Saturday, October 21, 2017

07 Paintings, MODERN & CONTEMPORARY MIDDLE EASTERN ART, With Footnotes - 5

Hassan Hajjaj, B. 1961, MOROCCAN
WINK, c. 2007
Metallic Lambda inset with kohl boxes mounted on board in artist's frame
94 by 66cm.; 37 by 26in.
Private collection

Hassan Hajjaj (born Larache, Morocco in 1961) is a contemporary artist who lives and works between London, UK and Marrakech, Morocco.

Hajjaj's work is in the collections of the Brooklyn Museum, New York; the British Museum, London; the Nasher Museum of Art, Duke University, Durham, NC; the Newark Museum, New Jersey; Los Angeles County Museum of Art, Los Angeles; Los Angeles Museum of Contemporary Art, Los Angeles; the Victoria & Albert Museum, London; the Farjam Collection, Dubai; Institut des Cultures d’Islam, Paris; Kamel Lazaar Foundation, Tunisia; and Virginia Museum of Fine Art, Richmond, VA.

Hajjaj was the winner of the 2011 Sovereign Middle East and African Art Prize and was shortlisted for Victoria & Albert Museum's Jameel Prize in 2009. In 2013, Rose Issa Projects published a monograph of the artist exploring his upbringing in Morocco and London. More on Hassan Hajjaj

Safwan Dahoul, B. 1961, SYRIAN
UNTITLED, c. 1992
Oil and gold leaf on wood 
25 by 20cm.; 9 7/8 by 7 7/8 in
Private collection

Safwan Dahoul was born in 1961 in Hama, Syria, Dahoul was initially trained by leading modernists at the Faculty of Fine Arts, University of Damascus before travelling to Belgium, where he earned a doctorate from the Higher Institute of Plastic Arts in Mons. Upon returning to Syria, he began teaching at the Faculty of Fine Arts and was a prominent member of the Damascus art scene. In the span of a decade, Dahoul nurtured a new generation of artists as an active mentor whose evolving aesthetic often ignited new directions in painting. Given the trajectory and status of his painting style, Dahoul’s career is regarded as a crucial link between modern and contemporary Arab art. More on Safwan Dahoul

Hussein Bikar, 1912 - 2002, EGYPTIAN
THE LANDLORD, c. 1984
Oil on paper 
46 by 27cm.; 18 1/8 by 10 1/2 in
Private collection

Hussein Amin Bicar (2 January 1913 in Alexandria – 16 November 2003) was one of Egypt’s most prominent artists of the 20th century, after graduating from the Cairo higher school of fine arts in 1934, he spent more than 60 years of his life teaching art at schools and universities and then through the press, he is credited for initiating a style of journalistic art that elevated illustrating for news papers to a level close to that of the fine art, he is known for his simple and clear style reflecting the influence of Pharaonic art with its harmony, serenity and mystic. Bicar’s journalistic contributions go beyond illustrations to include art criticism and narrative poetry. Being the first Egyptian artist to illustrate Arabic children’s books, Bicar has played a major role in establishing and promoting this field.

Furthermore, his portraits and oil paintings depicting graceful Egyptian peasants, Nubian scenes, Alexandria and Pharaonic themes as well as his elegant, gracious nature has earned him great recognition and honors. In the words of late journalist Mustafa Amin:"he is not a single artist, he is a master of several arts…he is a painter, photographer, poet, musician and philosopher".

He was of Turkish Cypriot extraction[2] and a member of the Bahá'í Faith. More on Hussein Bikar

Adham Wanly, 1908-1959, EGYPTIAN
CHEVEAUX HONGROIS AU CIRQUE (HUNGARIAN HORSE AT THE CIRCUS), c. 1953
Oil on panel
53 by 74cm.; 20 7/8 by 29 1/8 in.
Private collection

Adham Wanly (1908 in Alexandria, Egypt – 1959) was a painter who learnt in the atelier of the Italian Otorino Becchi 1932, then set up his own atelier with his brother Seif Wanly (above), and participated in many local and international exhibition specially Venice, São Paulo (Brasil), Alexandria Biennale.

