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Bernardo Bellotto. Part 1.

In this blog I am returning to an artist I talked about almost nine years ago. My artist today is Bernardo Bellotto who was born in Venice on May 22nd 1722. He was the third-born child of Lorenzo Antonio Bellotto and Fiorenza Domenica Canal, who was the eldest of three sisters of Giovanni Antonio Canal, better known to us as Canaletto. Bellotto’s started his initial artistic training at the age of fourteen when he worked in his uncle’s workshop. Two years later, at the age of sixteen, Bellotto became a member of the Fraglia dei Pittori (Venetian painters’ guild). Bellotto trained in Canaletto’s studio and would help him to satisfy the growing demand for Venetian scenes. Bellotto would later point out the family connection by signing some of his works ‘Bernardo Canaletto’ or ‘Bellotto de Canaletto’.

Rio dei Mendicanti and the Scuola di San Marco, 1738 - Bernardo Bellotto — *Rio dei Mendicanti and the Scuola di San Marco by Bellotto (1738)*

In around 1741, he and his uncle, Canaletto, took a trip along the Brenta canal to Dolo and Padua and during this time the two painters amassed a number of sketches which would be later transformed into completed oil paintings. On October 5th, 1741 a marriage contract was drawn up by Bellotto and his future father-in-law Giambattista Pizzorno, for permission for the artist to marry Elisabetta Pizzorno. On November 5th 1741, Bellotto married Elisabetta Pizzorno at Il Redentore church in Venice. A dowry of 850 ducats was agreed to be paid by the bride’s family to the groom at the time of marriage. Their first child, Lorenzo, was born on October 15th, 1742. A further insight into Bellotto’s life around this time is a document submitted by his mother in which she declares that the family has been abandoned by her husband Lorenzo and that the only goods in her possession are those procured for her by Bernardo who, with his work, maintained her and his brother Pietro, both of them being resident in Bernardo’s home. The brother Pietro Bellotto, who was also an artist, also declared before the same notary to have learned the art of painting from Bernardo. In order to continue living with his brother and improve in his profession Pietro signs a pledge to give him one hundred and twenty ducats a year.

Arno in Florence, c.1742 - Bernardo Bellotto — *Arno in Florence by Bellotto (1742)*

In 1742 Bellotto set off on a painting trip and travelled extensively around the Northern Italian cities, stopping off at Florence and Lucca and during each stop he would complete a verduta of the place. A verduta is a highly detailed, usually large-scale painting of a cityscape or some other vista. These painting were very popular with the foreigners who travelled around Italy on their Grand Tour and wanted to bring home something to remind them of the places they had visited.

*The Old Bridge over the River Po, Turin by Bellotto (1746)*

Bellotto made a number of painting trips to Lombardy and during a stopover and around 1746 whilst in Turin he painted a view of the city. It was entitled The Old Bridge over the River Po, Turin and it was a commission he received from Charles Emmanuel, King of Sardinia and Duke of Saxony. If you look closely to the extreme left of the painting you will see an artist sitting before his easel which was presumably a reference to himself. This and his other Turin depictions were large measuring 127 x 171cms and they were, as this was, sweeping panoramic views with such exquisite architectural detail of the brick tower and the bridge in the foreground. Look how well he has used light and colour to portray the reflections on still water and the hint with regards the moving currents. Bellotto eventually arrived in Rome where he studied study architectural and topographical painting and would remain in the Italian capital until 1743 at which time he journeyed back home to Venice.

In May 1746 Bellotto’s uncle Canaletto left Venice for England where his paintings were in great demand. A year later Bellotto also left Venice. His destination was Germany and the city of Dresden where he hoped to forge a career and avail himself of some lucrative commissions. His desire for commissions materialised within a year of his arrival as he became the court painter at the court of Friedrich August II, Elector of Saxony and soon Bellotto was the highest paid artist at the Saxon court. The following decade was to be Bellotto’s most successful.

*Dresden from the Left Bank of the Elbe, below the Fortifications by Bellotto (1748)*

The city of Dresden and the outlying districts, such as the villages of Pirna, and Königstein with its magnificent Königstein hilltop fortress, all of which offered Bellotto the chance to paint beautiful cityscapes and rural landscapes. In all, Bellotto completed thirty different paintings for the Elector. Fourteen depicting views of the city of Dresden and its wonderful buildings, eleven of Pirna and its surrounding rural landscapes and five of the magnificent Königstein fortress.

*The Neumarkt from the Judenhof, Dresden by Bellotto (1748-9)*

*View of Pirma from the Sonnenstein Castle by Bellotto (1755)*

The city of Dresden and the outlying districts, such as the villages of Pirna with the nearby Sonnenstein Castle, and Königstein with its magnificent Königstein hilltop fortress, all of which offered Bellotto the chance to paint beautiful cityscapes and rural landscapes. In all, Bellotto completed thirty different large scale paintings for the Elector, each between two and three metres wide. Fourteen depicting views of the city of Dresden and its wonderful buildings, eleven of Pirna and its surrounding rural landscapes and five of the magnificent Königstein fortress. The finished works were to be hung in the royal painting gallery in the Stallhof, which forms part of the Royal Palace in Dresden. Bellotto’s depictions of the city of Dresden were remarkable for their topographical meticulousness, mathematical perspective and the way in which he portrayed the way the light played on the various architectural structures. The way he handled the light was truly remarkable.

*The Fortress of Königstein by Bellotto (1756-58)*

This painting is part of the NGA Washington. This depiction by Bellotto of the Fortress of Königstein is one of five large canvases, commissioned by Augustus III in the spring of 1756 but never delivered, depicting the renovated medieval fortress in the countryside near Dresden.

*The Fortress of Königstein from the North by Bellotto (1756-58)*

Bellotto having received the royal commission to complete thirty large scale paintings of Dresden, Pirna and Königstein was proceeding well with the commission. The Elector’s commission had enabled Bellotto to live a life of luxury. He had an seven reception rooms in his Dresden apartment which was awash with luxurious furnishings, Venetian mirrors and fine wallpapers and fabrics. Life could not have been better. What could possibly go wrong? The answer to that question was the Seven Year War, which broke out involving all the main European “players”. The Prussian army invaded Saxony and entered the city of Dresden and Augustus, the Elector of Saxony and Bellotto’s patron fled the city and barricaded himself in at the Königstein fortress for several months before escaping to Warsaw. Bellotto left Dresden and his luxurious home and went to Pirna.

*The Fortress of Königstein: Courtyard with the Magdalenenburg by Bellotto (1756-58)*

This view from the south of Königstein includes several buildings within the fortification: the southern end of the Brunnenhaus facing us to the left, the Georgenburg oblique behind it, and the Magdalenenburg in the foreground

In 1758 Bellotto and his sixteen-year-old son obtained passports to travel to Bayreuth from where he completed an onward journey to Vienna.

Shortly after his arrival in Vienna, Bellotto received a couple of private painting commissions. One was from Prince of Liechenstein and one from Wenzel Anton, the Prince of Kaunitz who was also chancellor to Empress Maria Theresa. Not only were they lucrative commissions it gave Bellotto a chance to receive a thirteen painting commission from the Empress herself. The commission tasked the artist to complete six depictions of the city of Vienna and seven much larger panoramic views of Schönbraun and Schloss Hof imperial palaces and their gardens.

*The Dominican Church in Vienna by Bellotto (1758)*

For the two years Bellotto was in Vienna with his son he worked non-stop producing paintings for the Empress’ commission and other commissions for members of her court. This phenomenal output can also be put down to the help he received from his son Lorenzo. The resulting depictions were amazing and offered to serve as testimony of Vienna’s imperial magnificence

*Nymphenburg Palace, Munich*, by Bellotto (c. 1761)

In 1761, after almost two years in Vienna, Bellotto left the city and travelled, not to Dresden where his wife and daughters lived, but to Munich. This could have been because of the on-going troubles with the Prussian invaders. He had been given authorisation to visit the German city through a letter from Empress Marie Theresa to her cousin Maria Antonia, the Princess of Bavaria, who had fled from Dresden since the Prussian siege. Once there Bellotto was commissioned to paint panoramic views of Munich and the Baroque Nymphenburg Palace in the western suburbs of the city, which was Maria Antonia’s birthplace and summer residence.

*The Ruins of the Old Kreuzkirche in Dresden by Bellotto (1765)*

At the end of 1761 Bellotto returned to his home Dresden to find it devastated during the Prussian invasion. Worse, was the fact that he found himself in great financial difficulty arising from the death of two of his major patrons, Augustus III, Elector of Saxony and King of Poland and Count Heinrich Bruhl, the prime minister of Saxony in 1763. Their deaths and his financial situation made Bellotto melancholic and it was around this time that he painted the Kreuzkirche which now lay in ruins. It had been partially destroyed during the Seven Year War, at a time when Bellotto had been forced to flee the city. The painting is entitled View of the Kreuzkirche in Ruins and was completed by Bellotto in 1765. The Kreuzkirche is the oldest church in Dresden and, during the conflict, was shelled by Prussian artillery. The building was set ablaze and finally collapsed. The church tower, though damaged, remained standing. Work commenced on the reconstruction of the church and it was decided to preserve the original tower. Unfortunately, in June 1765, with the construction of the new church already under way, the greater part of the tower collapsed. The painting is a good example of how Bellotto unique, capacity to capture the spirit of an event. His depiction of the ruin is an unusual one for it is not an ancient ruin as far as the artist was concerned. It was a relatively new one as the destruction had only occurred five years earlier. Bellotto had completed a work depicting the great church some years earlier (see painting earlier in the blog). However, in this work, we see are the jagged remnants of the church rear up skywards. The cleanliness of the once beautiful church has gone. There is nothing clean about the church now. The scene before us is just a mass of noise and dirt. It is a chaotic scene which we find hard to believe that it could ever be put back to its former glory. The Church, as the body of Christ, has been violated all over again and the civic wounds of the German city have been violently opened for all to see. This is the price to be paid when once we set forth to war. In the painting we see many of Dresden citizens. Close to the ruins we can just make out craftsmen as they start their preparations to rebuild the once –beautiful edifice. On the periphery we see men and women dressed in their best clothes staring at the ruin. For them it was just a day out to visit the site where the destruction had taken place. For them it was just blatant voyeurism.

……………………………….to be continued.

Pinturicchio . The Master of Frescoes – The Baglioni Chapel

In my last blog I looked at the Pinturicchio frescoes in the Bufalini Chapel and although the artist had painted numerous frescoes in many places of worship, in this blog, I just want to focus on his artistry in the Bagnoli Chapel, part of the Collegiate church of Santa Maria Maggiore, in the town of Spello, Perugia and the frescoes executed by him at the start of the sixteenth century during one of last major commissions.

Troilo Baglioni was the prior, later bishop and protonotary of the Church of Santa Maria Maggiore in Spello, an ancient town and commune of Italy, in the province of Perugia in east central Umbria. He was in charge of the management of the chancellery of that church and the diocese and it was he, who, in 1500, commissioned Pinturicchio to decorate the walls of the Cappella Bella which later became known as the Baglioni Chapel . Pinturicchio and his workers set about the task in the Autumn of 1500 and completed the commission in the Spring of 1501. The paintings, typically for Pinturicchio, were completed in such a short period as he had around him, a well-organized workshop, with other masters painting above his drawings. The finished product ensured his artistic reputation and prominence in Umbria.

The chapel has a quadrangular floor plan with a cross-vault. The entire chapel, all three walls and the ceilings, are covered in frescoes. The frescoes are themed stories about the childhoods of Mary and of Jesus. a pictorial account of the Annunciation, the Adoration of the Shepherds, and Jesus at the Temple..

