Post-War Interior Paintings

Approximate Date: 1957 Medium: Oil and Pencil on Board Signature: Signed Lower Left Sight Size 23.50" x 20.75", Framed 29.50" x 26.50" Original cover illustration for The Saturday E...

A FEAST OF THE GODS WITH VENUS AND BACCHUS Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; John and Eileen Harris, acquired from the above, to 2015. Literature: Jacob Simon and Ellis Hillman, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, cat. no.12 (as by Louis Laguerre); Elizabeth Einberg (ed.), Manners and Morals: Hogarth and British Painting, 1700-1760, exh. cat., London (Tate Gallery), 1987, cat. no.10 (as by Louis Laguerre); Tabitha Barber and Tim Bachelor, British Baroque: Power and Illusion, exh. cat., London (Tate Britain), 2020. Exhibited: Twickenham, Marble Hill House, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, no.12 (as by Louis Laguerre); London, Tate Gallery, Manners and Morals: Hogarth and British Painting, 1700-1760, 1987, no.10 (as by Louis Laguerre); London, Tate Britain, British Baroque: Power and Illusion, cat. no 92, 2020. CUPID AND PSYCHE BEFORE JUPITER Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; Anthony Hobson, acquired from the above, to 2015. These recently re-united paintings are the most ambitious surviving baroque ceiling sketches made in Britain in the early eighteenth century. From the Restoration until the rise of Palladianism in the 1720s decorative history painting formed the preeminent artistic discipline in Britain. It was a field dominated by Continental artists including the Italian Antonio Verrio and the Frenchmen Louis Laguerre and Louis Chéron...

Karl Stohner (1894 Mannheim - 1957 Paris), Ballerina in the dressing room, 1924. Pastel on painting cardboard, 65 x 45 cm, 77,5 x 59,5 (frame), signed lower left "Stohner" and dated "[19]24". Behind glass in gold stucco frame of the time. - Painting cardboard slightly warped, in the lower area minimally stained, frame with age patina and traces of abrasion. - The Naturalness of Artificiality - We see a ballerina putting on her right ballet shoe while the left one is still lying on the floor in front of her. It is precisely the casualness of the scene that gives it its intimacy: the blonde young woman is completely absorbed in the activity of getting ready for the dance, oblivious to us, while we are positioned right in front of her in the dressing room, inaccessible to the audience, watching her dress. Even though she does not yet perform a dance step, there is a graceful elegance in the action shown that seems quite natural in contrast to the rehearsed art form of dance. The young woman is not presenting herself to an audience in a perfectly formed movement, but is performing an everyday action, unaware that she is being watched. Concentrated, almost devotional, she pulls the ballet slipper over the verses, not noticing that one of the straps of the tutu has slipped off her shoulder, reinforcing the erotic moment of the scene. Inspired by Edgar Degas, Karl Stohner has painted the scene in strong pastel tones. The dominant blues and turquoises give the scene a magical, mysterious quality and, like the pink of the stockings and ballet slippers, are borrowed from Degas's dancers. Degas's colors, however, are cooler tempered, which is particularly evident in the light impasto applied incarnate. This is where the vividness of Auguste Renoir comes into play, making the dancer seem entirely flesh and blood. Karl Stohner, who has studied the pastels of Degas and Renoir intensively, combines the two artists here to create his own pictorial language. He has laid out the background in broad layers of strokes, ranging in color from white to turquoise to dark blue. The result is a dynamic, pattern-like structure that contrasts with the woman's calm, inward-looking posture. The fund anticipates the dynamics of the choreography of the dance for which the ballerina is preparing. At the same time, the broad pastel line in the background is an adequate means of painting to depict the soft, flowing elegance of the dancer. About the artist Against the wishes of his wealthy parents, Karl Stohner decided to become a painter. His talent was discovered by the director of the Mannheim Art Gallery, Fritz Wichert, who supported him from then on, including financing study trips to Paris. There he discovered the art of Degas, Cézanne and Renoir, which inspired his work. GERMAN VERSION Karl Stohner (1894 Mannheim - 1957 Paris), Ballerina im Ankleideraum, 1924. Pastell auf Malkarton, 65 x 45 cm, 77,5 x 59,5 (Rahmen), unten links mit „Stohner“ signiert und auf „[19]24“ datiert. Hinter Glas im Goldstuckrahmen der Zeit. - Malkarton leicht verzogen, im unteren Bereich minimal fleckig, Rahmen mit Alterspatina und Abriebspuren - Die Natürlichkeit der Kunstform - Wir sehen eine Ballerina, die sich den rechten Ballettschuh anzieht, während der linke noch vor ihr auf dem Boden liegt. Gerade aus der Beiläufigkeit der Szenerie speist sich ihre Intimität: Die blonde...

