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  • 09/16/16--05:50: Cats in Art - part 9
  • Concluding a look at art that has featured cats in one way or another, either as the subject of the work, or as an adjunct to it.

    They say you’re either a ‘dog person’ or a ‘cat person.’ I’ve always fallen into the latter category, so I thought I would do a themed feature for this series of posts, covering a large time span through art history.

    The time span of approximately five-hundred artworks in the series (in roughly chronological order) is close to five hundred years - from 1525 (Francesco d’Ubertino Verdito) to 1999 (Louise Bourgeois).

    This is part 9, the final part of a 9-part series on Cats in Art. For earlier works see parts 1 - 8 also. Note: I have added portraits and dates of the artists where I was able to find them (some of the artists below have been featured in earlier posts).



    Marc Chagall
    ( 1887 Vitebsk, Belarus - 1985 St. Paul de Vence, France )


    Marc Chagall
    Man at Table 1911

    © ADAGP, Paris and DACS, London 2016

    Marc Chagall
    The Poet, or Half Past Three 1911-12
    oil on canvas 146 x 197 cm
    Philadelphia Museum of Art, PA

    © ADAGP, Paris and DACS, London 2016

    Marc Chagall
    Paris Through the Window 1913
    oil on canvas 136 x 141.9 cm
    Soloman R. Guggenheim Museum, New York City

    © ADAGP, Paris and DACS, London 2016

    Marc Chagall
    Man with a Cat and Woman with a Child 1914
    ink on paper 17.2 x 22.3 cm
    The State Tretakov Gallery, Moscow

    © ADAGP, Paris and DACS, London 2016

    Marc Chagall
    Yellow Cat 1915
    oil on board 47.6 x 45.1 cm
    Private Collection

    © ADAGP, Paris and DACS, London 2016

    Marc Chagall
    The Cat and Two Sparrows 1925

    © ADAGP, Paris and DACS, London 2016

    Marc Chagall
    The Cat Transformed into a Woman 1928-31c
    etching, drypoint and oil on paper 29.5 x 24.1 cm
    Tate, London

    © ADAGP, Paris and DACS, London 2016


    José Mongrell i Torrent
    ( 1870 Valncia, Spain -1937 Barcelona, Spain )


    José Mongrell i Torrent
    Chica con Gatto 1920
    oil on canvas 92 x 73 cm
    Private Collection


    Norbertine Bresslern-Roth
    Two Cats 1920s
    linocut print

    1925 Norbertine Bresslern-Roth
    Angora Cat 1925
    linocut print

    Norbertine Bresslern-Roth
    Black Cat 1925
    woodcut print

    Norbertine Bresslern-Roth
    Young Cats 1944
    linocut print

    Norbertine of Bresslern-Roth
    Siamese 1946
    linocut print


    Fernand Léger c1916
    ( 1881 Argentan, France -1955 Gif-su-Yvette, France )


    Fernand Léger
    Woman with a Cat 1921
    oil on canvas 13.5 x 89.5 cm
    The Metropolitan Museum of Art, New York City


    Ernst Ludwig Kirchner
    Alte Frau mit Katze 1922
    drypoint etching 26.3 x 19.9 cm (plate)

    Ernst Ludwig Kirchner
    Black Cat (Bobby) 1929


    Lotte Laserstein
    ( 1898 Pr. Holland, Prussia -1993 Kalmar, Sweden )


    Lotte Laserstein
    Self Portrait with a Cat 1928
    oil on panel 61 x 51 cm
    Leicester Museums, UK

    Lotte Laserstein
    Girl with Cat 1932 33
    oil on panel 70.3 x 55 cm

    Paul Klee
    ( 1879 Münchenbuchsee, Switzerland - 1940 Muralto,
    Switzerland )
    Paul Klee
    Cat and Bird 1928
    oil and ink on gessoed canvas, mounted on wood 38.1 x 53.2 cm
    Museum of Modern Art, New York City


    Duncan Grant
    ( 1885 Rothiemurchus, Scotland -1978 Aldermaston, England )


    Duncan Grant
    The Cat, Opussyquinusque 1932c


    Balthus [ Balthasar Klossowski de Rola ]
    ( 1908 Paris - 2001 Rossinière, Switzerland )


    Balthus
    Girl with Cat 1937
    oil on board 87.6 x 77.5 cm
    Art Institute of Chicago, IL
    Frida Kahlo
    ( 1907 Coyoacán, Mexico - 1954 Coyoacán, Mexico )


    Frida Kahlo
    Self Portrait With Necklace Of Thorns  1940
    oil on canvas 49.5 x 63.5 cm
    Harry Ransom Humanities Research Centre Art Collection,
    University of Texas, Austin, Texas


    Pablo Picasso
    Dora Maar au Chat 1941
    oil on canvas 128.3 x 95.3 cm
    Private Collection


    Victor Brauner
    ( 1903 Piatra Neamt, Romania - 1966 Paris )


    Victor Brauner
    Rainbow 1943
    oil on canvas


    Robert Colquhoun
    ( 1914 Kilmarnock, Scotland -1962 London )


    Robert Colquhoun
    Woman with Leaping Cat 1945
    oil on canvas 76.7 x 61 cm
    Tate, London


    Lucien Freud
    ( 1922 Berlin, Germany - 2011 London, UK )


    Lucien Freud
    Girl with a Kitten 1947
    oil on canvas 39.5 x 29.5 cm
    Private Collection


    Richard Lindner
    ( 1901 Hamburg, Germany -1978 New York City )


    Richard Lindner
    Homage to a Cat 1952
    oil on canvas 92.1 x 60.3 cm
    Tate, London

    © ADAGP, Paris and DACS, London 2016


    Andy Warhol
    ( 1928 Pittsburgh, PA - 1987 New York City )

    Part of a larger series:


    Andy Warhol
    Brown Sam with Orange Eyes 1954c
    lithograph and watercolour 22 x 14 cm

    Andy Warhol
    Light Pink Sam with Red Eyes 1954c
    lithograph with watercolour 22 x 14 cm

    Andy Warhol
    Pink Sam with Pink Eyes 1954c
    lithograph with watercolour 22 x 14 cm

    Andy Warhol
    Pink Sam with Yellow Eyes 1954c
    lithograph with watercolour 22 x 14 cm

    Andy Warhol
    Red Sam with Purple Eyes 1954c
    lithograph with watercolour 22 x 14 cm

    Andy Warhol
    Sam 1954c
    lithograph on wove paper 35.6 x 25.4 cm

    Andy Warhol
    Yellow Sam with Red Eyes 1954c
    lithograph with watercolour 22 x 14 cm


    Gertrude Abercrombie
    ( 1909 Austin, Texas - 1977 Chicago, Illinois )


    Gertrude Abercrombie
    The Stroll ( n.d. )
    oil on fibre-board 69.8 x 88.9 cm
    SmithsonianAmerican Art Museum, Washington, DC


    1957 Gertrude Abercrombie
    Black Cat 1957
    oil on fibreboard 12.4 x 9.8 cm


    Otto Dix
    ( 1891 Gera, Germany - 1969 Singen, Germany )


    Otto Dix
    Cat 959
    colour lithograph on laid paper 44 x 58 cm
    Otto Dix
    Cat in the Poppy Field 1968
    colour lithograph 56 x 45.5 cm

    James Lloyd
    ( 1905 Alsager, UK - 1974 )
    Cat and Mouse 1967
    gouache on board 38.1 x 53.3 cm
    Tate, London

    © The Estate of James Lloyd


    David Hockney
    ( 1937 Bradford, UK - )


    David Hockney
    A Black Cat Leaping 1970
    from "Fairy Tales of the Brothers Grimm"
    etching and aquatint 23.7 x 27.3 cm ( plate )
    David Hockney
    Mr and Mrs Clark and Percy 1970-71
    acrylic on canvas 213.4 x 304.8 cm
    Tate, London

    © David Hockney

    Elisabeth Frink 1974
    ( 1930 Thurlow, Suffolk, UK -1993 Blandford Forum,
    Dorset, UK )
    Elisabeth Frink
    Wild Cat 1970
    lithograph on paper 51.9 x 66 cm
    Tate, London


    Louise Bourgeois
    ( 1911 Paris - 2010 New York City )


    Louise Bourgeois
    The White Cat 1994
    drypoint, etching and aquatint on paper 43.2 x 59.7 cm

    Louise Bourgeois
    The Angry Cat 1999
    drypoint and etching 25.4 x 30.5 cm (image)


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  • 09/19/16--06:50: Belle Époque - part 1
  • 1882 A Bar at the Folies-Bergère by Édouard Manet
    oil on canvas 96 x 130 cm
    Courtauld Gallery, London
    The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

    Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

    Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

    This is part 1 of a 9-part series on art of the Belle Epoque:

      
    1880 Folies-Bergère
    Le Spectre de Paganini

    1885 Folies-Bergère
    Poster by Émile Lévy and Co.

    1887 Folies-Bergère
    Les Selbinis Famille de Vélocipédistes

    1890 At the Moulin Rouge, The Dance
    by Henri de Toulouse-Lautrec
    oil on canvas 115.6 x 149.9 cm
    Philadelphia Museum of Art, PA

    1890 Folies-Bergère
    G. Lockart et ses Éléphants 

    1890 Folies-Bergère
    L'Orchestre des Elephants

    1890 Folies-Bergère
    La Famille Birmane

    1890 Folies-Bergère
    Les Chiens Sauteurs présentés par Fred Leslie

    1890 Folies-Bergère
    Les Griffith's

    1890 Folies-Bergère
    Les Trevally Acrobates

    1892c La Loïe Fuller aux Folies Bergère
    poster by Ferdinad Bach
    La Loïe Fuller at the Folies Bergère

    1894 Ambassadeurs Paris, Yvette Guilbert
    poster by Theophile-Alexandre Steinlen

    Yvette Guilbert


    1894 Folies-Bergère, Peter Jackson

    Peter Jackson

    1895 Folies-Bergère, Le Kangourou Boxeur

    1895 Folies-Bergére, Miss Mabel Love

    1895 Folies-Bergère, Miss Mabel Love
    poster by Lucien Baylac
    Miss Mabel Love

    1895 Folies-Bergère, Nala Damajanti Charmeuse Hindoue


    1895c Salle Wagram, Bal
    Poster by Èmile Lévy and Co.

