Showing posts with label fine art. Show all posts

04 Works of the Canals of Venice, by Edmund Dulac after Alfred de Musset poem, with footnotes. #132

Edmund Dulac

Venise

Watercolour

354 x 272 mm. (13 7/8 x 10 3/4 in.)

Private collection

Sold for GBP 6,250 in Dec 2015

This watercolour is the first of a series of four drawings used to illustrate the poem Venise by Alfred de Musset (1810-1857). Dulac’s illustrations were deemed to be the ideal accompaniment to de Musset’s poem, as noted on the cover of this particular issue; ‘The indolent and voluptuous Venice of Alfred de Musset, evoked in compositions of a mysterious and disturbing charm by the very personal art of Edmund Dulac, that is the surprise reserved for the admirers of this prestigious watercolourist as well as for lovers of the old city of the Doges.

Edmund Dulac

Preparing for the ball, c. 1912

Pencil and watercolour heightened with bodycolour on paper

I have no further description, at this time

A woman of the XVIIIth century. The scene is set in a typical interior of the period, recognisable by the furniture, armchair and bench in the Louis XV style. The interior is richly decorated with curtains and a dressing table. The woman is standing with a mask in her hand. This scene represents something very common in painting, the masquerade. This mask represents the role that the nobility plays. Indeed, in this period, the nobility are in perpetual representation. More on this painting

Edmund Dulac

Venise: The Carnival, St Mark's, Venice

Pencil and watercolour heightened with bodycolour on paper

12 1/8 x 9 ¾ in. (30.8 x 24.8 cm.)

Private collection

Sold for GBP 25,000 in Jul 2021

The artist's wife, Elsa Bignardi, dressing for a masked ball, waiting for her lover in an archway beside the water, masked in a group of figures in the present drawing, and in the final work, reclining with her lover in a gondola. These are some of the last of Dulac's works using the distinctive rich dark blue tonality we see here. More on this painting

Edmund Dulac

Reclining with her lover in a gondola

Pencil and watercolour heightened with bodycolour on paper

I have no further description, at this time

The model for the woman in this drawing is the artist’s wife Elsa Bignardi. Dulac’s illustration was captioned by one stanza of de Musset’s poem: ‘-Ah! maintenant plus d’une / Attend, au clair de lune, / Quelque jeune muguet, / L’oreille au guet.’ The other three drawings by Dulac used to illustrate the poem - each with the prominent figure of Elsa – depicted a woman getting ready for a masked ball, a pair of lovers in a gondola, accompanied by a musician, and a scene of masked figures in the Piazza San Marco. The drawings for Venise are among the last of the artist’s works in this distinctive tonality.

Edmund Dulac (born Edmond Dulac; 22 October 1882 – 25 May 1953) was a French British naturalised magazine illustrator, book illustrator and stamp designer. Born in Toulouse he studied law but later turned to the study of art at the École des Beaux-Arts. He moved to London early in the 20th century and in 1905 received his first commission to illustrate the novels of the Brontë Sisters. During World War I, Dulac produced relief books and when after the war the deluxe children's book market shrank he turned to magazine illustrations among other ventures. He designed banknotes during World War II and postage stamps, most notably those that heralded the beginning of Queen Elizabeth II's reign. More on Edmund Dulac

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and my art stores at deviantart and Aaroko

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01 Work of the Canals of Venice, John Aldridge's Grand Canal, Early Morning, with footnotes. #127

JOHN ARTHUR MALCOLM ALDRIDGE (BRITISH, 1905-1983)

Grand Canal, Early Morning, c. 1963

Oil on board

27 x 35.5cm (10 5/8 x 14in).

Private collection

Sold for £3,812.50 in May 2020

John Aldridge was educated at Uppingham School and at Corpus Christi College, University of Oxford. From 1928 to 1933 he lived in London, making frequent visits to Holland, France, Italy, Germany and Spain. In 1933 he moved to Essex, settling in Great Barfield. At the time he was one of a group of artists including Eric Ravilious and Edward Bawden who found inspiration in the Essex countryside. They later collected together an exhibition of their own pictures which toured the villages of Essex. His first one-man show was at the Leicester Galleries, London in 1933, he later exhibited with the Seven and Five Society alongside artists such as Ben Nicholson, Ivon Hitchens, David Jones and John Piper. He was elected a Royal Academician in 1963. Although he never went to art school, Aldridge became a remarkable and valued part-time teacher at the Slade School of Fine Art. Besides painting in oils, Aldridge designed textiles and wallpapers, and illustrated books. His pictures are built up out of the commonplace ingredients that any observant person could have found in the villages and fields and back gardens of Essex. Aldridge proved again, what so many artists have proved before him, that subject matter is no more than a starting point for adventure. More on John Aldridge

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01 Work of the Canals of Venice, John Randall Bratby's Venice Canal, with footnotes, #126

JOHN BRATBY R.A. (BRITISH, 1928-1992)

Venice Canal, c. 1987-88

Oil on canvas

122 x 76cm (48 1/16 x 29 15/16in).

