Le Souper en Famille - Impressionist Oil, Figures in Interior by Edouard Cortes
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Édouard Leon CortèsLe Souper en Famille - Impressionist Oil, Figures in Interior by Edouard Cortes1910
1910
About the Item
- Creator:Édouard Leon Cortès (1882 - 1969, French)
- Creation Year:1910
- Dimensions:Height: 32 in (81.28 cm)Width: 26 in (66.04 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good condition.
- Gallery Location:Marlow, GB
- Reference Number:Seller: LFA1stDibs: LU41539609322
Édouard Leon Cortès
Édouard Leon Cortès is widely known for his Impressionistic renderings of Parisian promenades and rustic French hamlets. The son and pupil of Spanish painter Antonio Cortès, his influences included Barbizon painters Constant Troyon and Henri Harpignies.
Establishing a name for himself early on in his long career, Cortès first exhibited a painting he called La Labour at the Société des Artistes Français when he was still in his late teens. He found success among art critics as well as the public and earned renown in France. Cortès went on to study at École des Beaux-Arts.
As World War I gained steam, Cortès willingly joined the French military effort even though he was a pacifist. The artist spent time sketching enemy positions on the front lines, and this may have deepened his anti-war resolve. When he was able to return to his easel, Cortès desired solely to paint peaceful scenes of France’s capital city.
Later, during World War II, Cortès and his family spent time in Normandy to escape the horrors of the conflict. When asked about his depictions of horse-drawn carriages in the streets of Paris as well as outdated fashions — dresses and other garments that bore the hallmarks of pre-1930s fashion design, for example — he cited a fantasy he had about being able to “stop time” so that the Second World War wouldn’t have taken place.
A humble man, Cortès refused interviews and preferred anonymity. He remarked that his oil paintings, pastels and watercolors should speak for themselves. Cortès was prolific — he painted the streets of Paris and its well-known landmarks as well as majestic landscapes, interiors, boats and scenes that unfolded at Parisian harbors. Ten years after his death in 1969, the city of Lagny — where Cortès had spent most of his life — named a street in his honor.
On 1stDibs, find a collection of original Édouard Leon Cortès paintings.
- Early Evening - Brittany - Impressionist Interior Oil Painting by Edouard CortesBy Édouard Leon CortèsLocated in Marlow, BuckinghamshireSigned figures in interior oil on canvas circa 1925 by sought after French impressionist painter Edouard Leon Cortes. This charming and nostalgic work depicts a family in a typical B...Category
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- A Breton Interior - Impressionist Interior Oil Painting by Edouard CortesBy Édouard Leon CortèsLocated in Marlow, BuckinghamshireSigned figures in interior oil on canvas circa 1910 by sought after French impressionist painter Edouard Leon Cortes. This charming and nostalgic work depicts a family enjoying dinne...Category
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- Old Men with Kittens - Impressionist Oil, Figures in Interior by J F RaffaelliBy Jean-Francois RaffaelliLocated in Marlow, BuckinghamshireA wonderful oil on panel by French impressionist painter Jean-Francois Raffaelli depicting two old men seated in an interior. One is reading his paper as the other naps and there are several kittens on the floor. Painted in the artist's distinctive style. The work is accompanied by a certificate from Brame & Lorenceau and is included in the catalogue raisonne of the painter. Signature: Signed lower left Dimensions: Framed: 9.5"x8" Unframed: 5.5"x4" Provenance: Private collection - United States Original artists label verso Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. 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