    1896 Folies-Bergère, Lona Barrison
    poster by Albert Guillaume
    Lona Barrison

    1897  Folies-Bergère, Matinée

    1899 La Pépinière, Chauffons! Revue

    1900 Folies Bergère, Tous les Soirs, Spectacle Varié
    poster by Leonetto Cappiello

    1900s Ambassadeurs, Paris Tout Nu
    poster by Carlobali

    1905 Bal du Moulin Rouge

    1905 Bal du Moulin Rouge

    1913c Mistinguett
    poster by Georges Kugelmann Benda

    1920 Casino de paris, Mistinguette
    poster by Leonetto Cappiello

    Mistinguette

    1920s Ba-Ta-Clan, La Danse de Libellules

    1926c Folies Bergère
    poster by Maurice Picaud

    1927 Josephine Baker au Bal Negre poster by André-Charles Caron
    Josephine Baker

    1927c Folies-Bergère, La Grand Folie Hyper Revue
    poster by Fico

    1927c Mistinguett
    poster by Rougemont

    1928c Casino de Paris, Maurice Chevalier
    poster by Charles Kiffer

    Maurice Chevalier 1929

    1933 Folies en Folie, Mistinguette
    poster by Paul Selten (Seltenhammer)

    1936 Josephine Baker, Folies Bergère
    poster by Michel Gyarmath

    1936 Josephine Baker, Folies Bergère
    poster by Michel Gyarmath

    1938 Mistinguett
    poster by Jean-Dominique van Laulaert

    Au Joyeaux Moulin Rouge

    Casino de Paris, Camille Stéfani

    Casino de Paris, Edith Piaf

    Edith Piaf

    Casino de Paris, The Sisters Levey
    The Sisters Levey

    Casino de Paris. Entrée 2Fr.

    Casino de Paris. Mistinguett
    poster by Videmanette Rougemont


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  • 09/21/16--06:01: Belle Époque - part 2
  • Au Joyeux Moulin Rouge
    poster by Alfred Choubrac

    The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

    Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

    Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

    This is part 2 of a 9-part series on art of the Belle Epoque. For more works in the series see part 1 also.

    ALFRED CHOUBRAC


    Alfred Choubrac ( 1853 - 1902) was a French painter, illustrator, draughtsman, and poster artist. His most famous poster is "Au Joyeux Moulin Rouge" ( above ). He contributed to the satirical weekly publication "Le Courrier français."

    With his older brother Leon ( who signs his own work "Hope," Alfred has his artistic training with painters Charles Doerr and Isidore Pils. The Chobrac brothers were early visitors to the shows, by 1875 with the introduction of chromolithography, they were experimenting with the modern treatment of colours and typography.

    They later created their own print workshop, one of the first graphic design agencies in Paris, creating their own artworks by lithography.

    1885c Folies Bergère, Armand Ary
    poster by Alfred Choubrac

    Armand 'Ary

    1890 Folies-Bergère, Ilka de Mynn
    poster by Alfred Choubrac

    1890 Le Fétiche, Musique de Victor
    poster by Alfred Choubrac

    1891 D. Victor et Darto Troupe
    poster by Alfred Choubrac

    1892 Folies-Bergère, Loïe Mystèrieuse (Loïe Fuller) 
    poster by Alfred Choubrac

    Loïe Fuller

    1895 Exposition Russe, Champ de Mars
    poster by Alfred Choubrac

    1898 Où Sont-ils?
    poster by Alfred Choubrac

    Adèle Verly
    poster by Alfred Choubrac

    Adèle Verly

    Alacazar d'Eté en Voulez Vous des Z'Homards
    poster by Alfred Choubrac

    Alcazar d'Été, E. Foucère
    poster by Alfred Choubrac

    Alcazar d'Été, Revue
    poster by Alfred Choubrac

    Alcazar d'Hiver
    poster by Alfred Choubrac

    Folies-Bergère, Les Dante
    poster by Alfred Choubrac

    Ambassadeurs, Gavrochinette
    poster by Alfred Choubrac

    Gavrochinette

    Ambassadeurs, Le Jal
    poster by Alfred Choubrac

    Ambassadeurs, Les Cinq Demi-Vierges
    poster by Alfred Choubrac

    Ambassadeurs, Revue Blanche
    poster by Alfred Choubrac

    Anna Held
    poster by Alfred Choubrac

    Anna Held

    Ba-Ta-Clan, Les Proto Coleries
    poster by Alfred Choubrac

    Berthe Delaurianne
    poster by Alfred Choubrac

    Berty
    poster by Alfred Choubrac

    Boite à Musique, Théâtre d'Ombres
    poster by Alfred Choubrac

    Casino de Paris Abdj - Abdulla
    poster by Alfred Choubrac

    Casino de Paris, Les Amoureux de Venise
    poster by Alfred Choubrac

    Eldorado Revue, Paris Chansons
    poster by Alfred Choubrac

    F. Deferville
    poster by Alfred Choubrac

    Fin de Siecle
    Journal cover by Alfred Choubrac

    Folie, Danse Serpentine Par Mabell Stuart
    poster by Alfred Choubrac

    Folies Bergère, Les Sisters Barrison
    poster by Alfred Choubrac

    Folies Bergère, Les Sisters Barrison
    poster by Alfred Choubrac

    Folies Bergère, Les Sisters Barrison
    poster by Alfred Choubrac

    Folies Bergère, Les Sisters Barrison
    poster by Alfred Choubrac

    Les Sisters Barrison

    Folies-Bergère, La Tortajada (Consuelo Tamayo)
    poster by Alfred Choubrac

    Folies-Bergère, La Tortajada (Consuelo Tamayo) 
    poster by Alfred Choubrac
    La Tortajada (Consuelo Tamayo)

    Folies-Bergère, La Troupe Birmane
    poster by Alfred Choubrac

    Irène Henry
    poster by Alfred Choubrac

    Mily Myer
    poster by Alfred Choubrac

    Mily Meyer

    Moulin Rouge, Ah! Chaleur Revue
    poster by Atelier Choubrac

    ohé! ohé! Le Théâtre des Folies Marigny
    poster by Alfred Choubrac

    Parisiana, Tananarive ça y Est
    poster by Alfred Choubrac

    Salle Wagram
    poster by Alfred Choubrac

    Théâtre du Chatelet, La Biche au Bois
    poster by Alfred Choubrac

    Théâtre Cluny, Le Papa de Francine
    poster by Alfred Choubrac


    Théâtre des Folies Dramatiques, Miss Robinson
    poster by Alfred Choubrac

    Miss Robinson

    Théatre de la Gaité, Le Pays de L'Or
    poster by Alfred Choubrac

    Théâtre de la Gaité, Le Voyage de Suzette
    poster by Alfred Choubrac

    Théâtre de la Renaissance, les Douze Femmes de Japhet
    poster by Alfred Choubrac


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  • 09/23/16--05:50: Belle Époque - part 3
  • The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

    Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

    Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

    This is part 3 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 and 2 also.


    CHARLES LÉVY

    I could find no information on the life of Charles Lévy:


    1882-88 Hippodrome, La Chasse
    poster by Charles Lévy

    1883 Hippodrome, Ling-Look
    poster by Charles Lévy

    1885 Ambassadeurs, Vanoni
    poster by Charles Lévy

    1885 Cirque d'Été
    poster by Charles Lévy

    1885 Divan Japonais
    poster by Charles Lévy

    1885 Hippodrome, Jenny O'Brien et ses Pigeons
    poster by Charles Lévy

    1885 L'Anonsa
    poster by Charles Lévy

    1885 Ransard
    poster by Charles Lévy

    1888 Alcazar d'Été, Anna Thibaut
    poster by Charles Lévy

    1888 Folies-Bergère Original's, Huline Brothers
    poster by Charles Lévy

    1889 Ambassadeurs, Brunin
    poster by Charles Lévy

    1890 Alcazar d'Été, Valti
    poster by Charles Lévy

    1890 Ambassadeurs, Duclerc
    poster by Charles Lévy

    1890 Ambassadeurs, Frou-Frou
    poster by Charles Lévy

    1890 Ambassadeurs, Macaronada
    poster by Charles Lévy

    1890 Ambassadeurs, Polaire
    poster by Charles Lévy

    Polaire ( Emilie Marie Bouchaud )

    1890 Ambassadeurs, Saker Brothers
    poster by Charles Lévy

    1890 Concert de la Pépinière
    poster by Charles Lévy

    1890 Eldorado, Bonnaire
    poster by Charles Lévy

    1890 Eugénie Fougère
    poster by Charles Lévy

    1890 Horloge, Eugénie Fougére
    poster by Charles Lévy
    Eugénie Fougére

    1890 Horloge
    poster by Charles Lévy

    1890 Jardin de Paris, la belle Irene
    poster by Charles Lévy

    La Belle Irène

    1890 La Lance
    poster by Charles Lévy

    1890 Miss Gicka
    poster by Charles Lévy

    1890 Moulin Rouge, M.elle Pétrescu
    poster by Charles Lévy

    1890 Valérie Léotti
    poster by Charles Lévy

    1890 Valti
    poster by Charles Lévy

    1892 Fête des Fleurs
    poster by Charles Lévy

    1895 Roskoff
    poster by Charles Lévy

    Menus-Plaisirs, Emilienne d'Alençon
    poster by Charles Lévy


    Emilienne d'Alencon


    PAUL ÉMILE BERTHON

    Paul Émile Berthon ( 1972-1909 ) was a French artist who mainly produced posters and lithographs. He studied as a painter in Villefranche-sur-Saône before moving to Paris. He later enroled at the École Normale d'Enseignement de Dessin and received lessons from Luc-Olivier Merson. His study of the decorative arts influenced his print-making, shown by the strong lines and natural details.


