Hubert-Denis Etcheverry - Le Dame en Blue Also Known as: Denis Etcheverry  1867 - France 1952 Most famous paintings of Hubert-Denis Etcheverry are A coastal scene of Ploumanach, France; A coastal scene with figures by a beach (2) , PORTRAIT OF A WOMAN AND HER SON IN A SAILOR SUIT , Carnaval scene .

Hubert-Denis Etcheverry - Le Dame en Blue

Also Known as: Denis Etcheverry  1867 - France 1952

Most famous paintings of Hubert-Denis Etcheverry are A coastal scene of Ploumanach, France; A coastal scene with figures by a beach (2) , PORTRAIT OF A WOMAN AND HER SON IN A SAILOR SUIT , Carnaval scene .

  • April 27
  • , 2012
Frederic Louis Leve (French1877- ] – A Harem Beauty Seated On A Leopard Skin The institution of the harem exerted a certain fascination on theEuropeanimagination, especially during the Age ofRomanticism, and was a central trope ofOrientalismin the arts, due in part to the writings of the adventurerRichard Francis Burton. Many Westerners falsely imagined a harem as abrothelconsisting of many sensual young women lying around pools with oiled bodies, with the sole purpose of pleasing the powerful man to whom they had given themselves. Much of this is recorded in art from that period, usually portraying groups of attractive women lounging nude by spas and pools. A centuries-old theme in Western culture is the depiction of European women forcibly taken into Oriental harems – evident for example in the Mozartopera Die Entführung aus dem Serail (“The Abduction from the Seraglio”) concerning the attempt of the hero Belmonte to rescue his beloved Konstanze from the seraglio/harem of the Pasha Selim; or in Voltaire’s Candide, in chapter 12 of which the old woman relates her experiences of being sold into harems across the Ottoman Empire. “The Lustful Turk”, a well-known Britisheroticnovel, was also based on the theme of Westen women forced into sexual slavery in the harem of theDeyofAlgiers, while in “A Night in a Moorish Harem”.

Frederic Louis Leve (French1877- ] – A Harem Beauty Seated On A Leopard Skin

The institution of the harem exerted a certain fascination on theEuropeanimagination, especially during the Age ofRomanticism, and was a central trope ofOrientalismin the arts, due in part to the writings of the adventurerRichard Francis Burton.

Many Westerners falsely imagined a harem as abrothelconsisting of many sensual young women lying around pools with oiled bodies, with the sole purpose of pleasing the powerful man to whom they had given themselves. Much of this is recorded in art from that period, usually portraying groups of attractive women lounging nude by spas and pools.

A centuries-old theme in Western culture is the depiction of European women forcibly taken into Oriental harems – evident for example in the Mozartopera Die Entführung aus dem Serail (“The Abduction from the Seraglio”) concerning the attempt of the hero Belmonte to rescue his beloved Konstanze from the seraglio/harem of the Pasha Selim; or in Voltaire’s Candide, in chapter 12 of which the old woman relates her experiences of being sold into harems across the Ottoman Empire.

“The Lustful Turk”, a well-known Britisheroticnovel, was also based on the theme of Westen women forced into sexual slavery in the harem of theDeyofAlgiers, while in “A Night in a Moorish Harem”.

  • March 15
  • , 2012
Sir Francis Bernard Dicksee  (27 November 1853 – 17 October 1928) Many of Dicksee’s paintings depict beautiful women whom he felt were masterpieces made by God. In the next picture, the theme is vanity. The picture is entitled: The Mirror. One can literally read the thoughts of this young lady. She was probably asking herself while looking into that mirror whether she is still as beautiful as she was the day before? The passage of time, the ultimate vulnerability of human beauty to aging is also expressed. Dicksee’s uncle was John Robert Dicksee (1817-1905), another notable painter, as was his sister Margaret Dicksee (1858-1903), and brother Herbert Thomas Dicksee (1862-1942). The family lived in the Bloomsbury area of London. Frank’s first encounter with Art was in his father’s workshop, before enrolling at the Royal Academy Schools in 1870. (The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly, London, England). Some of the more famous visiting lecturers were Frederic Leighton, and Millais. Dicksee was a very conscientious student, who was soon discovered by his teachers for his promising talent in painting. He won many awards, among others, a Gold Medal in 1875, participating in his first exhibition at the Royal Academy in London.

