Items Similar to Untitled (portrait)
Want more images or videos?
Request additional images or videos from the seller
Stanley CosgroveUntitled (portrait)
About the Item
Stanley Cosgrove, 1911-2002, Canadian
UNTITLED
Oil on canvas panel
12 x 10 in
30 x 25,5 cm
Signed lower left
framed
Stanley Cosgrove Biography
(1911 - 2002) Canadian Group of Painters, RCA
Born in Montreal, Quebec, he studied art at the Ecole des Beaus-Arts, Montreal, at the age of 26 and afterwards at the Art Association of Montreal where he took figure painting under Edwin Holgate. He enjoyed the rare honour of being invited to exhibit, while still a student, at the Provincial Museum of Quebec in 1939. About this time he was following the work of French painters like Braque and Rouault. He received a scholarship from the Province of Quebec in the earlier part of the year and had the intention of studying in France for four years but the outbreak of the Second World War forced him to change his plans. He was allowed to study on the American continent and he chose New York. Cosgrove arrived in New York with his wife but after two months found it unsatisfactory and finally went to Mexico.
In Mexico he became interested in fresco painting and approached Jose Clemente Orozco through teacher friends. Orozco who had just begun a fresco for the Hospital Jesus de Nazareno in the heart of Mexico City agreed to let him help with parts of the work. Cosgrove arrived each morning at six a.m. To help mix mortar, prepare plaster, and work at everything from cleaning brushed to sweeping floors. On the fresco itself, Cosgrove was allowed to apply flat colours of the background and sketch in the principle points like head, hands and feet, enlarging from Orozco's original sketch.
Orozco himself had learned fresco painting from Italian encyclopedias and advised Cosgrove to go to the Italians for further knowledge of his medium. Cosgrove stayed with Orozco until the completion of the fresco. It was from working with Orozco that Cosgrove felt a new assurance and directness not experiences in his previous work. During his four years in Mexico he also did still lifes, landscapes, street and market scenes.
On his return to Canada in 1944 he concentrated for a time on still lifes, using colours, sometimes with distorted forms and sometimes more representational, showing traces of Braque. Some of his portraits had the characteristic outlines, particularly in the face, of work by Rouault proving highly effective. In 1953, Cosgrove was awarded a Government fellowship to study in France.
Paul Duval in his “Canadian Drawings and Prints” ranked Cosgrove among the gifted of Canadian draughtsmen and used two examples of his drawing for illustration. Dorothy Pfeiffer in a review o Cosgrove's 1961 exhibition at the Dominion Gallery, Montreal, stated, “...The salient qualities of Cosgrove's fresco-like paintings of woody landscapes, still life, portraits and figures studies...would appear to lie in their combined purity and certainty of expression; in their unusual transparency and depth of colour and texture; as well as in a certain mystical sense of detachment from the hurly-burly of everyday life...” His work was also exhibited at the Continental Galleries in Montreal and the Laing Galleries in Toronto.
He was active about 1953 in the field of textile designing, working with a group of artists which included Robert Lapalme, Paul-Emile Borduas, Maurice Raymond and F.C.A. Sullivan. He had also worked for a wider interest in modern fresco painting in Canada, particularly in churches, and he conducted classes in this medium at the Ecole des Beaux Arts. He completes a fresco for the entrance of the philosophy and science wing of the College de Saint Laurent near Montreal.
He is represented in the collections of the Art Gallery of Ontario; Hart House, University of Toronto; the Vancouver Art Gallery and the National Gallery of Canada. He was a member of the Canadian Group of Painters, Royal Canadian Academy (ARCA 1951) and lived in Montreal where he continued to teach at the Ecole des Beaux Arts.
Source: "A Dictionary of Canadian Artists, Volume I: A-F", compiled by Colin S. MacDonald, Canadian Paperbacks Publishing Ltd, Ottawa, 1977
- Creator:Stanley Cosgrove (1911 - 2002, Canadian)
- Dimensions:Height: 12 in (30.48 cm)Width: 10 in (25.4 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Westmount, CA
- Reference Number:1stDibs: LU1900212422712
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
1stDibs seller since 2022
7 sales on 1stDibs
Typical response time: <1 hour
- ShippingRetrieving quote...Ships From: Westmount, Canada
- Return PolicyA return for this item may be initiated within 14 days of delivery.