    1895 Salon des 100
    poster by Paul Berthon

    1896 Almanac of Alsace and Lorraine
    by Paul Berthon

    1896 Tisane Gauloise
    poster by Paul Berthon

    1897 L'Ermitagelithograph in four colours
    by Paul Berthon


    1898 Femme de Profil
    lithograph 25.4 x 33.2 cm
    by Paul Berthon

    1898 Mandore
    lithograph 48.9 x 64.1 cm
    by Paul Berthon

    1899 Les Pipeaux
    lithograph 65 x 51.5 cm
    by Paul Berthon

    1899 Societe des Amis des Arts de la Manche
    poster by Paul Berthon

    1899 The Son of the Virgin (decorative wall panel)
    by Paul Berthon

    1899 The Wave (decorative wall panel)
    by Paul Berthon

    1900 Geneviève Williams
    poster by Paul Berthon

    1900 Jane Othello
    poster by Paul Berthon

    1900 Les Eglantines
    lithograph 38.7 x 53.3 cm
    by Paul Berthon

    1900c Poster for Salon des Arts Libéraux
    lithograph 
    by Paul Berthon

    1901 Sarah Bernhardt as Mélissinde in La Princesse Lointaine
    lithograph 51.7 x 36 cm
    by Paul Berthon

    Sarah Bernhardt

    Folies Bergère, Liane de Pougy
    by Paul Berthon

    Les Boules de Niege
    lithograph 
    by Paul Berthon

    Sa très gracieuse Majesté la Reine Wilhelmine
     lithograph on wove paper 38.7 x 36.1 cm
    by Paul Berthon


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  • 09/26/16--05:37: Belle Époque - part 4
  • The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

    Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

    Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

    This is part 4 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 3 also.


    HENRY PRIVAT-LIVEMONT ( 1861 - 1936 )

    Henry Privat-Livemont was born in Schaerbeek, Brussels, Belgium in 1861. Known mainly as a poster artist, between 1883 and 1889 he worked and studied in the studios of Lemaire, Lavastre and Duvignaud. With Lemaire he created the decor of the Théâtre Français and the Hôtel de Ville, Paris. He later moved back to Brussels and worked on theatres and casinos there.


    1890 Ameublement
    poster by Henri Privat-Livemont

    1895 Absinthe Robette
    poster by Henri Privat-Livemont

    1896 Bec Auer
    poster by Henri Privat-Livemont

    1896 Biscuits & Chocolat Delacre
    poster by Henri Privat-Livemont

    1896 Cabourg a 5 heures de Paris
    poster by Henri Privat-Livemont

    1896 Savon Cristel
    poster by Henri Privat-Livemont

    1896c Cercle Artistique de Schaerbeek
    poster by Henri Privat-Livemont

    1897 Bitter Original
    poster by Henri Privat-Livemont

    1897 International Exhibition Brussels
    poster by Henri Privat-Livemont

    1897 La Reforme, Le Masque Anarchiste
    poster by Henri Privat-Livemont

    1897 Le Vague (The Wave)
    by Henri Privat-Livemont

    1897c J. C. Boldoot Eau de Cologne Parfumerie
    poster by Henri Privat-Livemont

    The Scent of a Rose
    by Henri Privat-Livemont

    1898 Beaux-Arts 6e. Exposition Annuelle
    poster by Henri Privat-Livemont

    1898 Cover of The Poster magazine
    by Henri Privat-Livemont

    1899 Helm Cacao
    poster by Henri Privat-Livemont

    1899 Henry à la Pensée, Paris
    poster by Henri Privat-Livemont

    1899 Rajah Coffee
    poster by Henri Privat-Livemont

    1900 Biscuits de Beukelaer
    poster by
     Henri Privat-Livemont

    1900 Cacao A. Driessen
    poster by Henri Privat-Livemont

    1900 P D Corsets
    poster by Henri Privat-Livemont

    1900 Palais de la Femme, Exposition de 1900
    poster by Henri Privat-Livemont

    1901 Bols'
    poster by Henri Privat-Livemont

    1901 Orfèvrerie Miele & Co.
    poster by Henri Privat-Livemont

    1901 The Sculptress
    poster by Henri Privat-Livemont

    1901 Untitled
    poster design by Henri Privat-Livemont

    1902 Michiels Frères Pépiniéristes Architectes de Jardins
    poster by Henri Privat-Livemont

    1903 6eme Exposition Internationale de L'Automobile
    du Cycle et des Sports
    poster by Henri Privat-Livemont

    1903 Automobile Club de France
    poster by Henri Privat-Livemont

    1903 Manfacture Royale de Corsets, Bruxells
    poster by Henri Privat-Livemont

    1903 Untitled
    poster design by Henri Privat-Livemont

    1903 Untitled
    poster design by Henri Privat-Livemont

    Le Bec Liais
    poster by Henri Privat-Livemont

    Rajah Tea and Coffee
    poster by Henri Privat-Livemont

    Stained Glass Window in Hotel Saintenoy, Brussels
    by Henri Privat-Livemont


    JEAN DE PALEOLOGU

    Jean de Paleologu ( Paleologue ) ( 1855 - 1942 ) was a Romanian poster artist, painter and illustrator acive in France and the United states. He often signed his work Pal of PAL.

    Born in Bucharest, he trained in England, then returned to Romania and attended a military academy, before visiting London again several times and moving to Paris more permanently. He left Paris for the United States in 1900.



    1897 Folies-Bergère, La Loïe Fuller
    poster by Jean de Paléologu

    Folies Bergère, La Loïe Fuller, Tous les Soirs
    poster by Jean de Paleologu

    Folies-Bergère, La Loïe Fuller
    by Jean de Paléologu

    Folies-Bergère, La Loïe Fuller
    poster by Jean de Paléologu

    Folies-Bergère, La Loïe Fuller
    poster by Jean de Paléologu

    La Loïe Fuller

    1897 Theatre de Opéra-Comique "Sapho" / Emma Calvé
    poster by Jean de Paleologu

    Emma Calvé

    Alcazar d' Été La Belle Otero
    poster by Jean de Paleologu

    La Belle Otéro

    Folies-Bergère
    poster by Jean de Paléologu

    *          *          *          *          *


    Folies Bergère, Les Demoieselles du XXe Siècle
    poster by Louis Trinquier Trianon

    Folies Bergère, Tous les Soirs, Americans 'Sings' and Dancers
    poster by Maurice Biais

    Folies-Bergère, Cléo de Mérode

    Cléo de Merode

    Folies-Bergère, Jane Derval

    Jane Derval

    Folies-Bergère, La Folie d'Amour
    poster by Michel Gyarmathy

    Folies-Bergère, Le Capitaine Costentenus
    Le Capitaine Costentenus
    ( where are the tattoos? )

    Folies-Bergère, Maurel
    poster by Daniel de Losques

    Folies-Bergère, Napoli Ballet Pantomime

    Folies-Bergère, Ramoneurs Musicaux

    Folies-Bergère


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  • 09/28/16--05:44: Belle Époque - part 5
  • The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

    Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

    Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

    This is part 5 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 4 also.


    JULES CHÉRET ( 1836 - 1932 ) part 1:


    Jules Chéret was born in Paris to a family of of artisans. Aged 13 he began a three-year Apprenticeship with a lithographer, after which his interest in painting led him to an art course at École Nationale de Dessin.
    Between 1859 and 1866 he trained as a lithographer in London, where he was strongly influenced by the British approach to poster design and printing. On returning to France he created numerous posters for the theatres and music halls of the day where his work was in great demand, as well becoming a major force in the advertising industry.
    1875 Folie-Bergère, La Charmeuse de Serpents
    poster by Jules Chéret

    1875 Folies-Bergère, Thaumaturgie Humoristique
    poster by Jules Chéret

    1875 Tous les Soirs a 8 Heures, Folies-Bergère
    poster by Jules Chéret

    1876 Folies-Bergère, Skating Concert
    poster by Jules Chéret

    1876 Tous les Soirs a 8 Heures, Folies-Bergère
    poster by Jules Chéret

    1887 Exhibition of Arabs of the Sahara Desert
    poster by Jules Chéret

    1888 Bullier
    poster by Jules Chéret

    1888 Exposition, Tableaux 7 Dessins de A. Willette
    poster by Jules Chéret

    1888 Kinia Raffard
    poster by Jules Chéret

    1888 L'Amant des Danseuse Eldorado Music Hall
    poster by Jules Chéret

    1889 Bal du Moulin Rouge
    poster by Jules Chéret

    1889 Exposition Universelle des Arts Incoherents
    poster by Jules Chéret

    1889 Job, Cigarette Papers
    stage 1 poster by Jules Chéret

    1889 Job, Cigarette Papers 
    stage 2 poster by Jules Chéret

    1889 Jouets, Objets pour Etrennes
    poster by Jules Chéret

    1889 La Gomme
    poster by Jules Chéret

    1890 Bagnères de Luchon, Fête des Fleurs
    poster by Jules Chéret

    1890 Jardin de Paris, fete de Nuit Bal
    poster by Jules Chéret

    1890 La Diaphane, Sarah Bernhardt
    poster by Jules Chéret

    1890 Maquettes Animées de Georges-Bertrand
    poster by Jules Chéret

    1890 Moulin Rouge
    poster by Jules Chéret

    1890 Paris Courses
    poster by Jules Chéret

    1890 Théâtrophone
    poster by Jules Chéret

    1890c Arlette Dorgère
    poster by Jules Chéret

    Arlette Dorgère

    1890 L'HIver à Nice
    poster by Jules Chéret

    1891 2me Expostion de Mille Dessins originaux du Courrier Français
    stage 1 poster by Jules Chéret

    1891 2me Expostion de Mille Dessins originaux du Courrier Français 
    stage 2 poster by Jules Chéret

    1891 Purgative Géraudel
    stage 1 poster by Jules Chéret

    1891 Ambassadeurs, la jolie Fagette
    poster by Jules Chéret

    1891 Casino de Paris, Camille Stèfani
    poster by Jules Chéret

    1891 Comedy (decorative panel)
    by Jules Chéret

    1891 Dance (decorative panel)
    by Jules Chéret

    1891 Music (decorative panel)
    by Jules Chéret

    1891 Pantomime (decorative panel)
    by Jules Chéret

    1891 Cosmydor Savon
    poster by Jules Chéret

    1891 Grands Magasins du Louvre, Jouets Etrennes
    poster by Jules Chéret

    1891 L'Infamant
    poster by Jules Chéret

    1891 Les Coulisses de l'Opera au Musée Grévin
    poster by Jules Chéret

    1891 Librairie Ed. Sagot
    poster by Jules Chéret

    1891 Purgatif Géradel
    poster by Jules Chéret

    1891 Purgatif Géradel 
    poster by Jules Chéret

    1891 Yvette Guilbert au Concert Parisien
    poster by Jules Chéret

    Yvette Guilbert

    1891-93 Folies-Bergère, L'Arc en Ciel
    stage 1 poster by Jules Chéret

    1891-93 Folies-Bergère, L'Arc en Ciel 
    stage 2 poster by Jules Chéret

    1892 Olympia anciennes Montagnes Russes
    stage 1 poster by Jules Chéret

    1892 Olympia anciennes Montagnes Russes 
    stage 2 poster by Jules Chéret

    1892 Pantomimes Lumineuses
    stage 1 poster by Jules Chéret

    1892 Pantomimes Lumineuses 
    stage 2 poster by Jules Chéret

    Works by Jukes Cherét continue in part 6.