Sir Francis Bernard Dicksee  (27 November 1853 – 17 October 1928)

Many of Dicksee’s paintings depict beautiful women whom he felt were masterpieces made by God. In the next picture, the theme is vanity. The picture is entitled: The Mirror. One can literally read the thoughts of this young lady.

She was probably asking herself while looking into that mirror whether she is still as beautiful as she was the day before? The passage of time, the ultimate vulnerability of human beauty to aging is also expressed.

Dicksee’s uncle was John Robert Dicksee (1817-1905), another notable painter, as was his sister Margaret Dicksee (1858-1903), and brother Herbert Thomas Dicksee (1862-1942).

The family lived in the Bloomsbury area of London. Frank’s first encounter with Art was in his father’s workshop, before enrolling at the Royal Academy Schools in 1870. (The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly, London, England).

Some of the more famous visiting lecturers were Frederic Leighton, and Millais. Dicksee was a very conscientious student, who was soon discovered by his teachers for his promising talent in painting. He won many awards, among others, a Gold Medal in 1875, participating in his first exhibition at the Royal Academy in London.

  • March 14
  • , 2012
Sir John Lavery (20 March 1856 – 10 January 1941)  Anna Pavlova  An Irish painter best known for his portraits. Belfast-born John Lavery attended theHaldane Academy, inGlasgow, in the 1870s and theAcadémie Julianin Paris in the early 1880s. He returned to Glasgow and was associated with theGlasgow School. In 1888 he was commissioned to paint the state visit of Queen Victoriato the Glasgow International Exhibition. This launched his career as a society painter and he moved to London soon after. In London he became friendly withJames McNeill Whistler and was clearly influenced by him. Lavery’s first wife, Kathleen MacDickmott, whom he married in 1889, died oftuberculosisin 1891, shortly after the birth of their daughter, Eileen (later Lady Sempill, 1890-1935). In 1909 Lavery marriedHazel Martyn(1886–1935), an Irish-American known for her beauty and poise; by her he had one daughter, Alice (Mrs. Jack McEnery). Hazel Lavery was to figure in more than 400 of her husband’s paintings. The sumptuous The Artist’s Studio: Lady Lavery with her Daughter Alice and Step-Daughter Eileen, currently is in theNational Gallery of Ireland. Hazel Lavery modelled for the allegorical figure of Ireland he painted on commission from the Irish government, reproduced onIrish banknotesfrom 1928 until 1975.

Sir John Lavery (20 March 1856 – 10 January 1941)

 Anna Pavlova 

An Irish painter best known for his portraits.

Belfast-born John Lavery attended theHaldane Academy, inGlasgow, in the 1870s and theAcadémie Julianin Paris in the early 1880s. He returned to Glasgow and was associated with theGlasgow School.

In 1888 he was commissioned to paint the state visit of Queen Victoriato the Glasgow International Exhibition. This launched his career as a society painter and he moved to London soon after. In London he became friendly withJames McNeill Whistler and was clearly influenced by him.

Lavery’s first wife, Kathleen MacDickmott, whom he married in 1889, died oftuberculosisin 1891, shortly after the birth of their daughter, Eileen (later Lady Sempill, 1890-1935). In 1909 Lavery marriedHazel Martyn(1886–1935), an Irish-American known for her beauty and poise; by her he had one daughter, Alice (Mrs. Jack McEnery).

Hazel Lavery was to figure in more than 400 of her husband’s paintings. The sumptuous The Artist’s Studio: Lady Lavery with her Daughter Alice and Step-Daughter Eileen, currently is in theNational Gallery of Ireland.