The Museum of Modern Art in Alexandria displays many of his paintings. The artist is mostly famous for recording the life of the theater and circus. He specialized in the ballet and opera that is featured in the Cairo Opera House and the Theatre Mohamed Ali in Alexandria. The paintings render the stage lights and movements of the people involved and he is able to express the light and agility in various ways. He had a talent in caricature in which he used in mockery of himself and the people of his time. There is now a museum in his memory. More on Adham Wanly

Shakir Hassan Al-Said, 1925-2004, IRAQI
UNTITLED (TOWN), c. 1951
Watercolour and pencil on paper 
i) 24 by 20cm.; 9 1/2 by 7 7/8 in. ii) 29 by 21.5cm.; 11 1/2 by 8 1/4 in
Private collection

Shakir Hassan Al Said (1925–2004), an Iraqi painter, sculptor and writer, is considered one of Iraq's most innovative and influential artists.

Born in Samawa, Al Said lived, worked and died in Bagdad. In 1948 he received  a degree in social science from the Higher Institute of Teachers in Baghdad and in 1954 a diploma in painting from the Institute of Fine Arts in Baghdad. He continued his studies at the École nationale supérieure des Beaux-Arts in Paris until 1959. During his stay in Paris, he discovered Western modern art in galleries and Sumerian art at the Louvre. He returned to Baghdad in 1959.

He co-founded in 1951 with Jawad Saleem Jama'et Baghdad lil Fann al-Hadith (Baghdad Modern Art Group), one of the most unusual arts movements in the Middle East in the post–World War II, itwas called Istilham al-turath (Seeking inspiration from tradition), considered as "the basic point of departure, to achieve through modern styles, a cultural vision". He headed the group after the death of Saleem in 1961.[12]

In 1971, he founded Al Bu'd al Wahad (the One-dimension Group)", which promoted the modern calligraphic school in Arab art.

His work is collected by major museums, such as Mathaf: Arab Museum of Modern Art in Doha, the Guggenheim in New York, and Sharjah Art Museum. More on Shakir Hassan Al Said 

Shakir Hassan Al-Said, 1925-2004, IRAQI
UNTITLED (MAN AND HORSE, c. 1950
Watercolour and pencil on paper 
i) 24 by 20cm.; 9 1/2 by 7 7/8 in. ii) 29 by 21.5cm.; 11 1/2 by 8 1/4 in.
Private collection

Shakir Hassan Al Said (1925–2004), see above

Mostafa Abdel Moity, B. 1938, EGYPTIAN
NN51, c. 1967
Paper collage, acrylic, fabric, nails and felt pen on wood panel
120 by 77.7cm.; 47¼ by 30½in
Private collection

Born in Alexandria, Egypt in 1938, Mostafa Abdel Moity got his degree from the Academy of Fine Arts in Alexandria in 1962, and immediately began teaching as a faculty member at the academy and has continued to do so ever since. He was Vice President of the World Congress of Contemporary Art in Venice in 1985, and the Head of the Egyptian Academy in Rome in 1988.

Mostafa Abdel Moity's early works had touches of the figurative and the recognizable, with his style developing and evolving into distinctly abstracted paintings and sculptures characterized by aggressive bold lines and blocks of vibrant colors. Circles and triangles are used extensively in his work, together with other geometrical patterns, evoking notions of outer space and infinity. More on Mostafa Abdel Moity

















Acknowledgement: Sotheby's, and others

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Saturday, October 14, 2017

09 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #14

Youssef Nabil, B. 1972, EGYPTIAN
PORTRAIT OF JANNANE AL ANI
Hand-coloured gelatin silver print
38 by 25cm.; 15 by 9 7/8 in.
Private collection

Jananne Al-Ani was born in Kirkuk, Iraq in 1966. She studied Fine Art at the Byam Shaw School of Art and graduated with an MA in Photography from the Royal College of Art in 1997. She is currently Senior Research Fellow at the University of the Arts London, and lives and works in London.

