Giovanni Francesco Barbieri (Guercino) - Susanna and the Elders

Masters of Art: Guercino (1591 – 1666)

Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), best known as Guercino or Il Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his early manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.

Movements: Baroque,  Emotionalism, Classicism

Giovanni Francesco Barbieri (Guercino) - Et in Arcadia Ego

Giovanni Francesco Barbieri (Guercino) – Et in Arcadia Ego

He was born at Cento, a village between Bologna and Ferrara. At an early age he acquired the nickname Guercino (Italian for ‘squinter’) because he was cross-eyed.

Mainly self-taught, he was apprenticed at the age of 16 to Benedetto Gennari, a painter of the Bolognese School. By 1615 he had moved to Bologna, where his work gained the praise of an elder Ludovico Carracci. Guercino painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, in what appears to be a stark naturalist Caravaggesque style (although it is unlikely he had been able to see any of the Roman Caravaggios first-hand). They were painted for Cardinal Serra, Papal Legate to Ferrara.

The Arcadian Shepherds (Et in Arcadia ego) was painted in 1618 contemporary with The Flaying of Marsyas by Apollo in Palazzo Pitti. Its dramatic composition is typical of Guercino’s early works, which are often tumultuous. His first style, he often claimed, was influenced by a canvas of Annibale Carracci in Cento. Some of his later pieces approach rather to the manner of his contemporary Guido Reni, and are painted with more lightness and clearness.

Giovanni Francesco Barbieri (Guercino) - Angels Weeping over the Dead Christ

Giovanni Francesco Barbieri (Guercino) – Angels Weeping over the Dead Christ

He was recommended by Marchese Enzo Bentivoglio to the Bolognese Ludovisi Pope, Pope Gregory XV. The two years he spent in Rome, 1621–23, were very productive. From this period came his frescoes of Aurora at the casino of the Villa Ludovisi and the ceiling in San Crisogono (1622) of San Chrysogonus in Glory; his portrait of Pope Gregory (now in the Getty Museum, and, what is considered his masterpiece, The Burial of Saint Petronilla or St. Petronilla Altarpiece, for the Vatican (now in the Museo Capitolini).

After the death of Gregory XV, Guercino returned to his hometown. In 1626 he began his frescoes in the Duomo of Piacenza. The details of his career after 1629 are well documented in the account book, the Libro dei conti, that Guercino and his brother, Paolo Antonio Barbieri, kept and which has been preserved.

In 1642, following the death of Guido Reni in Bologna, Guercino moved his busy workshop to that city and become its principal painter. The Franciscan order of Reggio in 1655 paid him 300 ducats for the altarpiece of Saint Luke Displaying a Painting of the Madonna and Child (now in Nelson-Atkins Museum of Art, Kansas City). The Corsini also paid him 300 ducats for the Flagellation of Christ painted in 1657.

Giovanni Francesco Barbieri (Guercino) - Virgin and Child with Four Saints

Giovanni Francesco Barbieri (Guercino) – Virgin and Child with Four Saints

He was remarkable for the extreme rapidity of his execution—he completed no fewer than 106 large altar-pieces for churches, and his other paintings amount to about 144. He was a prolific draftsman who made many drawings, usually in ink, ink with wash, or red chalk. Most were made as preparatory studies for his paintings, but for his own enjoyment he also drew landscapes, genre subjects, and caricatures. His drawings are noted for their fluent style in which “rapid, calligraphic pen strokes combined with dots, dashes, and parallel hatching lines describe the forms”.

Let’s now enjoy his most celebrated works

Giovanni Francesco Barbieri (Guercino) - The Martyrdom of St Peter

Giovanni Francesco Barbieri (Guercino) – The Martyrdom of St Peter

Giovanni Francesco Barbieri (Guercino) - Susanna and the Elders

Giovanni Francesco Barbieri (Guercino) – Susanna and the Elders

Giovanni Francesco Barbieri (Guercino) - St William of Aquitaine Receiving the Cowl

Giovanni Francesco Barbieri (Guercino) – St William of Aquitaine Receiving the Cowl

Giovanni Francesco Barbieri (Guercino) - St Peter Weeping before the Virgin

Giovanni Francesco Barbieri (Guercino) – St Peter Weeping before the Virgin

Giovanni Francesco Barbieri (Guercino) - Semiramis Receiving Word of the Revolt of Babylon

Giovanni Francesco Barbieri (Guercino) – Semiramis Receiving Word of the Revolt of Babylon

Giovanni Francesco Barbieri (Guercino) - Samson Captured by the Philistines

Giovanni Francesco Barbieri (Guercino) – Samson Captured by the Philistines

Giovanni Francesco Barbieri (Guercino) - Madonna of the Swallow

Giovanni Francesco Barbieri (Guercino) – Madonna of the Swallow

Giovanni Francesco Barbieri (Guercino) - Abraham Casting Out Hagar and Ishmael

Giovanni Francesco Barbieri (Guercino) – Abraham Casting Out Hagar and Ishmael

Giovanni Francesco Barbieri (Guercino) -The Toilet of Venus

Giovanni Francesco Barbieri (Guercino) -The Toilet of Venus

Guercino continued to paint and teach up to the time of his death in 1666, amassing a notable fortune. As he never married, his estate passed to his nephews, Benedetto Gennari II and Cesare Gennari.

Hope you enjoyed the article as much as i did compiling the info and the images! See you next time!
Articles’ Images are in the public domain because their copyright has expired, and are available through Wikimedia

This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia.

Article publié pour la première fois le 13/11/2012

Ary Scheffer - Battle

Life and Paintings of Ary Scheffer (1795 – 1858)

Ary Scheffer (10 February 1795 – 15 June 1858), French painter of Dutch and German extraction, was born in Dordrecht.

After the early death of his father Johann Baptist, a poor painter, Ary’s mother Cornelia, herself a painter and daughter of landscapist Arie Lamme, took him to Paris and placed him in the studio of Pierre-Narcisse Guérin. When Scheffer left Guérin’s studio, Romanticism had come into vogue in France, with such painters as Xavier Sigalon, Eugène Delacroix and Théodore Géricault. Scheffer did not show much affinity with their work and developed his own style, which has been called “frigidly classical”.