*The vaulted ceiling of the Baglioni Chapel*

On the vaulted ceiling, we see depicted four Sibyls, female prophets, Tiburtina, Eritrea, Europea and Samia, seated on thrones and flanked by cartouches with prophecies of the coming of Jesus Christ.

As you enter the chapel, on the left wall, there is Pinturecchio’s fresco of the Annunciation, which is set in a large Renaissance loggia. As we look at it our eyes are drawn through, what is termed, the hortus conclusus (enclosed garden) towards the handsomely and meticulously detailed landscape background. The two main characters in the fresco are Mary and an angel. Mary had been reading a book which was on a tall ornate wooden lectern but has now been distracted by the angel, who kneels before her with a white lily in one hand, symbolising virginal purity. Above them we see God the Father depicted encircled by angels and giving off a ray of light which incorporates the Holy Ghost in the form of a dove (just above the lectern).

Look to the lower right of this fresco. What is strange about this fresco is that if you look closely under the small bookshelf, you will see a portrait. In fact, it is a self-portrait of Pinturicchio, featuring the bejewelled inscription, “BERNARDINVS PICTORICIVS PERVSIN[VS]” referring to Pinturicchio’s birth name of Bernardino di Betto.

*The Adoration of the Shepherds by Pinturicchio (1501)*

The rear wall of the Baglioni Chapel features the fresco depicting the Adoration of the Shepherds. It is a depiction of an idyllic scene within an extensive landscape and includes a number of secondary motifs. In the background, we can see the arrival of the camels of the Magi procession. The setting in the foreground is a grassy area in front of the stable, and a line of shepherds who have come to visit and bring gifts to the mother and the new-born child.

The three shepherds stand out as being over-sized. They have expressive and detailed features, after the fashion of early Netherlandish painting which influenced Pinturicchio. Their facial characteristics are in a way crude, almost scowling and differ greatly from anything else in Pinturicchio’s repertoire of figures. The one exception is the young man on the left with a goat. This is depicted with a more idealized beauty, inspired by ancient reliefs with sacrifice motifs.

*The central panel of the Portinari Altarpiece by Hugo van Goes (1472)*

Art historians have put down Pinturicchio’s depiction of his “crude scowling” shepherds as being influenced by the figures of the shepherds in the Portinari Altarpiece which was painted by Hugo van der Goes around 1472.

*The figures of the shepherds in the Portinari Altarpiece*

In the left background of the fresco on the rear wall we see a meticulously drawn town at the foot of a mountain. To the right we see a temple-like stable with a window through which we can see a mountainous landscape. On the roof of the stable sits a peacock, a symbol of immortality.

In the sky above the nativity scene we observe a cluster of angels on a bank of clouds. They are celebrating the birth of Jesus in song.

On the right-hand wall as you enter the Baglioni Chapel there is a large fresco pictorially recounting the story of the Dispute with the Doctors. . It is based on an occurrence in the early life of Jesus depicted in Chapter 2 of the Gospel of Luke. Twelve-year-old Jesus had accompanied Mary and Joseph, and a large group of their relatives and friends to Jerusalem on a Passover pilgrimage.. On the day of their return, Jesus hung back in the Temple, but Mary and Joseph thought that he was among their group and she and Joseph headed back home. It was not until a day after they returned that they realised Jesus was missing, so they returned to Jerusalem, finding Jesus three days later among a group of philosophers.

In the background we see the Temple of Jerusalem with its large dome. The scene follows an arrangement which Pinturicchio had already used in his fresco on the wall of the Bufalini Chapel, which itself originated from a Perugino fresco in the Sistine Chapel, Delivery of the Keys. At the centre of the depiction stands the Child Jesus who is debating with and surrounded by two groups of philosophers from the Temple of Jerusalem. His books are scattered on the pavement in front of him. By contrast, the richly dressed scholars either clutch their books close to their chests or read aloud from them. The temple can be seen in the background and is characterized by a large dome. The crowd is formed by standard set of characters which includes young spouses, wise men, toothless women and others, all of whom are witnessing the dispute.

On the left of the crowd, dressed in the dark robes of a protonotary apostolic (a prelate who is a member of a college charged with the registry of important pontifical proceedings). It is a portrait of Troilo Baglioni, who commissioned the frescoes for his chapel

[Photo Credits: tyle_r] — *Pinturicchio’s frescoes in the Piccolomini Library*

Pinturicchio’s many paintings and frescoes can be seen throughout Italy. Between 1481 and 1482, he worked in Rome, and collaborated with Perugino on the frescoes of the Sistine Chapel. From this his career flourished and he worked uninterruptedly in the service of five popes: from Sixth IV to Julius II, passing through Innocent VIII, Alexander VI, and Pius III. He also received commissions from well-to-do and important clients such as the della Rovere family and Pandolfo Petrucci, the lord of the Italian Republic of Siena.. In Siena, among the many works, he created the extraordinary cycle of the Piccolomini Library in the Duomo of Sienna, and completed frescoes in the chapel of San Giovanni Battista.

Bernardino di Betto (Benedetto), the Italian painter known as II Pinturicchio dies in Sienna in 1513 aged 61.

Pinturicchio the Master of the Fresco. Part 1.

Over recent months I seem to have concentrated on writing about artists who were practicing their trade during the Victorian period and the first couple of decades of the twentieth century. Yet, when I look back on my earliest blogs I seemed to have favoured the Dutch and Flemish painters of the sixteenth and seventeenth centuries. Today I am going to deviate again and look at the life and work of the fifteenth century Italian Renaissance painter Pinturicchio. I came across the artist and one of his major fresco commissions when I read the excellent blog io sto a casa, written by Jackie, an American teacher who lives with her Italian husband in Le Marche, Italy. She and her husband are lovers of art and often travel around the country visiting places of interest which hold artistic treasures. It was she who mentioned the artist Pinturicchio in one of her recent blogs.

Bernardino di Betto was born around 1454 in the Italian city of Perugia. He was also known by his nickname, Il Pinturicchio, meaning “little painter” because of his small stature. His parents were a family of artisans, his father being a cloth tanner. His early life seems to have been filled with unhappiness, compounded by the death of his father from the plague when Pinturicchio, was just a teenager. His first foray into the world of fine art came when the talented miniaturist, Giapeco Caporali opened a bottega (a workshop of a major artist in which other artists may participate in the execution of the projects or commissions of the major artist) close to Pinturicchio’s father’s house at Porta Sant’Angelo. Pinturicchio worked there for a time and would take a share of the profits of the work completed in the studio. In 1481 Pinturicchio joined the painters’ guild in Perugia. Perugia was at that time experiencing a great artistic fervour and the central Italian city was becoming a renowned hub for artistic activities of which Pinturicchio contributed. Once Pinturicchio had enrolled in the guild of Artists and Painters in Porta Sant’Angelo, Perugia, his output began to be recorded. He received many commissions and joint commissions for his fresco work.

*Basilica of Santa Maria in Aracoeli in Rome*

Meanwhile, in Rome, the first phase of the work on the Sistine Chapel had been on-going. The fresco work had been carried out by some of the Italian Masters, such as Botticelli, Perugino, Ghirlandaio, Signorelli, Cosimo Rosselli and Pinturicchio. The first phase of this massive undertaking came to an end around 1482 and most of these Italian Masters returned to their home cities. This is with the exception of Pinturicchio who did not go home but instead remained in the city and set up a workshop. as he could take advantage of the opening left by the other great artists. He then chose a group of Italian painters who had collaborated with him at the papal chapel. His group contained artists from the many regions of the country who were willing to remain in Rome and work for him. Having set up this group and with many of the renowned artists having left the eternal city he was awarded his first commission in Rome by Nicolò Manno (Riccomanno) Angeli Bufalini, a consistorial lawyer and one-time bishop of Venafro, for his family chapel which was part of the Basilica of Santa Maria in Aracoeli in Rome, which stands on the Capitalone hill. Pinturicchio’s frescos in the Bufalini Chapel depicted scenes from the life of Saint Bernardino of Siena and Saint Francis. The commission was to remember the reconciliation that took place between the Bufalini family and the Baglioni of Perugia, thanks to St. Bernardino.

Pinturicchio and his team set to work on the chapel around 1484. On the vaulted ceiling there are depictions of the four Evangelists, Matthew, Mark, Luke and John, each seated on a cloud, in front of a dark blue, star-studded background.

The chapel itself has a quadrangular base, with the vault and floor decorated with cosmatesque mosaics. The Cosmatesque style takes its name from the family of the Cosmati, which flourished in Rome during the twelfth and thirteenth centuries and practiced the art of mosaic. The inside of the chapel comprises of three sides and the frescoes on the three walls are dedicated to the life and miracles of St. Bernardino of Siena, an Italian priest and Franciscan missionary, who was canonized as a saint in 1450, and who was very popular during the Renaissance. The frescos also featured two stories of St. Francis.

The back wall of the chapel, the altar wall, is decorated by a fresco entitled The Glory of Saint Bernardino. It is horizontally divided into two sections. The lower section depicts San Bernardino standing on a rock with outstretched arms. His right hand points up to Christ. In his left hand he holds an open book in which one can read:

PATER MANIFESTAVI NOMEN TVVM OMNIBVS

“Father, I have shown your name to everyone”,

Above him are two angels who are in the process of crowning him. Either side of him stand two saints,. On his right is St. Louis of Toulouse adorned in in his solemn episcopal robes and on his left stands Saint Anthony of Padua in a Franciscan habit.. In one of St Anthony’s hands he holds the flame symbolising his piety whilst in the other he holds a book symbolising his knowledge. The background of this lower section is a landscape with rocks, lakes and mountains, which extends the depth of the space. This scene is probably one Pinturicchio would have recalled from his homeland.

In the upper part of the fresco we see Christ in the act of blessing. His figure is encased in a mandorla. The term mandorla means an almond-shaped frame that surrounds the totality of an iconographic figure. Surrounding Christ are worshiping and music-making angels.

On entering the Bufalini Chapel, the wall to the left comprises of two scenes one atop the other, divided by a painted frieze. The upper part is a lunette, a half-moon shaped, or semi-circular, arch, which depicts St. Bernardino being penitent before the Porta Tufi in Siena and this fresco shows a young Bernardino’s first hermitage.

Upper lunette

The fresco on the lower part of the left-hand wall is much more interesting. It depicts the Funeral of Saint Bernardino.

The fresco on the lower part of the left-hand wall is much more interesting. It depicts the Funeral of Saint Bernardino. The setting is a city scene with a chessboard-like pavement. It is painted using geometrical perspective, which enables the depiction of a three-dimensional form as a two-dimensional image which carefully looks like the scene as visualized by the human eye. The vanishing point is a building similar to one depicted in Perugino’s painting, Delivery of the Keys, although Pinturicchio has two buildings of different heights at the sides. On the left is a loggia, a covered exterior gallery or corridor, supported by piers decorated with fanciful gilded candelabra. On the right is a cubic building connected through a double loggia to the landscape and the bright sky in the background.

See the source image — Pietro Perugino’s painting, *Delivery of the Keys.(1482)*

The foreground is dominated by the Saint Bernardino’s funeral. We see his body laid out on what is termed a catafalque, a decorated wooden framework supporting the coffin of a distinguished person during a funeral or while lying in state. Its presence increases the sense of spatial depth

All sorts of folk, friars, pilgrims and the “common” people approach the body to pay their respect. Look at the tall figure in the left foreground wearing the brown robe, with a fur-lined hood and gloves. He is Riccomanno Bufalini, the person who commissioned the frescoes.

The remaining characters we see standing around the coffin often portray a series of miracles attributed to Bernardino during his life. We see the once-blind man who was healed and given back his sight by the body of Bernardino, standing by the head of the coffin pointing to his eyes. There is the resurrection of someone possessed by the Devil, the healing of the stillborn baby of John and Margaret Basel, the healing of Lorenzo di Niccolo da Prato, wounded by a bull, and the pacification of the warring Umbrian Bufalini and Baglioni families.