Working with photography, film and video, Al-Ani has an ongoing interest in the documentary tradition, through intimate recollections and more official accounts. Her work also engages with the landscape of the Middle East, its archaeology and its visual representation.

Summarising her work , Al-Ani said: "I have a longstanding interest in the representation of the body. The earliest works I exhibited were concerned with the way women's bodies have been represented throughout the history of western painting. In advance of the development of photography and film, the shifting ideals of feminine beauty were clearly mapped out in the work of artists. However, the media coverage of the 1991 Gulf War, which focused on aerial and satellite images of a depopulated, barren landscape, had a major impact on my work. What followed was a reassessment on my part of the work of Orientalist painters and the way in which fantasies about the body and the landscape of the Middle East were constructed in their works. I began to see the body itself as a contested territory and during the 90s produced a series of works that attempted to counter the European obsession with uncovering and exposing the bodies of veiled women. More recently, with the Aesthetics of Disappearance project, I've attempted to re-occupy that space so, while the presence of the body is implied rather than explicit, the traces of human activity in the landscape are clear to see. More om Jananne Al-Ani

Youssef Nabil (born 6 November 1972) is an Egyptian artist and photographer. Fascinated by cinema in his youth, Egyptian photographer Youssef Nabil captures the contemporary paradoxes of the Middle East through the lens of fantasy. In 2003, Nabil was awarded The Seydou Keita Prize for Portraiture from the Rencontres Africaines de la Photographie, Bamako, Mali and in 2005 he was honored by the International Photography Awards, Los Angeles, CA. His first film, You Never Left, was first exhibited in 2010. His work has been the subject of recent solo shows at Maison Europeenne de la Photographie, Paris, France (2012); Nathalie Obadia Gallery, Paris, France (2011); Yossi Milo Gallery, New York, NY (2010); Savannah College of Art and Design, Atlanta, GA (2010); GALERIST, Istanbul, Turkey (2009); Villa Medici, Rome, Italy (2009); The Third Line Gallery, Dubai, UAE (2009); and Volker Diehl Gallery, Berlin, Germany (2009). More on Youssef Nabil

Kees van Dongen, (1877 - 1968)
La Marquise de Casati , Circa 1950
Lithograph printed in colours on wove paper
23 3/8 x 11 3/4 in.
Private collection

Luisa, Marchesa Casati Stampa di Soncino (23 January 1881 – 1 June 1957), also known as Luisa Casati, was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe known for her eccentricities. As the concept of quaintrelle was re-developed, Marchesa Casati fitted the utmost example by saying: "I want to be a living work of art".

Luisa was born in Milan, youngest of two daughters of Alberto Amman and his wife Lucia. Her father was of Austrian descent, while her mother was Italian and Austrian. Alberto Amman father was made a count by King Umberto I. Countess Amman died when Luisa was thirteen, and Count Amman died two years later, making his daughters, Luisa and her older sister, Francesca (1880–1919, married Giulio Padulli), reportedly the wealthiest women in Italy. More on Marquise de Casati

Cornelis Theodorus Maria 'Kees' van Dongen (26 January 1877 – 28 May 1968) was a Dutch-French painter and one of the Fauves at the controversial 1905 Salon d'Automne exhibition. He gained a reputation for his sensuous, at times garish, portraits.

Kees van Dongen was born in Delfshaven, a borough of Rotterdam. He was the second of four children in a middle-class family. In 1892, at age 16, Kees van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam During this period (1892–97), van Dongen frequented the Red Quarter seaport area, where he drew scenes of sailors and prostitutes. He met Augusta Preitinger at the Academy, a fellow painter.

In 1897, van Dongen lived in Paris for several months, where there was a large emigre community. Van Dongen began to exhibit in Paris, and participated in the controversial 1905 Salon d'Automne exhibition[4] along with Henri Matisse, André Derain, Albert Marquet, Maurice de Vlaminck, Charles Camoin, and Jean Puy.