Ary Scheffer - Self portrait

Ary Scheffer – Self portrait

Scheffer often painted subjects from literature, especially the works of Dante, Byron and Goethe. Two versions of Dante and Beatrice and have been preserved at Wolverhampton Art Gallery, United Kingdom, and Museum of Fine Arts, Boston, USA. Particularly highly praised was his Francesca da Rimini painted in 1836. Ary Sheffer’s popular Faust-themed paintings include Margaret at her wheel; Faust doubting; Margaret at the Sabbat; Margaret leaving church; The garden walk, and Margaret at the well. In 1836, he painted two pictures of Goethe’s character Mignon.

He now turned to religious subjects: Christus Consolator (1836) was followed by Christus Remunerator, The shepherds led by the star (1837), The Magi laying down their crowns, Christ in the Garden of Olives, Christ bearing his Cross, Christ interred (1845), and St Augustine and Monica (1846).

His Christus Consolator, lost for 70 years, was rediscovered in a janitor’s closet in Gethsemane Lutheran Church in Dassel, Minnesota in 2007. It has been restored and is on display at the Minneapolis Institute of Arts.

Ary Scheffer - The Ghosts of Paolo and Francesca Appear to Dante and Virgil

Ary Scheffer – The Ghosts of Paolo and Francesca Appear to Dante and Virgil

Scheffer was also an accomplished portrait painter. His subjects included composers Frédéric Chopin and Franz Liszt, the Marquis de la Fayette, Pierre-Jean de Béranger, Alphonse de Lamartine, Charles Dickens, Duchess de Broglie, Talleyrand and Queen Marie Amélie.

After 1846, he ceased to exhibit. His strong ties with the royal family caused him to fall out of favour when, in 1848, the Second Republic came into being. Shut up in his studio, he produced many paintings that were only exhibited after his death, which took place at Argenteuil on the 15th of June 1858. He is buried in the Cimetière de Montmartre.

Ary Scheffer - Faust and Marguerite in the Garden

Ary Scheffer – Faust and Marguerite in the Garden

The works first exhibited posthumously include Sorrows of the earth, and the Angel announcing the Resurrection, which he had left unfinished. By the time of his death, his reputation was damaged: though his paintings were praised for their charm and facility, they were condemned for poor use of color and vapid sentiment.

Scheffer was married to the widow of General Baudrand. His brother Hendrik, born at the Hague on 27 September 1798, was also a prolific painter. Scheffer was made commander of the Legion of Honour in 1848, that is, after he had wholly withdrawn from the Salon.

 

Ary Scheffer - Margaret at the Fountain

Ary Scheffer – Margaret at the Fountain

 

Ary Scheffer - The Death of Gericault

Ary Scheffer – The Death of Gericault

 

Ary Scheffer - Portrait De Mme Frederick Kent

Ary Scheffer – Portrait De Mme Frederick Kent

 

Ary Scheffer - Macbeth et Les Sorcieres

Ary Scheffer – Macbeth et Les Sorcieres

 

Ary Scheffer - Battle

Ary Scheffer – Battle

 

Ary Scheffer - Santa Monique and Saint Augustin

Ary Scheffer – Santa Monique and Saint Augustin

 

Hope you enjoyed the article as much as i did compiling the info and the images! See you next time!

Articles’ Images are in the public domain because their copyright has expired or are displayed here under the “ fair use” copyright law, and are available through WikipediaWikimedia.

This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia.

Article publié pour la première fois le 02/01/2014

Jan Van Eyck - Self-portrait

Masters of Art: Jan Van Eyck (1395 – 1441)

Jan van Eyck (or Johannes de Eyck)(c. 1395 –  1441) was a Flemish painter active in Bruges and is generally considered one of the most significant Northern European painters of the 15th century. The few surviving records indicate that he was born around 1390, most likely in Maaseik. Little is known of his early life, but his activities following his appointment to the court of Philip the Good c. 1425 are comparatively well documented.

Movements: Renaissance, Naturalism

Jan Van Eyck - Self-portrait

Jan Van Eyck – Self-portrait

Van Eyck had previously served John of Bavaria-Straubing, then ruler of Holland, Hainault and Zeeburg. By this time van Eyck had assembled a workshop and was involved in redecorating the Binnenhof palace in The Hague. He moved to Bruges sometime around 1425 and there came to the attention of Philip the Good. He served as both court artist and diplomat and became a senior member of the Tournai painters’ guild, where he enjoyed the company of similarly esteemed artists such as Robert Campin and Rogier van der Weyden. Over the following decade van Eyck’s reputation and technical ability grew, mostly from his innovative approaches towards the handling and manipulating of oil paint.

His revolutionary approach to oil was such that a myth, perpetuated by Giorgio Vasari, arose that he had invented oil painting.

It is known from historical record that van Eyck was considered a revolutionary master across northern Europe within his lifetime; his designs and methods were heavily copied and reproduced. His motto, one of the first and still most distinctive signatures in art history, “ALS IK KAN” (“AS I CAN”) first appeared in 1433 on Portrait of a Man in a Turban, which is most likely a self portrait and indicative of his emerging self confidence at the time.

The years between 1434 and 1436 are generally considered his high point when he produced works including the Madonna of Chancellor Rolin, Lucca Madonna and Virgin and Child with Canon van der Paele. That year he married the much younger Margaret. Records from 1437 on suggest that he was held in high esteem by the upper ranks of Burgundian nobility while also accepting many foreign commissions. He died young in July 1441, leaving behind many unfinished works to be completed by workshop journeymen; works that are nevertheless today considered major examples of Early Netherlandish painting. His local and international reputation was aided by his ties to the then political and cultural influence of the Burgundian court.

Lets enjoy some of his most important works:

St Jerome

St Jerome

Madonna mit dem lesenden Kinde

Madonna mit dem lesenden Kinde

Madonna des Kanonikus Georg van der Paele

Madonna des Kanonikus Georg van der Paele

Madonna at the Fountain

Madonna at the Fountain

Die Stigmatisation des Hl. Franziskus

Die Stigmatisation des Hl. Franziskus

Hope you enjoyed the article as much as i did compiling the info and the images! See you next time!