Private collection

Sold for £2,040 in May 2020

John Randall Bratby (1928-1992), studied at the Royal College of Art (1951-54), and it was for his generation of RCA students that David Sylvester coined the phrase 'Kitchen Sink', to describe the realism of their art. In 1956 he was included in the British Pavilion at the Venice Biennale, and in 1957 won first prize in the Junior Section of the John Moores Liverpool exhibition. Bratby's vigorous realism with its debt to Van Gogh and Soutine went out of fashion in a time of Abstract Expressionism and Pop Art in the 60s, during which he wrote the semi-autobiographical Breakdown (1960). In the 1970s he made it his task to paint portraits of 'names', from tycoons and businessmen to television stars. He became a Royal Academician in 1971. More on John Randall Bratby

More works by John Randall Bratby

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03 Photographs of the Canals of Venice by Gianni Berengo Gardin, with footnotes. #118

Gianni Berengo Gardin

Venice

Vintage gelatin silver print

8 × 12 1/5 in, 20.3 × 31 cm

Private collection

Gianni Berengo Gardin (born 1930) is an Italian photographer who has concentrated on reportage and editorial work, but whose career as a photographer has encompassed book illustration and advertising.

"Born in Santa Margherita Ligure, Gardin lived in Switzerland, Rome, Paris and Venice before starting as an amateur photographer in 1954. As a photographer, he was self-taught.

Gardin's first year as a photographer, 1954, his first photographs were published in Il Mondo. This magazine, edited by Mario Pannunzio, was one to which both amateurs and professionals liked to submit their work. Gardin would later have photo essays published in Domus, Epoca, l'Espresso, Stern, Time, Vogue Italia;[Réalités; Le Figaro; and La Repubblica.

He turned professional in 1962 and two years later moved to Milan, where he has lived since 1975.

Gianni Berengo Gardin

Venice

Vintage gelatin silver print

8 7/10 × 12 1/5 in, 22.2 × 31.1 cm

Private collection

In the early 1990s, Berengo Gardin spent time living among the Romani people of Italy, hoping to show their lives from the inside. This resulted in two highly regarded books, La disperata allegria (Florence) and Zingari a Palermo (1994 and 1997).

Berengo Gardin has named as influences on him the French photographers Henri Cartier-Bresson, Willy Ronis, Édouard Boubat and Robert Doisneau; others have identified the Italian group La Gondola and the American photographer W. Eugene Smith. More on Gianni Berengo Gardin

Gianni Berengo Gardin

VENEZIA, 1955-1960

Vintage gelatin silver print

30,2 x 40 cm

Private collection

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Painting of the Canals of Venice, Samuel Melton Fisher's Revellers at the Carnival, with footnotes #104

Samuel Melton Fisher, RA (British, 1859-1939)

Revellers at the Carnival, Venice

Oil on canvas

183 x 153.5cm (72 1/16 x 60 7/16in)

Private collection

The painting capturs the vitality, colour and opulence of the Venice Carnival.

Samuel Melton Fisher, RA (British, 1859-1939) studied at the Lambeth School of Art and Royal Academy Schools between 1876 and 1881, winning a gold medal and a travelling scholarship; travelling to Paris, he studied with Jules Bonnaffé. His work In Realms of Fancy was purchased by Chantrey Bequest in 1898 and later in his life he returned to portrait and figure painting, possibly for financial reasons. More on Samuel Melton Fisher

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Painting of the Canals of Venice, Brian Kewley's Piazza San Marco, with footnotes. #96

Brian Kewley, (1933 - )

Piazza San Marco, c.1971

Pen, gouache and wash on paper

36.5 x 54.5cm

Private collection

Piazza San Marco or St. Mark’s Square is the main public square in Venice. The Piazza is located in front of the great Byzantine church known as Basilica di San Marco. This Piazza is surrounded by shops, caffè’s and palazzi on three sides. According to local legend Napoleon called the Piazza San Marco “the drawing room of Europe.” More on Piazza San Marco

Melbourne artist, Brian Kewley, was born in 1933 about 100 metres from Hamptons bayside beach. He has lived, sailed, fished and painted there all his life. The subjects of his paintings include Elwood, Point Ormond, St. Kilda and Port Melbourne, for it is these locations that have inspired his art. Many are painted on the spot in an attempt to capture the light, movement and dazzle of the water. Other subjects, like Brighton Beach, have been painted from an aerial perspective. His subjects later extended to the Peninsula as far as Flinders and to the city of Melbourne. A veteran of more than 22 solo exhibitions since 1965, Brian Kewleys' paintings evoke immense pleasure while they record the changes that Melbourne has undergone over past years. More on Brian Kewley

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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02 Paintings of the Canals of Venice by John Bratby, with footnotes. #87

John Bratby R.A. (British, 1928-1992)

Lazy Back Canal and Arch and Gondola in Venice

Oil on canvas

91.5 x 121.5cm (36 x 47 13/16in)

Private collection

John Randall Bratby, (born July 19, 1928, Wimbledon, Surrey.—died July 20, 1992, Hastings, East Sussex), was a British painter who rose to prominence in the 1950s as a member of the Kitchen Sink School, a group of British social-realist artists who paralleled the literary Angry Young Men of the decade.