The right wall of the Bufalini Chapel features a double mullioned window. Pinturicchio has implemented an illusionistic perspective, when he painted two imitation symmetrical windows, one depicting a blessing from God the Father and the other featured a peacock which was an early Christian symbol of immortality.

There is also a fresco featuring, on the left, a scene from the life of St. Bernardino of Siena in which we see him receiving the religious habit. It is set in an oblique perspective that exploits the decorated pillars with a grotesques arch. Finally, there is a small scene on the right featuring, in the background, a view of the Verna Sanctuary over a rocky peak which depicts St. Francis in the act of receiving the stigmata, in honour of the Franciscan foundation of the Aracoeli.

Under the real window is an illusory opening depicting five characters: among them is an aged friar, perhaps the convents prior, and a lay figure that resembles him, perhaps an administrator of the basilica.

In the next blog I will be looking at the frescoes by Pinturicchio on the walls of the Baglioni Chapel in Spello.

………………………………to be continued.

Joseph Edward Southall

The Arts and Crafts Movement was a design movement which emerged from the Pre-Raphaelite circle with the founding of the design firm Morris and Co. in 1861 by William Morris. It was a design movement which aspired to enhance the quality of design and make it available to the widest possible audience. The term was not coined until 1887 and the Arts and Crafts Movement officially started when Morris and fellow artist, Edward Burne-Jones established a group that they called the Birmingham Set or Birmingham Group. They were an informal collective of painters and craftsmen who worked in Birmingham, England in the late 19th and early 20th centuries. My featured artist today, Joseph Edward Southall, was one of the leaders of this group. He was probably the most important, if not the most celebrated artist of that group and was looked upon as among the most dedicated.

Joseph Edward Southall was born in Nottingham on August 23rd 1861, the son of a grocer, Joseph Sturge Southall, and his wife Elizabeth Maria Baker, both offsprings of distinguished Quaker families. Just a year after the birth of Joseph Southall his father died aged twenty-seven and Joseph and his mother had to go and live with his maternal grandmother in Edgbaston, a suburb of Birmingham

Joseph Southall’s education was to attend Quaker schools. He attended the Friends’ School at Ackworth and in 1872, at the age of eleven, transferred to the Friends’ School at Bootham, York, where he received his first tuition in art when he was taught watercolour painting by the English artist and educator, Edwin Moore. From the school at Bootham he went to a school in Scarborough while still carrying on with private lessons with Moore. On September 1^st 1878, following on a few days after his seventeenth birthday, Joseph Southall completed his schooling and began an apprenticeship at the offices of the renowned Birmingham architectural partnership of Martin and Chamberlain. He remained with the firm for four years but continued his art studies at evening classes at the Birmingham School of Art. Both the architectural company and the School of Art were steeped in the spirit of John Ruskin and the Arts and Crafts movement. The architect John Henry Chamberlain was a founder and trustee of the Guild of St George, while the Principal of the School of Art, Edward R. Taylor, was a pioneer of Arts and Crafts education and a friend of William Morris and Edward Burne-Jones. It was also around this time that Joseph took to reading books written by Ruskin and William Morris, and what he gained from this would remain with him for the rest of his life.

*Portrait of the Artist’s Mother by Joseph Southall (1902)*

Southall however felt unfulfilled with his architectural training. Southall left the architectural practice to pursue his studies in painting and carving. For him, architecture should embrace and craft disciplines such as painting and carving and with that in mind and having been inspired by his reading of Ruskin and Morris he decided to go on trips to Europe to broaden his artistic education. In 1882 he visited Bayeux, Rouen and Amiens in Northern France where he was enthralled by the ancient cities with their Gothic cathedrals. In 1883, now a free agent, he, accompanied by his mother, journeyed to Italy and spent thirteen weeks visiting Pisa, Florence, Siena, Orvieto, Rome, Bologna, Padua, Venice and Milan. It was during his stay in Italy that he fell in love with the works of the painters of the Italian Renaissance and the frescoes of the fifteenth century painter, Benozzo Gozzoli

Southall returned home with an overwhelming appreciation of the Italian Primitives and set his mind to study and practise the art of painting in tempera, a painting medium he had witnessed whilst in Italy. In an essay by Peyton Skipwith in the book of paintings, Joseph Southall: 1861-1944. Sixty works by Joseph Southall, 1861-1944, from the Fortunoff Collection, he quotes Southall’s recollection of his time in Italy:

“…the thrill of joy which I experienced when, without any knowledge of what I was about to see, I stepped inside the enchanting cloisters of the great Campo Santo of Pisa. There I found myself at 21 years of age face to face with a vast series of frescoes, so quiet and yet so gay, so reticent in manner and so lively in essence that words must ever fail to convey even the faintest expression of what I felt…”

After returning to England Southall began to experiment with the tempera medium whilst at the Birmingham School of Art. It was at the Birmingham School of Art that he met Arthur Gaskin, who became his closest friend. The School of Art was run by the enigmatic head, Edward R. Taylor who had made the Birmingham school one of the leading schools of art in Britain, and the foremost for the study of the crafts. One of Southall’s great work using tempera was his 1898 painting entitled Beauty Seeing the Image of her Home in the Fountain.

*Sailing Ships by Joseph Southall (1910)*

On his return to Birmingham Joseph Southall settled in the house of his uncle, George Baker, at 13 Charlotte Road, in the city suburb of Edgbaston and it would be here that he would remain for the rest of his life. George Baker was a charismatic man and a friend of John Ruskin. He was a staunch Quaker and a life-long admirer of John Ruskin’s Utopian ideals. Baker became a prominent member of Ruskin’s Guild of St George and succeeded him to become the second master of the Guild on Ruskin’s death in 1900. He also showed Ruskin some of his nephew’s 1883 Italian drawings. Ruskin was so taken by Southall’s architectural knowledge that in 1885 he gave Southall his first major commission. Ruskin wanted Joseph Southall to design a museum for the Guild of St George and have it built on Joseph’s uncle’s land near Bewdley, Worcestershire. To gather ideas for this project, Southall made a second trip to Italy in 1886, again visiting Pisa, Florence, Siena and Assisi, so as to do research into Ruskin’s commission. Unfortunately for Southall, the project was abandoned by Ruskin who reverted to his original plans to build a museum in Sheffield. Southall was very disappointed at the turn of events saying that his chance of becoming an architect vanished and he was destined to spend years of obscurity, followed by a little bitterness of soul. The years that followed this disappointment and his love of tempera began to wane. He was generally frustrated with the medium and eventually abandoned it leading him to favour painting with oils.

*Fisherman Carrying a Sail by Joseph Southall (c.1907)*

After a third visit to Italy in 1890, he once again became interested with the works by the Italian Primitives and slowly and once again experimented with the painting medium of tempera. His great influence now that he had returned to Birmingham, was his fellow Brummie artist, Sir Edward Burne-Jones.

It was he who congratulated Southall on his 1898 tempera painting Beauty Seeing the Image of her Home in the Fountain. It was also Burne-Jones who in 1897 sent Southall’s tempera self-portrait, Man with a Sable Brush, to the New Gallery, along with his own work. These paintings and others like them, confirmed Southall as one of the foremost British tempera painters and as such led to his participation in the exhibitions of the Arts and Crafts Exhibition Society and the exhibition of Modern Paintings in Tempera at Leighton House. The latter immediately preceded the foundation of the Tempera Society, of which Southall became one of the foremost members.

*Portrait of Anne Elizabeth Baker by Joseph Southall (1887)*

For a number of years Joseph Southall had been very close companions with his cousin Anna Elizabeth Baker, known as Bessie, who was two years older than Joseph. He completed a number of portraits of her including his 1887 portrait of her when she was twenty years of age.

*Coral Necklace by Joseph Southall (1895)*

Another early portrait of Anna was John Southall’s 1895 painting entitled Coral Necklace.

She also appeared in his 1898 painting Hortus Inclusus which means private garden. The setting is just such a garden with tall yew hedges in the background. It is a portrait of Southall’s wife-to-be although the wedding would not take place for another five years. It is an idyllic scene with Anna sitting on a bench in the garden with her cat by her side.

*The Agate (Portrait of the Artist and his Wife) by Joseph Southall (1911)*

In June 1903 Joseph Southall and his long-time fiancé, Anna Elizabeth Baker were married. He was forty-two and she was forty-four. Their relationship started when they were both youths. Over time their relationship became more intimate and they eventually became engaged to be married. However, as they were cousins, this close kinship made the couple deliberately put off marriage until Anna was past child-bearing age. Probably my favourite portrait by Southall is the one which depicts he an Anna, eight years after they married. The setting is a beach, more than likely Southwold on the Suffolk coast, which is where they spent their honeymoon and returned their many times more. The title of the painting, The Agate, derives from Bessie seen in the depiction handing her husband an agate, a gemstone which can be found on the seashore in this area. This handing of the agate to her husband can be seen as a symbol of the couple’s collaboration, as we know that the agate gemstone is used by craftspeople to burnish the gilding on picture frames and Southall’s wife Anna, who was a talented craftswoman, would make the picture frames ready for her husband’s paintings.

*The Sleeping Beauty by Joseph Southall (1903)*

Joseph Southall’s popularity and recognition as a great painter grew. He was at the height of his career during the latter years of the 1890’s until the start of World War I. His work was shown at numerous exhibitions, not just in Britain but in Europe and America and he was elected a member of the Royal Birmingham Society of Artists, the Art Workers Guild and the Union Internationale des Beaux-Arts et des Lettres. His major exhibition in England was held in 1907 at the Fine Art Society in London and three years later a major one-man exhibition was held at the Galeries Georges Petit in Paris. At the Paris exhibition Southall’s work was snapped up and following the event he received a number of lucrative commissions.

With the onset of war in 1014 Southall’s output as an artist waned. Southall being brought up a Quaker and followed their beliefs all his life had him take an anti-War stance at the onset of hostilities. Southall’s output as a painter declined considerably with the outbreak of World War I, as the pacifism inherent in his Quaker faith led him to devote his energies to anti-war campaigning. He abandoned his commitment to the Liberal Party and joined the Independent Labour Party, becoming Chairman of the Birmingham City Branch; the Party was the one left-wing body that always upheld its opposition to the war. Southall also chaired the Birmingham Auxiliary of the Peace Society and was a joint Vice-president of the Birmingham and District Passive Resistance League. His main artistic output during this period were anti-war cartoons printed in pamphlets and magazines, and art historians reckon they number among his most powerful works.

In the above cartoon we see depicted ‘all those who sit in the high places and cast the people into the pit’. A diplomat and a businessman push a blindfolded officer towards a precipice, whilst a fashionable society woman looks on and a cleric of the Established Church appears as the priest who ‘blessed our banners and bade speed to our swords’. Apart from Death, who gleefully accompanies this performance on his drum, only the diplomat sees what is happening; the others all have their eyes covered.

‘The Obliterator’ appeared in his anti-war pamphlet Fables and Illustrations opposite a mock sales promotion advertising the Obliterator’s record of leaving ‘nothing standing and nothing breathing’ while making ‘a clean sweep of civilisation’. Southall’s woodcuts and satirical fables were published when most of his wartime energies were consumed by pacifist activism in Birmingham and print caricature provided him a convenient alternative artistic output. The essence of his moral standpoint is an unshakable absolute conviction of conscience, clearly articulated in his fable ‘Inscription from Babylon’: although citizens ‘ought to be law-abiding’, in the final analysis, pacifism is justified by faith that ‘Divine law stood above human laws’ in the form of the the sixth Commandment: ‘Thou shalt not kill’

The Castle of Angers, France — *The Castle at Angers by Joseph Southall (1933)*

During the two decades of peace between the two world wars, Southall and his wife made regular trips to Europe, visiting France and Italy in the Spring and Autumn. Their European holidays were combined with their shorter summer holidays to their beloved Southwold on the Suffolk coast and Cornish breaks on the Fowey estuary, all of which gave Southall opportunities to paint the various places. At this time Southall’s favoured painting medium was watercolours. Many of these paintings were exhibited at the Alpine or Leicester Galleries in London and the Ruskin Galleries in Birmingham, as well as at the Royal Birmingham Society of Artists, the Royal Academy, and the Paris Salon.