More From This SellerView All
- Young womanBy Stanley CosgroveLocated in Westmount, QCStanley Cosgrove, 1911-2002, Canadian Oil on canvas 16 x 12 in Signed lower right PROVENANCE Dominion Gallery, Montreal framed Stanley Cosgrove Biography (1911 - 2002) Canadian Group of Painters, RCA Born in Montreal, Quebec, he studied art at the Ecole des Beaus-Arts, Montreal, at the age of 26 and afterwards at the Art Association of Montreal where he took figure painting under Edwin Holgate...Category
1980s Portrait Paintings
MaterialsOil
- MontrealLocated in Westmount, QCSerge Brunoni, Canadian, 1938-2020 Montreal Oil on canvas 12x16in Signed on the lower left: S. Brunoni; Signed and titled on the reverse framedCategory
1980s Landscape Paintings
MaterialsOil
- Lake in Saguenay, QuebecLocated in Westmount, QCLorne Bouchard, Canadian, 1913-1978 Lake in Saguenay, Quebec Oil on board 12 x 16 in signed lower left framed Lorne Bouchard Biography (1913 - 1978) RCA Born in Montreal, he studied at the Barnes School of Art. He was encouraged by Clarence Gagnon...Category
1960s Landscape Paintings
MaterialsOil
- Vernon, BCLocated in Westmount, QCRobert Genn, 1936-2014, Canadian Vernon, BC, 1970 Oil on board 8 x 10 in 20 x 25 cm signed and titled verso;Category
1980s Still-life Paintings
MaterialsOil
- Montreal winterBy Armand TatossianLocated in Westmount, QCArmand Tatossian, Canadian, 1948 – 2012 Montreal winter Oil on canvas 20 x 24 in Signed lower right; signed and titled verso framed (new gallery frame, black matte finish, float mount)Category
1970s Landscape Paintings
MaterialsOil
- Coteaux vêtus d'ocreBy Claude Le SauteurLocated in Westmount, QCClaude Le Sauteur, Canadian, 1926-2007 Coteaux vêtus d'ocre, 1979 Oil on canvas 10 x 12 in Signed and dated lower right; signed, dated, and titled versoCategory
1980s Landscape Paintings
MaterialsOil
You May Also Like
- Island of Broken Toys (diptych)Located in Burlingame, CA'Island of Broken Toys' 2019, a diptych contemporary oil on canvas painting by Tamera Avery, whose paintings are created with wit and wisdom. Avery's work...Category
21st Century and Contemporary Contemporary Portrait Paintings
MaterialsCotton Canvas, Oil
- Oil Painting / Photorealism / Figurative Art / Human Figure /MuseumBy Bruce AdamsLocated in Buffalo, NYBruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...Category
1980s Contemporary Figurative Paintings
MaterialsCanvas, Oil
- Madonna and Child with Angels in the CloudsLocated in New York, NYProvenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to: Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to: The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by: John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to: The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015 Exhibited: Trianon Art Museum, Denver (until 2004) The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort. Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...Category
18th Century and Earlier Figurative Paintings
MaterialsCanvas, Oil
- Portrait of Laura Keppel, later Lady SouthamptonBy Sir John HoppnerLocated in New York, NYInscribed, upper left: “Miss Laura Keppel” Provenance: Commissioned from the artist and by descent in the Keppel family estate, Lexham Hall, Norfolk, to: Major Bertram William Arnol...Category
18th Century Paintings
MaterialsCanvas, Oil
- Portrait of a Lady with a ChiqueadorLocated in New York, NYProvenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...Category
17th Century Old Masters Paintings
MaterialsCanvas, Oil
- Men portraitBy Giovanni Maria delle Piane dit Mulinaretto (Genoa 1670 - Monticelli d´Ongina 1745)Located in BELEYMAS, FRGiovanni Maria DELLE PIANE, known as IL MULINARETTO (Genoa, 1660 – Monticelli d'Ongina, 1745) Portrait of a man Oil on oval canvas H. 108 cm; L. 83 cm Provenance: Nino Ferrari Colle...Category
1730s Italian School Figurative Paintings
MaterialsCanvas, Oil
Recently Viewed
View AllMore Ways To Browse
Blindness Javier Martin
Boleslaw Von Szankowski
Calmady Children
Carlton Alfred Smith
Chanukah Menorah
Cordelia Ring
Daniel Bilmes
David Anthony Tauszky
David Pallock
Dibble Garden
Doris Rohr
Douglas Swainson
Dupont Gainsborough
Easter Bunny Bugs
Edgar Monk
Fernando Ramos Prida
Frosty The Snowman Vintage
Gregorio Fur