Although he was accepted at the Slade School of Fine Art, Bratby attended the Royal College of Art (1951–54). His first solo exhibition, mounted at the Beaux Arts Gallery in London (1954), gained him instant popularity. For many years after his artwork appeared in the motion picture The Horse’s Mouth (1958), he was identified in the popular imagination with the film’s protagonist, a bohemian artist. Bratby was particularly known for the feverish speed at which he worked and for the thick texture of his vividly coloured, Expressionistic paintings, into which he often incorporated everyday objects. His productivity did not decline with his popularity in the 1960s, as he continued to create thousands of sketches and paintings, including hundreds of portraits. He wrote several autobiographical novels, notably Breakdown (1960), and served as editor in chief of Art Quarterly from 1987. More on John Randall Bratby

John Bratby R.A. (British, 1928-1992)

Gondola, Venice

Oil on canvas

114 x 89cm (44 7/8 x 35 1/16in)

Private collection

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Painting of the Canals of Venice, MARTÍN RICO Y ORTEGA, RIO DI SAN BARNABA, with footnotes. #85

MARTÍN RICO Y ORTEGA, Spanish, 1833 - 1908

RIO DI SAN BARNABA, VENICE

Oil on canvas

26½ by 20¾ in., 67.3 by 52.7 cm

Private collection

A native of Spain, Martín Rico y Ortega was captivated by Venice and dedicated his oeuvre to recording its architecture, people and daily life. This work, set on the Rio di San Barnaba, features the Chiesa di San Barnaba in the foreground with Santa Maria dei Carmini beyond. More on this painting

The Chiesa di San Barnaba is a small Neoclassical-style church in the district of Dorsoduro in Venice. It is dedicated to the Apostle Saint Barnabas.

A church at the site was built in the ninth century, but destroyed by fire in 1105. Rebuilt in 1350, it was reconstructed in its present form in 1776 . The 11th-century campanile, detached from the main body of the church, has a pine-cone shaped spire from the 1300s.

A scene in the 1989 film Indiana Jones and the Last Crusade was shot in the Campo San Barnaba in front of the church, with the church's façade as an imaginary library. More on The Chiesa di San Barnaba

Martín Rico y Ortega (12 November 1833, El Escorial – 13 April 1908, Venice, Italy) was a Spanish painter of landscapes and cityscapes. Rico was one of the most important artists of the second half of the nineteenth century in his native country, and enjoyed wide international recognition.

Rico was born in Madrid and received his earliest formal training at the city’s Real Academia de Bellas Artes de San Fernando, where he studied under Jenaro Pérez Villaamil. In 1860, having been awarded a government-sponsored scholarship, Rico moved to Paris to continue his studies.

His landscapes depict the French and Swiss countryside in a fully accomplished Realist style. Toward the end of 1870, due to political and social unrest caused by the outbreak of the Franco-Prussian War, Rico decided to leave France and return to his native Spain.

Rico moved to the southern city of Granada, joining Fortuny and his wife Cecilia, as well as the painter Ricardo de Madrazo. The three artists worked closely during this period, with the styles of Rico and Fortuny overlapping so much that their watercolors—a specialty for both artists—were often confused for one another. It was during this time that, through Fortuny’s influence, Rico’s paintings began to reveal a newfound sense of luminosity and color. His time in Andalucía was, according to his memoirs, one of his happiest, and also one of his most artistically productive periods. More on Martín Rico y Ortega

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Painting of the Canals of Venice by the artists of their time, with footnotes. #84

Rhonda Carleton Holmes Nicholls, American (1854-1930)

Woman beside a canal, Venice

Oil on panel,

17 x 14 inches

Private collection

Rhoda Holmes Nicholls (March 28, 1854 – September 7, 1930) was an English-American watercolor and oil painter, born in Coventry, England. She studied art in England and Italy, and her work was viewed and praised at the time by the queens of both countries. A body of work was created in South Africa by Nicholls of Port Elizabeth area's scenery, wildlife and architecture. She lived there on her brothers' 25,000-acre ostrich farm for one year.