Articles’ Images are in the public domain because their copyright has expired, and are available through Wikimedia

This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia.

Article publié pour la première fois le 03/08/2012

underworld_empire___fox_by_warrenlouw-d5bnierf

The Amazing Digital Art of Warren Louw

Warren Louw is a freelance illustrator and character designer. He is one of the most celebrated new artists from South Africa who is self taught and works primarily in digital media. His ability to create images with meticulous detail and imagination has brought his illustrations to various publications, advertisements and websites across the globe.

Well recognized for his mastery of his renditions of beautiful women and a perfectionist in his digital illustrations, his work has been featured in print publications such as ImagineFX Magazine, various UDON Entertainment’s Capcom tribute books as well as the covers for UDON’s Dakstalkers graphic novel and DC Comics’ Power Girl.

Let’s now enjoy a small selection of his amazing digital paintings, and remember to visit his website or his deviant art profile to see more!

Digital Painting by Warren Louw (1)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (2)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (3)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (4)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (5)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (6)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (7)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (8)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (9)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (10)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (11)

Digital Painting by Warren Louw

Digital Painting by Warren Louw (12)

Digital Painting by Warren Louw

All Artworks are Copyrighted by Warren Louw and are displayed here with his kind permission!

Article publié pour la première fois le 14/01/2013

Artwork copyrighted by Catherine Nodet (3)

The Amazing Fantasy Art of Catherine Nodet

Hi folks! In today’s inspiration corner we have some really amazing digital paintings by Catherine Nodet.

Catherine Nodet was born in France and has possessed a passion for drawing for as long as she can remember. At the age of 10, she left behind the world of black-and-white for the world of paint — a medium which will forever be a part of her.

Artwork copyrighted by Catherine Nodet (3)

At the same time, Nodet was intrigued by the beginnings of what would become today’s digital art, and she taught herself to use the very first graphics software in order to create her first digital paintings. Although a traditional painter, she likes working with current media (e.g. Photoshop), and uses it to fulfil commissions and book covers. She has studied Applied Arts as well as other art branches.

Although all subjects are likely to interest her, her world is primarily a fantasy world that mix fantastic, magic, myths, legends and tales, the History, a touch of gothic / steampunk and an aura of mystery and mysticism.

Most often one or several characters (preferably for portraits) in a context and a very special atmosphere for each illustration where emotions and naturals elements such as wind, water, fire, snow … also play a decisive role.

You can find more of Catherine’s amazing works at her personal website or her deviant art profile!

Artwork copyrighted by Catherine Nodet (1) Artwork copyrighted by Catherine Nodet (2) Artwork copyrighted by Catherine Nodet (4) Artwork copyrighted by Catherine Nodet (5) Artwork copyrighted by Catherine Nodet (6) Artwork copyrighted by Catherine Nodet (7) Artwork copyrighted by Catherine Nodet (8) Artwork copyrighted by Catherine Nodet (9) Artwork copyrighted by Catherine Nodet (10) Artwork copyrighted by Catherine Nodet (11)

Hope you enjoyed Catherine’s works and i am looking forward in hearing your impressions!

All works are copyrighted by Catherine Nodet and are displayed here with her kind permission.

Article publié pour la première fois le 02/02/2013

tribal art

Western Painting – Tribal Art, Native Art from the West

Tribal Art is the objects and artifacts made by the tribes in the rural areas, for religious reasons rather than as an example of artistry. Its numerous uses differ from tribe to tribe. They could be used to decorate objects of daily use or can even be used for spiritual ceremonial functions. Very often tribes are isolated from civilisations, with no tradition of literacy. Hence, art is a good way to demonstrate and preserve tribal traditions, mythology, and history. In the Western Art scene, the most widely known Tribal Art categories are from the tribes of the remote areas of Central and South America. While the primary influence on Tribal Art is the geography and the climate of a region, the social and religious needs of a tribe and the availability of resources are also other important factors determining its evolution and proliferation. Because there is no access to technology, the artisans use hand-tools made of materials, like stone, wood, tusks, bones, skin of animals, dyes made from minerals, baskets woven with natural grasses, pottery made of clay, and sand for painting etc. The designs and symbols used represent favourable weather, good crops, successful hunting, illness cures, and other common experiences of the tribe. The images of dream and supernatural visions constitute the most creative works of Tribal Art. Since the tribes are isolated from the outside world, tribal art is unchanging in style. The tribes usually sustain themselves on the internal trade exchanges among the tribes.

Genres of Tribal Art

Inuit - It refers to the culturally similar group, residing in the Arctic region of Canada, Greenland, Russia, and the United States. The art forms here are from ivory & bone sculptures and figurative works on soft stones, such as soapstone & argillite.  The usual subjects are hunting, whaling, and other everyday activities.

Navajo Folk Art – Is the Tribal Art from Bluff town in Utah, US. With considerable exposure to the civilized world, this art form has diverse interesting creations, such as vibrantly painted wooden chicken, cowboy riding buffaloes, dog in business suit, etc. Horsehair, wool, and leather are mainly used. The Navajo pictorial rugs, pottery, and sand paintings are famous all over the world.

Hopi Tribe - resides in the high desert plateaus of North Arizona. Art is inherent in this deeply religious tribe, including hand woven kilts & sashes, baskets & pottery, jewellery, Katsina carvings, and Kachina dolls, & toys for children.

Iroquois Confederacy Homelands - They are in the upstate New York and across the border into Canada. They have a culture rich in tradition and history. Their motifs include   animals, sun, moon, and other natural elements. The various art forms of this tribe include basket weaving, beadwork, pottery, cornhusk artifacts, stonework, woodwork, and metal carving etc.

The uniqueness of each form of Tribal Art stems from the history and culture of the respective tribe. The recognition of tribes by the Federal Government along with the rights granted to the civilized world to interact with tribes had a major impact on Tribal Art and culture, giving way to Contemporary Tribal Art. Tribal artefacts are found in museums and souvenir stores all over the world.