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  • 09/30/16--06:13: Belle Époque - part 6
  • The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

    Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

    Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

    This is part 6 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 5 also.

    JULES CHÉRET ( 1836 - 1932 ) part 2:

    See part 5 for earlier works by Jules Chéret.


    1892 Saxoléine
    poster by Jules Chéret

    1892 Théâtre de l'Opera Carnaval
    poster by Jules Chéret

    1892 Violinist
    monochrome poster by Jules Chéret

    1893 Saxoléine
    poster by Jules Chéret

    1893 Alcazar d'Eté, Louise Balthy
    poster by Jules Chéret

    Louise Balthy

    1893 Alcazar d'Été, Lidia
    poster by Jules Chéret
    Lidia

    1893 Folies-Bergère, Emilienne d'Alençon
    poster by Jules Chéret

    Emilienne d'Alencon

    1893 Folies-Bergère, Fleur de Lotus
    poster by Jules Chéret

    1893 Folies-Bergère, La Loïe Fuller
    poster by Jules Chéret

    1893 L'Auréole du Midi 1896 Théâtre de l'Opera
    poster by Jules Chéret

    1893 Olympia
    poster by Jules Chéret

    1893 Pastilles Géraudel
    poster by Jules Chéret

    1894 Eldorado Music Hall
    poster by Jules Chéret

    1894 Redoute des Etudiants
    stage 1 poster by Jules Chéret

    1894 Redoute des Etudiants
    stage 2 poster by Jules Chéret

    1894 Théâtre de L'Opera, Carnaval
    poster by Jules Chéret

    1894 Vin Mariani
    poster by Jules Chéret

    1895 Punch Grassot
    stage 1 poster by Jules Chéret

    1895 Punch Grassot 
    stage 2 poster by Jules Chéret

    1895 Quinquina Dubonnet Apéritif
    stage 1 poster by Jules Chéret

    1895 Quinquina Dubonnet Apéritif 
    stage 2 poster by Jules Chéret

    1895 Quinquina Dubonnet Apéritif 
    stage 1 poster by Jules Chéret

    1895 Quinquina Dubonnet Apéritif 
    stage 2 poster by Jules Chéret

    1896 Bal au Moulin Rouge
    poster by Jules Chéret

    1896 Concert Été
     poster by Jules Chéret

    1896 Palais de Glace, Champs-Elysées
    poster by Jules Chéret

    1896 Pastilles Géraudel
    poster by Jules Chéret

    1896 Pastilles Poncelet
    poster by Jules Chéret

    1896 Quinquina Dubonnet
    poster by Jules Chéret

    1896 Quinquina Dubonnet
    poster by Jules Chéret

    1896 Saxoléine
    poster by Jules Chéret

    1896 Théâtre de l'Opera
    poster by Jules Chéret

    1896 Théâtre de l'Opera
    poster by Jules Chéret

    1897 Folies-Bergère, La Danse du Feu
    poster by Jules Chéret

    1897 Folies-Bergère, Loïe Fuller
    poster by Jules Chéret

    1897 Parfumerie-Distillerie Iris Villa
    poster by Jules Chéret

    1898 Palais de Glace, Champs-Elysées
    poster by Jules Chéret

    1898 Pantomimes Lumineuses
    poster by Jules Chéret

    1899 Jardin de Paris
    poster by Jules Chéret

    1899 Pippermint
    poster by Jules Chéret

    1899 Taverne Olympia
    poster by Jules Chéret

    1900 Musée Grévin Théâtre
    poster by Jules Chéret

    1900 Palais de Glace, Champs-Elysées
    poster by Jules Chéret

    1900 The Spinner (decorative panel)
    by Jules Chéret

    1904 Arlette Dorgère
    stage 1 poster by Jules Chéret

    1904 Arlette Dorgère 
    stage 2 poster by Jules Chéret

    Arlette Dorgère

    1906 Au Printemps
    poster by Jules Chéret


    0 0
  • 10/04/16--05:41: Belle Époque - part 7
  • The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

    Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

    Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

    This is part 7 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 6 also.

    JULES CHÉRET ( 1836 - 1932 ) part 3:

    See parts 5 and 6 for earlier works by Jules Chéret.


    1906 Fêtes de Nice
    artwork by Jules Chéret

    1906 Fêtes de Nice
    poster by Jules Chéret

    1914 Exposition Internationale de Lyon
    poster by Jules Chéret

    Alcazar d'Éte, Revue Fin de Siècle
    poster by Jules Chéret

    Benzo-Moteur
    poster by Jules Chéret

    Chemin de Fer PLM, Auvergne
    poster by Jules Chéret

    Cosmydor Savon
    poster by Jules Chéret


    Folies-Bergere, Le Miroir
    poster by Jules Chére

    Folies-Bergère, Les Hanlon-Lees
    poster by Jules Chéret
    Les Hanlon-Lees (William and Frederick Hanlon-Lees


    Folies-Bergère, La Belle Otero (Carolina Otera)
    poster by Ateliers Chéret

    La Belle Otero (Carolina Otera)


    Folies-Bergère, Les Garetta
    poster by Jules Chéret

    Folies-Bergère, Les Girard
    poster by Jules Chéret

    L'Horloge, Champs Elysées, Les Girard
    poster by Jules Chéret

    Folies-Bergère, Léonati, Vélocipediste
    poster by Jules Chéret

    L'Amant des Danseuses
    poster by Jules Chéret

    Félicien Champsaur

    l'Etendard Français, Bicyclettes et Tricycles
    poster by Jules Chéret

    La Bodiniére
    poster by Jules Chéret

    La Danseuse de Corde, Félicia Mallet
    poster by Jules Chére
    Félicia Mallet (Mime artist)
    Le Pays des Fées, Jardin Enchanté
    poster by Jules Chéret

    Le Rappel
    poster by Jules Chéret

    Leona Dare
    poster by Jules Chéret

    Leona Dare

    Musée Grévin, Les Coulisses de l'Opera
    poster by Jules Chéret

    Orphée aux Enfers, J. Offenbach
    poster by Jules Chéret

    Skating-Theatre, Bal Masqué
    poster by Jules Chéret

    *               *               *               *               *

    L'Hippodrome, Boulevard de Clichy

    La Folie-Pigalle
    poster by Weiluc (Lucien-Henri Weil)

    La Ghanteuse Parisienne, Armand 'Ary


    Armand 'Ary

    La Loïe Fuller aux Folies Bergère
    poster by Ferdinand Bac

    La Loïe Fuller

    La Loïe Fuller, Salomé
    poster by Georges de Feure

    La Loïe Fuller

    Moulin de La Galette, Bal
    poster by Tony M.

    Moulin Rouge
    poster by Auguste Roedel

    Moulin Rouge, Spectacle - Concert - Bal
    poster by Jose Belon

    Louis Gaudin (Zig) (1882-1936) 

    Louis Gaudin was a French poster artist and costume designer. He began his career in the United States drawing costume musicals designs for Broadway productions (Keep Kool, 1924).

    1930 Casino de Paris
    poster by Louis Gaudin (Zig)

    1930 Mistinguette
    poster by Louis Gaudin (Zig)

    1931 Casino de Paris, Mistinguett
    poster by Louis Gaudin (Zig)

    1932 Mistinguette
    poster by Louis Gaudin (Zig)

    Casino de Paris, Mistinguette
    poster by Louis Gaudin (Zig)

    Mistinguette (Jeanne Florentine Bourdeois)

    1931 Casino de Paris
    poster by Louis Gaudin (Zig)

    Jane Marnac, Paris-Béguin
    poster by Louis Gaudin (Zig)

    Jane Marnac

    Palace Nudist' Bar
    poster by Louis Gaudin (Zig)


    0 0
  • 10/06/16--06:26: Belle Époque - part 8
  • The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

    Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

    Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

    This is part 8 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 7 also.



    Jules-Alexandre Grün (1868 – 1934)


    Jules-Alexandre Grün was a post-impressionist painter, illustrator and poster artist.  Born in Paris, Grün studied under Jean-Baptiste Lavastre, the theatrical director of the Paris Opera, and Antoine Guillemet, the noted landscape painter.  Grün was especially fond of painting scenes of Bohemian lifestyle.  He worked at the Chaix Printing Company where Jules Chéret was his art director.  Grün’s best known painting titled “The Dinner Party” was completed in 1911.

