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Shelli Langdale"My Only Grey... Please Stay" Oil Painting

About the Item
Shell Langdale's (US based) "My Only Grey... Please Stay" is an oil painting that depicts a black horse figurine seeming to fade with every step it takes into the pastel pink and blue background.
Currently residing in Chattanooga, TN USA, Shelli Langdale received a Bachelor of Science in Computer Science from the University of Alabama in Huntsville in 2001. She was employed as a wide-area network engineer for NASA upon graduation but shortly resigned from her position to race motorcycles at club-level while living in Atlanta, GA. A perennial autodidact, it was in Atlanta that she taught herself web design and development and continued in this field until 2013. The death of her uncle and a duty of care to an aging and morbid family member brought her to the canvas full time in 2014. Shelli began exploring personal narratives in her paintings that celebrated the ephemerality of relationships.
Shelli has had two publications, and her works have appeared in several group exhibitions.
- Creator:
- Dimensions:Height: 8 in (20.32 cm)Width: 10 in (25.4 cm)
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- Gallery Location:Denver, CO
- Reference Number:1stDibs: LU130826698472
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- Bernard-Ed. Swebach (1800-1870) - Squire training the horse of King Louis XVIIILocated in BELEYMAS, FRBernard-Edouard SWEBACH (Paris 1800 – Versailles 1870) Squire training the horse of King Louis XVIII Oil on canvas H. 24.5 cm; L. 33 cm Signed and dated lower left, 1819 Origin : – Office of Mr. de Villers – Sale of June 19, 1992, Drouot, Couturier-de Nicolaÿ study, catalog No. 68 – Price excluding fees: 225,000 Francs, the equivalent of €34,300 excluding fees – Mark Brady Gallery, New York – American private collection Sometimes reduced to a simple imitator of his father Jacques-François Swebach-Desfontaines (1769-1823), Bernard-Edouard demonstrates an astonishing artistic maturity in this true little masterpiece produced at only 19 years old. Even if his name has remained quite famous among lovers of old painting, few biographical elements are known to us. Le Bénézit specifies that Bernard-Edouard entered the Beaux-Arts in Paris on February 28, 1814, but without indicating in the studio of which master; his true mentor remaining his father, both from a technical point of view and for the inspiration of the subjects treated: horses, hunting scenes, stables... When in 1815 the father was called by Tsar Alexander 1st to direct the manufacture of St. Petersburg porcelain, the son accompanies him; however, this Russian stay, which lasted until 1820, was interrupted by frequent returns to Paris, as evidenced by our painting dated 1819 and executed in France, and another (representing a battle of oriental horsemen) from the same year. Note that these two paintings are signed "Ed. Swebach", thus avoiding any confusion with the father and a sign of an already asserted artistic personality, while later works will simply be signed "Swebach", i.e. to indicate a two-handed realization. , or to maintain some ambiguity as to the author. Bernard-Edouard, while in Russia he had already enjoyed an excellent reputation since 1820, made himself known to the French public on the occasion of his first participation in the Salon in 1822; he will exhibit there, irregularly, several paintings until 1838. He also had a fairly important activity as an engraver and lithographer: for example the Disagreements of the hunt with hounds, a series of 12 plates published in Brussels in 1840, La Chasse au cerf, another series of 12 plates, a series on the Revolution of July 1830... Swebach owned a country residence in Aulnay where he regularly received friends. He ended his life in Versailles, dying at n° 84, rue Royale, in the presence of his wife Jeanne-Julie d'Astier, whom he had married in 1850. As we have mentioned, art historians or critics of the time (such as Augustin Jal) did not fail to underline the stylistic proximity to his father; yet Bernard-Edouard represents rather a mix between Carle Vernet and the English equestrian painters of the time, while his father is more a synthesis between a 17th century Dutch side (Wouwermans, Berchem…) and contemporary artists like Demarne or Taunay. In our painting there is even a romantic and somewhat fiery side that we find in works of the same period by Géricault or Horace Vernet, and which will not necessarily be present in his later creations. Our painting illustrates the young Swebach's closeness to royal power; this will be confirmed for example by the painting of the Salon of 1824, which represents a horse race where the royal prize is awarded by Louis XVIII. The subject is therefore that of a squire from the Maison du Roi mastering Louis XVIII's own horse, as indicated by the handwritten inscription on the frame, the scene probably taking place in Versailles, in view of the landscape, and not in the Parisian stables of the King, place du Carrousel. The school of Versailles, made up of the Grande and the Petite Écurie, had closed in 1810 and was reopened in 1814 by the Grand Ecuyer of France, the Vicomte d'Abzac (1744-1827). Beyond the teaching of riding to the military nobility, the Stables housed the King's war and hunting horses, which were trained and ridden there. The squire represented here is very probably the young Antoine Cartier, Viscount of Aure (1799, Toulouse – 1863, Saint-Cloud). A former student of the Prytanée de La Flèche, then a graduate of the military school of Saint-Cyr in 1815, Aure joined the King's bodyguards in Versailles in 1816, then followed an instruction course at the Grande Écurie. 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