Лента № 87: chetvergvecher

chetvergvecher

Лента № 87

Jun 08, 2016 13:18

Virgilius the Sorcerer (c.1893). Aubrey Vincent Beardsley (English, 1872-1898). Pen and brush and black ink, over traces of graphite, on ivory wove paper, laid down on board. Art Institute of Chicago. Frontispiece to The Wonderful History of Vergilius the Sorcerer of Rome. Aubrey Beardsley [Illustrator]. London: David Nutt in the Strand, 1893. First edition. Beardsley’s frontispiece is said to have been placed only in a large paper edition limited to 100 copies

Bouderie (Gustave Courtois in his Studio), 1880. Pascal Adolphe Jean Dagnan-Bouveret (French, 1852-1929). Oil on canvas. The elegantly dressed painter, holding his palette and mahl-stick, is relaxing on a sofa; at the other end of the sofa sits a young woman, dressed in black, who is separated from the artist both in actuality and in demeanor. Exactly what the relationship is between these two participants remains unclear. If Bouderie is the true title of the work it could it be that the woman is the one sulking because she is unhappy with her likeness

In the Library. Pio Ricci (Italian, 1850-1919). Oil on canvas. Ricci was a student of the Accademia di Belle Arte in Florence, and predictably showed most of his works there, though he was known to have exhibited in Turin also. The artist was incredibly skilled at painting detail. He exhibited this most successfully in the fabrics in the dresses of his subjects which are on a par with those of Charles Soulacroix

Melody (1904). Henry Meynell Rheam (British, 1859-1920). Watercolour. Rheam studied in Germany, in London at Heatherly’s, and in Paris at Julian’s Atelier, working primarily in watercolour. A staunch Quaker and first cousin of Henry Scott Tuke, Rheam moved to Newlyn in 1890. Stanhope Forbes ascribed this move not to art but to sport as Rheam was skilled in cricket

The First Class Carriage (1864). Honoré Daumier (French, 1808-1879). Watercolor, ink wash and charcoal on slightly textured, moderately thick, cream wove paper. Walters Art Museum. The First Class Carriage is the rosiest picture of the Carriage series as one would expect from first class. The pastel colors of the women’s ribbons are particularly out of character for Daumier and his typical choice of color palette. As with The Third Class Carriage this painting appears incomplete

Musicians (1891-1892). Thomas Matthews Rooke (English, 1842-1942). Watercolour heightened with bodycolour. Shows the artist’s brother, Alfred Rooke, and his family. In the foreground are seen Ethel Rooke, who became a professional musician, and her brother, Herbert Kerr Rooke. The watercolour speaks of a loving and harmonious relationship between the three generations present. Both branches of the Rooke family seem to have been very musical, and with a particular fondness for impromptu concerts

Saint Catherine of Alexandria, with the Defeated Emperor (c.1482). Probably the left wing of a triptych. Master of the Legend of Saint Lucy (Netherlandish, active Bruges, active c.1470-c.1500). Oil on panel. Philadelphia Museum of Art. Saint Catherine of Alexandria, here shown reading a book, was the patron saint of students and scholars. Because she refused to relinquish her faith under torture, she was revered in northern Europe during the Renaissance as a powerful helper for penitents in times of need

The Stomach Dance, for Salome. Aubrey Vincent Beardsley (British, 1872-1898). Black ink and graphite with corrections in white gouache on white wove paper. In one of Beardsley’s illustrations to the play, he depicts what he calls a “stomach dance” (i.e. a belly dance), in which Salome is depicted with a exposed breasts and undulating belly, wearing transparent pantaloons. Wilde wrote a note in appreciation of Beardsley’s design, saying “For Aubrey: for the only artist who, besides myself, knows what the dance of the seven veils is, and can see that invisible dance”

Gartenrestaurant (1912). August Macke (German, 1887-1914). Oil on canvas. Kunstmuseum, Bern. Macke’s style was formed within the mode of French Impressionism and Post-impressionism and later went through a Fauve period. In 1910, through his friendship with Franz Marc, Macke met Kandinsky and for a while shared the non-objective aesthetic and the mystical and symbolic interests of Der Blaue Reiter

England and the Maori Wars. A J Harrop. London: The New Zealand News, 1937. Original dust jacket by Frederick Halford Coventry. This dust jacket depicts the dance of the Hauhau, another name for the Pai Marire religious movement of the 1860s. “The Maori Wars provided the opportunity for working out in practice theories of Imperial defence and colonial self-government which changed the whole character of the Empire”

Fidelia and Speranza (1776). Benjamin West (American, 1738-1820). Oil on canvas, Timken Museum of Art. West portrays a scene from The Faerie Queene, a book-length poem by Sir Edmund Spenser celebrating Christian virtues. Fidelia (Faith), holding the New Testament, and her sister Speranza (Hope) wait for the arrival of the Red Cross Knight. The knight, representing the human soul, is brought to the House of Holiness by Una (Truth) riding a donkey through the stormy landscape at left

Miss Anne Harcourt (1921). George Harcourt (English, 1868-1948). Oil on canvas. Royal Academy of Arts. Harcourt portrays his daughter in a summer dress in the tradition of Reynolds and Romney. This is a painting for which Harcourt wished to be remembered, as it is included the Academy’s ‘diploma’ collection, to which artists are required to donate on the occasion of their election to membership

The Artist’s Daughter (Little Girl with Palette at Easel), 1919. Norman Rockwell (American, 1894-1978). Oil on canvas. Produced for the cover of the September 23, 1922, issue of The Literary Digest. The Artist’s Daughter is seated at his easel, while she carefully studies her doll that is serving as her model for the portrait. Having pitched the canvas forward so that it is just barely in reach of her paintbrush, the amateur artist begins to craft her masterpiece