Jean-Gabriel Domergue

Le boa bleu by Jean Gabriel Domergue

1934

John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...

French Post-Impressionist painter Georges d’Espagnat captures a charming moment between a mother and her child in this vibrant oil on canvas. Rendered with a studied use of complementary colors and bold brushstrokes, the painting showcases the artist's unique Post-Impressionist style. Remembered as one of the most individualistic artists of the 20th century, his distinctive canvases bring together the loose brushwork of the Impressionists and the bold color palette favored by the Fauves. Together, they achieve a vibrant spontaneity that lends itself well to the carefree subjects of the present work. Masterfully composed, La lecture au jardin moves beyond the Impressionist instinct to capture a fleeting moment on canvas. Rather, d'Espagnat succeeds in creating a deep feeling of harmony in the work. Warm colors are perfectly balanced with cool tones, while vertical and horizontal lines are softened by the curves of the foliage and his subjects' figures. Through his simplification of forms and intentional use of color and line, he creates a scene that is carefully designed and thoroughly modern. A similar view of a mother and her child by d'Espagnat is currently in the collection of the Metropolitan Museum of Art (New York). The Post-Impressionist painter was an individualist since his youth, choosing to forgo traditional schooling in order to independently study the Old Masters in the Louvre. He soon became involved with the most prominent Impressionist and Post-Impressionist painters of the age, including Pierre-Auguste Renoir and Paul Signac, who themselves existed outside the traditional norms of French Academic training. In 1891, he exhibited at the Salon des Refusés, and again the following year at the Salon des Indépendants. By 1895, he held his first one-man show in Paris, and just three years later his success earned him a solo show at the prestigious Durand-Ruel Gallery. Between 1905 and 1910 he made several trips to visit Renoir on the Côte d’Azur. Their close friendship resulted in a group exhibition at Marcel Bernheim...

The greatest triumph of the artist’s career, this extraordinary and monumental oil on canvas by Gustave-Max Stevens perfectly represents the highly detailed compositions and richly h...

A Salvation Army Santa looks on with a mixture of fatigue and disinterest as a group of children tell him their Christmas gift wish lists in this lighthearted composition by leading American illustrator Leslie Thrasher. This painting was created for the December 20, 1930 issue of Liberty Magazine, for which the artist illustrated covers on a weekly basis for six consecutive years. Thrasher is known for his scenes of everyday American life imbued with a sense of humor, qualities represented to great effect in this charming painting. Born in 1889 in Piedmont, West Virginia, Thrasher studied at the Pennsylvania Academy of Fine Arts as a teenager and received a scholarship to study art abroad in Paris. Upon his return, he began studying under Howard Pyle, known as the “father of American illustration.” Thrasher sold his first cover illustration to the Saturday Evening Post in 1912, four years before Norman Rockwell’s first Post cover, and he would go on to produce over 360 magazine covers throughout his career. He painted humorous, relatable scenes of everyday life in America with colorful characters set against white backgrounds. He was also a successful commercial artist, painting advertisements for Cream of Wheat, Chesterfield Cigarettes...

Provenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to: Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to: The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by: John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to: The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015 Exhibited: Trianon Art Museum, Denver (until 2004) The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort. Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...

Mid-century female illustrator/artist Gladys Rockmore Davis paints a compelling portrait of a contemplative beauty who looks like Elizabeth Taylor. Frontal and lateral forces work together in this pyramidal composition. The sitter stares down at the viewer creating a frontal tension. Her hypnotic gaze is counterbalanced by the lateral movement of her crossed hands and triggers an emotional response. Gladys Rockmore Davis is both a work-for-hire illustrator and a fine artist- She was an illustrator for clients such as Upjohn, Munsingwear, Elgin Watches, and Johnson & Johnson. Davis had a show at the prestigious Midtown Gallery and Babcock Gallery in New York. She studied at the California School of Fine Arts, Art Institute of Chicago, and Art Students League. William R. French Gold Medal...

"Profile in Red" Figurative Oil Painting 16" x 26" inch by Ashraf Zamzami ABOUT Ashraf El Zamzami was a graduate of the Academy of Fine Arts in Minya, and he fast made a name for h...

"Pierrot and the Butterfly" is an early 20th century Impressionist oil portrait. The painting is indistinctly signed lower right and m...