Fragments Family House oil and wall Paper on canvas 120x120 cm Original Art abstract Minimalism this Artworks is part of a series "Fragments Family House" tell and trace the evolut...

This painting depicts an interior scene done in Paris. The fun details are what make this painting so attractive and desirable; the living room opens out into the terrace, as we are ...

This mural study is part of our exhibition America Coast to Coast: Artists of the 1930s San Pedro Post Office: History of Writing Mural South, Preliminary Mural Maquette right panel...

Original painting. Acrylic, paper and oil pastels on high quality linen canvas stretcher. Finished off with a soft glossy varnish. 70 x 90 cm 27.5 x 35.4". The sides are painted and...

This artwork makes part of my new period in my artistic expression. This painting dedicated to "Women" series is a special one since it is all about my strong deep personal transfor...

Jacob Ochtervelt (Workshop) The Grape Seller There are two known versions of this subject. This is a reduced variant of Ochtervelt's signed and dat...

Original oil painting on canvas. Hand signed on front by the artist. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included. All reasonable...

Pierre Carro (1952) - Spanish Dancers - Pastel Drawing measurements 45x34 cm. Frame measurements 93x79 cm.

In 2001 the German art historian Art historian and Raphael Expert, Prof. Jürg Meyer zur Capellen, published the painting "Die Heilige Familie" in a monographic article, ascribing the present work to the Venetian painter Giovanni Battista Pittoni (1687 -Venice - 1767). (Newspaper "Weltkunst", October 2001, No 12, p. 1850 f. ill.) He describes it as a typical work by this artist. Pittoni was one of the most influential and successful artists of the Venetian Settecento. He was a pupil of the Veronese Master Giovanni Balestra (1666-1740). His style is influenced by Sebastiano Ricci (1659-1734) and Giambattista Tiepolo (1696-1770). Giovanni Battista Pittoni was already successful at a young age and soon lead his own workshop. He created large-scale hitoria paintings, as well as large, religious altarpieces. In addition to Venetian and Upper Italian patrons, Pittoni also had many interested parties from Europe. His work is accordingly scattered in many different museums and private collections today. Pittoni - like other painter colleagues of his time - repeated his own compositions both by hand and with the help of his workshop. He repeatedly incorporated details into other pictures and contexts. Prof. Meyer zur Capellen noted the very good condition of the present work and the high quality of the paint with fine graduations and the vivid brushstrokes. Provenance: The panting has not been on the art market for at least 300 years. In the year 2000 the work was donated by the Münster-based, Noble Family Ketteler zu Harkotten to a private collection in Westphalia. Most probably the canon Nikolaus Hermann von Ketteler zu Harkotten bought the piece in Venice in 1750 together with the altarpiece of the Clemens Church in Münster. On the reverse of the work is a fideicommissum number by Ketteler zu Harkotten. As it belonged to the family commission, the painting was inalienable until 1919, when the corresponding law was repealed, and after that time it remained in the family's possession without interruption. Pittoni's only direct relationship to Münster is the commission for the high altar painting of the Baroque St. Clemens Church. It can be assumed that then canon von Ketteler saw this painting in the artist's workshop during his stay in Venice and acquired it for himself. This would also explain the discrepancy in dating. (ca. 1735/1750). However, it is also possible that the painting originated in the possession of Ferdinand von Plettenberg...