Art – Page 12 – my daily art display

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.

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.

See the source image — *November by Ivan 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.

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

Natalie Papamichael. Part 2.

During her first pregnancy, Natalie and her husband became increasingly unhappy with where they lived in London. They believed it was not a safe place to bring up children and so, decided to move. The problem for them, as it still is for most people, owning an affordable property in a good area in London is almost impossible. As they had had their wedding ceremony in Brighton, they knew something about the area and one of her friends from Paris who had previously lived in the seaside town told her that it would be a good place to bring up children. Knowing that it was a commutable distance to London and her beloved art galleries, the couple moved out of the capital in 2002 and relocated to the south coast town. In 2004 Natalie gave birth to her second child, another son, Tadhg. Now having two young sons, who were not great sleepers, put a lot of pressure on Natalie as she tried to continue with her art.

In 2007, motivated to focus on combining her research with her studio practice, she went to Florence for a short Intensive Painting Course at the Angel Academy of Art, a private institution, founded by the English artist, Michael John Angel, in 1997, where one is taught drawing and learns the classical painting techniques of the Old Masters.

In 2009, finding it difficult to work from home, Natalie took a studio in the Phoenix Art Space, a five-storey building in the centre of Brighton close to her where she lived. There are four floors dedicated to a diverse community of artists. It was originally started as an artist-run space and a charitable organisation offering affordable studios. Initially Natalie had to share a space but eventually she got her own studio on the second floor.

One of the artists who influenced Natalie was Eleanor Antin. She had created a body of work that explores history, contemporary culture, and identity from a feminist perspective. In 2007 Antin produced photographic tableau entitled Casting Call and from that work evolved Natalie’s 2016 painting, The Masquerade. Antin’s tableaux was based on the story of the Greek painter, Zeuxis. He was considered the greatest artist of the era and was asked to do a painting of Helen of Troy, considered to be the most beautiful woman. Claiming that there was no such thing as a perfect woman, Zeuxis took the five most perfect women from the town of Croton and took a different characteristic from each. In Antin’s photography, the women appear as if at a casting call for a movie.

*The Masquerade by Natalie Papamichael (2016)*

In The Masquerade, Natalie replaced Antin’s women with her own performance stills, which she made whilst at college, in different masquerades and at various stages of her pregnancy. She is rewriting the narrative from her own perspective whilst inserting herself into an artistic historical discourse.

*The Society of Outsiders (1) (after Eleanor Antin*) *by Natalie Papamichael (2017)*

In 2017, Natalie completed two large works (200 x 170cms) entitled The Society of Outsiders (after Eleanor Antin) I and II.

*The Golden Death from the Last Days of Pompeii by Eleanor Antin (2001)*

These were again based on the photographic tableaux by the conceptual artist, Eleanor Antin, entitled The Golden Death from the Last Days of Pompeii by Eleanor Antin (2001).

*The Roses of Heligabalus by Lawrence Alma Tadema (1888)*

One of the original photographs by Antin was based on the Lawrence Alma Tadema’s 1888 painting, The Roses of Heligabalus. In this painting the decadent Roman Emperor, Heliogabalus, kills his guests by smothering them to death with rose petals.

*The Society of Outsiders (II) (after Eleanor Antin)* *by Natalie Papamichael (2018)*

There is an unusual story behind these two large works of art. In late 2016, Natalie had been invited to create two paintings for an exhibition in Central London for a charitable event. She was shown where the paintings would be hung so that she could tailor the canvases to fit neatly in place. She worked on the paintings up until the end of 2018 in preparation for the exhibition which was due to take place in January 2019. She eventually completed the two works but a month prior to the exhibition the Charity organisers baulked at the depictions and said they did not want them in full view and allocated her an alternative space on the back staircase. They then said they did not want them at all and later excluded more of her paintings, deciding that it was best not to show any of her work. Who said the life of an artist is easy !!!

In her painting, Self-Portrait at La Salpêtrière, Natalie is once again reimagining an original work of art.

This image has an empty alt attribute; its file name is image-7.png — A Clinical Lesson at the Salpêtrière by Andre Brouillet (1887)

This time the artist is Andre Brouillet and the painting is A Clinical Lesson at La Salpêtrière which he completed in 1887. La Pitie-Salpêtrière is a famous hospital for the mentally ill in Paris. The original work depicts the renowned neurologist, Jean-Martin Charcot, giving one of his regular Tuesday lectures in how to treat an hysteric. It depicts the ‘queen of hysterics’ swooning and being caught by the nurses.

*Self-Portrait at La Salpêtrière by Natalie Papamichael*

In Papamichael’s painting the hysteric is replaced by Natalie’s own Self Portrait. Instead of passively swooning like Brouillet’s hysteric she is actively reading a book entitled ‘The Science of Woman’ and defiantly challenges the gaze of the male doctors. Of the depiction, Natalie comments:

“…In my paintings I am both performing as the ‘male artist’, but also as the traditional, passive, female subject of the painting, thus challenging the binary opposition inherent in Art History. It is a way of inserting myself into the narratives and combining the past with the present to illustrate the similarities as well as to subvert the meaning…”

*Anatomical Venus by Natalie Papamichael (2018)*

Another of Natalie’s works featuring the science of medicine is her 2018 oil on aluminium panel, Anatomical Venus, which is based on the wax model which was created in 18th century Florence and displayed as part of the city’s public science museum, La Specola. It was used for instruction in anatomy. The models were also entitled ‘Slashed Beauties’ and ‘Dissecting Graces’. The doctors in the painting are from the 1931 black and white Frankenstein film. The painting juxtaposes the grotesque with the beautiful.