*Portrait of Sir Whitworth Wallace by Joseph Southall (1927)*

Between holidays Southall spent time on lucrative commissions, painting portraits for wealthy patrons, who would often be from the Quaker community. One such work was his portrait of Sir Whitworth Wallace the first director of the Birmingham Museum and Art Gallery which opened in 1885.

At the 1930 Winter Exhibition at the Royal Academy, Southall exhibited his painting The Return. The painting depicts two women high up on the banks of a river, possibly the River Fowey, one seated on the grass in grey dress, with mustard coloured shoes and a blue hat with green bands. There is a red book on a rock beside her. The other woman stands. She wears a red hat, a salmon-coloured dress with white collar and cuffs. She waves a handkerchief and her white scarf also waves in the wind. On the still water below are sailing ships, casting long reflections on the water. On a small boat lower right, two figures appear to return the woman’s wave.

The Tower of San Vitale :: Joseph Edward Southall - Italy ôîòî — *The Tower of San Vitale by Joseph Southall (1933)*

Many of the works at this exhibition focused on Southall’s Italian paintings, many done using tempera. So popular were paintings in that medium that the following Summer Exhibition 1n 1931 allotted one room for works using tempera. This was indeed a change of heart by the Academy Hanging Committee jurists who had scorned that painting medium and could not decide whether such works fell into a watercolour or oil classification.

*San Giorgio, Venice by Joseph Southall (1927)*

Joseph and Bessie Southall made many trips to Italy and one of their favourite haunts was Venice which he depicted in a number of his works.

*The Right Honourable F. W. Jowett by Joseph Southall (1944)*

The couple made their last trip to Venice in the Spring of 1937 but later that year Southall was taken ill and had to undergo major surgery from which he never fully recovered. Doctors struggled to make a proper diagnosis of what was ailing Southall and he had to return to hospital on a number of occasions. Notwithstanding his poor health he still determinedly carried on painting. One of his last paintings was his memorial portrait in tempera of the Bradford MP, Frederick William Jowett who was a founder member of the Independent Labour Party. In the depiction we see a copy of the Independent Labour Party newspaper with a headline

“…IS THIS WHAT YOUR MEN FIGHT FOR?…”

Jowett had died in February 1944 and Southall had not quite finished it when he died nine months later. The work was then completed by Maxwell Armfield, before being presented to the City of Bradford.

Joseph Edward Southall died of heart failure at his home in Edgbaston in 1944, aged 83.

Ivan Fedorovich Choultsé

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When my featured artist today had an exhibition of his work in London, the London Times summed up his works by saying “it must be seen to be believed”. In America the art critics designated him as “the magician of light”. His paintings are extraordinary. They are magnificent. Let me introduce you to the Russian landscape and staunch realist painter, Ivan Fedorovich Choultsé.

Sevanavank Monastery on Lake Sevan by Ivan Fedorovich Choultsé

Ivan Fedorovich Choultsé was born in St. Petersburg on October 21^st 1874. His ancestors hailed from Germany but emigrated to Russia in the eighteenth century. The original spelling of his family name, which was of German origin, was Schultze. His story was not one of a child dreaming of becoming a professional artist. His fascination at an early age was electricity and its production through hydro power especially the electricity generated by the Imatra waterfall in South Karelia. His interest in science was sated by an engineering education, although he continued to convey his creative side and during those early days as a teenager, he would spend his spare time painting small sketches. He headed up an engineering project in Finland but something went badly wrong and he lost all his money and was declared bankrupt.

Winter Sunset by Ivan Fedorovich Choultsé

Ivan realised he had to earn money from another source and decided to concentrate on his drawing and painting abilities. Along with his early paintings which he had fortunately not discarded, he approached the academician, famous landscape painter and drawing teacher, Konstantin Yakovlevich Kryzhitsky, who had been a court painter to Tsar Nicholas II and was a painter of miniatures. His talent was apparent to Kryzhitsky and he enabled Ivan to be admitted to the Imperial Academy of Arts in St Petersburg. In addition to Kryzhitsky, Choultsé was influenced by other tutors, the Russian landscape artist Arkhip Kuindzhi and the Swiss landscape painter Alexander Kalam. In 1903 Choultsé held his first Academy exhibition which gained him early fame and recognition as a talented artist. His exhibition was a great success and he went on to exhibit his work at other major galleries in St. Petersburg and Moscow. He was eventually elected as a court painter to Tsar Nicholas II.

See the source image

Park in Neskuchnoye by Ivan Choultse

In 1910 Choultsé embarked on an Arctic painting trip with Kryzhitsky. They visited the north of Norway and island of Spitzbergen. From that trip Choultsé produced a number of glorious paintings of the arctic landscape. In 1910 and 1911 Choultsé lost two of his most influential mentors, Kuindzhi in July 1910 and fifty-two year old Kryzhitsky who committed suicide in April 1911. Following the untimely death of Konstantin Kryzhitsky, Choultsé had his works shown at exhibitions which had been arranged by the society created by Grand Duchess Olga Alexandrovna, also a student of Konstantin Kryzhitsly, in his name. Choultsé frequently participated in its exhibitions that took place in the Grand Duchess’ palace on Sergeevskaya street in St Petersburg.

Silver Frost, Engadine, 1910 by Ivan Fedorovich Choultse

Silver Frost, Engadine, by Ivan Fedorovich Choultsé

Cholutsé reputation as a painter grew as did the sale of his work which was confirmed by the fact that the brother of Tsar Nicholas II, Mikhail Alexandrovich, regularly commissioned his works. In 1917 the Russian Revolution took place and for Choultsé he had to make an important decision. He was an academic painter and a supporter of the Academy system which meant staying in Russia under the new regime which was probably fraught with difficulty and so in 1917 he set off on a two-year trip of Europe. For those two years Choultsé was able to see and depict on canvas the beautiful landscapes of the mountainous regions of Northern Italy, Switzerland and Southern France where he painted the Mediterranean landscapes.

Ivan Fedorovich Choultse view of Engadine

Vers Le Soir, Engadine’ by Ivan Fedorovich Choultsé

It could well have been the snowy Swiss landscape that brought back memories of his homeland or it could have been because he was mesmerised by the panoramic views of the likes of the long high Alpine valley region of Engadine and St. Moritz, but whatever it was, it profoundly affected Choultsé.

Choultsé finally settled back in Russia in 1921 as he still held out hope that he could remain a professional artist in his homeland under the new Soviet regime. He joined the Society of Individualist Artists in St. Petersburg and took part in the society’s first two exhibitions that year. After a while he lost hope that everything would be the same as it was in the pre-Revolution days and finally took the decision to leave his country of birth and go to Paris. He settled in the French capital in an apartment on the Boulevard Pereire, close to the Porte Maillot and it was here that the second stage of his career as a Russian immigrant began.

Choultsé artistic breakthrough in Paris came with his first solo exhibition of his work on November 23rd 1922, at the Galleries Gérard Frères. All fifty of his works were sold on the opening day of the show. This was extraordinary as the artistic environment of Paris was one of an over-abundance with all sorts of artistic offerings and gallery presentations. However, his success was indicative of the artist’s amazing talent. He became inundated with painting commissions and often did not have enough time to fulfil all the assignments.

There is no doubt that Choultsé was influenced by the the snowy Swiss landscape which probably reminded him of his native Russia. He said that he had fallen in love with the immense vistas of Engadine and St. Moritz. He was deeply moved by what he saw there and would concentrate on studying the effects of light on nature and by doing this created his best-known themes of beautiful snow-filled landscapes. In 1923, Ivan Fedorovich’s Choultsé’s paintings were exhibited in the Paris Spring Salon. His works were an amazing success with the public and the art critics alike and he was touted as the most admired artists of the Salon. With all success, there is an element of luck and Choultsé’s good fortune emanated from having contacts with good art dealers and owners of art galleries. He was represented by the gallery of Leon Gerard, which not only successfully sold his works of art but also regularly arranged his personal exhibitions. In 1927, Choultsé received his French citizenship.

Success in Europe was soon followed by success in America. In 1928, Choultsé met Eduard Jonas, who took most of Choultsé’s works to America. Jonas was a prominent figure in French and international art market, owner of exhibition halls and galleries both in Paris and New York, and also offered an exclusive plan of exposing Choultsé’s works in the States. Choultsé was delighted with the opening up of the American market. In a letter to his daughter, he wrote:

“…”I met a very interesting dealer. And how good it is that now, sitting in Paris, I can sell my work for dollars!…”

A contemporary of Choultsé, the Russian writer and critic, Nikolai Breshko-Breshkovsky wrote about the artist’s newly found fame and fortune in America:

“…In America, Choultsé’s snow and sun paintings are highly esteemed and worth of great price…”.

*La Corniche (Côte d’Azur) by Ivan Fedorovich Choultsé*

Although based in Paris, Choultsé regularly travelled to the Mediterranean and enjoyed painting many summer landscapes around the Côte d’Azur .

He also completed many paintings depicting scenes around the Italian coast.

In 1933 Choultsé moved his permanent residence to Nice. One of the last exhibitions of his work was in March 1936 held at the Breton Castle on rue Saint Antoine in Nice. Ivan Fedorovich Choultsé died in 1939, aged 64 and was buried in the Cimetière Caucade in Nice,

*Quiet Mediterranean Evening by Ivan Choultsé*

The Toronto dealer, G.Blair Laing, wrote in his 1979 book, Memoirs of an Art Dealer that Choultsé “painted spectacular snow scenes in which light seems to come from behind the canvas and glow”

In 1935 the New York Hammer Galleries held a jubilee exhibition entitled ‘150 Years of Russian Painting’ and described Choultsé’s reputation as “beloved among American collectors as a great master of snowy landscapes gilded by slanted sunbeams”.

For all my readers who celebrate this festive period may I wish you all a Merry Christmas.

Jean-Eugène Buland

Jean-Eugene Buland photo.jpg — *Jean-Eugène Buland*

Jean-Eugène Buland was born in the French capital on October 26^th 1852. He was the son of an engraver, as was his younger brother, Jean-Émile Buland. Jean-Eugène’s artistic career began when he entered the École des Beaux-Arts in Paris in the studio of Alexandre Cabanel. Cabanal was a renowned French artist who painted historical, classical and religious subjects in the academic style and was also well known as a portrait painter. He had been a professor at the art establishment since 1864 and was highly regarded by Emperor Napoleon III. There can be no doubt that Buland was influenced by Cabanel’s choice of subjects for his paintings and his academic painting style. Success came early on for Buland when he gained the Deuxième Prix de Rome in 1878 and once again in 1879. The Prix de Rome was a French scholarship for arts students, initially for painters and sculptors, that was established in 1663 during the reign of Louis XIV of France. Winners were awarded a bursary that allowed them to stay at the Villa Medicis in Rome for three to five years funded by the French government.

On his return to France Buland soon became aware of the popularity of the French painter, Jules Bastien-Lepage, and his success with his Naturalist paintings depicting realistic themes so much so, he decided to forego his depictions of historical works and concentrate on scenes of everyday life. Bastien-Lepage, like Buland, was also awarded the Deuxième Prix de Rome in 1875 and 1876 but declined the opportunity to study in Rome as the classical training held no interest for him although winning the prize had been a great honour. Buland joined the Naturalist painting movement with Bastien-Lepage and found that by utilising photography it allowed him to paint his models with the most precision.