Van Dongen’s candid, colourful portrait style was immensely fashionable by the end of World War I, and thereafter it remained his main focus. The figure of a glamorous woman with large eyes and red lips became his archetype. More on Kees van Dongen

Sandro Botticelli,  (1445–1510) 
Portrait of a Lady, known as Smeralda Brandini, c. 1470 and 1475
Tempera on panel
Height: 65.7 cm (25.9 in). Width: 41 cm (16.1 in).
Victoria and Albert Museum

The Portrait of Smeralda Brandini is a tempera on panel painting by the Italian Renaissance artist Sandro Botticelli of about 1475, in the Victoria and Albert Museum, London.

The identification of the sitter is based on the old, but probably not original, inscription on the windowsill at the bottom of the picture Smeralda di M.Bandinelli Moglie di VI, the wife of Viviano Brandini, mother of the prominent Florentine goldsmith Michelangelo de Viviano de Brandini of Gaiuole, and grandmother of the sculptor Baccio Bandinelli (the son of Michelangelo). From archive documents it is known that in 1469 Smeralda was 30. More on Smeralda Brandini

Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli (1445 –1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine School.  Botticelli's posthumous reputation suffered until the late 19th century; since then, his work has been seen to represent the linear grace of Early Renaissance painting.

Botticelli was born in Florence. He was initially trained as a goldsmith. There are very few details of Botticelli's life, but it is known that he became an apprentice when he was about fourteen years old. By 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio's painting, it was from Lippi that Botticelli learned a more intimate and detailed manner.

By 1470, Botticelli had his own workshop. His work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modelled forms.

In the mid-1480s, Botticelli worked on a major fresco cycle for Lorenzo the Magnificent's villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a façade for the Cathedral of Florence.

Botticelli never wed, and expressed a strong disliking to the idea of marriage, a prospect he claimed gave him nightmares. More on Sandro Botticelli

Anthony van Dyck, (1599–1641)
Princess Henrietta Maria of France, Queen consort of England, circa 1636 and circa 1638
Oil on canvas
San Diego Museum

Henrietta Maria of France (25 November[1609 – 10 September 1669) was queen consort of England, Scotland, and Ireland as the wife of King Charles I. She was mother of his two immediate successors, Charles II and James II.

Her Roman Catholicism made her unpopular in England, and also prohibited her from being crowned in an Anglican service. She never had a coronation. She began to immerse herself in national affairs as civil war loomed on the horizon, and was compelled to seek refuge in France in 1644, following the birth of her youngest daughter, Henrietta, during the height of the First English Civil War. The execution of King Charles in 1649 left her impoverished. She settled in Paris, and then returned to England after the Restoration of her eldest son, Charles, to the throne. In 1665, she moved back to Paris, where she died four years later.

The North American Province of Maryland was named in her honour, and the name was carried over into the current U.S. state of Maryland. More on Henrietta Maria

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck


Guercino, (1591–1666)
The Persian Sibyl, c. (1647 - 1648)
Oil on canvas
Height: 1,170 mm (46.06 in). Width: 960 mm (37.8 in).
Capitoline Museums, Piazza del Campidoglio, Capitoline Hill, Rome, Italy.


The Persian Sibyl - also known as the Babylonian, Hebrew or Egyptian Sibyl - was the prophetic priestess presiding over the Apollonian oracle.

The word "Sibyl" , meaning "prophetess, there were many Sibyls in the ancient world, but the Persian Sibyl allegedly foretold the exploits of Alexander of Macedon. She has had at least three names: Sambethe, Helrea and Sabbe.

Sambethe was said to be of the family of Noah. A painting of Sibilla Persica by Guercino hangs in the Capitoline Museum in Rome. The medieval Byzantine encyclopedia, the Suda, credits the Hebrew Sibyl as author of the Sibylline oracles, a collection of texts of the 2nd to 4th century which were collected in the 6th century. More on The Persian Sibyl 



AFTER GUERCINO, 19TH CENTURY
The Persian Sybil
Oil on canvas
112 x 74cm
Private collection

Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), best known as Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his early manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.

Mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bolognese School. By 1615, he moved to Bologna, where his work was praised by Ludovico Carracci. Guercino painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, for Cardinal Serra, a Papal Legate to Ferrara. These paintings have a stark naturalist Caravaggesque style, although it is unlikely that Guercino saw any of the Roman Caravaggios first-hand.


