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Archive for the 'Fine Art' Category

A Commanding Presence: The Art of William Bouguereau

April 7th, 2014 | posted by Bill Rau
30-0186Bouguereau

This portrait beautifully demonstrates the master’s ability to capture nuances of personality and mood.

“For me a work of art must be an elevated interpretation of nature. The search for the ideal has been the purpose of my life. In landscape or seascape, I love above all the poetic motif.”  –William Bouguereau

The name William Bouguereau is synonymous with some of the greatest paintings in turn-of-the-century fine art. Known for his technical prowess and loyalty to the academic style of painting, it is hard to imagine that such an artistic giant was relegated to obscurity for over 70 years.

With a character of sincerity and modesty, Bouguereau became one of the most decorated artists of the 19th century. A student of the great Neoclassical artist Ingres, his painting technique boasts an unsurpassed degree of finish and luminous coloration, hallmarks of the French Academy. His handling of women and children is perhaps his greatest achievement. In this work, entitled Jeannie, Bouguereau imparts an expression of untampered purity upon his subject’s face, effectively reminding the viewer of the fleeting innocence of childhood.

Bouguereau enjoyed tremendous success during his lifetime. He received medals from the Salons and Universal Expositions, successive ranks, including Grand Master, of the prestigious Legion of Honor, and was the leading member of the Institute of France and President of the Society of Painters, Sculptors and Engrav

ers. His art never deviated from the basic principles of Academic training, and he so dominated the Salons of the Third Republic that the official Salon became known unofficially as Le Salon Bouguereau.

30-1104Bouguereau

This portrait of a beautiful young lady selling gilliflowers is a rare work painted during the few weeks the artist spent in Menton near the Italian border.

Bouguereau’s works were eagerly bought by fine art connoisseurs world-wide who considered him the most important French artist of the 19th century. By 1920, Bouguereau fell into obloquy, with his staunch rivals being the Modernist avant-garde, including the Impressionists. To this modern regime, the artist was a competent technician

needlessly holding on to tradition. Artists such as Monet and Degas coined the pejorative “Bougeuereaute,” a term used to describe any artistic style bound by idealism and academic restriction.

As a result, Bouguereau fell out of appreciation for a majority of the 20th century, and became a name only the most studied 19th-century art scholars might recognize. However, beginning in the early 1980s, museums began to “re-discover” this long underappreciated and forgotten artist. Today, Bouguereau’s paintings have once again come into their own, and his works are held by over an estimated 100 museums throughout the world, including the Louvre, and the Museé d’Orsay in Paris, the National Gallery in London and the Metropolitan Museum of Art in New York.

Rising triumphantly to reclaim his rightful place in the pages of art history, Bouguereau’s paintings are some of the most coveted in the world. And, on the rare occasion they come onto the market, the opportunity to acquire one of his breathtaking canvases isspectacular indeed.

View more masterpieces and learn more about William Bouguereau.

Eugene Boudin

February 28th, 2014 | posted by Phillip Youngberg

G. jean Aubry commented that “Boudin is one of the most interesting examples of instinctive creativity, a painter who demonstrates the uselessness of schools and rules, and the supreme virtue of personal effort, long patience, and a steadfast gift.”

Le Rivage de Villerville, Maree Basse, by Eugene Boudin

Le Rivage de Villerville, Maree Basse, by Eugene Boudin

With serene landscapes and dreamlike scenes, this steadfast gift is one that leaves the viewer craving more.  What fueled this personal effort that led Boudin to the heights of artistic success?

Like some of the most impressive figures of our time, Eugene Boudin had humble beginnings.  His father, Leonard-Sebastien Boudin, was born into a family of sailors and would continue to uphold this seafaring legacy.  The younger Boudin, however, would break from this tradition, but his family’s ties to the seas would always touch his canvases in some way.

Landscape with Cows by Eugene Boudin

Landscape with Cows by Eugene Boudin

Boudin received no artistic encouragement from his family, it would be the people he surrounded himself with that would nurture his creative passions.  In fact, it was an early employer who gave Boudin his first set of paints.   At eighteen, he would start his own stationary shop with a colleague.  Situated on a bustling street in Le Havre, he began to meet a cadre of artists vying to have their items displayed in his store’s window.  These artists that undoubtedly helped inspire his artistic vision and they included Eugene Isabey, Constant Troyon, Thomas Couture, and Jean-Francois Millet.

