After Sir Peter Lely

Portrait of a Lady, After Sir Peter Lely (1610-1680) Oil Painting

1670

A Wonderful Oil on canvas by Andrei Belichenko & Maria Boohityarova. Two excellent Russian artists who have been exhibiting in France, their works are centred around exquisite detail...

Oil Painting Portrait of John Campbell, 4th Duke of Argyll,, att to John Vanderbank (1694-1739) Housed in a swept frame which has been restored after photo. Canvas Size 50" x 40", Fr...

Oil on Canvas "The girl in the Red Dress" by W Frank Calderon, RA (no58) Exhibit 1911. Calderon was influenced by the "Art Nouveau"period, this painting shows his beautiful detailed...

Nude with Silks by Andre Belichenko ( Russian) Andrei Belichenko was born in 1974 in Karaganda, Kazakhstan. He is a graduate of the Republican Art Schoo (1990). Andrei studied in t...

Oil on canvas Shooting by the woods by Chapman Bayley (1818-1832) Early 19th Century gent standing by the woods with his two dogs shooting. Signed by the artist in original frame. Ch...

Acrylic on Canvas by P.J.Crook titled 'The Swimming Pool' with the frame painted as part of the picture as well. PJ Crook lives and works in Gloucestershire ...

Provenance: with Leo Blumenreich and Julius Böhler, Munich, 1924 Dr. Frederic Goldstein Oppenheimer (1881-1963), San Antonio, Texas; by whom given to: Abraham M. Adler, New York, un...

This replica of the last self-portrait of Jean-Baptiste Greuze painted in 1804, executed by his daughter Anna at her father's side and recently rediscovered, provides us with a poignant image of the great artist, represented with panache despite the disillusions of life. 1. Jean-Baptiste Greuze Jean-Baptiste Greuze was the sixth child of a roofer from Tournus and retained a certain rusticity in his behaviour from his provincial childhood, beyond his taste for describing picturesque scenes of the countryside. He initially started training with a little-known painter from Lyon, Charles Grandon, before his genius was recognised in Paris where he became a full-time student of the Académie (of Painting) in 1755. He exhibited his work for the first time at the Salon during the summer of 1755, before leaving on a trip to Italy in the company of Louis Gougenot, abbot of Chezal-Benoît. Upon his return to Paris, Greuze became a prolific painter, participating widely in the Salons held between 1759 and 1765, to which he sent no less than 63 paintings: numerous genre scenes (The Marriage Contract, The Beloved Mother), but also portraits of his family circle, of courtiers and art lovers, or of his colleagues. The Academy closed the doors of the Salons to him in 1767 for not having produced his reception piece within six months of his reception, as was the tradition. He worked actively on this painting (Emperor Severus rebukes Caracalla, his son, for trying to assassinate him ) until the summer of 1769, tackling historical and mythological subjects for the first time. Once this was completed, he was then fully admitted to the Academy, but as a genre painter, and not as an historical painter, which had been one of the greatest humiliations of his life. Greuze then refused any participation in events organised by the Academy or its successor, the Academy of Fine Arts until 1800. Abandoning history painting, he gave a new twist to genre scenes, bringing them closer to history painting, as in this pair of canvases which constitutes some of his masterpieces: The Paternal Curse: The Ungrateful Son and The Paternal Curse: The Punished Son . Married in 1759 to Anne-Gabrielle Babuti, the daughter of a Parisian bookseller, his marriage was unhappy and his wife probably frequently unfaithful. The institution of divorce enabled him to record their separation in 1793, keeping his two daughters Anna-Geneviève, born in April 1762, and Louise-Gabrielle, born in May 1764, with him. Little is known about his daughter Anna except that she was herself a painter and lived with her father until his death. It is likely that most of the paintings she produced up to that date were attributed to her father, whose technique she shared to a great extent, making it extremely difficult to establish an autonomous corpus of her paintings. Greuze died in his studio at the Louvre on March 21st 1805. The attention paid to the expressivity of his characters and the emotional charge they convey enabled Jean-Baptiste Greuze to enjoy immense popularity with the eighteenth-century public, and they still constitute Greuze's true modernity. As the artist said, "I dipped my brush in my heart". Greuze was also an exceptional draughtsman and a portraitist of immense talent and exceptional longevity who painted both the Dauphin (the son of Louis XV and father to Louis XVI) and the young Napoleon Bonaparte. 2. Greuze's self-portraits Greuze was very much influenced by Dutch paintings during all his life. While the source of his inspiration for genre scenes can be found in Gerard Dou...

Giovan Battista Beinaschi (Fossano, 1636 - Naples 1688) Saint Bartholomew Oil on canvas, cm. 96 x 71,5 – with frame cm. 108 x 86 Shaped and gilded ...

Pietro Bardellino (Naples, 1731 – Naples, 1806) Mary Magdalene Oil on canvas, cm. 75 x 60 – with frame cm. 97 x 82 Antique shaped and carved wooden frame Publications: unpublished T...

“Timete Deum et date Illi honorem quia venit hora iudicii Eius” (Fear the Lord and honour Him, for the hour of His judgement has come): the passage from John's Apocalypse (chapter 14...

Giuseppe Assereto (Genova - 1626 ca – Genova 1656/57) Portrait of an elderly woman, possible portrait of Maddalena Massone, wife of Gioacchino Assereto Oil on canvas, cm. 65,5 x 51,5...