Featured Image: Provided by Author – source captivedecals.com

Article by James Vasanth

James Vasanth writes a blog on Scottsdale Art Auction, about Western Arts, Fine arts and connecting the dots between online and offline.

 

Article publié pour la première fois le 08/03/2013

Giorgione - The Three Ages

Masters of Art: Giorgione (1477 – 1510)

Giorgio Barbarelli da Castelfranco;  or simply Giorgione; (c. 1477/8 – 1510) was a Venetian painter of the High Renaissance in Venice, whose career was cut off by his death at a little over thirty.

Giorgione is known for the elusive poetic quality of his work, though only about six surviving paintings are acknowledged for certain to be his work. The resulting uncertainty about the identity and meaning of his art has made Giorgione one of the most mysterious figures in European painting.

Movements: Renaissance, Naturalism, Monumentalism, Secularism

Together with Titian, who was slightly younger, he is the founder of the distinctive Venetian school of Italian Renaissance painting, which achieves much of its effect through colour and mood, and is traditionally contrasted with the reliance on a more linear disegno of Florentine painting.

The painter came from the small town of Castelfranco Veneto, 40 km inland from Venice. How early in boyhood he went to Venice we do not know, but stylistic evidence supports the statement of Carlo Ridolfi that he served his apprenticeship there under Giovanni Bellini; there he settled and made his fame.

Contemporary documents record that his gifts were recognized early. In 1500, when he was only twenty-three, he was chosen to paint portraits of the Doge Agostino Barbarigo and the condottiere Consalvo Ferrante.

In 1504 he was commissioned to paint an altarpiece in memory of another condottiere, Matteo Costanzo, in the cathedral of his native town, Castelfranco. In 1507 he received at the order of the Council of Ten part payment for a picture (subject not mentioned) on which he was engaged for the Hall of the Audience in the Doge’s Palace.

Giorgione - Portrait of Warrior with his Equerry

Giorgione – Portrait of Warrior with his Equerry

In 1507-1508 he was employed, with other artists of his generation, to decorate with frescoes the exterior of the newly rebuilt Fondaco dei Tedeschi (or German Merchants’ Hall) at Venice, having already done similar work on the exterior of the Casa Soranzo, the Casa Grimani alli Servi and other Venetian palaces. Very little of this work survives today.

Giorgione met with Leonardo da Vinci on the occasion of the Tuscan master’s visit to Venice in 1500. All accounts agree in representing Giorgione as a person of distinguished and romantic charm, a great lover and a musician, given to express in his art the sensuous and imaginative grace, touched with poetic melancholy, of the Venetian existence of his time. They represent him further as having made in Venetian painting an advance analogous to that made in Tuscan painting by Leonardo more than twenty years before; that is, as having released the art from the last shackles of archaic rigidity and placed it in possession of full freedom and the full mastery of its means.

He was very closely associated with Titian; Vasari says Giorgione was Titian’s master, while Ridolfi says they both were pupils of Bellini, and lived in his house. They worked together on the Fondaco dei Tedeschi frescoes, and Titian finished at least some paintings of Giorgione after his death, although which ones remains very controversial.

Giorgione also introduced a new range of subjects. Besides altarpieces and portraits he painted pictures that told no story, whether biblical or classical, or if they professed to tell a story, neglected the action and simply embodied in form and color moods of lyrical or romantic feeling, much as a musician might embody them in sounds. Innovating with the courage and felicity of genius, he had for a time an overwhelming influence on his contemporaries and immediate successors in the Venetian school, including Titian, Sebastiano del Piombo, Palma il Vecchio, il Cariani, Giulio Campagnola (and his brother), and even on his already eminent master, Giovanni Bellini. In the Venetian mainland, Giorgionismo strongly influenced Morto da Feltre, Domenico Capriolo, and Domenico Mancini.

Giorgione died, probably of the plague then raging, by October, 1510. October 1510 is also the date of a letter by Isabella d’Este to a Venetian friend; asking him to buy a painting by Giorgione; in the letter she is aware he is already dead. Significantly, the reply a month later said the painting was not to be had at any price.

Giorgione - Sleeping Venus

Giorgione – Sleeping Venus

His name and work continue to exercise a spell on posterity. But to identify and define, among the relics of his age and school, precisely what that work is, and to distinguish it from the similar work of other men whom his influence inspired, is a very difficult matter.

Though there are no longer any supporters of the “Pan Giorgionismus” which a century ago claimed for Giorgione nearly every painting of the time that at all resembles his manner, there are still, as then, exclusive critics who reduce to half a dozen the list of extant pictures which they will admit to be actually by this master.

Giorgione - The Three Philosophers

Giorgione – The Three Philosophers

The difficulty in making secure attributions of work by Giorgione’s hand dates from soon after his death, when some of his paintings were completed by other artists, and his considerable reputation also led to very early erroneous claims of attribution. The vast bulk of documentation for paintings in this period relates to large commissions for Church or government; the small domestic panels that make up the bulk of Giorgione’s oeuvre are always far less likely to be recorded. Other artists continued to work in his style for some years, and probably by the mid-century deliberately deceptive work had started.

Giorgione - The Three Ages

Giorgione – The Three Ages

Though he died at 33, Giorgione left a lasting legacy to be developed by Titian and 17th-century artists. Giorgione never subordinated line and colour to architecture, nor an artistic effect to a sentimental presentation. He was arguably the first Italian to paint landscapes with figures as movable pictures in their own frames with no devotional, allegorical, or historical purpose — and the first whose colours possessed that ardent, glowing, and melting intensity which was so soon to typify the work of all the Venetian School

Let’s enjoy some of his other most celebrated works:

Hope you enjoyed the article as much as i did compiling the info and the images! See you next time!

Articles’ Images are in the public domain because their copyright has expired, and are available through Wikimedia

This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia.

Article publié pour la première fois le 11/09/2012

Chris Beatrice→Maurice's Valises 4

Amazing Fantasy Art by Chris Beatrice

Hello folks! Today we’ll meet Chris Beatrice and see some of his fantasy artworks. Chris has a  Bachelor in Fine Arts from Massachusetts College of Art, and is currently living in Natick, Massachusetts. Chris’ work has graced the covers of classic books such as Jonathan Swift’s Gulliver’s Travels, Daniel DeFoe’s Robinson Crusoe, and Oscar Wilde’s The Selfish Giant, in addition to games, packaging, magazines, posters, private commissions and several other books.