Innate talent, drive, and an aesthetic inspired by and focused on the open ocean make Boudin’s nuanced scenes coveted by art lovers the world over.  We are fortunate to not only enjoy these images in the gallery every day, but also share them with you.

Pieter Brueghel the Younger’s Work Has a Quintessential New Orleans Flavor

January 8th, 2014 | posted by Sarah Clunis

Brueghel

Most art lovers must visit a major museum in order to behold the wonder of an actual real-life Brueghel.  And here is your rare opportunity to own one.  And while you are deciding where to hang this 8th wonder of the world the rest of us can simply feel good about the fact that we are actually standing in front of an original composition by Pieter Brueghel the Younger. Yes indeed folks, most Brueghel’s are in Belgium or Vienna, in museums, or hidden away in opulent castles.

But not this one.

A village festival is the scene for some serious debauchery in this outstanding painting done in 1672 by the accomplished son of Pieter Brueghel the Elder. Religious fair meets pagan ritual in Brueghel’s St George’s Kermis with a Dance Around the Maypole.  With a sarcasm and irony typical of only a Brueghel, vignettes of drunken excess, belligerent quarreling and public urination abound as the daily bump and grind of village life continues.

It’s difficult to not find humor in this fantastic painting which offers a virtual Where’s Waldo in the form of a Northern Renaissance masterpiece. Completely interactive, Brueghel’s work invites close and prolonged inspection and offers the gift that will keep on giving. There is something new to find in this painting every time that you look at it and this is precisely why the nobles that commissioned Brueghel’s paintings in the 17th century found mad entertainment in the scenes that they portrayed.

With a solid reputation as a thoughtful interpreter of his father’s works, Brueghel the Younger had as much success for his own compositions later in his life and this piece is considered one of the major works of that select group.

So, leave your foray to Bourbon Street for a short minute to feast your eyes on our treasured version of revelry and excess. Although Flemish, Brueghel’s combination of elements- Christian with pagan, work with play and body with nature-have a quintessential New Orleans flavor, and truly communicate the universality of the absurd and the wonderful.

In the world of Old Master Painters absolutely no one renders the urban landscape with more pathos and metaphor than a Brueghel. The village is depicted as a site of both ethereal beauty and precariousness. And the people that inhabit these worlds are portrayed as chaotic and fragile, a commentary on the world they occupy.

Brueghel’s masterful palette and magnificent compositions evoke even today the idea of a retreat from the regulated and the predictable. In a sense this is our riotous moment, our great escape.

Art Depicting Art: “Oedipus Rex” by Renoir

December 7th, 2013 | posted by Bill Rau
Renoir captures the dramatic apex of the legendary Greek tragedy in this work entitled Oedipus Rex

Renoir captures the dramatic apex of the legendary Greek tragedy in this work entitled Oedipus Rex

In 1895, Renoir was commissioned to paint a series of paintings to decorate the home of the director of the Theatre des Varietes, Paul Gallimard. Perhaps one of the best loved Impressionists of all time, Renoir was renowned for capturing all of his subjects with grace and sensuality and Gallimard, a patron and friend of the artist, thought the artist’s work a perfect fit for his homes in Paris and Normandy. Revered for his figures, still-lives, and landscapes, Renoir chose a theatrical subject for the director’s homes. Encouraged by his friend, the actor Mounet-Sully, Renoir did a series of sketches and paintings depicting a quintessential highly-charged and dramatic moment in theater. The result was this remarkable painting, an awe-inspiring and dynamic canvas depicting Mounet-Sully in his most famous role as Oedipus inL’Oedipe Roi, a French version by Jules Lacroix of Sophocles’ iconic Greek drama.

In this painting Oedipus, having gouged out his eyes after learning of his despicable crimes, is seen groping his way out of the palace, as his subjects look on in terror. Known for his idyllic landscapes and softly painted portraits, Renoir’s 1895 painting, Oedipus Rex, is an incredibly unique and dramatic subject choice for the artist. This exceptional painting depicts a pivotal scene from the Greek tragedy – the final scene of the drama as Oedipus exits the palace confronting the citizens of Thebes. This intimate masterpiece displays Renoir’s uncanny ability to render life, movement and texture and clearly exhibits the brilliant color that the artist infused into all of his works. The exquisite tension and turmoil of the moment is depicted with Renoir’s quick, feathered strokes and intuitively blended applications of pigment.