Hazel Lavery modelled for the allegorical figure of Ireland he painted on commission from the Irish government, reproduced onIrish banknotesfrom 1928 until 1975.

  • March 6
  • , 2012
Francisco Masriera Y Manovens Spanish artist 1842 - 1902 The son of the artist José Masriera, he was encouraged by his father to paint and as a young man he studied in Geneva, Paris and Rome. While in Rome, he began to paint the Orientalist subjects that were to make his reputation. These subjects of Moorish harem figures earned him international regard for their perfection of draftsmanship and their luminous and strong palette. In 1878 he was awarded a second class medal at the National Exhibition in Madrid for his painting The Slave and, in 1889, the same year A Harem Beauty was painted, Masriera won a third class medal at the Exposition Universelle, Paris.

Francisco Masriera Y Manovens

Spanish artist
1842 - 1902

The son of the artist José Masriera, he was encouraged by his father to paint and as a young man he studied in Geneva, Paris and Rome. While in Rome, he began to paint the Orientalist subjects that were to make his reputation.

These subjects of Moorish harem figures earned him international regard for their perfection of draftsmanship and their luminous and strong palette. In 1878 he was awarded a second class medal at the National Exhibition in Madrid for his painting The Slave and, in 1889, the same year

A Harem Beauty was painted, Masriera won a third class medal at the Exposition Universelle, Paris.

  • March 3
  • , 2012
William Waterhouse - Hylas and the Nymphs (1896) In Greek mythology, Hylas was the son of King Theiodamas of the Dryopians. Roman sources such as Ovid state that Hylas’ father was Hercules and his mother was the nymph Melite, or that his mother was the wife of Theiodamas, whose adulterous affair with Heracles caused the war between him and her husband. He gained his beauty from his divine mother and his military prowess from his demigod father. After Heracles killed Theiodamas in battle for his son, Hylas, he took the boy on as arms bearer and taught him to be a warrior. John William Waterhouse had many inspirations around him growing up in his father’s art studio. The inspiration he found in classical and pre-Raphaelite artists is also plain to see in his composition of ‘Hylas and the Nymphs’ as well as the very unique stamp he put on this work himself and his fascination with the captivating female form.Classical Style:As a young artist Waterhouse was heavily influenced by classical artists such as Alma-Tadema and Lord Leighton. The inspiration he took from these artist and others of the same period is reflected in the theme of this painting, a classical tale, as well as the styling of the characters and the composition.Alma-Tadema’s painting, ‘A Favorite Custom’ which he painted in 1909, has a completely different story to that of Waterhouse’s work, and yet its main focus is of the two female-nudes at the forefront of the painting, very similar thematically to ‘Hylas and the Nymphs’.Femme Fatale:The central character of this story, Hylas, is not the main focus of Waterhouse’s painting. Instead, the viewer is drawn to the central Nymph. Not only does Hylas have his back to the viewer but Waterhouse has created this painting so that we almost feel like we are seeing the vision from Hylas’ perspective.The inspiration for this type of perspective come from Waterhouse’s obsession with portraying a femme fatale.

William Waterhouse - Hylas and the Nymphs (1896)

In Greek mythology, Hylas was the son of King Theiodamas of the Dryopians. Roman sources such as Ovid state that Hylas’ father was Hercules and his mother was the nymph Melite, or that his mother was the wife of Theiodamas, whose adulterous affair with Heracles caused the war between him and her husband. He gained his beauty from his divine mother and his military prowess from his demigod father.

After Heracles killed Theiodamas in battle for his son, Hylas, he took the boy on as arms bearer and taught him to be a warrior.

John William Waterhouse had many inspirations around him growing up in his father’s art studio. The inspiration he found in classical and pre-Raphaelite artists is also plain to see in his composition of ‘Hylas and the Nymphs’ as well as the very unique stamp he put on this work himself and his fascination with the captivating female form.