His clients include Simon and Schuster, MacMillan, Scholastic, Disney/Hyperion, Penguin, Nelson, Pearson, Weekly Reader, Bloomsbury Childrens Books, Walker Books for Young Readers, Lighthouse Creative, Kingfisher, VIA Group, Jerry Bruckheimer Games, Noteworthy Books, Smithsonian Magazine, Berkley and Fernleigh.

Let’s enjoy some of his awesome works:

Hope you enjoyed today’s article! Looking forward to hear which one is your favourite! See you next time!

 (Images are displayed here because they are licensed by their creator under Creative commons – Attribution. Exclusively to showcase and promote the artists work!)

Article publié pour la première fois le 21/12/2013

Artwork copyrighted by Nuriko Kun of Deviantart (5)

The Amazing Manga Art of Nuriko Kun

Today in our inspiration corner we have some really amazing manga/anime art from Nuriko Kun of Deviantart. You can enjoy some of his works below and also see more at his deviantart profile!

Artwork copyrighted by Nuriko Kun of Deviantart (1)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (2)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (3)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (4)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (5)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (6)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (7)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (8)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (9)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (10)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (11)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (12)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (13)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (14)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (15)

Artwork copyrighted by Nuriko Kun of Deviantart

Artwork copyrighted by Nuriko Kun of Deviantart (16)

Artwork copyrighted by Nuriko Kun of Deviantart

All Artworks are copyrighted by Nuriko Kun and are displayed here with his kind permission!

 

Article publié pour la première fois le 04/02/2013

Alfred Stevens - Femme a la poupee Japonaise

Life and Paintings of Alfred Stevens (1823 – 1906)

Alfred Émile Léopold Stevens (1823 – 1906) was a Belgian painter born in Brussels. He came from a family involved with the visual arts: his older brother Joseph (1816–1892) and his son Léopold (1866–1935) were painters, while another brother Arthur (1825–99) was an art dealer and critic. His father, who had fought in the Napoleonic wars in the army of William I of the Netherlands, was an art collector who owned several watercolors by Eugène Delacroix, among other artists. His mother’s parents ran Café de l’Amitié in Brussels, a meeting place for politicians, writers, and artists. All the Stevens children benefited from the people they met there, and the social skills they acquired in growing up around important people.

Alfred Stevens - What is Called Vagrancy

Alfred Stevens – What is Called Vagrancy

After the death of his father in 1837, Stevens left middle school to begin study at the Académie Royale des Beaux-Arts in Brussels, where he knew François Navez, the Neo-Classical painter and former student of Jacques-Louis David who was its director and an old friend of Stevens’s grandfather. Following a traditional curriculum, he drew from casts of classical sculpture for the first two years, and then drew from live models. In 1843, Stevens went to Paris, joining his brother Joseph who already was there. He was admitted to the École des Beaux-Arts, the most important art school in Paris. Although it is said that he became a student of its director Jean Auguste Dominique Ingres, this is likely not true.

An early picture by Stevens, The Pardon or Absolution (Hermitage, St. Petersburg), signed and dated 1849, shows his mastery of a conventional naturalistic style which owes much to 17th-century Dutch genre painting. Like the Belgian painter and friend with whom he stayed in Paris, Florent Joseph Marie Willems (1823–1905), Stevens carefully studied works by painters such as Gerard ter Borch and Gabriel Metsu.

Stevens’s work was shown publicly for the first time in 1851, when three of his paintings were admitted to the Brussels Salon. He was awarded a third-class medal at the Paris Salon in 1853, and a second-class medal at the Universal Exposition in Paris in 1855. His ‘Ce qu’on appelle le vagabondage‘ [What is called vagrancy] (Musée d’Orsay, Paris) attracted the attention of Napoleon III who, as a result of the scene in the picture, ordered that soldiers no longer be used to pick up the poor from the streets.

Alfred Stevens - The Japanese Mask aka Intrigue

Alfred Stevens – The Japanese Mask aka Intrigue

Two other paintings he exhibited at the Salon in Antwerp that year, Chez soi or At Home (present location unknown) and The Painter and his Model (Walters Art Museum, Baltimore), introduced subjects from “la vie moderne” for which he became known: an elegant young woman in contemporary dress and the artist in his studio. In 1857, Stevens made his first important sale to a private collector, when Consolation was bought for a rumored 6,000 francs by the Berlin collector and dealer Ravéné. At the same time, he and his brother were becoming part of the art world of Paris, meeting people such as the Goncourt brothers, Théophile Gautier, and Alexandre Dumas at the salons of Princess Mathilde as well as popular cafés.

In 1858, Stevens married Marie Blanc, who came from a rich Belgian family and old friends of the Stevens’s. Eugène Delacroix was a witness at the ceremony.

During the 1860s, Stevens became an immensely successful painter, known for his paintings of elegant modern women. His exhibits at the Salons in Paris and Brussels attracted favorable critical attention and buyers. An excellent example of his work during this time is La Dame en Rose or Woman in Pink (Musées royaux des Beaux-Arts de Belgique, Brussels), painted in 1866, which combines a view of a fashionably dressed woman in an interior with a detailed examination of Japanese objects, a fashionable taste called japonisme of which Stevens was an early enthusiast.

In 1863, he received the Legion of Honor (Chevalier) from the Belgian government. In 1867, he won a first-class medal at the Universal Exposition in Paris, where he and Jan August Hendrik Leys were the stars of the Belgian section, and was promoted to Officer of the Legion of Honor. His friends included Édouard Manet, Edgar Degas, Charles Baudelaire, Berthe Morisot, James Abbott McNeill Whistler, Frédéric Bazille, and Puvis de Chavannes, and he was a regular in the group that gathered at the Café Guerbois in Paris.