    1893-94 Décadent’s Concert
    poster by Jules-Alexandre Grün

    1893-94 Divan Japonais, Strack Créations
    poster by Jules-Alexandre Grün

    1894 Le Carillon, Cabaret Artistique
    poster by Jules-Alexandre Grün

    1897 Bal du Déficit
    poster by Jules-Alexandre Grün

    1897 Le Grand Guignol
    poster by Jules-Alexandre Grün

    1897 Nouveau Théâtre, Vachalcade
    poster by Jules-Alexandre Grün

    1897 Trianon, Les Chansonniers de Montmartre
    poster by Jules-Alexandre Grün

    1897-98 Tournée Milo de Meyer
    poster by Jules-Alexandre Grün

    1898 La Cigale
    poster by Jules-Alexandre Grün

    1898 L’Ane Rouge
    poster by Jules-Alexandre Grün

    1899 La Bôite à Fursy
    poster by Jules-Alexandre Grün

    1899 La Chan­son de Mont­martre
    poster by Jules-Alexandre Grün

    1900 La Cigale
    poster by Jules-Alexandre Grün

    1901 Folies-Bergère, Napoli Ballet Pantomime
    poster by Jules-Alexandre Grün

    1901 Tréteau de Tabarin, La Bôite à Fursy
    poster by Jules-Alexandre Grun

    1903 Gaîté Rochechouart
    poster by Jules-Alexandre Grün

    1911 Friday at the French Artists' Salonby Jules-Alexandre Grün
     Musée des Beaux-Arts de Rouen

    1913 The End of Dinner

    A Cheer­ful Mont­martre Dweller
    by Jules-Alexandre Grün

    Casino de Paris, Réouverture
    poster by Jules-Alexandre Grün

    D’où Viennent-Ils? Du Tréteau De Tabarin
    poster by Jules-Alexandre Grün

    La Chanson à Montmartre
    poster by Jules-Alexandre Grün

    La Cigale, Allo!…Allo!…
    poster by Jules-Alexandre Grün

    La Pepiniere, oh! la la! mon empereur!
    poster by Jules-Alexandre Grün

    Où la Menent-Ils? "Au Violin"
    poster by Jules-Alexandre Grün

    Scala, La Revue de la Scala
    poster by Jules-Alexandre Grün

    Scala. Revue à Poilre
    poster by Jules-Alexandre Grün

    Théâtre du Moulin Rouge
    poster by Jules-Alexandre Grün

    Lucien Marie François Métivet (1863 - 1932)

    Lucien Métivet (right) with Henri de Toulouse-Lautrec

    Lucien Métivet was a French poster artist, cartoonist, illustrator, and author who achieved notoriety during the Belle Epoque. Best known for his 1893 poster of the chanteuse Eugénie Buffet, he was also a popular cover artist for the Parisian humour magazine "Le Rire" and a frequent contributor of cartoons and illustrations to it and other magazines. He illustrated books by a number of prominent authors of the time and wrote at least two books of his own.

    1890 La Femme-Enfant
    poster by Lucien Métivet

    1891 A L'Hygiène
    poster by Lucien Métivet

    1893 Ambassadeurs, Eugénie Buffet
    poster by Lucien Métivet
    1913 Eugénie Buffet, Concert de La Cigale
    poster by Lucien Métivet

    Eugénie Buffet

    1895 Nouveau Theatre, Les Joyeuses Commeres de Paris
    poster by Lucien Métivet

    1895 Théâtre de L'Athénée-Comique
    poster by Lucien Métivet

    1908 Scala, Pour Vos Beaux Yeux
    poster by Lucien Métivet

    1909 Martgny Vosges
    poster by Lucien Métivet

    1909 Martgny Vosges
    poster by Lucien Métivet

    1920 Emprunt National, Société Général
    poster by Lucien Métivet

    Théophile Alexandre Steinlein (1859 - 1923)

    Théophile Steinlen

    Théophile Steinlein was born in Lausanne and studied at the University of Lausanne before becoming a trainee designer at a textile mill in Mulhouse, France. In his early twenties he and his new wife were encouraged by painter François Bocion to move to the artistic community in Montmartre, Paris.

    Le Chat Noir (The Black Cat)

    Once there, Steinlein was befriended by the painter Adolphe Willette, who introduced him to the artistic crowd at 'The Black Cat' (Le Chat Noir). This led to commissions for posters from Aristide Bruant, the cabaret owner and entertainer.

     
    1894 Théophile Steinlen exhibition poster

    1896 Affiches Charles Verneau
    poster by Théophile Steinlen

    1896 Cocorico
    poster by Théophile Steinlen

    1896 Motocycles Comiot
    poster by Théophile Steinlen

    1896 Tournée du Chat Noir de Rodolphe Salis
    poster by Théophile Steinlen

    1896-1900 Mothu et Doria
    poster by Théophile Steinlen

    1905 Clinique Chéron
    poster by Théophile Steinlen

    Chocolats Thés Cie. Française
    poster by Théophile Steinlen

    Compagnie Francaise des Chocolats et des Thès
    poster by Théophile Steinlen

    La Traite des Blanches
    poster by Théophile Steinlen

    Lait pur de la Vingeanne Stérilisé
    poster by Théophile Steinlen

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  • 10/10/16--06:35: Belle Époque - part 9
  • The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

    Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

    Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

    This is part 9, the final part of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 8 also.


    Henri de Toulouse-Lautec (1864 - 1901)



    Henri de Toulouse Lautrec was a French painter, printmaker and illustrator whose immersion into the colourful and theatrical life of Paris during the Belle Époque allowed him to produce elegant and evocative, and sometimes decadent images. He spent much time in the Parisian brothels, where he was accepted and would sometimes live, recording the colourful life therein.
    An alcoholic for most of his adult life, he was placed in a santorium shortly before his death at the age of 36. He died of complications due to alcoholism and syphilis at the family estate in Malrome, France.


    1892 At the Moulin Rouge, La Goulue with Her Sister
    by Henri de Toulouse Lautrec
    45.8 x 34.7 cm
    Private Collection

    1892 La Goulue Arriving at the Moulin Rouge with Two Women
    by Henri Toulouse-Lautrec
    oil on cardboard
    Museum of Modern Art, New York City
    1891 Moulin Rouge, La Goulue 
    by Henri de Toulouse-Lautrec 
    lithograph 191 x 117 cm

    La Goulue

    1891-92c Jane Avril Dancing
    by Henri de Toulouse-Lautrec
    oil on cardboard 86.5 x 65 cm
    Musée Toulouse-Lautrec, Paris

    1892 Jane Avril Dancing
    by Henri de Toulouse-Lautrec
    oil on cardboard 85.5 x 45 cm
    Musée du Louvre, Paris
    1893 Jane Avril, Jardin de Paris
    poster by Henri de Toulouse Lautrec

    Jane Avril 

    1893 Divan Japonais, Jane Avril, Jardin de Paris
    by Henri de Toulouse Lautrec
    outline and watercolour test poster

    1893 Divan Japonais, Jane Avril, Jardin de Paris 
    by Henri de Toulouse Lautrec

    1899 Jane Avril
    by Henri de Toulouse Lautrec

    Jane Avril 

    1892 Ambassadeurs Paris, Aristide Bruant
    poster by Henri de Toulouse Lautrec

    1892 Ambassadeurs Paris, Aristide Bruant 
    poster by Henri de Toulouse Lautrec
    1893 Aristide Bruant dans son cabaret
    poster by Henri de Toulouse-Lautrec

    1893 Bruant au Mirliton
    poster by Henri de Toulouse-Lautrec

    Eldorado, Aristide Bruant dans son cabaret
    poster by Henri de Toulouse-Lautrec

    Aristide Bruant

    1892 Reine de Joie
    test poster by Henri de Toulouse-Lautrec

    1892 Reine de Joie
    poster by Henri de Toulouse-Lautrec

    1892 The Englishman at the Moulin Rouge
    lithograph by Henri Toulouse-Lautrec
    90 x 64 cm
    Private Collection

    1892-95 At the Moulin Rouge
    by Henri de Toulouse Lautrec
    oil on canvas 123 x 141 cm
    Art Institute of Chicago, IL

    1893 Cadieux
    poster by Henri de Toulouse-Lautrec

    1893 Le Matin
    poster by Henri de Toulouse-Lautrec

    1893 Le Missionnaire
    programme by Henri de Toulouse Lautrec

    1893 Le Missionnaire 
    programme by Henri de Toulouse Lautrec

    1893 La Loïe Fuller
    by Henri de Toulouse-Lautrec
    brush and spatter lithograph in five colours 38 x 25.8 cm
    Metropolitan Museum of Art, New York City

    1893 La Loïe Fuller
    by Henri de Toulouse-Lautrec
    oil on board 63.2 x 45.3 cm

    La Loïe Fuller
    by Henri de Toulouse-Lautrec

    La Loïe Fuller 

    1893 Nicolle
    lithograph by Henri de Toulouse-Lautrec

    1894 Babylone d'Allemagne
    stage 1 poster by Henri de Toulouse-Lautrec

    1894 Babylone d'Allemagne 
    stage 2 poster by Henri de Toulouse-Lautrec

    1895 Bust of Miss Marcelle Lender
    stage 1 lithograph 30.5 x 25.4
    by Henri de Toulouse-Lautrec

    1895 Bust of Miss Marcelle Lender 
    stage 2 lithograph 30.5 x 25.4 
    by Henri de Toulouse-Lautrec

    Marcelle Lender

    1895 La Dépêche, Le Tocsin
    poster by Henri de Toulouse-Lautrec

    1895 May Belfort
    poster by Henri de Toulouse-Lautrec

    1895 May Milton
    poster by Henri de Toulouse-Lautrec

    1895 The Chap Book (Irish and American Bar)
    by Henri de Toulouse Lautrec (test proof)

    1895 The Chap Book (Irish and American Bar) 
    by Henri de Toulouse Lautrec

    1896 Extra in the Folies Bergère Revue
    by Henri de Touluse-Lautrec
    oil on cardboard

    1896 l'Artisan Moderne
    poster by Henri de Toulouse-Lautrec

    1896 La Chaîne Simpson
    poster by Henri de Toulouse-Lautrec

    1896 La Vache Enragée
    poster by Henri de Toulouse-Lautrec

    1896 Own exhibition poster
    by Henri de Toulouse-Lautrec

    1896 P. Sescau, Photographe
    poster by Henri de Toulouse-Lautrec

    1896 Salon des Cent
    poster by Henri de Toulouse-Lautrec

    1896 Troupe de Mlle Elegantine
    stage 1 poster by Henri de Toulouse-Lautrec

    1896 Troupe de Mlle Elegantine 
    poster by Henri de Toulouse-Lautrec

    1896c Mrs. Lona Barrison avec son Manager et Époux
    by Henri de Toulouse-Lautrec
    lithograph 26.7 x 12.2 cm
    Brooklyn Museum, NY

    1900 Au Bal des Etudiants
    poster by Henri de Toulouse Lautrec

    In the Moulin Rouge
    by Henri de Toulouse-Lautrec
    pastel on cardboard 56.4 x 42 cm
    Szépművészeti Múzeum, Budapest


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  • 10/12/16--06:05: Samuel Palmer - part 1
  • Self-Portrait
    Samuel Palmer (1805– 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.