Her watercolor paintings and illustrations were published in journals, and her oil paintings won awards in the United States and Europe. Nicholls was a successful artist, writer and art instructor. She was actively involved in many art organizations as a member and leader. More on Rhoda Holmes Nicholls

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Painting of the Canals of Venice by the artists of their time, with foot notes. #48

Dusan Djukaric

Venice Gondola

Watercolour

33x24cm

Private collection

Santa Maria della Salute (English: Saint Mary of Health), commonly known simply as the Salute, is a Roman Catholic church and minor basilica located at Punta della Dogana in the Dorsoduro sestiere of the city of Venice, Italy.

It stands on the narrow finger of Punta della Dogana, between the Grand Canal and the Giudecca Canal, at the Bacino di San Marco, making the church visible when entering the Piazza San Marco from the water. The Salute is part of the parish of the Gesuati and is the most recent of the so-called plague churches.

In 1630, Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable baroque style by Baldassare Longhena. Construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.

The dome of the Salute was an important addition to the Venice skyline and soon became emblematic of the city, inspiring artists like Canaletto, J. M. W. Turner, John Singer Sargent, and the Venetian artist Francesco Guardi. More on Santa Maria della Salute

Dusan Djukaric was born in Teslic, former Yugoslavia, in 1971. He studied at the Academy of Fine Arts in Belgrade, where he still works and lives. For a long time, some two decades, he has been painting frescoes, icons and roof-screens in churches and monasteries, and many of his icons are now part of collections in foreign embassies and diplomatic headquarters.

In the arts world, Dusan Djukaric is known and appreciated for his watercoloursr. As far as the subject matter is concerned, his watercolours paint the world of the artist’s surrounding. There are landscapes of towns and coasts, human figures, nudes, animals. But whatever the themes are, his paintings are equally soft and poetic, with an atmosphere of immediacy and warmth.

Djukaric is subtle and transparent when he paints coasts and seas – beaches, boats, fishermen, ports. These watercolours are full of light, the blueness of the sky and shimmering reflections of the sun against the water surface. With his sense for the subject, he successfully shows the difference between the fleeting nature of the water and the light, opposed to the lasting impression of a stone, a house, a tree.

The colors range from silvery-blue, ochre, to the purple, red and violet tones. The element of light, indispensable in watercolour, helps present a flickering atmosphere that the artist brings to his work. The brush strokes are free, but precise enough not to lose the form of the subject, and still lyrical and fugacious.

Given the difficulty of watercolour as a technique, avoided by most artists, we can only praise the great virtuosity of Dusan Djukaric, who appears to be creating with ease his watercolours full of optimism and beauty. Seeing them will certainly give the audience a fresh breath of good spirit and love for art. More on Dusan Djukaric

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, And visit my Boards on Pinterest

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01 Painting of the Canals of Venice by the artists of their time, with foot notes. #46

Martin Packford, United Kingdom

Theodore and The Lion

Oil on board

39.4 H x 39.4 W x 0 in

Private collection

Theodore and the Lion refers to the two columns outside the Palazzo Ducale, named after two patron saints of Venice.

The Column of the Lion and the Column of St. Theodore of Amasea, now located in Piazzetta San Marco, are examples of works coming from the East. They come out of the Venetian participation in the Crusades, concluding in the Sack of Constantinople in 1204. While their origins are uncertain, they represent the city as major landmarks in the region of the Doge’s Palace. The columns themselves seem to come from Constantinople. The Lion of Venice is an ancient bronze winged lion sculpture in the Piazza San Marco. It came to symbolize the city — as well as one of its patron saints, St Mark — after its arrival there in the 12th century. The sculpture surmounts one of two large granite columns in the Square. It has had a very long and obscure history, probably starting its existence as a winged lion-griffin statue on a monument to the god Sandon at Tarsus around 300 BC. At some point came to represent the “Lion of Saint Mark”, traditional symbol of Saint Mark the evangelist. The figure standing on the western column is St. Theodore of Amasea, patron of the city before St Mark, who holds a spear and stands on a crocodile (to represent the dragon which he was said to have slain). It is also made up of separate pieces of antique statues, including a crocodile, a torso and a head. The statue on the column is a copy with the original being kept in the Doge's Palace. More on The Columns of the Lion and St. Theodore

Martin Packford,'s work is primarily concerned with finding a harmonious balance between a clear representation of real locations with a spontaneous and gestural painting process.

Martin's paintings have been privately bought or specially commissioned by clients both nationally and internationally. He currently lives and works in Bristol.

"I am a contemporary landscape painter interested in the technique of painting and the method of using expressive and gestural brushwork to create something that transcends the scene represented into something more visual exciting and emotionally charged. The main focus of my paintings are scenes that depict large groups of people or that have a certain energy that can be expressed rather than just merely reproduced". More on Martin Packford

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