Guercino's early works are often tumultuous. He often claimed that his early style was influenced by a canvas of Ludovico Carracci that he saw in the Capuchin church in Cento. Some of his later works are closer to the style of his contemporary Guido Reni, and are painted with more lightness and clearness. More on Guercino

Michael Dahl, (1659–1743)
Portrait of Martha Langham
Oil on canvas
74 x 62cm
Private collection

Martha Langham4th daughter of Sir John Langham, as a young girl three-quarter length wearing a blue dress with a bowl of cherries and a canary, in a feigned oval. Martha died unmarried. 

Sir John Langham, 1st Baronet (20 April 1584 – 16 May 1671) was an English politician who sat in the House of Commons in 1654 and 1660.

He was the eldest son of Edward Langham of Guilsborough, Northamptonshire, who he succeeded in 1607. He was apprenticed to Sir Richard Napier, a Turkey merchant, for whom he worked in the Near East.

On his return he became a Turkey merchant himself,  and made a considerable fortune in the City of London. He built up an estate in Northamptonshire which included the purchase of the Cottesbrooke estate in 1635, (from which this painting comes). He was an alderman and sheriff of London in 1642. He was committed to the Tower of London twice, with the Lord Mayor and other aldermen of London for refusing to publish an act for the abolition of royalty. Langham died at the age of 87.  More on Sir John Langham

An acrimonious dispute within the Langhams,  one of England's oldest families, will lead to the splitting up of their unique £1 million collection of portraits and heirlooms dating back more than five centuries. Generations of family portraits will go under the hammer after Sir John Langham, 44, failed to reconcile his differences with his mother, the dowager Lady Marion Langham, 64, who lives with her French boyfriend in a bungalow on the family estate. More on the dispute

Michael Dahl  (1659–1743), see below

Michael Dahl, (1659–1743)
A portrait of Elizabeth Langham
Oil on canvas
126 x 104cm
Private collection

A portrait of Elizabeth Langham, as a young woman, standing three quarter length on a terrace, a spaniel seated beside her, flowers in an ornamental urn at her shoulder, a wooded landscape beyond. It is thought that the landscape element represents the new landscaping at Cottesbrooke. More on Cottesbrooke

Michael Dahl (Stockholm 1659-1743 London) studied in Sweden under Ehrenstrahl and began travelling in 1682, coming first to London where he may have studied under Kneller, then via Paris on to Rome in 1684. In 1687 he left Rome and came via Frankfurt to London where he settled for good in 1689. He soon became the best patronised portrait painter in England after Kneller. He was employed by Prince George of Denmark and did many portraits of the court of Queen Anne.  A great patron was the Duke of Somerset for whom he painted the famous 'Petworth Beauties'.  After 1714 he lost court patronage but painted a large number of the nobility, the Law and the Church.  His style is very close to that of Kneller and his work is often misattributed to his rival but his interpretation of character tends to be softer and less formal. More on Michael Dahl

Michael Dahl,  (1659–1743)
Portrait of a Lady, c.1700-10
Oil on canvas Oil
Height: 1,260 mm (49.61 in). Width: 1,016 mm (40 in).
Dulwich Picture Gallery, South London

Michael Dahl  (1659–1743), see above

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Saturday, October 7, 2017

08 Paintings, of The amorous game, Part 3 - With Footnotes

Filippo Indoni, (Italian, born circa 1842-1908)
The distracted shepherd
Watercolour and bodycolour 
76.5 x 54cm (30 1/8 x 21 1/4in)
Private collection

Filippo Indoni, Italian (1800 - 1884). In a reaction against the frivolous and unrealistic images of early 19th century Romanticism, artists turned to less glamorous aspects of life and society in search of a direct experience. By 1850, they had formed a relatively cohesive movement that battled for popularity with Romanticism, a far more widespread style.