Classical Style:
As a young artist Waterhouse was heavily influenced by classical artists such as Alma-Tadema and Lord Leighton. The inspiration he took from these artist and others of the same period is reflected in the theme of this painting, a classical tale, as well as the styling of the characters and the composition.

Alma-Tadema’s painting, ‘A Favorite Custom’ which he painted in 1909, has a completely different story to that of Waterhouse’s work, and yet its main focus is of the two female-nudes at the forefront of the painting, very similar thematically to ‘Hylas and the Nymphs’.

Femme Fatale:
The central character of this story, Hylas, is not the main focus of Waterhouse’s painting. Instead, the viewer is drawn to the central Nymph. Not only does Hylas have his back to the viewer but Waterhouse has created this painting so that we almost feel like we are seeing the vision from Hylas’ perspective.

The inspiration for this type of perspective come from Waterhouse’s obsession with portraying a femme fatale.

  • February 25
  • , 2012
Jean-Baptiste Greuze (21 August 1725 – 4 March 1805) was a French painter He is generally said to have formed his own talent; this is, however, true only in the most limited sense, for at an early age his inclinations, though thwarted by his father, were encouraged by a Lyonnese artist named Grandon, or Grondom, who enjoyed during his lifetime considerable reputation as a portrait-painter. Grandon not only persuaded the father of Greuze to give way to his sons wishes, and permit the lad to accompany him as his pupil to Lyon, but, when at a later date he-himself left Lyon for Paris — where his son-in-law Grétry the celebrated composer enjoyed the height of favour — Grandon carried young Greuze with him. Settled in Paris, Greuze worked from the living model in the school of the Royal Academy (Paris), but did not attract the attention of his teachers; and when he produced his first picture, “Le Père de famille expliquant la Bible a ses enfants,” considerable doubt was felt and shown as to his share in its production. By other and more remarkable works of the same class Greuze soon established his claims beyond contest, and won for himself the notice and support of the well-known connoisseur La Live de Jully, the brother-in-law of Madame d’Epinay.

Jean-Baptiste Greuze (21 August 1725 – 4 March 1805) was a French painter

He is generally said to have formed his own talent; this is, however, true only in the most limited sense, for at an early age his inclinations, though thwarted by his father, were encouraged by a Lyonnese artist named Grandon, or Grondom, who enjoyed during his lifetime considerable reputation as a portrait-painter.

Grandon not only persuaded the father of Greuze to give way to his sons wishes, and permit the lad to accompany him as his pupil to Lyon, but, when at a later date he-himself left Lyon for Paris — where his son-in-law Grétry the celebrated composer enjoyed the height of favour — Grandon carried young Greuze with him.

Settled in Paris, Greuze worked from the living model in the school of the Royal Academy (Paris), but did not attract the attention of his teachers; and when he produced his first picture, “Le Père de famille expliquant la Bible a ses enfants,” considerable doubt was felt and shown as to his share in its production.

By other and more remarkable works of the same class Greuze soon established his claims beyond contest, and won for himself the notice and support of the well-known connoisseur La Live de Jully, the brother-in-law of Madame d’Epinay.

  • February 23
  • , 2012
William Clarke Wontner (1857 - 1930) An English portrait painter steeped in Academic Classicism and Romantic. Wontner was born in Stockwell, Surrey, the son of noted architect, designer and renderer William Hoff Wontner (1814–1881) and Catherine Smith. Under the tutelage of his father, Wontner worked with John William Godward (1861–1922), a noted exponent of what became known as Greco-Roman style. The two were destined to become great friends. Wontner was a relatively minor painter who was part of the neo-classical movement in England, led by Alma-Tadema. His style favoured seductively languorous women against classical or oriental marbled backdrops. His faithfully rendered fabrics draped over patently European models, somehow created an air of Orientalism. His work was exhibited at the Royal Academy from 1879, at the Society of British Artists and at the Royal Institute of Painters in Water Colours. When the Grosvenor Gallery closed in 1890, Wontner exhibited at the New Gallery. Wontner married Jessie Marguerite Keene (1872–1950), daughter of Charles Joseph Keene, on 7 June 1894 at St. Dominic’s Priory Church, Naverstock Hill in Hampstead. The couple had no children. Wontner was buried on 26 September 1930 at Ripple in Worcestershire.