Alfred Stevens - The Bath

Alfred Stevens – The Bath

Stevens fought for the French during the siege of Paris in the Franco-Prussian War, but returned to Belgium with his wife and family before the Paris Commune. They returned after the war, and Stevens continued to achieve critical acclaim as well as great success with collectors. In 1875, he bought a grand house and garden in Paris on rue des Martyrs, which appeared in his paintings as well as those of other artists, including Édouard Manet’s The Croquet Party (Städel Museum, Frankfurt am Main) from 1873.

Alfred Stevens - Preparing for the Ball

Alfred Stevens – Preparing for the Ball

In 1878, he was made a Commander of the Legion of Honor and received another first-class medal at the Salon.
Despite earning a considerable income through the sale of his paintings, Stevens found that a combination of bad investments and excessive spending caused him great financial difficulties during the 1880s. An additional expense came from summers by the sea, which a doctor told Stevens in 1880 were essential for his health. Thus the artist was glad to agree when the Paris dealer Georges Petit offered him 50,000 francs to finance his vacation in exchange for the paintings Stevens produced during that time.

This deal, which lasted for three years, resulted in the sea becoming an important subject for him, and over the rest of his career, he painted hundreds of views of popular resorts along the Normandy coast and the Midi in the south. Many of them are painted in a sketchy style that shows the influence of the Impressionists. Stevens also began to take private students, including Sarah Bernhardt, who became a close personal friend, and William Merritt Chase.

The single most important work from the second half of Stevens’s career is the monumental Panorama du Siècle, 1789–1889, which he painted with Henri Gervex. Stevens painted the women and details and Gervex the men, with the help of fifteen assistants. It was shown to great acclaim at the International Exhibition held in Paris in 1889. He also received several great professional tributes. In 1895, a large exhibition of his work was held in Brussels.

 

Alfred Stevens - A la Fillette au Canard

Alfred Stevens – A la Fillette au Canard

In 1900, Stevens was honored by the Ecole des Beaux-Arts in Paris with the first retrospective exhibition ever given to a living artist. Supported by patrons led by the Comtesse de Greffulhe, it achieved social cachet as well as popular success. In 1905, he was the only living artist allowed to exhibit in a retrospective show of Belgian art in Brussels. Despite these exhibitions, he was not able to sell enough of his work to manage well financially. Having outlived his brothers and most of his friends, he died in Paris in 1906, living alone in modest rooms.

Alfred Stevens - Lovelorn

Alfred Stevens – Lovelorn

Hope you enjoyed the article as much as i did compiling the info and the images! See you next time!

Articles’ Images are in the public domain because their copyright has expired or are displayed here under the “ fair use” copyright law, and are available through Wikipedia & Wikimedia.

This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia.

Article publié pour la première fois le 20/02/2014

national-portrait-library-london

Making Art Accessible to All – How Everyone Can gain Access to Art

The writer Henry James once said “It is art that makes life, makes interest, makes importance…” and many would agree with his point of view. Art is not only pleasing to the eye; good art should teach the viewer something about the world and about human experience.

While art can be an incredibly important part of making sense of life, it is also a privilege that is denied to many people. Art galleries are traditionally stuffy, inaccessible places that precious few people were able to access let alone feel welcome. However, many initiatives and schemes to make art more accessible are helping those without these inherent privileges access art that may otherwise be denied to them.

Museums free for all

Making access to art galleries free for all is one way that arts organisations are attempting to encourage more people to get into art. Across England, Wales and Scotland, many of the permanent collections in the museums and art galleries are now free for people of all ages to access and provide great opportunities for individuals and groups to see artworks for themselves.

The National Portrait Gallery in London, where the permanent collection is free to the public

A great many art galleries and museums that offer free access to their collections have other services that help individuals better connect with the artworks on show. Curators and museum staff offer guided tours and activities for children and young people to help them understand the works of art on offer and get more from the artistic experience. An understanding of the history of art through the ages also helps to see how the development of style, technique and subject matter have come to shape modern artworks and the way in which today’s artists express themselves.

Independent galleries

In addition to the big municipal museums and galleries in many towns and cities, some smaller independent galleries and arts centres also offer free admission to members of the public. These galleries often have collections of more contemporary artworks that are offered for sale as well as being open for viewing by the public.

Arts centres frequently offer opportunities for local people to meet with artists to gain a greater insight into the artistic process. In addition, aspiring amateur artists can often find space to exhibit their work in small local galleries, arts centres and community art spaces as they grow their portfolios. This sharing can lead to further artistic development as artists and members of the public have access to a broader range of artwork to inspire.

Public art

In towns and cities up and down the country, councils are increasingly providing space for public art to bring creativity closer to the people. From the classical sculptures and statues that can be found in most towns through to more modern and innovative installations, artwork is moving out of the gallery and onto the streets to increase its connection with peoples’ lives.

Public art gives a different perspective on public spaces

In many areas, public art is being created that resonates with the experience of local people in a variety of ways. Sculpture that commemorates events, achievements and local history are particular popular. However, in addition to these, towns and cities are now making public art space available for more contemporary artists using media previously considered to be vandalism. Public mural walls that allow graffiti artists to paint breathtaking multi-coloured works of art that speak directly to people who wouldn’t normally consider themselves art buffs and engage on topics that are meaningful to less privileged groups.

Conclusion

In addition to the growing number of municipal galleries offering free access to increase the ability of people to experience art, there are other ways in which individuals can see artwork in their communities. Arts centres and public art bring artwork closer to people and allow individuals to engage with art that is meaningful to them.

Image Credits: Wikipedia 1 and 2

Article publié pour la première fois le 10/06/2013

1937 Cord automobile model 812, designed in 1935 by Gordon M. Buehrig and staff

History of Modern Art: Art Deco

Hi folks, welcome back to our journey in the history of modern art.

Today we’ll be reviewing Art Deco!

Art Deco or Deco, is an influential visual arts design style which first appeared in France during the 1920s, flourished internationally during the 30s and 40s, then waned in the post-World War II era. It is an eclectic style that combines traditional craft motifs with Machine Age imagery and materials. The style is often characterized by rich colors, bold geometric shapes and lavish ornamentation.