*Alms of a Beggar* *by Jean-Eugène Buland (1880)*

In 1880 he completed one of his best loved works, Alms of a Beggar, in which we see a young woman beautifully dressed in white sitting outside a church in search of charity. From her left, we see a man, who is a beggar himself, coming towards her with a coin held out in his right hand. His clothes are a mass of patches, and they are pale and dirty. On his feet he wears scruffy old wooden shoes. From his demeanour he would appear sightless. It is a fascinating depiction that raises all manner of questions. Why is the well-dressed woman begging? Is she as poor as the man in the depiction or is Buland telling us that you do not have to be badly dressed to be poor? Is there such a thing as inward poverty – a poverty that has nothing to do with lack of money? Look at the painting and make your own mind up.

Three years later, in 1883, Buland completed a painting entitled Le Tripot which is a French word meaning gambling house or gambling den. This work by Buland is one of his masterpieces. The setting is a sleazy back-street gambling den and depicts five unsentimental-looking gamblers facing us whilst sitting at a gaming table. The air is thick with cigarette and cigar smoke, the walls of the establishment are in need of redecoration.

To the left we see an elderly woman, probably a widow, diminutive in stature, dressed all in black. She pushes some paper money towards the pot. Looking over her shoulder is a middle-aged man. Is he just a merely a passing observer or is there more to his presence?

Next to the old woman is a man showing an air of confidence as to his ability as a gambler and yet the pile of winnings in front of him is small. He is slightly laid back and seems to be worry-free. With cigarette in hand he glances to his right.

By far the most interesting person in this group portrait is one at the centre. An elderly man gazes out at us with an almost blank look as if he is not registering what he is seeing. He is completely lost in his own thoughts. Why did Buland depict him as almost having no part in what is happening around him ?

Is he just another gambler or is he the croupier as we see his wooden rake which is used to collect money from the gaming table at his side and a large pool of money which could be the “bank”.

The remaining gamblers are to the right of the painting. The man with the long hair and ringlets would appear to be of Jewish origin akin to the likes of Fagan and Shylock and in a way this depiction has a sort of anti-Semitic tone to it. Before him, we see that he has accrued a large amount of winnings, which could have been Buland’s thoughts on the reputation of the Jewish people’s love of money. In contrast, next to him, on his left, is a young man who looks totally bemused and is certainly down on his luck. From his bored facial expression we can see he is completely resigned to losing the last of his money. Behind the pair we see a couple ladies of the night who are looking to see who is winning and thus who is worth approaching for their services.

The question as to why has Buland chosen these five main characters, four of whom are definititely gambling is questionable. Is he trying to put across his belief that all types of people fall into the clutches of gambling? The run-down setting maybe his way of not glorifying the “sport” of gambling.

If you wanted to have an artistic depiction of tenderness and young love Buland’s 1903 offering of Bonheur des parents probably could not be topped. The painting’s title translates to Parental Happiness and it depicts a young man and his young wife with their newly born baby. The setting is a small room of a stone-built cottage. It is a new experience for the couple and we can see the woman looking down at her baby as it breast-feeds. You can see the utter tiredness in the eyes of the young mother and the nervousness in the father’s expression. It is all new to them and they are having to survive alone with the nurturing of their child. They have been given a precious gift.

Another depiction of young love was his 1884 painting entitled Mariage innocent. It is an idyllic portrayal of young happiness with its young couple walking arm in arm through fields against a backdrop of a village and blossoming flowers in the foreground.

*La Lecture by Jean-Eugène Buland* *(1901)*

In 1886, Buland left Paris to settle in Charly-sur-Marne, a little village just east of the capital, in the French department of Aisne, near Château-Thierry, shunning the art scene of the French capital. From this quiet village life Buland derived inspiration from simple everyday life, which he painted with the greatest fastidiousness. His works gained popularity and he obtained many commissions including ones from a number of art institutions, such as the Luxembourg Museum in Paris and many other provincial museums. During these early years he submitted many of his works for the Salon des Sciences in the Paris’ City Hall and some were used to decorate the ceiling of the City Hall of Château-Thierry. His painstaking realist depictions were well-received at the Salon, where he won a number of medals. He gained a third-class medal at the Universal Exhibition in Barcelona in 1888. In the following year he was awarded a silver medal at the Exposition Universelle in Paris and was also awarded during the International Exhibition in London in 1890. The ultimate honour came in 1894 when he received the Legion of Honour.

*Un Patron or The Lesson of the Apprentice by Jean-Eugène Buland (1888)*

In France during the start of industrialization realist painters were often given official assignments from the state to depict themes from the new and progressive metal industry. In his 1888 painting, entitled Un Patron, sometimes referred to as The Lesson of the Apprentice, Buland used photographs as a basis for the work catching all the details of what was a combination of a smithy and a mechanical workshop. In the painting we see the head mechanic is using a drill while working on a cogwheel. The painting depiction had a political propaganda aspect to it. France had suffered after a heavy and costly defeat in the Franco-Prussian War of 1870 and the country was now striving to recover through its advances in its industry and manufacturing and the depiction of the young apprentice learning a trade in engineering highlighted the country’s determination to become an industrial powerhouse.

bulandtinker — The Tinker by Jean-Eugène Buland (1908)

The term ethnography is the scientific description of peoples and cultures with their customs, habits, and mutual differences. Eugène Buland was a meticulous painter who never overlooked any details with regards to the figures populating his paintings. He spent a great deal of time depicting their appearance and their costumes and an equal amount of time was spent on the details of the inanimate objects that completed the works. Through his painstaking way in which he used light and shadow on his figures and on the settings, Buland paintings became true works of art. His paintings are like an everyday chronicle of life combining portraiture with genre scenes. One good example of this is his 1908 painting entitled The Tinker. We see the man busy at work, repairing damaged pots, pans, and domestic metal objects. Look at the varying textures of these objects. Look closely at the wall of the room and see how Buland, with touches of white has a glistening effect which highlights the dampness on the stone wall.

bulandpropaganda — Propaganda Campaign by Jean-Eugène Buland (1889)

I like two of Buland’s works which have a political overtone to them. In 1889 he painted Propaganda Campaign in which we see a travelling salesman has arrived at the home of a poor family and he is trying to offload books and coloured prints to the head of the household. However, he was not just a salesman as he combined his sales pitch with his political thoughts. In the salesman’s left hand he holds a poster of General Boulanger, a French general and politician who was an enormously popular public figure during the 1880’s and the buttonhole rosette in the salesman’s jacket lapel identifies him as a canvasser for the General.

bulandmunicipalcouncil — *Municipal Council and Commission of Pierrelaye Organizing a Festival by Jean-Eugène Buland (1891)*

The other political painting by Buland which I like is his provincial municipal depiction of a group of local councilors. The 1891 work is entitled Municipal Council and Commission of Pierrelaye Organizing a Festival. Pierrelaye is a commune in the Val-d’Oise department in Île-de-France in northern France. It is almost certainly a painting commissioned by the very councilors who are depicted in the work. They all exude an aura of importance and solemnity. For those who would look at this group portrait by Buland there would be no doubt that the councilors would be worth every penny of their wages !!!!

*Ouvriers Se Chauffant (Workers Warming Themselves) by Jean-Eugène Buland (1906)*

My final choice of Buland’s paintings is a dark and somewhat brooding study of two workmen sitting on a large log, who are trying to fight off the cold by warming themselves in front of a brazier. Maybe they are woodsmen who have just come inside the hut for a rest having been working outside in the cold. The room is dark and dank and the two figures are just about lit up by a thin beam of daylight penetrating a small window high up in the wall.

Jean-Eugène Buland died on March 18th 1926, aged 73.

Anna Massey Lea Merritt

Sometimes when I am searching for a new artist to write about, I come across a painting which just sticks in the mind and I know I have to learn more about the painter who has delivered such a beautiful depiction. This blog is a prime example of this modus operandi.

*Right Reverend Talbot by Anna Lea Merritt (1899)*

Today I am looking at the life and times of the American painter, Anna Massey Lea Merritt who spent most of her life painting whilst living in Britain. Anna Massey Lea was born on September 13^th 1844 in the city of Philadelphia. She counted among her ancestors Andrew Robeson, the first Chief Justice of Pennsylvania back in 1693. Anna was brought up in a wealthy Quaker environment and was the eldest of six children of Joseph Lea and Susanna Massey. Her affluent upbringing allowed her to attend politically progressive schools where she studied classics, languages, mathematics, and music with private tutors. As far as her artistic upbringing was concerned, she began to study drawing with the portrait painter, William Henry Furness, at the age of seven. Admission to the prestigious Pennsylvania Academy of the Fine Arts was probably not possible for her but later she studied anatomy at the newly founded Women’s Medical College of Philadelphia.

In 1867, when she was twenty-three, she and her family took a trip to Europe. continuing her art studies at the Louvre in Paris, in Rome, and in Dresden with the painter the German painter, Heinrich Hoffman, at the Academy of Art in Dresden. In 1870 Anna was living in Paris. She was at a boarding school living with her sister but that July the Franco-Prussian War broke out and the Prussian army was marching on the French capital. Fearing for their safety, she and her family were forced to abandon France and make their way to London. Rather than return to America with her family she persuaded her father to let her remain in London. He acquiesced and arranged for her to live with family friends. However, at their house there was no room for a studio but after searching for a suitable place she found one in the house where Henry Merritt lived. Later in her 1879 biography, Henry Merritt: Art Criticism and Romance, she wrote about the early days in the studio and her timidity towards Henry Merritt:

“…I soon heard that he was a restorer and a connoisseur, but with timidity natural in a woman living alone in a foreign country, I avoided every acquaintance which might seem to arise in an accidental manner. I shut myself into an ugly studio, with a window through which I could look neither on the earth nor into the sky, and produced ugly pictures with no truth in them…”

Once Anna had got over her initial shyness, she became quite close to Merritt and took advice from him with regards her paintings. She offered to pay him for his guidance but he refused stating his “rules”:

“… if I teach you, I must have the right to do it my own way. I must come when I like and scold you as much as I choose, and be altogether my own master if I am to be yours…”

And so he began to critique her work and was often quite blunt as Anna remembered:

“…So it was : how he scolded me ; how ruthlessly he rubbed out again and again the work of days, bidding me do it better ; what pains he took to make me appreciate true points of excellence ! When my work was dry, and had lain by awhile, he would sketch upon it in crayon, de- signing backgrounds or trying various effects of chiaroscuro. No one ever witnessed as I have done his fertility of invention, his refinement of colouring, his variety in touch. Often, he would work thus for a couple of hours, transforming my tame study of a model into a vision. The picture would go through a succession of different effects, any one of which could have satisfied a less imaginative mind. He would then throw down the chalks or the brushes, as the case might be, just give me time to study it, and wash off all he had done, bidding me make another design according to similar laws…”

Over time Anna’s relationship with Henry Merritt changed from Master and Pupil to a more intimate relationship. Around the winter of 1875 Henry’s health deteriorated and he developed a never-ending cough which he downplayed to Anna saying:

“…It would be impossible to cough so splendidly with weak lungs…..My cough is no better although I have practiced it continually…”

The cough didn’t get better, in fact, it worsened and he began to cough up blood which he tried to ignore using a coloured handkerchief to catch the phlegm and disguise any signs of blood. In the Spring of 1876 Anna was forced to leave London and travel to America as escort for her younger sister who had to return to the family. She told Henry that she did not want to leave him but it was her duty to the family but she promised to return in the Autumn.

Anna, once in America, now found herself having to pay for two studios – the one in America and the rent on her London studio and to afford this she had to find some commissions for her work. All the time Henry was writing to her telling her to concentrate on her art and look for work. The tone of his letters showed how he had become devoted to Anna. He would address his letters to:

“My dear little pupil”

In a letter from his Devonshire Street studio, dated May 8^th 1876, he tried to ease Anna’s worries that during their enforced separation he would forget her and write words to boost her self-belief. He wrote:

“…You imagine that I shall forget you. Am I likely after all the trouble I have taken to make a painter of you ? Do we plant fruit trees in order to leave them when the blossoms that are to produce peaches and apples appear ? Some day you will learn to value your many precious gifts better than to surmise that anyone possessing understanding will fail to appreciate a talented girl. Those who have hearts—there are not many—will not fail to see that Anna M. Lea is also a generous girl. I saw it long ago, or I should hardly have taken the trouble to teach her to spread colours upon canvas…”

*Portrait of Henry Merritt with a Pipe by Anna Lea Merritt (1877)*

Their separation lasted until March 1877. It was a time when Anna was grieving for two close relatives who had died and it made her more conscious with regards life and death and that Henry was still ill and living alone in London. It also coincided with having completed a number of lucrative commissions so that she was in the financial position to buy a sea passage to England.

In mid-March 1877, Anna arrived in Liverpool and travelled down to London to see Henry. A small celebratory party followed. Of the evening Anna recalled what Henry said to her. In her 1879 biography of her husband, Henry Merritt: Art Criticism and Romance, she recalled his words:

“…Little Pupil we shall be married. I cannot part from you again. I am like a ship at the end of a long voyage, after ploughing the ocean for many a year, become covered with barnacles and all sorts of queer clinging weeds. But I do not see why I should give up our happiness for the sake of ungrateful people, who only think of what money they can get from me. We can still spare something for them, but in time perhaps you will have to defend me from them. You will be happy living in a cottage, as we soon shall, when I show you what a beautiful life it can be made. You are my only true friend, we must never be separated…”

On April 17^th 1877 Anna and Henry married privately at St Pancras Church, London. She was thirty-three years old, he was fifty-five. It was a happy time for the couple. However Anna was ever conscious that her husband’s facial expression could not mask the pain he was in. On July 22^nd, Henry’s fifty-fifth birthday they drove to Hampton Court and talked about their future plans and buying a small cottage in the country. Henry’s health took a turn for the worse and Anna recalls those last days with her husband:

“…Suffering became intense, but was never more nobly borne. His constant thought was for me. He feared my fatigue, he-feared my anxiety; but it was my great comfort that he could not spare me from him. No one else could be permitted to wait upon him, and for every trifling service he was so grateful, as though he did not expect to be tenderly nursed. ‘I have borne years of loneliness,’ he said, ‘ but happiness is too much for me.”

Henry Merritt died in July 10^th 1877, shortly after his fifty-fifth birthday and he was buried in Woking and as she promised Henry, Anna had an elm tree planted above his grave. Anna had decided that she would give up painting when she married Henry but now, with him dead, her plans had to change and she survived financially by her portrait paintings and her depictions of Victorian subjects.

Now, I come to that painting I mentioned at the beginning of the blog. It is looked on as her great masterpiece. It is entitled Love Locked Out which she completed in 1889. This painting shows young Cupid, the god of desire, pressed against the door of a tomb. Anna painted it as a memorial to her husband. The thorny rose around the door frame symbolises the pain of bereavement and the persistence of love. Cupid has abandoned the world, his arrow and extinguished lamp lie on the ground with the autumn leaves. Anna described the depiction as Cupid attempting in vain to force open the door of a mausoleum, as ‘Love waiting for the door of death to open’ so that the ‘lonely pair’ might be once again reunited. In a way it symbolised her desperate effort to be with her husband in the next life. The work was exhibited at the Royal Academy in 1890 and is now part of the Tate Britain collection. She was the first woman artist to have a work acquired for the Tate collection.

*The Watchers of the Straight Gate by Anna Lea Merritt (1894)*

In 1894 Anna Merritt completed another painting which depicted the two worlds – pre-death and after-death, The Watchers of the Straight Gate is Anna Merritts take on the transition between Earth and Heaven, between the living and the dead. The setting is just inside the gate to Heaven. The reddish marble columns were reminders to Anna of the columns at the National Gallery, where she sought special permission to bring her canvas so that she could paint them directly, rather than from memory. The artist has depicted two angels. One carries a scale on which to weigh the soul of who wishes to enter the kingdom of heaven. The other angel is seen holding a crown of wild roses with which to welcome accepted souls into glory. If we look between the gate we are offered a view of a verdant landscape transected by a path, which Anna described as depicting the ‘steep road descending to our village’ of Hurstbourne Tarrant in Dorset, where she was living at the time.

In 1890 Anna Merritt moved out of London and settled permanently in the Hampshire village of Hurstbourne Tarrant. It was her love of the rural village that made her put pen to paper years later and produce her 1902 book, A Hamlet in Old Hampshire.

*Eve Overcome by Remorse by Anna Lea Merritt (1887)*

In 1893 she received medals for two works at the Chicago World’s Columbian Exposition, a mural in the Woman’s Building and the painting Eve Overcome by Remorse which she had finished six years earlier.

*Wall murals at St. Martin’s Church in Surrey by Anna Lea Merritt (1893/4)*

She then accepted the commission to paint murals for St. Martin’s Church in Surrey (1893-94).

Museum Art Reproductions | James Russell Lowell, 1882 by Anna Lea Merritt (1844-1930, United States) | ArtsDot.com — *Portrait of James Russell Lowell by Anna Lea Merritt (1882)*

Merritt was a member of the Royal Society of Painter-Etchers and carried out numerous portrait commissions, including her 1882 portrait of James Russell Lowell, the American Romantic poet and is now part of the Harvard University Portrait collection.

Often I have written about the obstacles put in front of aspiring female artists but strangely Anna Merritt was not convinced about this and in 1900, she wrote an amusing article in Lippincott’s Magazine entitled Letter to Artists in which she cited problems in domestic life as being the main problem for female painters. The article concluded:

“…The chief obstacle to a woman’s success is that she can never have a wife. Just reflect what a wife does for an artist: Darns the stockings; keeps his house; writes his letters; visits for his benefit; wards off intruders; is personally suggestive of beautiful pictures; always an encouraging and partial critic. It is exceedingly difficult to be an artist without this time-saving help. A husband would be quite useless…”

Anna Lea Merritt died in Hurstbourne Tarrant, Hampshire on 5 April 1930, aged 85.

Arthur Hacker

My featured artist today is the late Victorian painter Arthur Hacker. He regularly exhibited his works at the Royal Academy, London and the New Gallery in Regents Street which closed as a gallery in 1910 and is now a fashion store. His painting genres were many including works featuring contemporary drama, mythological and Biblical narratives, landscapes and still lifes. Later he concentrated on portraiture which proved very lucrative.

*Mr Charles Davies on The Traverser by Edward Hacker*

Arthur Hacker was born on September 25^th, 1858 in the North London district of St Pancras. His father was Edward Hacker, a line engraver who specialised in animal and sporting prints. Edward Hacker worked for forty years for the Sporting Review. Having completed his normal schooling, eighteen-years-old, Arthur Hacker applied for and was accepted into the Royal Academy Schools in 1876 and after four years of artistic tuition graduated in 1880. He then, like many artists of the time, travelled to Paris and trained in the atelier of Léon Bonnat. One of his fellow pupils at the Royal Academy Schools and at the atelier was Stanhope Forbes, the English artist who was a founding member of the influential Newlyn school of painters. Arthur was greatly influenced by French art, especially their plein air realism.

*Her Daughter’s Legacy by Arthur Hacker*

In 1881 he had his painting Her Daughter’s Legacy displayed at the Royal Academy and it received rave reviews. An engraved version was used as an illustration for The Illustrated London News, on August 6^th 1881.

Hacker completed a number of other paintings which depicted the harsh reality of peasant life. One which particularly catches the eye is his painting, A Heavy Burden, in which we see a a man struggling to carry his sleeping son through fields whilst his daughter follows on behind clutching hold of a bunch of wildflowers in the folds of her apron, which she has managed to pick during their walk.

Once Hacker had completed his studies in Paris in 1884 he set off on a painting voyage of discovery through Spain and north Africa with his friend and fellow British painter, Solomon J. Solomon, who painted Hacker’s portrait when the two were in Tangiers. This would be the first of many expeditions Hacker made to Africa.

*By the Waters of Babylon by Arthur Hacker (1888)*

In 1886, Arthur Hacker along with Stanhope Forbes and Philip Wilson Steer, joined The New English Art Club (NEAC). It was founded in London as an exhibiting society by artists influenced by impressionism and whose work was rejected by the conservative Royal Academy and were looking for a new exhibition space. Early members were James Abbott McNeill Whistler, Walter Sickert and Philip Steer. Others in the NEAC’s first show included Sir George Clausen, Stanhope Forbes and John Singer Sargent.

Pelagia and Philammon, 1887 by Arthur Hacker (1858-1919, United Kingdom) | Museum Quality Copies Arthur Hacker | ArtsDot.com — *Pelagia and Philammon by Arthur Hacker (1887)*

For most of us the name Charles Kingsley conjures up his famous children’s book, The Water Babies, which he published in 1863. However, ten years earlier he published a novel entitled Hypatia which recounts the fictionalised account of the life of the female philosopher Hypatia. It was said to have been a favourite of Queen Victoria. Also, within the tale is the young monk Philammon and his search for his sister Pelagia who has been living as a hermit in the desert. In Hacker’s 1867 painting we see this poignant meeting of the siblings. Pelagia is at the point of death, and Philammon administers the holy sacraments to her. Philammon is sitting by the body of his sister. A chalice can be seen by his side. In the background we see vultures aware of the oncoming death.

*The Sea Maiden by Arthur Hacker (1897)*

Another of Hacker’s paintings which featured a nude woman was his 1897 work entitled The Sea Maiden.

Arthur Hacker also painted a number of religious works and one of his best known was his 1892 painting entitled The Annunciation which is now part of the Tate Britain collection. The depiction presents the Biblical story of the Annunciation, as was recorded in the Gospel of James. In that particular account, Mary, while gathering water from a well, is visited by an angel, which she cannot see. It is said by some that it is Hacker’s most beautiful painting.

The angel tells Mary that she will have a baby and that he should be named Jesus. It is thought that during Hacker’s travels in Spain and North Africa he was influenced by the life amongst the native people and in this painting it could well be that the clothes we see Mary wearing replicates the Islamic dress Hacker will have seen during his travels. The fabric enshrouds Mary almost makes her ghost-like. Mary stands tall with such grace. she wears layers of soft, floating, light fabric. These robes lend her multiple identities. All at once she is a classical Grecian statue, a goddess, and a bride. She appears authoritative and ethereal, yet tragic and mournful.

In the work, the figure of Mary is both radiant and haunting and is framed in the centre of the painting. Hovering behind Mary is an angel who has floated down from the sky. Hacker has painted the angel so translucently that he almost disappears into the background. In the angel’s hand the there is an offering of a lily. Historically, flowers are symbolic of the Virgin Mary’s and the lily’s’ white petals imply Mary’s chastity and the golden pollen of the flower symbolises her radiant soul. On either side of her, Hacker has placed objects which help narrate the story. A large brown clay water jug is on the floor by her feet. Behind her we see the twisted trunk and branches of an olive tree.

In front are steps and a low wall, which encircle the pool of water which she has come to, so as to fill her jug. Mary seems detached from things around her. She ignores them as she stares directly towards us, the viewer. Look how she looks out at us. We are hypnotised by that penetrating stare. Her eyes are dark and disconcerting and contrast with her small, white, veiled face. She has a thoughtful and solemn countenance and her hands are resting against her heart. She is now aware that something dramatic is taking place, something which will affect her life.

Infra-red photography shows that the painting originally included a woman wearing a headscarf sitting behind Mary.

The Temptation of Sir Percival by Arthur Hacker (1894)

One of Hacker’s well-known works is his Pre-Raphaelite-style painting The Temptation of Sir Percival. The 1894 painting depicts a scene from Thomas Malory’s 1480’s book Le Morte d’Arthur, recounting the story of King Arthur, Guinevere, Lancelot, Merlin and the Knights of the Round Table, including Sir Percival a knight of the Round Table who went on a quest to find the Holy Grail. During that mission, the devil in the form of a beautiful but predatory women tries but fails to seduce Sir Percival and get him drunk. Sir Percival however on looking at his sword he notices the handle and its shaft form a cross. On seeing this, he crosses himself and the woman vanishes.

The Temptation of Sir Percival is now kept in the Leeds City Art Gallery collection.

Arthur Hacker RA, A Wet Night at Piccadilly Circus — *A Wet Night at Piccadilly Circus by Arthur Hacker (1910)*

Public taste in art changed around the 1890’s and their once-loved genre of historical subjects began to wane and this forced artists, of that genre, to think about diversifying. Arthur Hacker had to change the subjects in his paintings but he was equal to the challenge. One solution for Hacker was his decision to re-visit his earlier ideas which had still engaged public interest. He once again experimented with misty, atmospheric depictions of the London streets, undoubtedly motivated by the work of the French Impressionists, and produced a wonderful painting, Wet Night, Piccadilly Circus which he completed in 1910 and submitted it as his diploma piece when he was promoted to the rank of Royal Academician.

*Punting on the Thames by Arthur Hacker (1901)*

For reasons of finance it was important for artists to judge the changing interests of the buyers of art. They needed to know what could make them the most money. Arthur Hacker, like John William Waterhouse, Frank Dicksee and others, decided that portraiture could be a wise financial strategy and they began to develop a flourishing portrait practice. Hacker carried out many portraiture commissions and amongst his sitters were politicians, army officers, high-ranking clergy, aldermen, headmasters, physicians and society women.

An example of Arthur Hacker’s portraiture can be seen in his Portrait of John Gordon Thomson, who drew the central cartoons for Fun the Victorian weekly magazine a rival to the better-known Punch magazine. Thomson was an artist who had his work exhibited at the Royal Academy and illustrated many books and magazines.

Sir Frank Short (1857–1945) — Sir Frank Short by Arthur Hacker (1918)

Another portrait by Arthur Hacker was his 1918 work depicting the British engraver Frank Short who was born at Wollaston, Worcestershire. He was the son of an engineer and trained to follow his father’s profession; his scientific background gave him a deep understanding of materials, and he made his own tools and invented new ones.

*Portrait of the Artist’s Mother* (Sophia Hacker) *by Arthur Hacker (1907)*

Another beautiful work of portraiture was his portrait of his mother in 1907. Albeit a very formal pose it still manages to remain both sophisticated and gentle in its depiction of the elderly lady.

Charlotte A. Ferguson of Largham, Donor of Victory Park — *Charlotte A. Ferguson of Largham by Arthur Hacker*

In 1902, Hacker built a new house at Heath End, Checkendon, Oxfordshire, and named it Hall Ingle. He had commissioned a young architect Maxwell Ayrton to design the property and carried out the decorations himself. Arthur Hacker died in Kensington, London on November 12th 1919. He was sixty-one years old. He is buried in Brockwood Cemetery, Surrey.

Bertha Wegmann – the Danish Queen of Portraiture.

Bertha_Wegmann_by_Georg_E._Hansen_cropped

Bertha Wegmann . Photographed by Georg Emil Hansen (1891)

Bertha Wegmann was one of the first professional female Danish painters. Her work was very popular during her lifetime and she was much sought after as a portrait artist. Without doubt, she is one of the most noteworthy painters of the Danish Realism movement. Some art historians would have us believe that after the famous Danish portrait painter Peder Severin Krøyer, who died in 1909, Wegmann became the acknowledged leader of portrait painters in Denmark, among both genders. She went on to complete numerous portraits of the celebrities of her day along with many paintings of her family and friends. Although renowned for her portraiture she also painted landscapes, still life, and genre scenes.

Marie Triepcke

Portrait of Marie Triepcke. by Bertha Wegmann (1885)

In 1885 Bertha completed a portrait of Kroyer’s wife, Marie Triepcke Krøyer Alfvén, more commonly known as Marie Krøyer, also, like her husband, a talented Danish painter. The portrait was entitled Portrait of Marie Triepcke.

Portrait of an Elderly Gentleman by Bertha Wegmann

Another Skagen painter, Vigo Johansen, was thought to be the model for Wegmann’s portrait, Portrait of an Elderly Gentleman.

Portrait of a Girl by Bertha Wegmann (1880)

Bertha Wegmann, who was of German ancestry, was born in the small village of Soglio, in south-east Switzerland on December 16^th, 1846 to Eberhard Ludwig and Cathrine Wegmann. At the age of five the family moved to Denmark but sadly, five years after that move her mother died. As a child, Bertha showed an interest in drawing and her father, who was a merchant, and who was also an accomplished amateur painter, encouraged his daughter to paint. Because of schoolwork and having to help her father run the family home she had no time to enrol on an additional art course. In fact, it was not until she was nineteen years of age that she began her formal art studies.

Young Woman with a Child in the Garden by Bertha Wegmann

In 1867, aged twenty-one, funded by her father, she travelled to Munich and enrolled at the Munich Academy of Fine Arts, with the intention of becoming a painter of historical subjects and whilst in Munich her tutors included Wilhelm Lindenschmit the Younger, the German history painter and the Austrian genre painter Eduard Kurzbauer. Although her artistic technique flourished rapidly, she, like many aspiring young artists, found herself discontented with the old-fashioned academic ambiance of the Munich academic establishments. It was a time of change in the art world with the arrival of the French Impressionists. In Italy, a group of Italian painters active in Tuscany in the second half of the nineteenth century had offered an alternative to the antiquated conventions taught by the Italian art academies and urged artists to carry out much of their painting en plein air so as to capture natural light, shade, and colour.

OIP

The Danish Artist Bertha Wegmann Painting a Portrait by Jeanna Bauck

It was whilst studying in Munich that Bertha Wegmann met fellow aspiring artist Jeanna Bauck. She was the daughter of a German-born composer and music critic Carl Wilhelm Bauck and a Swedish mother, Dorothea Fredrique. She was six years older than Wegmann. She had moved to Germany to study painting, first in Dresden and then in Munich. They immediately became great friends and for many years would share their home and studios in Munich and Paris. It was in their Munich studio, around 1879, that Jeanna completed a portrait of Bertha Wegmann entitled Den danska konstnären Bertha Wegmann målande ett porträtt, (The Danish Artist Bertha Wegmann Painting a Portrait). The setting was their studio and, at the side of which, was a window that allowed natural light to stream through and illuminate the room.

Malarinnan Jeanna Bauck (Jeanna Bauck, The Artist), by Bertha Wegmann 1881

Målarinnan Jeanna Bauck by Bertha Wegmann (1881)

Bertha and Jeanna went together on painting trips including many journeys to Italy. In late 1880, Bertha and Jeanna moved to Paris and again shared a studio. Bertha Wegmann painted almost twenty portraits of her friend, the best known of which is her well-known portrait entitled, Målarinnan Jeanna Bauck which she completed in their Paris studio. In the painting we see a smiling Jeanna gazing out at us. She is sitting slightly forward, book in hand, with a smile on her face. Her friend has portrayed her with great honesty and charisma. In the portrait, Bertha has managed to effectively juxtapose the impression of an uninhibited, independent type of woman with the stylishness of the middle-class woman. Besides Jeanna we see the tools of her career such as brushes, a palette and painting rags. The book held in her hand symbolises her character as an intelligent woman. If we look closely through the window in the background we can just make out the rooftops of Paris.. Jeanna Bauck returned to Munich in 1882, where she founded a painting school for female artists. Later, around the turn of the century she also taught at the Verein der Berliner Künstlerinnen painting school, an influential organisation for female artists, which continuously offered drawing and painting courses in Berlin.

Bertha Wegmann - Madam Anna Seekamp, the Artist’s Sister — *Madam Anna Seekamp, the Artist’s Sister. by Bertha Wegmann (1883)*

Bertha Wegmann exhibited at several Salons and received an “honourable mention” in her first Salon in 1880 and a gold medal in 1881. She left Paris in 1882 and returned to Copenhagen, where she was already renowned for the works she had sent home and had exhibited at the Royal Danish Academy of Fine Arts in Copenhagen. In 1883 her submission for the annual exhibition at the Charlottenborg Palace was a portrait her sister, Anna, entitled Madam Anna Seekamp, the Artist’s Sister. For this painting the Royal Danish Academy of Fine Arts awarded her the Thorvaldsen Medal. The award was one of the highest honours conferred in the Danish art world and Bertha was only the second woman to win this accolade. The enchanting painting depicts her sister with her knitting in hand. Her facial expression is one of sweetness, even playfulness. In this work, Bertha has shown her mastery at conveying both likeness and complex human expressions.

Wikioo.org - The Encyclopedia of Fine Arts - Painting, Artwork by Bertha Wegmann - Maternity — *Maternity by Bertha Wegmann*

After Bertha received the Thorvaldsen’s Medaille at Charlottenborg in 1883, she became the first woman to sit in the Academy’s Plenary Session. At the same time, she took part in many large official exhibitions throughout Scandinavia and Europe and at the Exposition Universelle of 1889 in Paris and 1900 and she also represented Denmark at several world’s fairs, including the famous World Columbian in Chicago in 1893 also known as the Chicago World’s Fair. In 1895 her work appeared at the landmark Kvindernes Udstilling fra Fortid og Nutid (the Women’s Exhibition from the Past and Present) held in Copenhagen. It was an art and culture exhibition for women from the Nordic countries.

Wikioo.org - The Encyclopedia of Fine Arts - Painting, Artwork by Bertha Wegmann - Woman with a Book — *Woman with a Book by Bertha Wegmann*

In 1897 Bertha Wegmann became the first woman to hold a chair at the Royal Danish Academy of Fine Arts. From that year through to 1907, she was a member of the board for the “Tegne- og Kunstindustriskolen for Kvinder” (Drawing and Art Industrial School for Women). In 1892 she became one of the first women to receive the royal Ingenio et Arti medal. The award is given to artists (musicians, painters, actors and scientists) who have done extremely noteworthy work. It is a Danish medal awarded to prominent Danish and foreign scientists and artists.

*Portrait of a seated Woman by Bertha Wegmann*

On February 22^nd 1926, after a very long life of constant artistic success, Bertha Wegmann died suddenly, aged 78, while working in her studio. She will be remembered as someone who achieved an unparalleled career at a time when it was especially difficult for a woman to forge any kind of independent life. She was both determined and hard-working, but she also had a calm and caring nature. She was a multifaceted person who forged trails, broke stereotypes and cracked so many of the glass ceilings of her time. She must also be remembered as a popular and loyal friend to many, a loving sister and a zealous champion of other artists, especially women artists.

Frederick Frieseke. Part 3. The latter years.

Portrait of Frederick Carl Frieseke by Lawton Palmer (1912-13)

Frederick Frieseke and Sadie O’Bryan became great friends with an American couple, Richard and Billee Miller who were also staying in Giverny. Richard Miller had arrived in France a short time after Frederick Frieseke. Miller was a St Louis-born artist who had been honoured by receiving the first scholarship to study in Paris, awarded by the St. Louis School of Fine Arts Student Association. He too relocated to Giverny for periods and leased a house adjacent to Monet’s property. Mary Colman Wheeler was the founder and first head of the Wheeler School in Providence, Rhode Island and in 1887, she started a practice of taking groups of students to France during the summer to learn the French language and study painting and art history and also rented a house close to Monet’s residence. In 1906 Richard Miller was giving summer art instruction in Giverny to the female students of Wheeler’s group. In the mornings Miller and his students worked indoors with a model, and in the afternoon they sketched outdoors. In 1907 Roger Miller married one of Miss Wheeler’s students, Henriette Adams, known as Billee.