William Clarke Wontner (1857 - 1930)

An English portrait painter steeped in Academic Classicism and Romantic.

Wontner was born in Stockwell, Surrey, the son of noted architect, designer and renderer William Hoff Wontner (1814–1881) and Catherine Smith.

Under the tutelage of his father, Wontner worked with John William Godward (1861–1922), a noted exponent of what became known as Greco-Roman style. The two were destined to become great friends.

Wontner was a relatively minor painter who was part of the neo-classical movement in England, led by Alma-Tadema. His style favoured seductively languorous women against classical or oriental marbled backdrops.

His faithfully rendered fabrics draped over patently European models, somehow created an air of Orientalism. His work was exhibited at the Royal Academy from 1879, at the Society of British Artists and at the Royal Institute of Painters in Water Colours. When the Grosvenor Gallery closed in 1890, Wontner exhibited at the New Gallery.

Wontner married Jessie Marguerite Keene (1872–1950), daughter of Charles Joseph Keene, on 7 June 1894 at St. Dominic’s Priory Church, Naverstock Hill in Hampstead. The couple had no children. Wontner was buried on 26 September 1930 at Ripple in Worcestershire.

  • February 22
  • , 2012
William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) A French academic painter. William Bouguereau was a traditionalist; in his realistic genre paintings he used mythological themes, making modern interpretations of Classical subjects, with an emphasis on the female human body. In 1856, he married Marie-Nelly Monchablon and subsequently had five children. By the late 1850s, he had made strong connections with art dealers, particularly Paul Durand-Ruel (later the champion of the Impressionists), who helped clients buy paintings from artists who exhibited at the Salons. Thanks to Paul Durand-Ruel, Bouguereau met Hugues Merle, who later often was compared to Bouguereau. The Salons annually drew over 300,000 people, providing valuable exposure to exhibited artists. Bouguereau’s fame extended to England by the 1860s, and he bought a large house and studio in Montparnasse with his growing income. Near the end of his life he described his love of his art: “Each day I go to my studio full of joy; in the evening when obliged to stop because of darkness I can scarcely wait for the next morning to come…if I cannot give myself to my dear painting I am miserable”. He painted eight hundred and twenty-six paintings. In the spring of 1905, Bouguereau’s house and studio in Paris were robbed. On August 19, 1905, Bouguereau died in La Rochelle at the age of 79 from heart disease.

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905)

A French academic painter. William Bouguereau was a traditionalist; in his realistic genre paintings he used mythological themes, making modern interpretations of Classical subjects, with an emphasis on the female human body.

In 1856, he married Marie-Nelly Monchablon and subsequently had five children. By the late 1850s, he had made strong connections with art dealers, particularly Paul Durand-Ruel (later the champion of the Impressionists), who helped clients buy paintings from artists who exhibited at the Salons.

Thanks to Paul Durand-Ruel, Bouguereau met Hugues Merle, who later often was compared to Bouguereau. The Salons annually drew over 300,000 people, providing valuable exposure to exhibited artists.

Bouguereau’s fame extended to England by the 1860s, and he bought a large house and studio in Montparnasse with his growing income.

Near the end of his life he described his love of his art: “Each day I go to my studio full of joy; in the evening when obliged to stop because of darkness I can scarcely wait for the next morning to come…if I cannot give myself to my dear painting I am miserable”.

He painted eight hundred and twenty-six paintings.

In the spring of 1905, Bouguereau’s house and studio in Paris were robbed. On August 19, 1905, Bouguereau died in La Rochelle at the age of 79 from heart disease.

  • February 21
  • , 2012