U.S. Works Progress Administration poster, John Wagner, artist, ca. 1940

U.S. Works Progress Administration poster, John Wagner, artist, ca. 1940

Deco emerged from the Interwar period when rapid industrialization was transforming culture. One of its major attributes is an embrace of technology. This distinguishes Deco from the organic motifs favored by its predecessor Art Nouveau.

Historian Bevis Hillier defined Art Deco as “an assertively modern style…[that] ran to symmetry rather than asymmetry, and to the rectilinear rather than the curvilinear; it responded to the demands of the machine and of new material…[and] the requirements of mass production.”

During its heyday Art Deco represented luxury, glamour, exuberance, and faith in social and technological progress.

The first use of the term Art Deco has been attributed to architect Le Corbusier who penned a series of articles in his journal L’Esprit nouveau under the headline 1925 Expo: Arts Déco. He was referring to the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Decorative and Industrial Arts).

The term was used more generally in 1966 when a French exhibition celebrating the 1925 event was held under the title Les Années 25: Art Déco/Bauhaus/Stijl/Esprit Nouveau. Here the phrase was used to distinguish French decorative crafts of the Belle Epoque from those of later periods.

Edwin Lord Weeks - Along The Ghats Mathura

Life and Paintings of Edwin Lord Weeks (1849 -1903)

Edwin Lord Weeks - An Indian Hunting Party

Edwin Lord Weeks – An Indian Hunting Party

Edwin Lord Weeks (1849 – 1903) was an american artist distinguished as a painter of oriental scenesWell he was born in Boston, Massachusetts, in 1849. Weeks’ parents were affluent spice and tea merchants from Newton, a suburb of Boston and as such they were able to accept, probably encourage, and certainly finance their son’s youthful interest in painting and travelling. As a young man Edwin Lord Weeks visited the Florida Keys to draw and also travelled to Surinam in South America. His earliest known paintings date from 1867 when Weeks was eighteen years old, although it is not until his Landscape with Blue Heron, dated 1871 and painted in the Everglades, that Weeks started to exhibit a dexterity of technique and eye for composition—presumably having taken professional tuition.

He relocated to Europe in 1872, and studied in Paris, where he was a pupil of Léon Bonnat and Jean-Léon Gérôme. He made many voyages to the East, and was distinguished as a painter of oriental scenes.

Edwin Lord Weeks - Moorish Girl Lying on a Couch

Edwin Lord Weeks – Moorish Girl Lying on a Couch

In 1895, he wrote and illustrated a book of travels, From the Black Sea through Persia and India, and two years later he published Episodes of Mountaineering. He died in November 1903. He was a member of the Légion d’honneur, France, an officer of the Order of St. Michael, Germany, and a member of the Secession, Munich.

Let’s enjoy some of his most stunning works.

 

Edwin Lord Weeks - The Return Of The Imperial Court From The Great Mosque At Delhi

Edwin Lord Weeks – The Return Of The Imperial Court From The Great Mosque At Delhi

 

Edwin Lord Weeks - Sketch Two Nautch Girls

Edwin Lord Weeks – Sketch Two Nautch Girls

 

Edwin Lord Weeks - The Last Voyage

 

Edwin Lord Weeks - Interior of the Mosque at Cordova

Edwin Lord Weeks – Interior of the Mosque at Cordova

 

Edwin Lord Weeks - Festival at Fatehpur Sikri

Edwin Lord Weeks – Festival at Fatehpur Sikri

 

Edwin Lord Weeks - Along The Ghats Mathura

Edwin Lord Weeks – Along The Ghats Mathura

 

Edwin Lord Weeks - Two Arabs Reading in a Courtyard

Edwin Lord Weeks – Two Arabs Reading in a Courtyard

 

 

Edwin Lord Weeks - An Open-Air Restaurant Lahore

Edwin Lord Weeks – An Open-Air Restaurant Lahore

 

Hope you enjoyed the article as much as i did compiling the info and the images! See you next time!

Articles’ Images are in the public domain because their copyright has expired or are displayed here under the “ fair use” copyright law, and are available through WikipediaWikimedia.

This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia.

Louise Élisabeth Vigée Le Brun - Self-Portrait with Her Daughter, Julie

Masters of Art: Louise Élisabeth Vigée Le Brun (1755 – 1842)

Louise Élisabeth Vigée Le Brun (Marie Élisabeth Louise; 16 April 1755 – 30 March 1842) was a French painter, and is recognized as the most important female painter of the 18th century. Her style is generally considered Rococo and shows interest in the subject of neoclassical painting. Vigée Le Brun cannot be considered a pure Neoclassist, however, in that she creates mostly portraits in Neoclassical dress rather than the History painting. In her choice of color and style while serving as the portrait painter to Marie Antoinette, Vigée Le Brun is purely Rococo.

Movements: Rococo, Neoclassicism

Born in Paris on 16 April 1755, Marie-Louise-Élisabeth Vigée was the daughter of a portraitist and fan painter, Louis Vigée, from whom she received her first instruction. Her mother was a hairdresser.

Louise Élisabeth Vigée Le Brun - Self-Portrait

Louise Élisabeth Vigée Le Brun – Self-Portrait

She was sent to live with relatives in Épernon until the age of 6 when she entered a convent where she remained for five years. Her father died when she was 12 years old following an infection from surgery to remove a fish bone lodged in his throat. In 1768, her mother married a wealthy jeweler, Jacques-Francois Le Sèvre and the family moved to the rue Saint-Honoré close to the Palais Royal. She was later patronised by the wealthy heiress Louise Marie Adélaïde de Bourbon, wife of Philippe Égalité. During this period Louise Élisabeth benefited by the advice of Gabriel François Doyen, Jean-Baptiste Greuze, Joseph Vernet, and other masters of the period.

By the time she was in her early teens, Louise Élisabeth was painting portraits professionally. After her studio was seized, for practising without a license, she applied to the Académie de Saint Luc, which unwittingly exhibited her works in their Salon. On 25 October 1783, she was made a member of the Académie.