*Herstory Rhymes by Natalie Papamichael*

One of Natalie’s works which she considers as being of great importance is her painting entitled Herstory Rhymes which she feels encapsulates everything that is relevant to her practice and shows the most development from her early stages. There is reference to the film ‘Fahrenheit 451’ as the setting. She has changed the book titles so that each book is important in terms of censorship as well as her personal story. The poster which is about to burn in the background is ‘Ghost Town’ by the Specials. This references the deep recession of the 1980s and suggests the notion that ‘history doesn’t repeat, but it rhymes.’ Of the painting she said:

“… My self-portrait is again a reflection of the apathy of people ignoring what is happening around them whilst looking at their mobile phones …”

Natalie Papamichael’s painting entitled Docile bodies is a re-imagined painting adapted from a still from a Karl Lagerfield fashion show. The original image resembled an old Masters setting with the futurist models walking forwards. Natalie explains:

“… I wanted to integrate the absurdity and the futuristic look of the models walking forward in a regimented style and integrate this with a reference to the setting of the Old Masters and integrate this with my performance stills from the LSHTM (London School of Hygiene & Tropical Medicine). In this performance I reference the poses of models from 16th and 17th century medical dictionaries and had misogynistic quotes from throughout history in which woman is subjugated because of her body and her bodily functions. Relating the historical subjugation of women through their bodies to culture today. The last model at the top of the staircase, is overtly referencing an eating disorder by pointing as if she is about to put her fingers down her throat. All the models also have a bar code on their wrists which references the commodification of people and is somewhat more pertinent than I realised it would be...”

Although the writing on the “shields” held by the three women is probably not visible in the picture they were three quotes:

*Woman’s sexual needs have less of a mental character because generally speaking her mental life is less developed’* ( Emile Durkheim 1858-1917)

*Every woman would prefer to be a man, just as every deformed wretch would prefer to be whole, and every idiot and fool would prefer to be learned and wise”.* (Torquatto Tasso)

‘For 15 or 20 days (one could say almost perpetually) women is not only ill but wounded’ Jules Michelet 1798-1874

*The Hydra by Natalie Papamichael (work in progress)*

Natalie’s “work in progress” is her oil painting depicting the mythology of The Hydra. It is an allegorical piece based on contemporary world events. It is a pendant piece to ‘Herstory Rhymes.’ She explains her thoughts about the depiction:

“…For the beginning of the piece I used a still from a Percy Jackson film with the mythical creature, The Hydra. The Hydra is a monstrous serpent with nine heads and when a head is cut off another one simply grows back to replace it, thus the evil continues. In my painting I have replaced the heads with politicians and people accused of orchestrating the constraints emerging on civil rights around the world. I am in the forefront of the painting looking at a mobile phone. I have on my Marie-Antoinette wig and I am oblivious of what is happening around me. I have used one of my performance stills, as Salome, and I am about to strike one of the serpent heads. In the background there are screens depicting the widespread propaganda prevalent in the major media outlets around the world…”

She said that as she worked on it, it has evolved in its references and meanings. It also referenced the poem Jerusalem by Blake:

Bring me my Bow of burning gold:
Bring me my arrows of desire:
Bring me my Spear: O clouds unfold!
Bring me my Chariot of fire!

I will not cease from Mental Fight,
Nor shall my sword sleep in my hand:
Till we have built Jerusalem,
In England’s green & pleasant Land.

Around 1620 Artemesia Gentileschi completed her famous painting, Judith Beheading Holofernes. She portrays the moment that Holofernes is killed by the hand of the determined and formidable Judith. The overall effect is both powerful and frightening: the drunk corpulent general is lying on the bed, his head grasped by his hair and the sword plunged into his neck.

*Judith Beheading Holofernes. by Artemesia Gentileschi (c.1620)*

Furthermore, Artemisia did not shy away from adding the gory detail of blood spurting so profusely as to stain Judith’s breast.

Below we can see Natalie’s version of the famous painting.

*Judith beheading Holofernes (after Artemesia Gentileschi) 2009-2011*

Natalie has been continuing to teach herself using the methods she learnt in Florence. She has exhibited widely including exhibitions both within her studio as well as at Gallery Different and at the Society of Women Artists in London. Her practice has evolved in recent times to become more overtly political and she has started turning her paintings into merchandise to try to reach a wider audience.

*The artist and I in her studio (Brighton 2021)*

It has been my pleasure to collaborate with Natalie with these two blogs featuring her life and works of art. I wish her well in the future.

Paul Sérusier.