*Nude Seated at her Dressing Table by Frederick Frieseke (1909)*

Richard Miller was well connected in America and had attained European success very early in his career. He was offered a chance to fill a whole room with his paintings at the Eighth International Venice Biennial during April and in May 1909, being a close friend and admirer of Frieseke’s work he offered to give up some of that space for Frederick’s paintings. Frieseke exhibited some of his plein air works as well as a studio work entitled Nude Seated which he had completed that year. A work very similar to this and painted the same year was Nude Seated at her Dressing Table which is now part of the Smithsonian Collection.

[Frieseke_Frederick_C_The_Garden_Parasol.jpg] — *The Garden Parasol by Frederick Frieseke*

Frederick Frieseke along with other artists, often referred to as Giverny Luminists, put on a joint exhibition of their work at the Henry Fitch Taylor’s Madison Art Gallery in December 1910. Fitch Taylor, an American artist, who had spent time in Giverny with the other artists, on returning to the United States, rented a studio in New York City and began to exhibit his Impressionist landscapes. In 1909, Taylor was appointed to direct Madison Art Gallery by Clara Davidge, an avid supporter of the arts and Taylor’s future wife.

This exhibition of Frieseke’s work was a turning point for him as far as the American market was concerned as William Macbeth, the most successful and influential of the New York dealers in contemporary painting at the time, might well have seen Frieseke’s work at the Madison Art Gallery exhibition. He had already seen some of Frederick’s Giverny paintings whilst in Paris in the early winter of 1908, at the Société International. By September 1911 Macbeth and Frieseke made plans for Frederick to hold a one-man exhibition at the Macbeth Art Gallery on New York’s Fifth Avenue. It opened on January 17^th, 1912.

Frederick Carl Frieseke (American, 1874-1939) Two Ladies in a Garden 32 x 32in — Two Ladies in a Garden by Frederick Frieseke

Frederick Frieseke continued to depict females in a state of undress in various settings and this could be one of his reasons for remaining in France and not returning to live in America. Once when asked if he considered himself an ex-patriot, he said:

“…I am not an expatriate. I often return to the States, and I look forward to finally locating there. I stay on here because I am more free and there are not the Puritanical restrictions which prevail in America…I can paint a nude in my own garden or down by the fish pond and not be run out of town…”

The following month Frederick and Sadie returned to France and apart from a brief visit to America at the end of 1928 Frederick would never again step foot on his homeland.

*Cherry Blossoms by Frederick Frieseke (c.1913)*

One such painting was his work entitled Cherry Blossoms which he completed around 1913. The setting for the painting is Frieseke’s lush garden in Giverny. The colours used in this painting bedazzle the viewer. Frieseke has blended deep shades with light pastels of greens, blues and yellows, which are set off by traces of white and red. A female figure, dappled in sunlight, looks relaxed as she enjoys the outdoor space. It is an explosive display of both colour and light, a grand depiction of a day of full sun but with conflicting shadows. In Dr. William H Gerdt’s 1993 book, Monet’s Giverny: An Impressionist Colony, he wrote of Frieseke’s Giverny works:

“…it was Frieseke who introduced into the repertory of Giverny painting the concern for rich, decorative patterns, related to the art of Édouard Vuillard, Pierre Bonnard, and the other Nabi painters. There are patterns of furniture, patterns of parasols, patterns of fabric and wall coverings, patterns of light and shade, and patterns of flowers, all played off one another in bright sunshine…”

The dappling effect of sunlight in this work can often be found in other paintings by Frieseke around this time.

*Reflections (Marcelle) by Frederick Frieseke (c.1909)*

One of Frieseke’s favourite models was a red-headed French lady simply known as Marcelle. She had posed for his well-known work entitled Reflections (Marcelle) which he completed around 1909. This painting is typical of Frieseke’s many works depicting nudes relaxing in elegant boudoirs, which were often adorned with sumptuous fabrics and rugs. Marcelle stares tranquilly into the mirror at her reflection. She touches the string of her blue necklace. We are positioned in close proximity to her beautifully rendered figure, which combines what is termed, the “serpentine curve”. A curve of the body which has been looked upon by centuries of artists as a trademark of beauty.

*On the Dunes by Frederick Frieseke (1913)*

Having undergone a dreadful summer of bad weather in Paris, Frederick, after completing a number of paintings which he was pleased with, crated them up and sent them to the Macbeth Gallery in New York. He then decided to take his wife, Sadie, away from Paris and travel to the island of Corsica where he planned to stay over the winter months. Once they arrived, they found a house with a garden which they liked, and Frederick set up his studio. He then contacted his favourite Parisian model, Marcelle, and had her come to Corsica. She would feature in six large paintings he completed which were exhibited at the Salon of the Société Nationale des Beaux-Arts. The weather on Corsica was a great improvement to the previous Giverny summer and even though it was winter, Frederick was able to get Marcelle to pose naked on the beach. His painting On the Dunes was painted en plein air with Sadie keeping a look-out to warn her husband of approaching tourists !

*The Hammock by Frederick Frieseke (c.1915)*

In 1915 Frieseke completed another Imressionist-style painting entitled The Hammock. He was now painting using softer colours and strived to emphasize the natural light. The predominant colour is periwinkle blue which gives a feeling of coolness afforded by the shade from the nearby trees. To show how the sunlight as filtered through the leaves of the trees Frieseke has painted vivid white spots. Frederick had always been fascinated by sunlight, writing that he preferred to paint sunshine, flowers in sunshine; girls in sunshine; the nude in sunshine.

*Before Her Appearance by Frederick Frieseke (1913)*

The sale of Frederick’s paintings in America had being going well and his arrangement with Wannamaker to purchase a regular number of his works was still in force. One of his biggest sales was for his painting, Before Her Appearance, which he completed whilst in Corsica during the winter of 1912. It was later shown at the 1913 Salon before being bought by the wealthy socialite, Mrs Gertrude Whitney Vanderbilt, for $2500. In the painting we see the young lady, modelled by Marcelle, applying the last bit of ardent rouge to her lips before going on stage. The female dancer is seated on a stool in her dressing room, looking at herself in the mirror. It is a very intimate scene with a very tender, almost monochromatic palette of pink, pale blue, marble white, and an occasional patch of yellow.

By the end of 1913, Frederick Frieseke and his wife Sadie found themselves in a financially sound position and bought themselves an apartment on the rue du Cherche Midi in Montparnasse. The other good news the couple received at the end of 1913 was that Sadie, after a number of miscarriages, was once again pregnant. Sadie gave birth to their only child, Frances, in Paris on August 2^nd 1914, just about the time the French military forces were mobilizing for war with Germany. By the end of 1914 most American painters had returned home but the Friesekes decided to remain in Paris. In a letter to his American art dealer, William Macbeth on September 11th 1914, he wrote:

“…You see we are still staying by the flag. Things were sufficiently exciting with aeroplanes dropping bombs. We are provisioned for a six months’ siege. I couldn’t stand leaving Paris after the years I’ve lived here. Seemed like running away…”

The war progressed and the Friesekes continued with their normal routines living and working in Paris and Giverny, and between October 1917 and the Spring of 1918 they spent time in the south of the country. One of Frederick’s paintings completed during 1917 was entitled Peace which he sent to Macbeth in New York. It is a depiction of a mother sitting beside her child’s cradle as she sews. The model for this painting was Louise, who came from Giverny who often posed for Frieseke around this time. The cradle in the depiction was that of Frieseke’s daughter, Frances, who had long since outgrown it.

One of Frederick Frieseke’s greatest honours was winning the Grand Prize at the Panama–Pacific International Exposition, which was held in San Francisco in 1915. Among his entries was his painting entitled Summer, which is now part of the Metropolitan Museum of Art collection. Of the painting, the New York Times of June 1915 declared:

“…Mr. Frieseke, whose accomplished work is well known to New Yorkers, says the last word in the style that was modern before the Modernists came along. Whatever he does has a sense of design, color, and style. A sense of gayety, an entertaining and well considered pattern, a remarkable knowledge of the effect of outdoor light on color are found in nearly all of his most recent paintings…”

After the first World War, Frieseke purchased a country home, the farmhouse, La Beauvairie, in the Normandy village of Le Mesnil-sur-Blangy, where Frederick could sate his desire to fish.

Also, after the Great War had ended, there was a slow but steady waning in Frieseke’s popularity and this was despite him winning many awards and the purchasing of his works by a number of museums. However lessening sales and discouraging reviews signaled a change in tastes in art buyers. Art critics saw his work as outmoded and overly conservative and Frieseke as a painter of pretty women. It was also during this time that his style was becoming less French-Impressionist and moving more towards realism.

*The Library by Frederick Frieseke (1934)*

In the latter weeks of 1928, Frederick and his family returned to America for a short time. It was to be their last visit to their homeland. When they returned to France, Frederick’s fifteen-year-old daughter Frances became seriously ill and was diagnosed as having a pre-tubercular condition. It was decided that due to her health conditions the family should move to the cleaner air of Switzerland where they spent the next two years. By 1932, Frances had recovered and the family returned to Normandy. However by 1934 the family finances had become dire and Frederick was forced to sell his Paris studio. However he did complete two works which featured Frances. One was entitled The Library whilst the other was Blue Girl Reading.

*Blue Girl Reading by Frederick Frieseke (1934)*

By 1935 people were sensing that the political turmoil in Germany would lead to another large-scale war. Also in Europe the effects of the Great Depression were still being felt and the sale of his paintings in America had dipped alarmingly. On the family front, Frederick and Sadie’s daughter Frances, now twenty-one and fully recovered from her illness, had become engaged to Kenton Kilmer, a young American poet and editor with whom she had begun a correspondence in the winter of 1933—34. Add all this together and Frederick and Sadie began to contemplate returning to America.

Considering their daughter’s impending marriage and other factors, the Friesekes contemplated the possibility of moving to the United States. The marriage ceremony of Frances Frieseke and Kenton Kilmer was held in Le Mesnil sur Blangy on June 2nd, 1937 and it proved a great village celebration. A few days later the newly-weds travelled to America to live. At the end of 1937 Frances told her parents that she was pregnant. With the announcement of Frances’s pregnancy at the end of the year, the issue of the Friesekes’ possible return took on additional impetus. But they had to consider what would happen to Frederick’s career if they went ahead with the re-location, since painting is a reaction to where you live. Frances gave birth to a baby boy, Hugh, in late 1938, in Arlington Virginnia. He was the first of their five children and like his grandparents Hugh became an accomplished painter, and also a sculptor, and poet. He taught English, philosophy, and theology at Salve Regina University in Newport, R.I. This new addition to the family put further pressure on Frances’ parents to at least go to America for a visit.

Sadie and Frederick at La Beauvairie (1939)

The Friesekes purchased tickets for a visit to the United States to see their daughter, Frances, Kenton, and their new baby. But it was not to be. On the afternoon of August 24, 1939, shortly after the German invasion of Poland, Frederick Frieseke died suddenly at his home in Normandy. The cause was an aneurysm. Sadie cabled Frances:

“…Darling our Papa could not stand the overpowering emotions of the last few days with no suffering he left us last night … be brave and help me to bear my sorrow …”

Most of the information for these three blogs on Frederick Frieseke came from the Telfair Museum of Art, Savannah’s catalogue which accompanied the exhibition, Frederick Carl Frieseke The Evolution of an American Impressionist