On 7 August 1775 she married Jean-Baptiste-Pierre Le Brun, a painter and art dealer. (Her husband’s great uncle was Charles Le Brun, first Director of the French Academy under Louis XIV.) Vigée Le Brun painted portraits of many of the nobility of the day and as her career blossomed, she was invited to the Palace of Versailles to paint Marie Antoinette. So pleased was the queen that during a period of six years, Vigée Le Brun would paint more than thirty portraits of the queen and her family, leading to her being commonly viewed as the official portraitist of Marie Antoinette. Whilst of benefit during the reign of the Bourbon royals, this label was to prove problematic later.

On 12 February 1780, Vigée Le Brun gave birth to a daughter, Jeanne Julie Louise, whom she called “Julie”.

In 1781 she and her husband toured Flanders and the Netherlands where seeing the works of the Flemish masters inspired her to try new techniques. There, she painted portraits of some of the nobility, including the Prince of Nassau.

On 31 May 1783, Vigée Le Brun was accepted as a member of France’s Académie Royale de Peinture et de Sculpture. She submitted numerous portraits along with an allegorical history painting which she considered her morceau de réception—La Paix qui ramène l’Abondance (Peace Bringing Back Prosperity). The Academy did not place her work within an academic category of type of painting—history or portraiture.

Adélaïde Labille-Guiard also was admitted on the same day. The admission of Vigée Le Brun was opposed on the grounds that her husband was an art dealer, but eventually they were overruled by an order from Louis XVI because Marie Antoinette put considerable pressure on her husband on behalf of her painter. In 1789, she was succeeded as court painter to Marie Antoinette by Alexander Kucharsky.

After the arrest of the royal family during the French Revolution Vigée Le Brun fled France with her young daughter Julie. She lived and worked for some years in Italy, Austria, and Russia, where her experience in dealing with an aristocratic clientele was still useful. In Rome, her paintings met with great critical acclaim and she was elected to the Roman Accademia di San Luca.

Louise Élisabeth Vigée Le Brun - Hubert Robert, Artist

Louise Élisabeth Vigée Le Brun – Hubert Robert, Artist

In Russia, she was received by the nobility and painted numerous aristocrats including the last king of Poland Stanisław August Poniatowski and members of the family of Catherine the Great. Although the French aesthetic was widely admired in Russia there remained some cultural differences in what was deemed acceptable. Catherine was not initially happy with Vigée Le Brun’s portrait of her granddaughters, Elena and Alexandra Pavlovna, due to the area of bare skin the short sleeved gowns revealed. In order to please the Empress, Vigée Le Brun added sleeves giving the work its characteristic look. This tactic seemed effective in pleasing Catherine as she agreed to sit herself for Vigée Le Brun (although Catherine died of a stroke before this work was due to begin).

While in Saint Petersburg, Vigée Le Brun was made a member of the Academy of Fine Arts of Saint Petersburg. Much to Vigée Le Brun’s dismay, her daughter Julie married a Russian nobleman.

After a sustained campaign by her ex-husband and other family members to have her name removed from the list of counter-revolutionary émigrés, Vigée Le Brun was finally able to return to France during the reign of Emperor Napoleon I. In spite of being no longer labeled as émigrée, her relationship with the new regime was never totally harmonious, as might be expected given that she was a strong royalist and the former portraitist of Marie Antoinette.

Much in demand by the élite of Europe, she visited England at the beginning of the 19th century and painted the portrait of several British notables including Lord Byron. In 1807 she traveled to Switzerland and was made an honorary member of the Société pour l’Avancement des Beaux-Arts of Geneva.

She published her memoirs in 1835 and 1837, which provide an interesting view of the training of artists at the end of the period dominated by royal academies. Her portrait of fellow neoclassical painter, Hubert Robert, is in Paris at Musée National du Louvre.

Still very active with her painting in her fifties, she purchased a house in Louveciennes, Île-de-France, and lived there until the house was seized by the Prussian Army during the war in 1814. She stayed in Paris until her death on 30 March 1842 when her body was taken back to Louveciennes and buried in the Cimetière de Louveciennes near her old home.

Her tombstone epitaph states:

Ici, enfin, je repose… (Here, at last, I rest…)

Vigée Le Brun left a legacy of 660 portraits and 200 landscapes. In addition to private collections, her works may be found at major museums, such as Hermitage Museum, London’s National Gallery, in Europe and the United States.

Louise Élisabeth Vigée Le Brun - Self-Portrait with Her Daughter, Julie

Louise Élisabeth Vigée Le Brun – Self-Portrait with Her Daughter, Julie

 

Louise Élisabeth Vigée Le Brun - The Daughter Portrait

Louise Élisabeth Vigée Le Brun – The Daughter Portrait

Louise Élisabeth Vigée Le Brun - The Genius of Alexander

Louise Élisabeth Vigée Le Brun – The Genius of Alexander

Louise Élisabeth Vigée Le Brun - Madame d'Aguesseau de Fresnes

Louise Élisabeth Vigée Le Brun – Madame d’Aguesseau de Fresnes

Louise Élisabeth Vigée Le Brun - Marie Antoinette

Louise Élisabeth Vigée Le Brun – Marie Antoinette

Louise Élisabeth Vigée Le Brun - Portrait of a Young Woman

Louise Élisabeth Vigée Le Brun – Portrait of a Young Woman

Louise Élisabeth Vigée Le Brun - Portrait of Anna Pitt as Hebe

Louise Élisabeth Vigée Le Brun – Portrait of Anna Pitt as Hebe

Louise Élisabeth Vigée Le Brun - Portrait of Hyacinthe Gabrielle Roland

Louise Élisabeth Vigée Le Brun – Portrait of Hyacinthe Gabrielle Roland

Louise Élisabeth Vigée Le Brun - Portrait of Hyacinthe Gabrielle Roland

Louise Élisabeth Vigée Le Brun – Portrait of Hyacinthe Gabrielle Roland

Louise Élisabeth Vigée Le Brun - Self-Portrait in a Straw Hat

Louise Élisabeth Vigée Le Brun – Self-Portrait in a Straw Hat

 

Hope you enjoyed the article as much as i did compiling the info and the images! See you next time!

Articles’ Images are in the public domain because their copyright has expired or are displayed here under the “ fair use” copyright law, and are available through WikipediaWikimedia.

This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia.