room’s palette, the analogous color scheme brings together hues that sit next to one another on the color wheel. Blues, teals, and greens are popular, while reds, oranges, and yellow offer a warmer feel. When choosing a painting for an analogous room, ideally you can find all three hues, though just one will do!

The Russian Emigrants by Lucien Levy-Dhurmer

Lucien Levy-Dhurmer favors a warm red, orange and yellow palette

Pont sur la Seine by Achille Laugé

Pont sur la Seine by Achille Laugé combines three analogous hues, purple, blue, green, in one stunning scene


3. Complementary

The complementary color scheme – the use of two colors on opposite sides of the color wheel – can add the most depth to a room. Generally, one color will predominate, while the other provides vibrant, contrasting pops of color. This scheme is all about balance, and when used properly, it can draw maximum attention to your work of art. Just be sure to choose a piece that matches your accent color rather than your primary color to truly benefit from the contrast.

For instance, if the primary color of your room is green, choose accents that provide pops of red:

Football by Fedor Ivanovich Zakharov

Football by Fedor Ivanovich Zakharov

Study for Nude with Bad Abstract Painting by Tom Wesselmann

Study for Nude with Bad Abstract Painting by Tom Wesselmann

 

Alternately, if your room is red, go green with your accents:

Dans le Jardin à Sorel-Moussel by Blanche Hoschedé-Monet

Dans le Jardin à Sorel-Moussel by Blanche Hoschedé-Monet

Jeune Fille au Manteau Vert by Berthe Morisot

Jeune Fille au Manteau Vert by Berthe Morisot


 

Both color and art have the ability to transform an entire room. Bringing together the two can achieve something truly dramatic and special, all while displaying your own personality and tastes. When displayed well, art has the power to enliven your home – you need only to choose your favorite!

 

The Forgotten Virtuoso: Blanche Hoschedé-Monet

January 17th, 2017 | posted by Bill Rau
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Dans le Jardin à Sorel-Moussel by Blanche Hoschedé-Monet

With a glorious oeuvre that radiates with the influence of her mentor, step-father and father-in-law Claude Monet, Blanche Hoschedé-Monet’s canvases are amongst the most stunning Impressionist paintings ever composed. Even though, in many ways, her paintings are almost indistinguishable in beauty and technical prowess from the works of the Impressionist master, Hoschedé-Monet has only recently begun to receive her rightful recognition as a pivotal member of the Impressionist Movement.

Born into an affluent family in 1865, Hoschedé-Monet began painting at the age of 11, not as a pathway to a career, but as a pursuit intended to eventually make her a more well-rounded and therefore, more desirable, wife. Her father Ernest, a wealthy merchant, was a friend and great patron of Monet’s works, even acquiring Monet’s famed Impression, Sunrise (1872), the work that gave the Impressionist Movement its name. However, by 1878 the Hoschedé’s lost their fortune, and Monet invited his former patrons to live with his family. By 1880, Monet’s wife Camille succumbed to cancer, and Ernest had abandoned his family, leaving his wife Alice and six children to stay with Monet. Alice stepped in and took charge of caring for Monet’s two sons, Michel and Jean, along with her own children. In 1892, Claude and Alice would become husband and wife, with Blanche and Jean Monet marrying just five years later.

During this time, Monet took a great interest in Blanche’s desire to paint, and he immediately took the burgeoning artist on as his protégé. By the age of 17, Blanche was his only student, and the two became inseparable. Painting en plein air, the pair would rest their easels right next to each other, with Blanche closely following Monet’s advice and absorbing every nuance and bit of information at the hands of the master.

This kinship is beautifully reflected in Dans le Jardin à Sorel-Moussel (In the Garden at Sorel-Moussel), which depicts the home of Blanche’s brother-in-law, Michel Monet. The play of light through the lush foliage, and the use of such a brilliant color palette with short, purposeful brushstrokes has been described as “pure Impressionism.” Elevating the rarity and importance of the present work is that of the inclusion of figures, as she tended to shy away from portraiture. Of the three paintings of Michel’s home she composed in her career, this is the only one that features members of her family.

Blanche’s paintings were exhibited extensively at the Salon des Indépendants as well as the Salon de la Société des Artistes Rouennais throughout her career. Today, her works are coveted by museums throughout the world, and prized in a handful of private collections. Though her gorgeous paintings were greatly influenced by her mentor, it is clear that Blanche Hoschedé-Monet’s incredible canvases stand firm in their own right, holding true to the root of Impressionist ideals and more than deserve their place in the annals of art history.

To learn more about Blanche Hoschedé-Monet’s Dans le Jardin à Sorel-Moussel, click here.

America, Illustrated: An Exhibition of Saturday Evening Post Cover Illustrations

December 17th, 2015 | posted by Bill Rau
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The Babysitter by Norman Rockwell, November 8, 1947 Saturday Evening Post cover

Future President by George Hughes, September 25, 1948 Saturday Evening Post cover

Future President by George Hughes, September 25, 1948 Saturday Evening Post cover

The great illustrators of the 20th century captured American history unlike any artist before, and the famed Saturday Evening Post carried their images to millions of Americans, into their hearts and homes. At M.S. Rau Antiques, we are exploring the nation’s rich story as told by six decades of original Post illustrations in our current exhibition, America, Illustrated. Featuring original Post covers by Norman Rockwell and his contemporaries, including J.C. Leyendecker, Stevan Dohanos, Maxfield Parrish, John Philip Falter, and more, the exhibition offers a nostalgic look into a bygone age.

Beginning in the 1900s, the comprehensive exhibition spans nearly the entire lifespan of the Saturday Evening Post, which published weekly from 1897 until 1963. This iconic American magazine was the first to reach a mass audience – over six million subscribers at its peak, not to mention rack sales – and stands as one of the most widespread and influential middle-class magazines in American history.

The iconic Post cover illustrations present compelling scenes of everyday life the come together to forge a portrait of a country and its people, shaped by period of peace and war, moments of immense happiness and despair, and of great societal change.

The exhibition opens at the dawn of a new century. The 1900s would truly be remembered as the decade that invented the future. An exciting time in technology, culture, and the arts, American culture found itself at a crossroads – awakening to change with echoes of the past still visible. J.C. Leyendecker’s Easter from 1906, presenting a high-hatted gentleman and his impeccably dressed female companion, is emblematic of the Victorian ideals still held by the most affluent in society at the turn of the century – ideals which would soon become obsolete.

Begging for the Turkey by J.C. Leyendecker, 1933 Thanksgiving cover of The Saturday Evening Post

Begging for the Turkey by J.C. Leyendecker, 1933 Thanksgiving cover of The Saturday Evening Post

Much of the exhibition is colored by the two World Wars, which came to dominate cultural narrative of their respective eras. During the country’s darkest times, the Saturday Evening Post’s poignant wartime covers gave cause to keep faith in humankind and support the American troops. Norman Rockwell’s Willie Gillis is one of the most iconic characters from the Post’s wartime illustrations.  Rockwell uses his well-honed talent for storytelling to give the war a human face through his character, Willie, who, even in wartime, lends humor to the most difficult of subjects. Through his wartime works, Rockwell successfully communicated a strong moral compass for the nation.

Along the way, these original illustrations give face to some of the most significant advancements of American history, from women’s rights to the automobile and the radio. They also give a glimpse into our most heartwarming times, including moments of childhood wonder and holiday fun. Coming to a close in the 1950s with idealized images of suburbia and the American Dream, this exhibition offers a truly nostalgic and heartwarming vision of one generation’s lived experience.

The exhibition runs through January 5 at M.S. Rau Antiques’ French Quarter Gallery. Click here for more information about the works in this family-friendly, nostalgic exhibition that is perfect for the holiday season.

The Marquess of Londonderry’s Portrait of Napoleon III

July 8th, 2015 | posted by Sue Loustalot
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Winterhalter was a favorite of Napoleon III and Empress Eugénie, and completed numerous commissions for the royal couple. (M.S. Rau Antiques, New Orleans)

M.S. Rau Antiques has spent the past 103 years searching the world for objects that are both incredibly beautiful and one-of-a-kind.  Every now and then, we come across a piece that has that “it factor” of also having a fascinating story to tell…a work of art that’s provenance sounds as if it were taken from an epic legend  rather than the pages of history.  This exceptional Portrait of Napoleon III is just such a historical masterpiece.

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This portrait (upper left) is shown hanging opposite the portrait of Emir Abd-el-Kadr (a part of the same commission) in the Marquess’ ballroom. (Scan from “Londonderry House” by H. Montgomery Hyde, plate IX)

Attributed to renowned royal portraitist Franz Xavier Winterhalter, this portrait of Napoleon III was commissioned and given by the Emperor to the Marquess of Londonderry, Charles Vane, as a gift for his efforts in securing the release of Algerian Emir of Mascara, Abd-el-Kadr. The Emir was unjustly imprisoned by French forces under the rule of King Louis Phillipe after the Algerian ruler led a retaliation against North African invaders. Abd-el-Kadr surrendered in 1847, believing the French would allow him his freedom for defending his homelands. However, the Emir soon found himself behind bars.

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Attributed to famed royal portraitist Franz Xavier Winterhalter, this painting of Napoleon III was commissioned by the Emperor and given to the Marquess of Londonderry, Charles Vane.

The Marquess of Londonderry, who was an ally of the Emir, heard of this mistreatment and asked the King for assistance and was refused. Once Napoleon III took power, and having been a close family friend, the Marquess approached the new Emperor with the plight of Abd-el-Kadr, and together, successfully arranged the Algerian’s immediate release. Abd-el-Kadr would go on to become a great political ally and maintain close ties with Napoleon III and the Marquess.  Napoleon III then commissioned two paintings, one of himself and one of Abd-el-Kadr, to give to the Marquess for his famed Londonderry House. These paintings are well documented and pictured in the house on Plate IX of LondonDerry House by H. Montgomery Hyde.

Napoleon III was a tremendous patron of the arts, and Winterhalter, in particular, was a favorite of both the Emperor and his wife, the Empress Eugénie. The artist completed numerous works for the royal couple.  His most famed is currently housed in the collection of the Chateau de Compiegnes in Oise, France entitled Empress Eugénie, Surrounded by her Ladies in Waiting. In terms of stylistic similarities and his masterful treatment of the subjects, the attribution of this portrait to Winterhalter is quite strong.

Beauty, rarity and history. It’s the magic recipe that every collector strives to acquire. To find a work that encompasses all three of these components, especially one of royal provenance, is to find a true treasure.

An Age of Transformation: Women in Nineteenth Century Art

March 26th, 2015 | posted by Bill Rau
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George Morren, Le Renouveau (The Renewal), Circa 1892

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Jéan-Leon Gérôme, Leda and the Swan, Circa 1895

This is the second of a three part series of blog posts preceding our exhibition Innocence, Temptation and Power: The Evolution of Women in Art, on view at M.S. Rau Antiques from March 27 – May 4.

From the mid-nineteenth century, Western Europe and the United States were witness to an extraordinary cultural and social upheaval. Truly a period of transformation, the end of the 19th century can be characterized also as an era of contradiction. As the great generation of French academic painters such as Jean-Léon Gérôme, with their idealized female figures and neoclassical subjects, slowly waned, a new group of radical young artists began to emerge who devoted their oeuvres to a new ideal of modernity. The Impressionists unapologetically painted their impressions of their modern bourgeoisie world, including the women within it, which was undergoing a rapid period of revolution.

While, in many instances, women still found themselves regarded as secondary citizens, it was the onset of industrialization and the corresponding growth of the middle class that began to expand the role of women in society. This provided ample inspiration for late 19th century artists, who themselves contemplated “the woman question” and the changing views of womanhood, femininity and what it meant to be a woman. Henri Toulouse-Lautrec’s La Promeneuse perfectly illustrates the Impressionist treatment of middle-class women during the Belle Epoqué – women who embody a new, avant-garde femininity without being idealized.

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Henri de Toulouse-Lautrec, La Promeneuse, Circa 1892

Indeed, traditional aestheticideals in general began to give way to a more revolutionary, individual artistic voice. In the same way, depictions of women in art slowly began to transform from object to subject in the eyes of the artist and the viewer, and the barrier between the private and public gradually began to descend. Yet, despite these advances, women were still expected to be the upholders of morality and put domestic and home responsibilities central in their lives. George Morren’s Le Renouveau (The Renewal) perfectly illustrates this juxtaposition. Depicting a wet-nurse breastfeeding a child, Morren places his female subject within a traditional “maternal” position, but also, more significantly, within a work scene. The “mother” in the scene is feeding the child not out of “natural” nurturing instinct but for wages, as a member of a flourishing industry. Both mother figure and worker, Morren’s wet-nurse epitomizes the updated, secularized Impressionist woman

Undeniably, as the Impressionists begin to capture their own lived experiences of everyday life, the range and treatment of women as a subject in art similarly expanded, offering viewers a glimpse of the lived experience of the late 19th century woman through the Impressionist canvas. Themes of bourgeois leisure, bohemian spectacle, urban culture, and intimate spaces dominate the genre moving into the 20th century – subjects that will only continue to expand into the modern era.

To learn more about the story of women in art, please join us for Innocence, Temptation and Power: The Evolution of Women in Art, on view at M.S. Rau Antiques from March 27 – May 4.

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