The Athenian tragedy, Oedipus Rex, was first performed in 429 B.C. and chronicles the story of Oedipus, who becomes the king of Thebes. Sentenced to die at birth because his father King Laius, receives a prophecy that he would be murdered by his own son, the infant Oedipus is left by his mother, Queen Iocaste, on a mountainside. Rescued by a shepherd, Oedipus is given to the King of Corinth who raises him as his son.

The drama continues when as a young man Oedipus is told by an oracle that he will shed the blood of his father and marry his mother. Desperate to avoid this fate, Oedipus flees Corinth and during his journey, travels on the road to Thebes and encounters Laius. Unaware of each other’s identities, Laius and Oedipus quarrel over whose chariot has the right of way. The argument becomes violent and ends when Oedipus throws Laius from his chariot and kills him. Shortly after, Oedipus solves the riddle of the Sphinx freeing the kingdom of Thebes from a curse and as a result the Queen, Iocaste, marries him. At this point in the play both prophecies are fulfilled, although none of the characters are aware of it.

The tumultuous moment is rendered through the Impressionist master's uncanny use of color and texture

The tumultuous moment is rendered through the Impressionist master’s uncanny use of color and texture

As the play unfolds many more incidents highlighting the futility of avoiding one’s fate occur and individual identities are revealed to the leading characters, but only after Oedipus and Iocaste have had many children together. Horrified by their relationship, Iocaste hangs herself and Oedipus blinds himself with her hairpins.  It is at this point in the play that Oedipus emerges out of the palace to confront the citizens of Thebes with his blindness and to demand his exile. It is precisely this dynamic and highly charged scene that is portrayed by Renoir in this exceptional and intimate portrait.

The youngest member of the Impressionist movement, an astute Renoir recognized how a subject was constantly changing due to the dynamic effects of light on color. Capturing a particular moment in time, or an “impression,” was central to the artist’s philosophy and Renoir distinguished himself among his contemporaries with his intuitive use of color and expansive brushstrokes.

Sadly the project for Gallimard’s homes never came to fruition and the director never acquired the finished Renoir paintings so they remained in the artist’s studio, together with several related drawings to be eventually dispersed with the artist’s estate.

Today, Renoir’s work continues to increase in value and the drama of Oedipus continues to be a quintessential icon of western literary, artistic and psychological genres. Renoir’s fame, as well as the classical scene and notable patronage of this particular work, make it an important and notable contribution to 19th century art.

The Inventor of Nocturnes

November 22nd, 2013 | posted by Danielle Halikias

 

The Dockside Liverpool at Night

The Dockside Liverpool at Night

Many of us spend time daydreaming, lots of “what ifs” flit through our heads and our hearts.  Imagine you work as a clerk for a railroad, but you know you are destined for something else.  You are 24, living in a manufacturing town, and already have a growing family; would you take the leap to follow this dream?  Luckily for us, and in spite of having no formal training, John Atkinson Grimshaw felt the pull towards the art world and followed it.

The year is 1861 and Grimshaw’s first concerted forays into the art world are cautious and meticulous. The delicate early paintings serve as reminders that the artist is taking a huge risk, a risk that would make anyone at least a little hesitant.  Drawing inspiration from the Pre-Raphaelite Brotherhood and their battle cry of “truth to nature”, however, Grimshaw soon begins to develop his own unmistakable style.

Whitby

Whitby

 

By the late 1860s Grimshaw had firmly established the style and subject matter that led James McNeill Whistler to remark: “I considered myself the inventor of nocturnes until I saw Grimmy’s moonlit pictures”  This style incorporates tones and luminous qualities that have gone unmatched by other artists.

All in the Golden Twilight

All in the Golden Twilight

Grimshaw’s atmospheric works tend to feature a large expanse of sky with precise consideration to how light reflects off other elements in the scene, often pools of water or crisp autumn leaves.  Another reoccurring theme in the artist’s oeuvre is the lone figure along a path.  This evocative combination of evening and solitude has the effect of producing an overwhelming sense of nostalgia in the viewer.

Moody and patiently crafted, John Atkinson Grimshaw’s works have made him a favorite among discerning collectors.  Whistler’s ode to Grimshaw’s prowess is certainly accurate; you may search far and wide, but simply put, no other artist can capture the passing of the evening sky like Grimshaw.

 

 

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