This movement, known as Realism, revolutionized art, and artists took a renewed interest in genre scenes - the everyday activities of middle and lower class citizens that previously had been excluded from the fine arts. Roman-born artist Filippo Indoni embraced this artistic movement, presenting jubilant peasants reaping the rewards of their hard work, thus encouraging viewers to seek aesthetic pleasure in the unheralded members of society and moments of daily living. Realists' work such as Indoni's suggests that the everyday movements of life can be as lovely as the life-changing events. More on Filippo Indoni, Italian

Attributed to Luca Postiglione, (Italian, 1876-1936)
The stolen kiss
signed 'L.Postiglione' (lower left)
oil on canvas 
53.4 x 50.2cm (21 x 19 3/4in).
Private collection

Luca Postiglione (Naples, October 18, 1876 – 1936) was an Italian painter, mainly of portraits, and historic and genre subjects, in a Realist style.

He was the son of the painter Luigi Postiglione. His elder brother, Salvatore Postiglione was also a painter and his teacher. Luigi's uncle, Raffaele (1818–1897) was a professor at the Neapolitan Institute of Fine Arts.

Among his works are L'orfana exhibited at the Italian Exhibition in London in 1904, while Il giglio, and La Soglia were exhibited at the International Exposition in Rome in 1906. More on Luca Postiglione

Heine, A. (South Germany)
Jovial Lunch Break, c. 1901
Oil on wood
40.0 x 31.5 cm.
Private collection

Buchholz - Stark, Helene, (1902 - 1989 Berlin)
Reclining Couple in a Wide Landscape
Mixed media on wood
102.0 x 142.0 cm
Private collection

Simeon Solomon, 1840–1905
Sappho and Erinna in a Garden at Mytilene, c. 1864
Watercolour on paper
330 x 381 mm
The Tate collection

The picture depicts Sappho embracing her fellow poet Erinna in a garden at Mytilene on the island of Lesbos. Sappho was born at Lesbos in about 612BC. After a period of exile in Sicily she returned to the island and was at the centre of a community of young women devoted to Aphrodite and the Muses. Although Solomon believed Erinna to have been part of this community, we now know that she lived not on Lesbos, but on the Dorian island of Télos, and slightly later than Sappho, at the end of the 4th Century BC. Sappho wrote nine books of poetry, of which only fragments survive. The principal subject of her work is the joy and frustration of love and the most complete surviving poem is an invocation to the goddess Aphrodite to help her in her relationship with a woman. More Sappho and Erinna

Simeon Solomon (9 October 1840 – 14 August 1905) was an English Pre-Raphaelite painter noted for his depictions of Jewish life and same-sex desire. Born and educated in London, Solomon started receiving lessons in painting from his older brother around 1850. He started attending Carey's Art Academy in 1852. His older sister first exhibited her works at the Royal Academy during the same year.

As a student at the Royal Academy Schools, Solomon was introduced to other members of the Pre-Raphaelite circle. His first exhibition was at the Royal Academy in 1858. He continued to hold exhibitions of his work at the Royal Academy between 1858 and 1872. In addition to the literary paintings favoured by the Pre-Raphaelite school, 

In 1873 his career was cut short when he was arrested and charged with attempting to commit sodomy: he was fined £100. He was arrested again in 1874 in Paris, after which he was sentenced to spend three months in prison.

After his prosecutions he no longer exhibited, but achieved a degree of celebrity amongst those who shared his sensibilities: Oscar Wilde, John Addington Symonds, Count Eric Stenbock, and Walter Pater all collected his works.

In 1884 he was admitted to the workhouse where he continued to produce work, but his life and talent were blighted by alcoholism. Twenty years later in 1905, he died from complications brought on by his alcoholism. More Simeon Solomon 

Arthur Heyer, (Hungarian 1872-1931) 
Her Little Secret 
Oil on canvas 
30 x 37-1/2 in (76.2 x 95.2 cm)
Private collection

Arthur Heyer (28 February 1872, Haarhausen, Amt Wachsenburg, German Empire – 1931, Budapest, Hungary) was a German-Hungarian painter who primarily painted animals.

