Jules Marie Auguste Leroux

Une Ballerine - Realist Figurative Oil Painting by Auguste Leroux

c.1930

Signed figurative pastel on canvas circa 1910 by French genre painter Pierre Carrier-Belleuse. The work depicts three ballerinas wearing white tutus, warming up in a studio. Carrier-Belleuse was a contemporary of Edgar Degas and they exhibited simultaneously at the major Salons in Paris. This classic example evokes the Belle Epoque period in french history and is superbly executed. Signature: Signed lower right Dimensions: Framed: 29"x24" Unframed: 26"x21" Provenance: Private French collection Pierre Carrier-Belleuse studied at the École des Beaux-Arts in Paris under Alexandre Cabanel and the interior decorative artist Pierre Victor Galland. He started out as an oil painter and produced genre compositions, such as his Final Rendezvous. From 1885, however, he opted to work exclusively in pastel, producing a large number of sketches and portraits but always remaining faithful to his earlier genre compositions. Examples include Pierrot, Harlequin, Woman with Cat. The periodical Figaro Illustré published a large number of his sketches of dancers, a recurrent theme throughout his work. From 1875, Pierre Carrier-Belleuse exhibited frequently at the Paris Salon, receiving an honourable mention in 1887 and being awarded a silver medal at the Exposition Universelle of 1889. Museum and Gallery Holdings: Dunkirk: Dancer Adjusting her Shoe (pastel) Gray: On the Dunes; In the Sun La Rochelle: Dancer Le Puy-en-Velay: Fantasy Mulhouse: Mule's Bonnet Paris (Municipal Collection): Tender Vow (pastel) Versailles...

Signed symbolist oil on panel circa 1910 by French Les Nabis painter Ker-Xavier Roussel. This beautiful painting depicts nudes and figures dressed in robes in a wooded landscape. Signature: Signed lower left Dimensions: Framed: 31"x40" Unframed: 23"x32" Provenance: JPL Fine Arts - London c. 1985 Ker-Xavier Roussel met Édouard Vuillard at the Lycée Condorcet, which they both attended. Together they visited Eugène Ulysse Napoléon Maillard's studio, where Roussel became acquainted with Charles Cottet, going on to study at the Académie Julian under Bouguereau and Jules Lefebvre. There, he became interested in the Synthetism promoted by Sérusier, following Sérusier's heeding of the line Gauguin had adopted in Pont-Aven. He joined the Nabis group. He and his friends form a link between the Impressionists - he knew Cézanne, Degas, Renoir and Monet - and the Fauves and Cubists. In his earliest paintings, Roussel adopted a dark palette for Realist still-lifes. Later, his work bore the influence of Gauguin, Sérusier, the Nabis and Cézanne, in Intimist scenes painted in flat tints not yet clearly delineated. Their dull, saturated tones are reminiscent of Cézanne. In about 1900 he started painting mythological scenes full of nymphs and fauns and set in his home region of Île-de-France. After a bicycle trip in Provence with Maurice Denis, during which he met Cézanne, he lightened his palette, much taken by the cloudless skies below which he would now set the mythological and idyllic compositions which link him to Poussin and Corot. This wondrous, unreal world found its way into large-scale works, including the stage curtain of the Champs-Élysées theatre in 1913, a large Pax Nutrix for the Palais des Nations in Geneva and Dance for the Palais de Chaillot in 1937. He is best remembered for: Silenius' Triumph, Polyphemus, Diana, The Abduction of the Daughters of Leucippus. The nymphs and fauns of a mythology quite his own appear in clearings and woods from the outskirts of Paris, but the sun they rejoice in is Mediterranean. To capture the vibration of bright colours under a permanent sun, he later turned to pastels. He was more a Symbolist than a Nabi and signed himself K.-X. Roussel. He also produced lithographs. He took part in exhibitions from 1891 with the Groupe des Vingt at le Barc de Bouteville's gallery in Brussels. Then he exhibited in Revue Blanche Painters ( Les Peintres de la revue blanche) in Paris; with the Nabis at Café Volponi in Paris; before World War I with Free Aesthetics in Brussels; from 1901 at the Salon des Indépendants and the Salon d'Automne; in the 1930s in Revue Blanche Painters ( Les Peintres de la Revue blanche) hosted in Paris by designer Bolette Natanson, the daughter of the Revue Blanche's owner. He took part in The Masters of Contemporary Art ( Les Maîtres de l'art contemporain) at the Musée du Petit Palais in Paris, and at the 1938 Venice Biennale and 1939 New York World Fair. He featured posthumously in Toulouse-Lautrec and the Nabis ( Toulouse-Lautrec et les Nabis) at Bern Kunsthalle; From the Revue Blanche ( Autour de la revue blanche) in the Galerie Maeght, Paris, and in Tokyo and Brussels. He had one-man shows in Paris before his death in 1944. Retrospectives were mounted in the 1960s in London and Bremen. Museum and Gallery Holdings: Geneva (Petit Palais): Haystacks on the Seaside Paris (BNF): Training the Dog; Landscapes (engraving); Nymph and Faun (c. 1895, etching) Paris (Louvre): Poject for a Screen (drawing) Paris (MNAM-CCI): The Road (c. 1905); The Cyclops (1908); Venus and Cupid on the Seafront (1908); The Abduction of Leucippus' Daughters (1911); Pastorale (1920); Diana at Rest (1923); Portrait of Vuillard (1934) Paris (Mus. d'Orsay): The Gate (pastel); Woman in Profile with Green Hat; In Bed; Félix Valloton...

Atmospheric ballerina impressionist oil painting on canvas by French artist Georges-Pierre Guinegault. It's a delightful Art Deco rendition of a ballerina lacing her pointes from a ...

Artist: Artyom Abrahamyan, Work: Original Oil Painting, Handmade artwork, One of a Kind Medium: Oil on Canvas Year: 2024 Style: Impressionism, Title: Ballerina, Size: 27.5 x 35.5...