    Palmer’s father, a bookseller, encouraged him to become a painter. By 1819 he had already exhibited small landscape studies at the Royal Academy. The works that survive from 1819 to 1821 are able but conventional. In the following years, however, there are signs of a profound change in his thinking, perhaps connected with his conversion from the Baptist faith to a personal form of High Anglicanism and with his discovery of medieval art.


    A sketchbook of 1824 (British Museum), rediscovered in 1956, already shows all the elements of his visionary style: a mystical but precise depiction of nature and an overflowing religious intensity, united by a vivid re-creation of the pastoral conventions. In October 1824 the painter John Linnell took him to see William Blake, who encouraged Palmer in the mystical direction he was taking and provided examples of his own work for Palmer to follow. Blake’s influence can be seen clearly in the “Repose of the Holy Family” (1824–25) and the series of sepia drawings of 1825.


    1824-25 Repose of the Holy Family
    oil on panel 31 x 39 cm
    Ashmolean Museum of Art, Oxford, UK

    In 1826 Palmer visited Shoreham in Kent, and the following year he settled there. His Shoreham paintings became more naturalistic but were still charged with visionary intensity. The years 1827–30 were his most productive, but after 1830 his work shows unmistakable signs of artistic decline. As his religious fervour faded, the precarious balance between realism and vision was lost. He left Shoreham for London in 1834, and expeditions to Wales and Italy confirmed the break with his own past.

    The house in Shoreham, Kent, where Samuel Palmer lived
    ( photo copyright Poul Webb )

    Palmer’s real forebears are writers rather than painters. He read with enthusiasm the writings of the German mystic Jakob Böhme, the pastoral poems of John Milton, and above all the works of John Bunyan, whose “Countrey of Beulah” is the nearest equivalent to Palmer’s “Valley of Vision.”
    Biographical notes from Encyclopaedia Britannica

    This is part 1 of a 5 - part series on the works of Samuel Palmer:

    1795 Hecate, or The Night of Enitharmon's Joy by William Blake
    pen and ink with watercolour on paper 44 x 58 cm
    Tate, London

    1819 Sketch from Nature in Sion Park
    oil on card 32.7 x 27.6 cm
    Yale Centre for British Art, New Haven, CT

    1821 At Hailsham, Sussex: A Storm Approaching
    watercolour and graphite on wove paper 59.7 x 43.8 cm
    Yale Centre for British Art, New Haven, CT

    1821 Evening
    pen and bistre 19.2 x 26.8 cm
    © Victoria and Albert Museum, London

    1824-35c Untitled sketch
    india ink wash 13.6 x 17.8 cm approx
    © Victoria and Albert Museum, London

    1824c Untitled Drawing
    pen and ink on paper
    © Victoria and Albert Museum, London

    1824c Harvest Celebration
    ink sketch 11.7 x 19.1 cm
    © Victoria and Albert Museum, London

    1824c Sunset
    pen sketch 11.7 x 19.1 cm
    © Victoria and Albert Museum, London

    1825 Early Morning
    pen and ink wash with gum arabic and varnish 18.8 x 23.2 cm
    Ashmolean Museum, Oxford, UK

    1825 Study of a Hand Holding a Knobbled Stick
    pen and chalk sketch 10.2 x 7 cm
    © Victoria and Albert Museum, London

    1825 The Rest on the Flight into Egypt
    oil and tempera on panel
    Ashmolean Museum, Oxford, UK

    1825 The Valley Thick with Corn
    pen and brush in dark brown ink with gum arabic 18.2 x 27.5 cm


    Painted shortly after he settled in Shoreham in Kent. The Darenth valley appeared to Palmer a perfect, neo-Platonic world and he called it the 'Valley of Vision'. In this picture he creates an ideal image of pastoral contentment, unaffected by the outside world. The unseasonal combination of flowering horse-chestnut and huge ripe heads of wheat symbolise fertility and the richness of the soil:

    1826-28c A Hilly Scene
    watercolour and gum arabic on paper mounted on wood 20.6 x 13.7 cm
    Tate, London

    1826c Harvest Under a Crescent Moon
    wood engraving on cream laid paper 13.3 x 10.5 cm
    Yale Centre for British Art, New Haven, CT

    1826c Landscape, Girl Standing
    ink and gouache on card 11.5 x 13.4 cm
    Tate, London

    1827 George Richmond Engraving "The Shepherd"
    (see below)
    pen and ink 12.7 x 11.7 cm
    The Huntington Library, San Marino, CA

    1827 The Shepherd by George Richmond
    engraving on paper 17.8 x 11.4 cm
    Tate, London

    1827c A Moonlit Scene with a Winding River
    black and brown wash, gouache, and gum on wove paper 18.1 x 26.7 cm
    Yale Centre for British Art, New Haven, CT

    1827c A Shepherd and his Flock under the Moon and Stars
    pen and brown ink with grey washes heightened with white gouache on card 52.7 x 40 cm
    Yale Centre for British Art, New Haven, CT

    1828 Ancient Trees, Lullingstone Park
    graphite on cream wove paper 37.1 x 26.7 cm
    Yale Centre for British Art, New Haven, CT

    1828 Oak Trees, Lullingstone Park
    pen, brush, brown ink, graphite, watercolour, gouache and gum arabic on wove paper 29.5 x 46.8 cm
    National Gallery of Canada, Ottowa

    1828c A Country Road Leading Towards a Church
    watercolour 18.4 x 15.2 cm
    © Victoria and Albert Museum, London

    1828c An Ancient Barn at Shoreham
    watercolour
    © Victoria and Albert Museum, London

    1828c Ruth returned from Gleaning
    pen and ink and wash, heightened with white 29.4 x 39.4 cm
    © Victoria and Albert Museum, London

    1829 Pear Tree in a Walled Garden
    watercolour and tempera over brush and grey wash, traces of graphite, on grey paper 22.2 x 28.3 cm
    The Morgan Library and Museum, New York City

    1829-30c A Kentish Idyll
    brown wash on paper 8.9 x 10.8 cm
    © Victoria and Albert Museum, London

    1829-30c Nocturnal Landscape with Full Moon and Deer
    bodycolour and wash
    © Victoria and Albert Museum, London

    1829c A Cow Lodge with a Mossy Roof
    watercolour and gouache with pen and black ink on cream wove paper 59.7 x 43.8 cm
    Yale Centre for British Art, New Haven, CT

    1829c A Wooded Hillside at Underriver, near Sevenoaks, Kent
    pen and ink sketch on paper, heightened with white 15.2 x 27.3 cm
    © Victoria and Albert Museum, London

    1829c Cornfields with Barn, Shoreham
    pen and brown ink with grey wash over graphite on cream wove paper 33 x 20 cm
    Yale Centre for British Art, New Haven, CT

    1829c The Bridge at Shoreham
    pen and brown ink, brush and black and grey wash and white gouache, over graphite, on grey-brown paper 22.1 x 27.8 cm
    The Metropolitan Museum of Art, New York City

    1829c The Primitive Cottage
    pen and ink wash, heightened with white 22.4 x 30.2 cm
    © Victoria and Albert Museum, London

    1830 Coming from Evening Church
    tempera, chalk, gold, ink and graphite on gesso on paper 30.2 x 20 cm
    Tate, London

    1830 Harvesters by Firelight
    pen and black ink with watercolour and gouache on wove paper 28.7 x 36.7 cm
    National Gallery Of Art, Washington, DC

    1830 Shepherd Under a Full Moon
    pen and brown ink with brush in India Ink heightened with bodycolour on white card
    Ashmolean Museum, Oxford, UK

    1830 The Magic Apple Tree
    pen and Indian ink, and watercolour, which in some areas has been mixed with a gum-like medium on paper 34.9 x 27.3 cm
    The Fitzwilliam Museum, Cambridge, UK

    1830 The Sleeping Shepherd
    oil, tempera and chalk 39.4 x 51.8 cm

    1830-35 View from Wilmot Hill, Kent
    watercolour over black chalk on cream wove paper 24.6 x 36.5 cm
    Art Institute of Chicago, IL


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  • 10/14/16--05:28: Samuel Palmer - part 2
  • 1830 Samuel Palmer by George Richmond
    graphite on beige wove paper 35.2 x 25.7 cm
    Yale Centre for British Art, New Haven, CT
    Samuel Palmer (1805 – 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.

    This is part 2 of a 5 - part series on the works of Samuel Palmer. For full biographical notes, and for earlier works, see part 1 also.