On the basis of his artistic talents, he attended, from 1890 to 1895, Unterrichtsanstalt des Kunstgewerbemuseums Berlin. During this period, he published his first drawings in various newspapers. In 1892 and 1895, he conducted study trips to Transylvania, where he came into contact with the local Hungarian culture. In 1896, he moved to Budapest and earned his living with book illustrations. In 1900, he became a naturalized Hungarian citizen, then part of the Austro-Hungarian Empire. In 1906, he held his first exhibition in Budapest, followed by numerous others. In 1909, he had two exhibitions in Thuringia, the Grand Ducal Museum in Weimar and the Kunstverein Gotha. In 1911, he received the Hungarian Count Andrássy Prize. After several exhibitions, including at the Vienna Künstlerhaus and the Glaspalast in Munich, he was appointed professor there in 1915. In 1929, the Hungarian National Museum in Budapest acquired his self-portrait. In 1931, he died in Budapest at the age of 59 and received a state funeral at Kerepesi Cemetery. More on Arthur Heyer

Dante Gabriel Rossetti, 1828–1882
The Wedding of St George and Princess Sabra, c. 1857
Watercolour on paper
365 x 365 mm
The Tate collection

This work was executed while Rossetti and other artists were decorating the Oxford Union with medievalist murals. In Oxford, Rossetti saw Jane Burden, later Mrs William Morris, and immediately asked her to pose for him. She is the model for Princess Sabra, threading a lock of her hair through St George's helmet.

The claustrophobic composition is characteristic of much of Rossetti's work at this time. Sabra's embrace of an armoured figure, enmeshing him with her hair, and St George's distracted gaze hint at Rossetti's dilemma of being involved with Elizabeth Siddall but feeling a strong attraction for Jane. More St George and Princess Sabra

Dante Gabriel Rossetti (12 May 1828 – 9 April 1882) was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais. Rossetti was later to be the main inspiration for a second generation of artists and writers influenced by the movement. His work also influenced the European Symbolists and was a major precursor of the Aesthetic movement.

Rossetti's personal life was closely linked to his work, especially his relationships with his models and muses Elizabeth Siddal, Fanny Cornforth and Jane Morris. More


ERNEST ALBERT WATERLOW,
"The porposal"
Oil on canvas
61 x 46 cm.
Private collection

Sir Ernest Albert Waterlow RA (24 May 1850 – 25 October 1919) was an English painter. He was born in London, and received the main part of his art education in the Royal Academy schools, where, in 1873, he gained the Turner medal for landscape-painting.

He was elected associate of the Royal Watercolour Society in 1880, member in 1894, and president in 1897; associate of the Royal Academy in 1890, and academician in 1903; and he was knighted in 1902. Sir Sydney Waterlow was his uncle.

He began to exhibit in 1872 and produced a considerable number of admirable landscapes, in oil and watercolour, handled with grace and distinction. One of his pictures, Galway Gossips, is in the Tate collection (below). More on Sir Ernest Albert Waterlow

Sir Ernest Albert Waterlow 1850–1919
Galway Gossips
Oil paint on canvas
762 x 1276 mm
Tate

Sir Ernest Albert Waterlow 1850–1919, see above


Emil Ganso, (1895-1941 German/American) 
Joyce in a Green Dress 
Oil on canvas 
30' H x 25' W 
Private collection

Emil Ganso, (1895-1941 German/American)  was born in Halberstadt, Germany in and came to the United States as a teenager. By 1914 Ganso was taking evening classes at the National Academy's School of Fine Arts while supporting himself as a baker. His work was soon identified by Erhard Weyhe who went on to show Ganso's work at the Weyhe Gallery. Ganso first exhibited at the Society of Independent Artists in 1921, as well as at the Salons of America from 1922 to 1925. By 1925 Weyhe Gallery began to represent Ganso which gave him the funds to spend his first summer in the art colony of Woodstock, New York in 1926. Weyhe Gallery continued to exhibit Ganso's work through the 1940s. 

 In 1929 Ganso visited Paris. Perhaps it was this Paris trip that sparked Ganso's interest in photography. Ganso received a Guggenheim Fellowship in 1933 which he used to study and paint in Europe. In the 1930s Ganso also kept a studio at 54 West 74th Street. 

