Archive for the 'Fine Art' Category

Woven Masterpieces: Aubusson Tapestries

November 3rd, 2014 | posted by Bill Rau
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This incredible Aubusson tapestry is modeled on the work Les constructeurs sur fond bleu by Fernand Léger

At the ateliers of Aubusson, tapestries are woven today in the same way they were hundreds of years ago. An art both ancient and modern, the tradition of Aubusson woven masterpieces experienced a modern revival in the early twentieth century. Pablo Picasso, Fernand Léger, Georges Braque, Henri Matisse, Marc Chagall – these are just some of the master artists of the 1930s who contributed their works to the ancient art.

From the 13th century, tapestry making was a flourishing art in France. At a time when the upper echelon of society resided in large, expansive estates, tapestries were used to create portable partitions, keep rooms free from drafts, and decorate vast, bare walls. By the Renaissance, tapestries based on painted masterpieces came into vogue, and works by the Old Renaissance Masters were translated into colossal woven masterworks boasting incredibly complicated designs, some incorporating upwards of 600 different colors. The practice continued through the Baroque period, when works by in-demand artists such as François Boucher were commonly re-worked into woven form, often under the guidance of the artists themselves. Yet, by the end of the 18th century, the art of the tapestry experienced a brief decline in popularity, and these grand works and master ateliers would spend the next century fighting for survival in the industry.

The 20th century brought with it a revived interest in the Old Renaissance Masters, and with it an increase in popularity for tapestries from this age. Collectors and art lovers alike snatched up these woven recreations of much loved Renaissance masterworks, which became incredibly valuable on the market. This sudden uptick in interest in Renaissance Aubusson tapestries led some to question why works by the modern masters were not also being translated into the ancient art. It took just one incredibly important and impassioned woman reacting to this question to begin a new history for the Aubusson ateliers.

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This remarkable French tapestry celebrates the artistry of the famed François Boucher

With the aim of reviving the declining Aubusson ateliers, art collector and patron Madame Marie Cuttoli began commissioning designs from masters of the modern movement. Her greatest contribution was her ability to break the Aubusson houses of their traditional designs, heralding in a new era during which contemporary artists were engaged with designers for the first time in two centuries. Artists such as Picasso, Miro, Braque, Matisse and Léger worked with Aubusson cartoonists and designers to translate their most important works into the medium, creating monumental woven wonders of modern design. In the early 1930s, these tapestries were exhibited side by side with the paintings that had inspired them, and often times the tapestries yielded higher prices than the originals.

One of the most enthusiastic of these collaborative artists was French painter Fernand Léger. Léger’s epic cubist works, such as his monumental Les Constructeurs series, lend themselves well to the art of the tapestry. The expressions of color, the mechanical and geometric elements of his compositions, and the carefully wrought characters of man as engineer all shine through these meticulously woven masterpieces. Delighted by the collaborative process of tapestry design, Léger continued to lend his distinctive geometric designs to Aubusson weavers until his death in 1955.

John Atkinson Grimshaw: Truth to Nature

September 18th, 2014 | posted by Bill Rau

The consummate, self-taught Victorian artist John Atkinson Grimshaw possessed an unquestionable gift for painting. The influence of the Pre-Raphaelite Movement is apparent throughout Grimshaw’s oeuvre, and he worked these ideals to create awe-inspiring land and cityscapes unlike any artist before or since.

Disappointed by the “mechanized” ideologies of academic art, the Pre-Raphaelites utilized exacting details, luminous palettes and sincerity to subject that ushered in a new era of expression in the 19th-century British art world. Grimshaw took their teachings and used them to craft amazing nocturnal scenes and landscapes, which bear striking photographic qualities unmatched by any other artist. Tranquil urban lanes with leafless trees and ports with the still figures of docked ships silhouetted against the moonlit sky have become synonymous with this incomparable talent.

 John Atkinson Grimshaw

The ethereal light of the moon cast a glow upon this nocturnal dock scene painted by John Atkinson Grimshaw in 1883 entitled “Whitby.”

 

Whitby, executed in 1883, displays Grimshaw’s mastery of atmosphere and light, with a stark contrast between the moonlight and the gas lantern light of the shops lining the dock. A gentle fog can be seen over the water, while the clouds attract the moonlight like a magnet, glowing with an ethereal realism. His moonlit scenes were so majestic that James Abbott McNeill Whistler, a famed nocturne artist in his own right, stated “I considered myself the inventor of nocturnes until I saw Grimmy’s moonlight pictures.” The soft glow of the setting sun illuminates his home, Knostrop Hall, in All in the Golden Twilight. The artist captures the ephemeral moment of the sun setting, presumably in fall, utilizing a palette of yellows, greens, browns and reds to convey the fleeting essence of time itself.

 John Atkinson Grimshaw

This serene landscape, entitled “All in the Golden Twilight,” captures the artist’s home at dusk, and exemplifies John Atkinson Grimshaw’s tremendous eye for detail and composition.

 

Since Grimshaw worked primarily for patrons, his works have historically been held in private collections. It is only recently that his paintings have earned the acclaim and appreciation of the broader art world. Considered among the most prestigious and important Victorian painters, Grimshaw’s works are undeniably distinctive and are some of the most highly sought-after 19th-century British artworks on the market.

A Commanding Presence: The Art of William Bouguereau

April 7th, 2014 | posted by Bill Rau
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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.

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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

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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.

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