    1830c A Church among Trees
    ink on card 15.2 x 18.4 cm
    Tate, London

    1830c A Village Church among Trees
    black and grey wash on card 18.4 x 15.2 cm
    © Victoria and Albert Museum, London

    1830c Cornfield by Moonlight
    watercolour and gouache, with pen and ink, varnished

    1830c In a Shoreham Garden
    watercolour
    © Victoria and Albert Museum, London

    1831-32 Shoreham, Kent
    graphite and grey wash on moderately thick, smooth, cream wove paper 7.6 x 11.1 cm
    Yale Centre for British Art, New Haven, CT

    1831-32c The Harvest Moon: Drawing for ‘A Pastoral Scene’
    ink and gouache on paper 15.2 x 18.4 cm
    Tate, London

    1833-34 The Golden Valley
    watercolour, body-colour, gum arabic, gold paint, with ‘scratching out’ over pencil 12.9 x 16 cm

    1833-35 A Pastoral Scene
    oil and tempera on panel 30 x 40 cm
    Ashmolean Museum, Oxford, UK

    1835 A Pastoral Scene
    brown wash on wove paper 11.4 x 9.5 cm
    Yale Centre for British Art, New Haven, CT


    1831-33 Moonlight, a Landscape with Sheep
    ink on card 15.2 x 18.3 cm
    Tate, London

    1832c A Road Past a Farm
    6.7 x 13 cm

    1833 The Harvest Moon
    oil on panel 22.2 x 27.6 cm
    Yale Centre for British Art, New Haven, CT

    1833-34 The Shearers
    oil and tempera on wood
    Private Collection

    1833-34 The Timber Wain
    watercolour and gouache on cream wove paper 52.7 x 40 cm
    Yale Centre for British Art, New Haven CT

    1833-34 The Weald of Kent
    watercolour and gouache on cream wove paper 27 x 18.7 cm
    Yale Centre for British Art, New Haven, CT

    1833-34c A Cornfield bordered by Trees
    oil on panel 17.5 x 14.9 cm
    The Ashmolean Museum of Art, Oxford, UK

    1833-34c The Bright Cloud
    ink and watercolour on paper 22.9 x 30.5 cm
    Tate, London

    1833-34c The Bright Cloud
    tempera on mahogany 23.3 x 32 cm
    Manchester City Art Gallery, UK

    1833-34c The White Cloud
    oil on canvas 22.3 x 27.4 cm
    The Asmolean Museum, Oxford, UK

    1833c The Gleaning Field
    tempera on Mahogany 30.5 x 45.4 cm
    Tate, London

    1834 Evening, engraved by Welby Sherman
    mezzotint on paper 14.9 x 17.8 cm
    Tate, London

    1834 View of Lee, North Devon
    oil on canvas 26.7 x 38.1 cm
    The Fitzwilliam Museum, Cambridge, UK

    1835 Culbone, Somerset
    watercolour, grey wash and gouache over black chalk and traces of pencil 29.4 x 38.8 cm
    National Gallery of Victoria, Melbourne, Australia

    1835 Mountains by the Traveller's Rest near Dolgelly
    watercolour and gouache over graphite on beige wove paper
    Yale Centre for British Art, New Haven, CT

    1835 Pistil Mawddach, North Wales
    black chalk and watercolour heightened with white on light buff paper 35.5 x 41 cm

    1835 Pistil Mawddach, North Wales
    watercolour, gouache and graphite 47 x 37.2 cm

    1835-36 Pistil Mawddach, North Wales
    watercolour, gouache and graphite with scratching out on cream wove paper 53.3 x 44.1 cm
    Yale Centre for British Art, New Haven, CT

    1835-36 The Waterfalls, Pistil Mawddach, North Wales
    oil on canvas 40.6 x 26 cm
    Tate, London


    1835 Tintern Abbey
    gouache and watercolour with pen and ink over graphite on cream wove paper 59.1 x 76.2 cm
    Yale Centre for British Art, New Haven, CT

    1835 Tintern Abbey
    watercolour, gouache, brown ink and black chalk on white laid paper 37 x 48.6 cm
    © Victoria and Albert Museum, London

    1835-36 Llwyngwynedd and Part of Llyn-y-ddina Between Capel Curig and Beddegelert, North Wales
    gouache, watercolour, graphite and black chalk on wove brown paper 46 x 48.1 cm
    Yale Centre for British Art, New Haven, CT

    1835-36 Rocky Landscape in Wales
    gouache and watercolour with traces of gum and black chalk on cream wove paper 47.9 x 37.9 cm
    Yale Centre for British Art, New Haven, CT

    1835c On the North Coast of Devon, Lundy Island in the Distance
    watercolour and black chalk over graphite with touches of gouache 27.1 x 38 cm
    The Metropolitan Museum of Art, New York City

    1836 Conway Castle
    graphite, watercolour, gouache and pen and brown ink on on wove paper mounted on card 76.2 x 59.1 cm
    Yale Centre for British Art, New Haven, CT

    1837 Street of the Tombs, Pompeii
    watercolour 30.2 x 42.2 cm
    © Victoria and Albert Museum, London

    1837 The Villa D'Este, 1837
    watercolour 17.3 x 37.4 cm
    © Victoria and Albert Museum, London

    1837-39 The Colosseum and the Arch of Constantine from the Palatine, Rome
    graphite and watercolour on paper 13.7 x 27.9 cm
    Tate, London

    after 1838 Italian Hill Town
    watercolour and gouache over graphite on blue wove paper 32.1 x 23.5 cm
    Yale Centre for British Art, New Haven, CT

    1838 The Cypresses at the Villa d'Este, Tivoli
    watercolour, gouache and graphite on blue wove paper 43.8 x 59.7 cm
    Yale Centre for British Art, New Haven, CT


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  • 10/17/16--05:39: Samuel Palmer - part 3
  • 1830 Samuel Palmer by George Richmond
    pen and brown ink on paper 18.1 x 11.4 cm
    Yale Centre for British Ar, New Haven, CT
    Samuel Palmer (1805 – 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.

    This is part 3 of a 5 - part series on the works of Samuel Palmer. For full biographical notes see part 1, and for earlier works, see parts 1 and 2 also.



    1838-39 View of Tivoli
    transparent and opaque watercolour with fabricated black chalk and graphite on paper, mounted on cardboard 32.7 x 41.6 cm Philadelphia Museum of Art, PA

    1838c Florence
    watercolour 44.4 x 60.4 cm
    © Victoria and Albert Museum, London

    1839 Florence
    watercolour over pencil heightened with bodycolour 42 x 61 cm

    1839c The Rising of the Skylark
    oil on panel 30.8 x 24.5 cm
    National Museum of Wales, Cardiff, UK

    1840c Underriver Hills, near Sevenoaks, Kent,
    from the Grounds of J. Herries, Esq. *
    watercolour 59.7 x 43.8 cm
    Yale Centre for British Art, New Haven, CT


    *John Charles Herries (b. 1778) was a high-ranking politician in the British government. He died intestate at his home "St. Julians" now a private members club (I have been a member!) near Sevenoaks in 1855.


    1843 View from Rook's Hill, Kent
    graphite, watercolour with gouache and pen and brown ink
    on paper 41.3 x 52.4 cm
    Yale Centre for British Art, New Haven, CT

    1844 Guildford
    watercolour and gouache and scraping out with some varnish over graphite on paper 27 x 18.7 cm
    Yale Centre for British Art, New Haven, CT

    1845 Evening in Italy - the Deserted Villa
    watercolour, with traces of shell gold, over graphite on paper 19 x 41.2 cm
    Art Institute of Chicago, IL

    1846 Crossing the Ford
    watercolour
    Bucks County Museum, Aylesbury, UK

    1846 Pictures From Italy by Charles Dickens
    illustrated by Samuel Palmer

    1846c A Farmyard near Princes Risborough, Bucks
    watercolour 39.2 x 54 cm
    © Victoria and Albert Museum, London

    1847 Crossing the Bridge
    transparent and opaque watercolour over graphite on paper 40.6 x 51.1 cm
    The Morgan Library and Museum, New York City

    1848 Carting the Wheat
    watercolour with traces of pencil, gum arabic and touches of gouache 31 x 54 cm
    National Gallery of Victoria, Melbourne, Australia

    1848 Christian Descending into the Valley of Humiliation
    watercolour and gouache on paper 51.9 x 71.4 cm
    Ashmolean Museum, Oxford, UK

    1848-49c View of Clovelly, Devon
    watercolour, gouache, black chalk and graphite 27 x 38 cm
    The Metropolitan Museum of Art, New York City

    1848c Box Hill, Surrey
    oil on paper 24 x 40.1 cm

    1848c Kensington Gardens
    watercolour over graphite on  paper 37.1 x 25.7 cm
    Yale Centre for British Art, New Haven, CT

    1849 Sir Guyon with the Palmer Attending, Tempted by Phaedria to Land upon the Enchanted Islands
    watercolour and bodycolour, with some gum arabic, over black chalk underdrawing 53.7 x 75.1 cm
    The J. Paul Getty Museum, Los Angeles

    1849c The North Devon Coast
    watercolour over pencil, heightened with bodycolour and black chalk
    18.7 x 26.9 cm

    1850 Christmas, or Folding the Last Sheep
    etching 9.8 x 8.1 cm

    1850 The Herdsman's Cottage
    etching on laid paper 9.7 x 7.7 cm (image)
    National Gallery of Art, Washington, DC

    1850 The Skylark
    etching on chine collé: seventh or eighth state of eight 9.9 x 7.4 cm (image)

    1850 The Willow
    etching 12 x 8.2 cm (plate)
    © Victoria and Albart Museum, London

    1850c Sunset
    etching on paper 9.7 x 7.7 cm (image)
    Art Institute of Chicago, IL

    1851c Harvesting
    watercolour and gouache over graphite with scratching-out and touches of gum arabic on paperboard 37.8 x 51.5 cm
     National Gallery of Art, Washington, DC

    1851c Summer Storm near Pulborough, Sussex
    watercolour on paper 72 x 51.5 cm
    Art Gallery of South Australia, Adelaide

    1851c Wilmot's Hill, Kent
    watercolour and gouache over black chalk on paper 37.5 x 27.3 cm
    Yale Centre for British Art, New Haven, CT

    1853c The Rustic Dinner
    watercolour 75.5 x 53.3 cm
    Art Gallery of South Australia, Adelaide

    1854 Old Cedar Tree in Botanic Garden, Chelsea
    black chalk and graphite on paper 59.7 x 43.8 cm
    Yale Centre for British Art, New Haven, CT

    1854-57c The Sleeping Shepherd: Early Morning
    etching 9.5 x 7.8 cm (image)

    1854-57c The Sleeping Shepherd: Early Morning
    etching, hand-coloured with watercolour and opaque white with gold highlights 9.5 x 7.8 cm (plate)

    1855-57 The Rising Moon
    etching on chine collé 14.6 x 22.1 cm (plate)

    1856c A Woodland Study
    brush and black and brown washes, with white gouache and scraping, ruled in graphite, on ivory paperboard 22.5 x 17.2 cm
     Art Institute of Chicago, IL

    1857 Pele Point, Land's End
    pencil on paper 38 x 28 cm
    The Phillips Collection, Washington, DC

    1857 The Rising Moon, or An English Pastoral
    etching

    1858 Going to Dea
    watercolour 35.4 x 58.8 cm
    © Victoria and Albert Museum, London

    1858 The Weary Ploughman, or The Herdsman, or Tardus Bubulcus
    etching 13.3 x 20 cm

    1860-61 (begun) The Morning of Life
    etching 13.6 x 20.6 cm (image)

    1861 Noon; Resting Time
    watercolour, heightened with gouache and gum arabic, over graphite 20.2 x 43.2 cm
    Private Collection

    1861 Tintern Abbey at Sunset
    watercolour, gouache and varnish over graphite with scratching on heavy card 70.5 x 33.3 cm
    Yale Centre for British Art, New Haven, CT


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  • 10/19/16--05:51: Samuel Palmer - part 4
  • 1849 Samuel Palmer by Henry Walter
    Samuel Palmer (1805 – 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.