The paintings by today’s artist are highly colourful and whose early works showcased the people and landscapes of Brittany. His works have a strong resemblance to paintings by Paul Gaugin and as you read further on you will see the reason for this similarity. My artist today is the French Post-Impressionist painter Paul Sérusier.

Paul Sérusier, or to give him his full name, Louis-Paul-Henri Sérusier, was born on November 9th, 1864, in Paris. He was born into a prosperous middle-class family. His father, of Flemish descent, was a successful businessman in the perfume industry, and was able to afford to give his son a good education. In 1875, aged ten, Paul entered the Lycée Fontane, later known as Lycée Condorcet, one of the four oldest high schools in Paris and also one of the most prestigious. It was here that Sérusier studied classical philosophy, Greek and Latin, and the sciences. Also attending this school were fellow students and future artists Maurice Denis, Édouard Vuillard, and Ker-Xavier Roussel. Sérusier graduated from the Lycée in 1883 with two baccalaureates, one in philosophy and one in the sciences. Paul’s father wanted his son to have a career in business and arranged for him to join the company of his friend as a salesman but after a short period Paul realised that life in business was not for him as he had set his heart on becoming an artist and in 1885 he enrolled at the Académie Julian where once again he was with his friend Maurice Denis and a life-long friendship between the two began.

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The Weaver by Paul Sérusier (1888)

Before we look at Sérusier’s post 1888 paintings I wanted to show you one of his Realist paintings which he completed in early 1888 before he made the trip to Pont Aven. It is so different in comparison of what was to come. It was entitled The Breton Weaver.

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Pont-Aven: towards the Bois d’Amour

Pont-Aven, a commune in the Finistère department of Brittany in northwestern France became one of the most popular and influential art colonies, visited by hundreds or even thousands of artists, well into the twentieth century. In 1888, Sérusier arrived at Pont-Aven and his attention was soon attracted by a group of artists who crowded around Emile Bernand and Paul Gauguin. Sérusier was finally introduced to them and even received a lesson from Gauguin. Gauguin encouraged the young artist to free himself from the limitations of imitative painting, and instead use pure colours. He was also advised to overstress his impressions, and by doing this, give to the painting his own, decorative rational and symbolic structure.

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Bois d’Amour in Pont-Aven by Paul Sérusier. Later known as The Talisman.

That summer, Paul Sérusier listened to and took part in conversations with Bernard and his friend Paul Gauguin discussing their ideas concerning moving on from Impressionism and its fixation with studies of light and nature and rather simplify, interpret, and arrange nature. At the beginning of October 1888, with artistic advice from Gauguin, Sérusier painted Bois d’Amour in Pont-Aven. It is a pioneering work in its use of flat surfaces in random colours. So, what made Sérusier choose this location? The French writer Denise Lelouche described the location writing:

“…The Bois d’Amour, where all the painters from the Pont-Aven community liked to come, seduced by the stillness of the place, the beauty of these venerable trees, the richness of the reflexions constantly disturbed by the flow of the river colliding with the granitic rocks, and the clouds sweeping and shading the light according to the wind…”

The Bois d’Amour, or “Wood of Love” is located on the heights of Pont-Aven and used to be a hotspot of inspiration for the artists staying in Pont-Aven. The story behind this painting starts in October 1888 when twenty-four-year-old Paul Sérusier, travelled to the artist’s colony at Pont-Aven in Brittany, with a letter of introduction to Paul Gauguin. With his letter to Gauguin from Émile Bernard, his idea was to make studies of nature in the picturesque countryside around Pont-Aven. Sérusier later described his experience to Maurice Denis, recounting how he and Gauguin had walked to the Bois d’Amour, a picturesque landscape of forest and rocks along the river Aven, not far from the village. Gaugin encouraged Sérusier to forgo modelling, perspective, and all such attempts at three-dimensional effects and to use a simplified colour palette It was here that Gaugin asked Sérusier how he saw these trees? Sérusier replied that they were yellow. Gaugin then continued that Sérusier should put some yellow. This shadow, it’s rather blue, paint it with pure ultramarine. Those red leaves? Put vermillion. On the back of the Bois d’Amour canvas, Sérusier wrote

“…Made in October 1888 under the direction of Gauguin by P. Sérusier at Pont-Aven…”

Breton Women, the Meeting in the Sacred Grove, c.1892 - Paul Serusier

Breton Women, the Meeting in the Sacred Groveby Paul Sérusier (c.1892)

Sérusier returned to Paris with the painting and showed it to his fellow students at the Académie Julian. Many derided the work for its garish blocks of colour but several, particularly Maurice Denis, Pierre Bonnard, and Paul Ranson, Henri-Gabriel Ibels and Renée Piot, were highly enthusiastic about this new way of depicting a landscape. Sérusier proposed to them the creation of the artistic fellowship of the Nabis, a term which in Hebrew means “prophet”. He was to play an important role, both as an artist and as a theoretician. The painting was placed in the studio of the oldest of the painters, Paul-Élie Ranson, age twenty-four, at 25, boulevard du Montparnasse. It was Ranson who gave the painting the name The Talisman. When it was first exhibited in 1903, Maurice Denis wrote:

“…Thus we were presented, for the first time, in a form that was paradoxical and unforgettable, the fertile concept of a flat surface covered with colours assembled in a certain order…”

The reputation of Paul Sérusier and his painting, The Talisman, was kept alive by the efforts of Maurice Denis, who was the chief theorist and historian of the Nabis, He became the guardian of the painting in about 1903 and wrote continually about the importance of the artist and the work. After the death of Denis in 1943, the painting became part of the collection of the French government, and eventually of the Musée d’Orsay in Paris.

