Amy Bernays

Winston Eating A Stick, Drawing, Pastels on Paper

2011

"A well spent day brings happy sleep." "” Leonardo da Vinci I really enjoy the freedom working with soft pastels brings. Their very nature, ie a blunt stick, dictates that you should use them as such, so I make sure that I work standing at the easel, stepping back frequently to ensure that I keep the liveliness of the lines interesting, and not getting too precious about any attempts at 'perfection' of the form. If I find myself tightening up too much, I can always take a look at some Degas...

Lost and Found Again It has been a while since I wandered through the Hatert Meres (Hatertse Vennen). In 2014 to be precise. Hatert Meres 09 (2014) was my last pastel of that series...

Rotterdam Revisited After my last drawing of Rotterdam (Het Depot - 15-03-21) I thought it was time to do another drawing. I had something vague in mind: something impressionistic a...

Eldorado This nude pastel drawing in the Golden series resembles a previous pastel 'Nude - 02-02-19' a bit. However, I put the stress on skin hues in order to stay in line with the ...

Siebe Johannes ten Cate (1858-1908) A Dune Landscape Signed lower right Pastel on paper 25.5 x 39.5 cm in good condition, very fresh, traces of pinholes in the upper corners barely...

Clouds over horizon

Signed pastel on grey paper circa 1860 by Eugene Boudin. The piece is a study of clouds in a blue sky. Signature: Signed with the cachet of the artist's estate lower right Dimensio...

Signed impressionist figurative pastel on board circa 1895 by sought after French impressionist painter Jean Louis Forain. The piece depicts a man asleep in a bed while a woman stands at the foot of the bed getting dressed. The room is dimly lit by the bedside lamp. Signature: Signed upper right Dimensions: Framed: 22"x26" Unframed: 15"x19" Provenance: Galerie Jean-Claude Bellier Jean Forain was the son of a painter and decorator and was apprenticed to a visiting card engraver. He studied briefly under Gérôme and Carpeaux at the École des Beaux-Arts in Paris and regularly visited the Louvre, where he copied works by the masters. It is said that for a time he made a precarious living by selling small drawings in the style of Grévin. He went on to collaborate on various publications as a draughtsman and columnist, starting in 1876 on La Cravache and then collaborating on the newspapers Le Journal Amusant, Le Figaro and L'Écho de Paris. This introduced him to the diverse worlds of Paris society - the world of the theatre, of shows, and of literature - where he wryly noted the habits and shortcomings particular to each. This led him to follow a route very characteristic of this period, already seen in the work of Steinlen, Caran d'Ache and Toulouse-Lautrec in the journals La Pléiade, La Vogue and La Revue Blanche. His work draws a picture of the society of the period, not in a strictly imitative fashion but in the form of the 'dessin-charge' or mild caricature. In 1880 he illustrated Parisian Sketches...