Adolphe Monticelli

Fete Gallant

19th Century

Maurice Valadon ( Utrillo ) 1883 -1955, was a French painter who was born in the Parisienne quarter of Montmartre and is one of the very few French impressionist painters to have been born there. His mother was Suzanne Valadon and she was also a very well known French painter who was a model for Renoir, Toulouse-Lautrec, Degas and many others, she bore her son Maurice but the father was never acknowledged and consequently a friend Miquel Utrillo adopted the boy and gave him his name stating that he would be glad to put his name to the work of either Renoir or Degas, however it is well known Utrillo was not the true paternal party. Maurice was effectively taught by his mother to paint and she was self taught, having sat for some of the greatest impressionist painters of the time, where the son and mother differed was on the subject , he predominantly painted suburban and city scenes from plein air and sometimes from memory also painting pictures from the view from his window. His style and manner was maintained throughout his career, however he suffered from regular mental disturbance and eventually in the mid 1930's he moved with his wife to Le Vesinet which is just outside Paris where he effectively retired. There is an abundance of biographical detail to be found on the internet and it would do a great injustice here to the artist to attempt his biography. This painting contains various mannerisms and hidden information which we are given to understand confirms this painting to be by Utrillo himself, however without a clear and decisive signature we have listed it as ' attributed ', which we are certain to prove to be Utrillo himself, the work is monogrammed 'V' which is further the identification of this work, we believe the 'V' stands for Valadon, he signed his works Maurice Utrillo V...

In the manner of Jean-Francoise Milet, 1814-1875, was a French artist, and one of the founders of the Barbizon School of painters. Milet influenced a great many painters throughout ...

Thomas Creswick R.A. 1811 - 1869, was an English landscape painter and illustrator. Creswick was one of the leading members of the Birmingham School of landscape painters and exhibit...

John Philip 1817 -1857, was a Scottish painter born into a poor impoverished background but was identified for his artistic abilities and sponsored by Lord Panmure the Earl of Dalhou...

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...

This pastoral scene depicts an outdoor French garden party set within a lush wooded landscape, featuring figures in 18th-century dress engaged in bacchanalian social activities. Uns...

A vibrant and characterful impressionist scene in oil, showing two pretty young girls in party dresses, one holding a fan, whispering to each other a...

Courtiers Party in the Park in 18th Century In the Taste of Nicolas Lancret (1690-1743) Oil on canvas Frame gilded with leaves Dim canvas : 73 X 59 cm Dim frame : 100 X 87 cm