Ironically, The Talisman was not a completed work as Sérusier intended it to be a simple sketch which would later be used for a future work.

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Landscape at Le Pouldu by Paul Sérusier (1890)

This group of young Académie students known as Les Nabis held Paul Gauguin and Paul Cézanne in high esteem and set their minds to renew the art of painting, but each varied greatly in their individual styles. Their common belief was that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist. The Nabis felt that as artists they were creators of a subjective art that was deeply rooted in the soul of the artist. Les Nabis held their final exhibition in 1900 and then went their separate ways.

Undergrowth at Huelgoat, 1905 - Paul Serusier

Undergrowth at Huelgoat by Paul Sérusier (1905)

Sérusier returned to Paris in the Autumn of 1889. The following year he gave up his studies at the Académie Julian saying he no longer believed in the academy teachings. In the summers of 1889 and 1890, Sérusier returned to Brittany to work with Gauguin in the coastal Breton village of Le Pouldu. There, he was deeply moved by the simple and pious life of the Breton people. After Gauguin left for Tahiti in April 1891, Sérusier remained for the summer in Brittany as he found plenty of atmosphere there and did not feel any need to go elsewhere. The works he painted during this period are brightly coloured; in Gauguin’s style, but were said to be less forceful and more ‘anecdotal’.

Shepherd in the Valley of Chateauneuf - Paul Serusier

Shepherd in the Valley of Chateauneuf by Paul Sérusier (1917)

In 1891 Sérusier established his atelier in the towns of Huelgoat and two years later in Châteauneuf-du-Faou, where he continued to paint Breton women, usually immersed in their everyday chores, allowing himself to be guided by the example of his master and by his interest in Japanese prints. His trips to Paris were reduced to short breaks during the winters, in order to exhibit with his fellow Nabi artists.

Sérusier enjoyed his time in Paris as in the French capital he had the company of his Polish mistress, Gabriela Zapolska, but when she suddenly left him in 1895, he decided to isolate himself in the Britanny commune of Châteauneuf-du-Faou. Sérusier became depressed with his life during 1897 and in 1898 went through a period of intellectual doubt only resolved in 1902.

serusierwasherwomen — *Washerwomen by Paul Sérusier (1886/1897)*

Although the date given for the completion of Sérusier’s Washerwomen painting is around 1897, it is thought that work started on this depiction around 1886 when he was attending the Académie Julian.

One of Sérusier’s fellow member of Les Nabis was the French painter Paul Ranson and in 1890 Sérusier completed a portrait of his friend. In the depiction Ranson, who was famed for his religious works, is portrayed in the role of a bishop seen clutching an ornate crosier in his left hand whilst studying the text of an illuminated book.

serusierbretonwrestling — *Breton Wrestling by Paul Sérusier (1891)*

One of the popular sports during the days Sérusier was living in Brittany was Breton Wrestling, where it is known as gouren. Gouren is a style of folk wrestling which has been established in Brittany for several centuries.

In 1898, mainly thanks to his friend, the Dutch Post-Impressionist and Christian Symbolist painter, Jan Verkade, who was close to the Nabi group he found a kind of solace. Sérusier visited Verkade at the monastery of Beuron in Southwest Germany, where Verkade had been living since his conversion to Catholicism and entering the Benedictine Order. Whilst living at the monastery, Sérusier was taught by the artist and Benedictine monk Desiderius Lenz, who together with Gabriel Wüger founded the Beuron Art School.

Still Life with Churn, 1925 - Paul Serusier — *Still Life with Churn by Paul Sérusier (1925)*

From then on, Sérusier developed a complex theory on the use of colour consisting in the separation of warm and cold colours, in order to avoid chromatic dissonance. At the same time, Gauguin’s influence began to give way to a more hieratic and allegorical painting, inspired by medieval tapestries. He spent a great deal of time studying Egyptian art, the Italian primitivists, and the tapestries of the Middle Ages so that he could create decorative works of a mysterious and calculated timelessness

In 1908, Sérusier began to teach painting at the Académie Ranson in Paris and one of his first students was the artist daughter of an army officer, Marguerite Gabriel-Claude. She was born in Lons-le-Saunier on March 12, 1879. She attended the maison d’éducation of the Légion d’honneur and later was a student at the Beaux-Arts in Paris. She then enrolled at the Académie Ranson where she met and became friends with Sérusier.

View full screen - View 1 of Lot 41. PAUL SÉRUSIER | MARGUERITE SÉRUSIER READING NEAR THE RIVER. — *MARGUERITE SÉRUSIER READING NEAR THE RIVER* by Paul Sérusier

Friendship soon turned to love and on February 22nd, 1912, Abbé Ackermann, who had been Paul Sérusier’s former philosophy teacher at the Lycée Condorcet, blessed the marriage of the two artists at the Paris Church of Saint-Sulpice. The couple went to live in Sérusier new house at 27 Duchenn Glaz. That same year Sérusier completed a painting of his wife entitled Madame Sérusier à l’ombrelle.

Marguerite Sérusier loved the art of tapestry, and it was she who encouraged her husband to persevere in wall art. Thus, around 1913, the plasters of the vestibule, the corridor and the staircase of their residence were decorated with astonishing achievements on religious, pagan or esoteric themes. It was also Marguerite who encouraged her husband to resume his project of decorating the walls of the baptistery of the parish church of Saint-Julien in Châteauneuf-du-Faou, which was carried out from 1914 to 1917.

His experience as a teacher led him years later to publish his 1921 guidebook ABC de la peinture.

Whilst visiting his wife in hospital in Morlaix, Paul Sérusier died of a heart attack on October 6th, 1927, a month before his sixty-third birthday. His wife Marguerite died in September 1950 and is buried in Morlaix with her husband.

Alice Ravenel Huger Smith

Self portrait (1908)

Self Portrait (1908)

At the turn of the twentieth century, the South Carolina city of Charleston was a shadow of its former glory. Charleston had historically nurtured a celebrated art and architectural heritage during the Colonial Period and Antebellum period but following the end of the Civil War in 1865 and the Reconstruction period 1865-77, it struggled to continue doing so. Between the two World Wars, beginning in the second decade of the 20th century, Charleston experienced a renaissance that flourished in part due to the work of authors, architects, artists, poets, & preservationists who rallied behind the common cause of ‘the betterment of the city’. It was a period known as the Charleston Renaissance and is credited with helping to spur the city’s tourist industry. Of the various artists associated with the movement, four of them stand at its forefront: Alfred Hutty, Alice Ravenel Huger Smith, Anna Heyward Taylor, and Elizabeth O’Neill Verner. In this blog I am looking at the life and artwork of one of the four, Alice Ravenel Huger Smith.

Alice Ravenel Huger Smith, Age 25.

Alice Ravenel Huger Smith, aged 25.

Alice Ravenel Huger Smith was born in Charleston on July 14^th 1876. She was the fourth of five children and was descended from prominent rice planters and was the daughter of Daniel Elliott Huger Smith and Caroline Ravenel and was part of a socially prominent Charleston family. Although artistically self-taught she later did attend some classes in drawing and painting at the Carolina Art Association. Louise Fery, a Frenchwoman, instructed her students in the basics and, most importantly for Alice, in the technique of watercolour. The Art Association was established in 1857 by a group of prominent low country planters and factors and was officially chartered by the General Assembly on December 21, 1858. Its purpose was the cultivation of the arts and art education. It is now part of the Charleston’s Gibbes Museum of Art. Alice Smith began her artistic career by making money from her portraiture, copying old family images and painting friends and relations. She also dabbled with painting fans and dance cards.

Celestial Figs by Alice Smith. Colour woodblock print. (1917)

Of her early artistic influences, one was Birge Hirston, the American genre and landscape painter, teacher, and writer who was a prominent practitioner and advocate of Tonalism. Tonalism was an artistic style that emerged in the 1880s when American artists began to paint landscape forms with an overall tone of coloured atmosphere or mist. Alice met him during his extended visit to Charleston in 1908. Later she would credit Hirston as being her guide when it came to her romantic style with regard to her landscape depictions.

HELEN HYDE (1868–1919) TEN WOODBLOCK PRINTS, MEIJI PERIOD (20TH CENTURY) Woodblock Print by Helen Hyde

Another influence which inspired Alice Smith was the Japonisme aesthetic of the American etcher and engraver, Helen Hyde, who is best known for her colour etching process and woodblock prints which echoed the portrayal of Japanese women and children. Around about 1917, Smith undertook an intense study of Japanese colour woodblock prints, largely from the ukiyo-e school, which had been collected by her cousin, the Harvard professor Motte Alston Read. Motte Alston Read built up a collection of almost four hundred Japanese woodblock prints during the first two decades of the twentieth century, working meticulously to assemble a group of prints that were representative of the history of Japanese woodblock printing. She also began to teach etching during the 1920s, and one of her most famous students was Elizabeth O’Neill Verner.

Smith catalogued the collection and, began trying out with actual blocks and she taught herself how to print in the traditional Japanese manner. She managed to produce a body of work which was characterized by sophisticated design and yet retained a sense of tranquillity. In 1923 Smith helped the founding of the Charleston Etchers Club, a collaborative group that jointly acquired a press and shared expertise and criticism. However, by the late 1920s Smith gave up her work in prints and began to concentrate on watercolour.

Branford-Horry House by Alice Smith (1917)

Branford-Horry House by Alice Smith

Alice Smith is probably best remembered for her scenic views of Charleston streets and in 1917 she produced a beautiful graphite sketch of one of Charleston’s famous buildings, the Branford-Horry House. The house was built for William Branford, a wealthy planter, in 1765-67 and is rated one of Charleston’s finest examples of a three-story brick Georgian townhouse, or “double house.” In 1801 it was purchased by Thomas Horry, who had married Branford’s daughter. His son, Elias Horry, president of the South Carolina Canal and Railroad Company, inherited the house and altered it somewhat. The house is a three-story Georgian brick building with stucco-covered walls. Unfortunately, in 1988, a speeding car crashed into the house, knocking out two of the columns and sending one into the front door of the house.

St Phillips Church Spire, Charleston by Alice Smith

St Phillips Church Spire by Alice Smith

Another graphite on paper sketch of a Charleston building is Alice’s depiction of St Philip’s church spire. St. Philip’s is the oldest congregation in the United States south of Virginia. The church was built in 1836 and the spire completed in 1850. On November 7, 1973, it was added to the National Register of Historic Places and designated a National Historic Landmark.

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House Tops View from her home, 69 Church Street Charleston by Alice Smith

Alice Smith became so interested with the old buildings of Charleston that in 1917 in collaboration with her father, Daniel, she had a book published, The Dwelling Houses of Charleston, South Carolina, in which the authors demonstrate how the fashions of its architecture, often brought over from England, have maintained local characteristics and resulted in a distinctive style.

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For Alice and her father, it had not simply been their object to list or to describe these dwelling houses after the manner of a guidebook, but to show how the fashions of its architecture, though imported and constantly modified by new ideas brought chiefly from England, had yet maintained local characteristics, resulting in quite a distinctive style which has steadily persisted and been developed.

The Winter Vegetable Garden from the series A Carolina Rice Plantation of the Fifties by Alice Smith (c.1935)

The Winter Vegetable Garden from the series A Carolina Rice Plantation of the Fifties by Alice Smith (c.1935)

However, Alice Smith is best known for her lyrical and expressive depictions of the Carolina Lowcountry, the cultural region along South Carolina’s coast, including the Sea Islands. It was once known for its slave-based agricultural wealth in rice and indigo, crops that thrived in the hot subtropical climate, and is known now for its historic cities and communities, natural environment, cultural heritage, and tourism industry. Smith summed up her love of the area saying:

“…my own lovely flat country of rice fields, of pinewoods, of cypress swamps, of oaks, lotus, and all their attendant feathered folk would yield me a full harvest if diligently spaded…”

Sunday Morning at the Great House by Alice Smith

Sunday Morning at the Great House from the series A Carolina Rice Plantation of the Fifties by Alice Smith (c.1935)

Around about 1924 Alice Smith changed her favoured painting medium and resorted to working with watercolours. After experimenting with oil paints and printmaking, Smith eventually settled on watercolour in which she would work for the rest of her life. The reason being she said was that watercolours were most conducive to achieving the atmospheric effects she sought in her landscapes. Her landscape depictions are generally devoid of figures as she wanted to concentrate on the beauty of nature itself. Many of her mature watercolours depict scenes from rural salt marshes.

Mending a Break in a Rice-Field Bank from the series A Carolina Rice Plantation of the Fifties

Mending a Break in a Rice-Field Bank from the series A Carolina Rice Plantation of the Fifties by Alice Smith (c.1935)

Alice Smith was also a noted illustrator, and contributed illustrations to two volumes her father, the historian Daniel Smith, who wrote about the history of Charleston and its architecture, as well as other books relating to South Carolina, most notably the 1936 book, A Carolina Rice Plantation of the Fifties, which contained thirty paintings in water-colour, by Alice Huger Smith, and a narrative by Herbert Ravenel Sass, with chapters from the unpublished memoirs of her father Daniel Huger Smith.

A Winter Field Still in Stubble from the series A Carolina Rice Plantation of the Fifties by Alice Smith

A Winter Field Still in Stubble from the series A Carolina Rice Plantation of the Fifties by Alice Smith (c.1935)

Alice was also engrossed in recording vanishing ways of life in South Carolina and her best-known work is the series of thirty watercolours known as her Rice Plantation Series which can be seen at the Gibbes Museum of Art in Charleston’s Historic District. She donated the Rice Plantation Series to the Gibbes in 1937. Alice was able to pictorially tell the history of plantation life in the antebellum South, and by doing so, she took it upon herself to preserve that period in a series of nostalgic images that would be accompanied by her father’s memoirs and an essay on rice cultivation by the historian Herbert Ravenel Sass. Alice made these plantation paintings during the height of the Jim Crow era, when black people in Charleston and throughout the country were subjected to humiliating discrimination and life-threatening abuse. She was well aware of this as she, a single woman, lived in downtown Charleston, close to areas of extreme poverty, surviving only through the sale of her art. As I said at the beginning, this period was in the 1930’s when Charleston was a city in limbo. Gone were the days of the glorious affluence of the rice years with its economic revival still years away. It was a time for those who lived in Charleston to hanker for the “good old days” and like to remember when times were relatively calm, when blacks knew their place and white planters were firmly in charge, when life for the privileged class was simple and wealth abundant. In Alice Smith’s 1950 autobiography, Reminiscences, she wrote about change:

“…Small places and big places alike show it. Perhaps small happenings show it as sharply as great events, and one looks with surprise at the differences that one never noticed during the endless moments of what might be called trivial evolution…”

The Grove of Oaks from the series A Carolina Rice Plantation of the Fifties by Alice Smith (c.1935)

The Grove of Oaks from the series A Carolina Rice Plantation of the Fifties by Alice Smith (c.1935)

Her series of watercolours reflect her sense of change, and her profound nostalgia. Maybe it was a nostalgic view of plantation life of the past but maybe it was pure fantasy but one has to remember paintings were made to be sold and maybe the public preferred this “happy plantation life” image rather than the cruelty that existed and by studying her depictions the public it probably helped people believe that the past was lovely.

A Visit from the old Mistress by Wilmslow Homer (1876)

A Visit from the Old Mistress by Winslow Homer (1876)

Almost sixty years before Alice Smith’s Plantation series the great American painter Winslow Homer created his 1876 work, A Visit from the Old Mistress, a picture depicting an idealised situation when blacks as freed slaves and living in a ramshackle cabin were shown as mixing happily with a white person, their former mistress of the “big house” who, until recently, owned them. It represented a scene from the present, a meeting of different classes and colour which caused an inevitable awkwardness when it was exhibited.

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Woods at River Bend on Wando River, by Alice Smith (c. 1936)

Alice Smith donated the Rice Plantation Series to the Gibbes in 1937, and since that time the watercolours have been among the most popular works owned by the museum. The problem however was that the delicate works on paper were slowly deteriorating due to the acidic boards mounted to the back of each of the paintings. The acid then began to discolour the works and deposit on them brown spots known as foxing and with many of the watercolours, the damage was well advanced.

At the Head of the Valley by Alice Smith

The management of the Gibbes, realised the need to intervene, reverse the damage, and prevent future damage through professional conservation of Smith’s entire series of watercolours. To accomplish this, they established the Welsh-Blakely Fund, a substantial financial commitment that funded the five-year conservation project carried out by the Straus Center for Conservation at the Harvard University Art Museums.

Along the Beach by Alice Smith (c.1926)

Like many other leading painters from the Southern states of America during the early twentieth century, Alice Smith had a steadfast belief in the South, which was both idealized and energetically favourable, but this was simply down to her love of where she lived. Smith was at the centre of Charleston’s artistic reawakening during the early twentieth century.

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Alice Ravenel Huger Smith died on February 03, 1958, aged 81 and is buried at Magnolia Cemetery in Charleston.

Thomas Cooper Gotch. Part 3.

Although returning to live in Newlyn was tempting Thomas decided on another course of action and took his wife on the long voyage to Australia on the fully rigged sailing passenger clipper, Torrens., leaving England on October 30^th 1883. Their daughter Phyllis remained in Kettering with her grandparents. Thomas and Caroline arrived in Port Adelaide on January 8^th 1884 where they transferred to the SS South Australia and sailed to Melbourne where they were met by John Speechley Gotch, a wealthy distant relative who had met Tom when he visited England in 1874. John Gotch was an art lover and he arranged for Thomas and Carrie to hold a joint exhibition of their work which they had brought with them, at Melbourne’s Fletcher’s Art Gallery in February 1884.

The most important painting exhibited by Thomas Gotch was one entitled Mental Arithmetic. It depicts an elderly bearded fisherman sitting holding a knife and plate of food being watched by a small girl. It is thought that Thomas painted this in November 1883 from sketches he made that summer in Newlyn. Melbourne City Gallery wanted to buy the painting but baulked at the £200 selling price. However, John Gotch bought it and donated it to the gallery. Many of John Goth’s paintings and sketches were sold as well as work by his wife Carrie and the couple made more than enough money to pay for their sea passages.

Qua-Qua, south of Johannesburg — Qua-Qua , South of Johannesburg by Thomas Gotch

Tom and Carrie returned to England on the Torrens calling at Cape Town, St Helena and the Ascension Island for the vessel to replenish supplies. They eventually returned to London on July 3^rd 1884. The couple left the English capital and journeyed to the West Country looking for suitable accommodation. They tried Brixham and Looe but finally settled on the Cornish town of Polperro where they lodged at the Louriet Hotel and were soon joined by their ten-month-old daughter and her nurse.

Children featured in many of Gotch’s paintings. Probably the best known is his 1894 work entitled Child Enthroned. Like many other depictions of the young there is a mystical element about the portrayal of the young girl. His eleven-year-old daughter Phyllis was the model for The Child Enthroned. Her father’s Madonna like depiction was, he said, down to his time spent in Italy in the summer of 1891. The painting is testament to Gotch’s ability as a portrait painter, especially his love of child portraiture and his competency in depicting fine detail in ornate fabrics. The painting when exhibited to the public that year at the Royal Academy was rapturously received and established Gotch’s reputation as an artist.