In 1930 Emil Ganso began to be invited to exhibit at the Corcoran Gallery of Art, Washington, DC (1930-1935); the Art Institute of Chicago; the Wichita Art Museum, Kansas; the Pennsylvania Academy of the Fine Arts (1931-1938); and the Whitney Museum of American Art (1927-1941). Emil Ganso also exhibited at both the 1939 New York World's Fair and the Golden Gate Exposition in San Francisco that same year. Ganso was awarded the Pennell Memorial Medal from the Pennsylvania Academy of the Fine Arts in 1938. As a result of the success of his art, Ganso was offered an artist-in-residence position in 1940 at the University of Iowa. It was there that he died in 1941. More on Emil Ganso 


Zichy, Mihaly von, (1827 Zala County - 1906 St. Petersburg)
The Game of Love
Gouache
30.5 x 36.0 cm
Private collection

Mihály Zichy (October 15, 1827 in Zala, Hungary – February 28, 1906 in St. Petersburg, Russia) was a Hungarian painter and graphic artist.

Zichy was a significant representative of Hungarian romantic painting. During his law studies in Pest from 1842, he attended Jakab Marastoni's school as well. In Vienna he was Waldmüller's pupil in 1844. "Lifeboat", his first major work, comes from this time. On Waldmüller's recommendation, he became an art teacher in St. Petersburg. He swore allegiance to freedom by painting the portrait of Lajos Batthyány, the first Hungarian prime minister, in 1849. From 1850 onwards, he worked as a retoucher, but he also did pencil drawings, water colours and portraits in oil. His erotic drawings have a particular warm intensity in which both members of the couple seem equal partners. He settled down in Paris in 1874.

In 1881 he was in Tbilisi, Georgia, where he started working on illustrations for "The Knight in the Panther's Skin" at the request of the Georgian intelligencia. He painted 35 pictures in total. The publishing commission of the work of "The Knight in the Panther's Skin" chose 27 pictures to be included in the publication. The painter refused to take payment for the works, so impressed was he by the poem itself. Instead, he gifted the works to the Georgian people. More on Mihály Zichy


Novoskoltsev, Alexander Nikanorovich, (1853 - 1919 Russia)
Lascivious Nude on Divan
Oil on canvas
20.5 x 26.5 cm
Private collection

Novoskoltsev, Alexander Nikanorovich, (1853 - 1919 Russia) studied at the Moscow School of Painting, Sculpture and Architecture under Vladimir Perov and won numerous gold and silver medals for his masterfully rich historical and genre paintings. He went on to study throughout Europe and later taught at the Imperial Academy of Arts in St. Petersburg.  Several of his most important masterpieces hang in the State Russian Museum, St. Petersburg. Novoskoltsev is known to have painted a composition on a similar theme in 1886, which is listed in Fedor Bulgakov's 1890 biographical dictionary of contemporary artists Nashi khudozhniki on page 74. More on Novoskoltsev, Alexander Nikanorovich

Youssef Nabil, Egyptian, b. 1972
Sweet Temptation, c. 1993
Digital print 
31.5 x 21 in. (80.01 x 53.34 cm.)
Private collection

Fascinated by cinema in his youth, Egyptian photographer Youssef Nabil captures the contemporary paradoxes of the Middle East through the lens of fantasy. In 2003, Nabil was awarded The Seydou Keita Prize for Portraiture from the Rencontres Africaines de la Photographie, Bamako, Mali and in 2005 he was honored by the International Photography Awards, Los Angeles, CA. His first film, You Never Left, was first exhibited in 2010. His work has been the subject of recent solo shows at Maison Europeenne de la Photographie, Paris, France (2012); Nathalie Obadia Gallery, Paris, France (2011); Yossi Milo Gallery, New York, NY (2010); Savannah College of Art and Design, Atlanta, GA (2010); GALERIST, Istanbul, Turkey (2009); Villa Medici, Rome, Italy (2009); The Third Line Gallery, Dubai, UAE (2009); and Volker Diehl Gallery, Berlin, Germany (2009). More on Youssef Nabil 



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