    This is part 4 of a 5 - part series on the works of Samuel Palmer. For full biographical notes see part 1, and for earlier works, see parts 1 - 3 also.


    1861c Sunset
    watercolour, gouache and gum over graphite on wove paper 38.7 x 27 cm
    Yale Centre for British Art, New Haven, CT

    1861c The Early Ploughman
    etching on laid paper 17.6 x 24.5 cm (plate)
    National Gallery of Art, Washington, DC

    1863 Moonlit Scene
    graphite on paper 11.3 x 9.3 cm
    de Young/Legion of Honour Fine Arts Museums of San Francisco, CA

    1864 (exhibited) A Dream in the Apennine
    watercolour and gouache on paper mounted on wood 66 x 101.6 cm
    Tate, London

    1864 Going Home at Curfew Time
    watercolour 27.3 x 39.4 cm
    © Victoria and Albert Museum, London

    1864-70c An Illustration to Milton’s ‘Lycidas’
    graphite and watercolour, heightened with scratching out and gouache 10.4  x 15.1 cm

    1865 The Golden Hour
    watercolour and gouache with graphite and scraping out 25.6 x 35.4 cm
    The Cleveland Museum of Art, Ohio

    1868 Box Hill
    grey, green and brown washes with black chalk over graphite on brown wove paper 30.8 x 24.1 cm
    Yale Centre for British Art, New Haven, CT

    1868 The Lonely Tower
    watercolour, gouache and gum arabic on London board 70.8 x 51.4 cm
    Yale Centre for British Art, New Haven, CT

    1879 The Lonely Tower
    etching 16.5 x 23.3 cm (image)

    1880 The Lonely Tower
    watercolour and gouache 16.8 x 23.5 cm
    The Huntington Library, San Marino, CA


    1868c The Towered City: The Haunted Stream
    sepia wash with white body-colour on card 26 x 42.3 cm
    © Victoria and Albert Museum, London

    1870 The Curfew (or The Wide Water'd Shore)
    graphite, eraser, watercolour and gouache on paper 51 x 71 cm
    Rijksmuseum, Amsterdam

    1870 The Near and the Distant: From Southern Italy
    watercolour and body-colour over pencil, heightened with scratching out and gum arabic, on board 41.7 x 60 cm

    1874 Old England's Sunday Evening
    watercolour over graphite, heightened with body-colour, scratching out and gum arabic 30 x 70 cm

    1879 Going to Fold: Study for Eclogue VI: 'Til Vesper Bade the Swain'
    watercolour 12.7 x 19.2 cm
    © Victoria and Albert Museum, London

    1879 The Eastern Gate
    sepia wash 27.3 x 38.1 cm
    © Victoria and Albert Museum, London

    1879c The Bellman
    etching 19 x 25.1 cm (plate)

    1879c The Winding Stream
    watercolour10.2 x 17.8 cm
    © Victoria and Albert Museum, London

    1880 The Herdsman's Cottage, or Sunset
    etching 9.8 x 7.6 cm (image)

    1880c Opening the Fold: Early Morning
    watercolour over graphite

    1880c Opening the Fold: Early Morning
    graphite and grey wash with pen and black ink on cream laid paper 10.8 x 14.9 cm
    Yale Centre for British Art, New Haven, CT

    1883 An English Version of the Eclogues of Virgil:


    1883 Eclogues of Virgil by Samuel Palmer
    published by Seeley & Company, London


    1876 "Eclogue IV: Thy Very Cradle Quickens"
    study for an etching graphite on paper

    1880 Opening the Fold
    etching and drypoint 17.6 x 11.7 cm 

    1883 Moeris and GalateaIllustration for Eclogue 9 
     etching 21 x 31.3 cm

    1883 The Cypress Grove
    etching
    The Cleveland Museum of Art, Ohio

    1883 The Homeward Star
    etching 13-3 x 19 cm
    1883 The Sepulchre
    etching 21 x 32.1 cm
     The Cleveland Museum of Art, Ohio

    *         *          *          *          *

    1890c The Shadowy Stream
    watercolour on card 10.8 x 17.8 cm
    © Victoria and Albert Museum, London

    Note: From here on in, the works are undated, so will inevitably be out of date sequence:


    n.d. A Barn with a Mossy Roof, Shoreham
    watercolour, pen and brown ink, white gouache and graphite on cream wove paper 27.6 x 37.8 cm Yale Centre for British Art, New Haven, CT

    n.d. A Cottage among Trees, Shoreham
    pen and black ink with grey wash on cream wove paper 19.1 x 27.6 cm
    Yale Centre for British Art, New Haven, CT

    n.d. A Harvest Field
    watercolour 30.5 x 53.3. cm
    © Victoria and Albert Museum, London

    n.d. A Rocky Shore with Distant Sailing Boats, Margate
    watercolour and gouache 28.6 x 40.6 cm

    n.d. An Ancient Barn at Shoreham
    pen and black ink, grey and brown washes over graphite on cream wove paper 27.8 x 15.6 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Cornfield and Church by Moonlight
    brush and black ink on very thick, smooth, cream wove paper 40 x 50.8 cm
    Yale Centre for British Art, New Haven, CT


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  • 10/21/16--06:18: Samuel Palmer - part 5
  • Samuel Palmer by John Linnell
    Samuel Palmer (1805 – 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.

    This is part 5 of a 5 - part series on the works of Samuel Palmer. For full biographical notes see part 1, and for earlier works, see parts 1 - 4 also.

    The Remainder of works in this series are undated, so will be out of date sequence:



    n.d. Evening, Cattle Watering
    gouache and watercolour and scraping out with varnish on card 10.8 x 7.7 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Fantasy View of Lake Nemi
    graphite and watercolour on paper 28.5 x 46.6 cm
    Tate, London

    n.d. Harlech Castle
    watercolour, gouache and varnish over graphite with scraping out on brown wove paper 29.5 x 21.9 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Ivy Cottage, Shoreham
    watercolour and gouache with pen and brown ink on blue wove paper 76.2 x 59.1 cm
    Yale Centre for British Art, New Haven, CT


    Ivy Cottage, Shoreham as it is today


    n.d. Landscape Sketch
    pink wash and pen and brown ink and brown wash with graphite on cream wove paper 18.7 x 40 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Mountain Streams and an Ancient Fortress
    watercolour 14.7 x 19.8 cm approx.
    © Victoria and Albert Museum, London

    n.d. Mount Siabod from Tyn-y-Coed near Capel Curig 
    gouache and watercolour with pen and brown ink and graphite on brown wove paper 47.3 x 37.8 cm 
    Yale Centre for British Art, New Haven, CT

    n.d. Mountainous Landscape, Wales
    watercolour and body-colour over graphite 12.5 x 17 cm

    n.d. Oak Tree and Beech, Lullingstone Park
    pen and brown ink, graphite, watercolour, gouache and gum glaze on grey wove paper 29.6 x 47 cm
    The Morgan Library and Museum, New York City

    n.d. Oxen Ploughing at Sunset

    n.d. Ploughing at Sunset
    watercolour
    Private Collection

    n.d. Road in an Italian Mountain Landscape
    graphite, watercolour and gouache on grey paper 29.8 x 45.4 cm
    Rijksmuseum, Amsterdam

    n.d. Rome from San Spirito
    brown wash black chalk and graphite with white chalk on cream wove paper 35.9 x 59.4 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Rustic Contentment
    watercolour and gouache on wove paper 40 x 18.4 cm
    Yale Centre for British Art, New haven, CT

    n.d. Scene in Wales
    watercolour and black chalk on beige wove paper 19.1 x 8.6 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Study of a Pilgrim
    brown wash and watercolour with white gouache touched with gold over graphite on green wove paper 20.3 x 27.3 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Study of Old Buildings
    brown ink and wash over graphite with scraping out on cream wove paper 59.7 x 43.8 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Study of Waves
    grey and brown washes with white gouache over graphite on grey wove paper 52.7 x 40 cm
    Yale Centre for British Art, New Haven, CT

    n.d. The Barns
    watercolour and graphite on wove paper 34.3 x 25.4 cm
    Yale Centre for British Art, New Haven, CT

    n.d. The Brothers Under the Vine
    sepia wash touched with white 17.5 x 24.4 cm
    © Victoria and Albert Museum, London

    n.d. The Colosseum of Rome
    black chalk with pen and black ink on paper 6.8 x 7.9 cm
    The Morgan Library and Museum, New York City

    n.d. The Crescent Moon
    pen and sepia ink and graphite on cream wove paper 18.1 x 11.4 cm
    Yale Centre for British Art, New Haven, CT

    n.d. The End of the Day
    graphite and watercolour, heightened with body-colour, scratching out and gum arabic 19.1 x 41.8 cm

    n.d. The End of the Day: A Recollection of Italy
    watercolour and gouache, with gum arabic glazes and graphite on paper 14.6 x 21.3 cm
    The Morgan Library and Museum, New York City