Another painting featuring Gotch’s daughter was his 1896 work entitled Alleluia. It was a major demonstration of his Pre-Raphaelite style. Along the top of the painting, we see inscribed in Gothic lettering on a background of gold leaf, a Latin quotation which reads:

“…Sancti tui domine benedicent te gloriam regni tui dicent – Alleluya…”

The inscription is taken from Psalm xlvii: 6 and 7, which was printed in the catalogue of the 1896 Royal Academy exhibition:

“…Sing praises to God, sing praises: Sing praises unto our King, Sing praises, For God is King of all the earth: Sing praises with understanding…”

It is a painting featuring thirteen richly clad children singing against a gilded background and his thirteen-year-old daughter is at the centre rear of the group with her hands clasped in prayer. In front of her is a small figure with amber curls. This is her cousin Hester Gotch. When it was first shown at a local exhibition in Newlyn it was criticised by the local press because they believed Gotch had broken with the Newlyn tradition of painting. The art critic of the Cornish Telegraph quipped that he doubted whether the time it took to complete (nine months) was worth the effort. The art critic of the local weekly newspaper, West Briton, criticised the work saying:

“…It would be easy enough to say outright that we don’t like the thing and have done with it. It is not possible to take ordinary children of today and pictorially attempt to transform them into choiring cherubim, without coming within consciousness of incongruity…”

Fortunately for Gotch when he submitted the work to that year’s Royal Academy exhibition the receiving jury accepted the painting had it hung at the most advantageous position, (hung on line). The work of art, which is part of the Tate Britain collection, was bought for the Nation under the terms of the Chantrey Bequest, following its exhibition at the Royal Academy. The Chantrey Bequest, set out in the will of sculptor Sir Francis Chantrey, was of primary importance to the foundation and development of a national collection of British art at the Tate Gallery and it constituted the gallery’s main purchasing fund from its opening in 1897 until 1946.

Another of Gotch’s paintings featuring a group of children was completed in 1899. It was entitled A Pageant of Childhood. It depicts a procession of nine children of varying age, the eldest at the rear and the youngest at the front crossing a tiled hall in front of a fresco of Father Time, who we are aware will, in due course, carry off even the youngest of the children. It is a colourful depiction of children enacting an historic pageant. Some like the two boys at the centre play long horns whilst behind them are two girls, one with a drum and one with a set of symbols. Take a look at the various children. Some, with thoughtful expressions, are taking the enactment very seriously whilst others appear light-hearted and, in some respect, they personify children of different ages at play, a representation of the stages of life. It was Gotch’s own evocation of innocence and youth. The painting was completed just before the family left Newlyn and exhibited at the Newlyn Gallery in March 1899. It was shown at the 1899 Royal Academy exhibition and appeared at Liverpool’s Walker Art Gallery, after which the Liverpool Corporation purchased the work and is part of the Walker Art Gallery collection. This painting was completed close to the time that the Gotchs moved to a new house and went to live in Shottermill.

Postcard advertising auction of ‘Penwith’, Shottermill in 1906

Thomas Gotch’s House Penwith on sale in 1907

Thomas Gotch had decided to relocate his family to Shottermill close to the town of Haselmere, West Sussex, forty miles south west of London and twenty-five miles from the south coast of England. At the end of 1898 Thomas started building his new home, named Penwith and the family were able to move in in October 1899. Penwith was situated on a hillside at the end of a long twisting drive, which rose above the ponds of Shottermill. It was a large six-bedroom residence with two drawing rooms, a large kitchen and two purpose-built studios.

In 1900 Thomas Gotch’s main work was entitled The Dawn of Womanhood which appeared at the 1900 Royal Academy Exhibition. The painting depicts the child enthroned being confronted by the vision of approaching motherhood. The phantom figure on the left represents Womanhood. She is dressed in opalescent drapery of pale blue, gold and silvery primrose. She is wearing a mask, as legend has it that all who are no longer children must conceal themselves which probably harks back to the story of Eve, who after eating the forbidden fruit was ashamed of her nakedness and sought to conceal it. Sitting on the steps of the throne, to the right, is the familiar winged sprite representing the spirit of childhood, who is aware of the strange presence and makes ready to take flight for ever from the girl on the throne.

Painted around that time, in 1930 — a year before Thomas Cooper Gotch’s death — The Exile is shrouded in mystery. As of now, we know nothing about the identity of the sitter or about the suggestive, tantalizing title of her portrait.

Thomas Gotch exhibited at the Royal Academy from 1880-1931, in all showing seventy of his paintings. He was elected to the Royal Society of British Artists in 1885 and the Royal Institute of Painters in Watercolour in 1912. He was a founder member of the New English Art Club in 1886 and served as President of the Royal British Colonial Society of Artists between 1913 and 1928. Gotch was fêted at the Salon and won medals in Chicago and Berlin.

Thomas Cooper Gotch died aged seventy-six of a heart attack while in London for an exhibition on May 1^st, 1931. He was buried in Sancreed churchyard in Cornwall. Also in the graveyard of St Sancredus are buried fellow Newlyn School artists, Stanhope Forbes and Elizabeth Forbes.

Thomas Gotch’s wife, Caroline, died on December 14^th, 1945 aged 91 and their only child, Phyllis Marian Gotch became Marquise de Verdières when she married André Marie, Marquis de Verdières in 1922. She died in Hong Kong on April 24^th, 1963 aged 81. She is buried with her parents in Cornwall’s Sancreed Churchyard.