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Tony MinartzL'Avant-Foyer de l'Opera /// French Impressionist Etching Figurative Lady Man1903
1903
About the Item
Artist: Tony Minartz (French, 1873-1944)
Title: "L'Avant-Foyer de l'Opera"
Portfolio: Revue de l'Art Ancien & Moderne
*Issued unsigned
Year: 1903
Medium: Original Etching on cream laid paper
Limited edition: Unknown
Printer: Unknown
Publisher: Revue de l'Art Ancien & Moderne, Paris, France
Framing: Not framed, but matted with 100% cotton rag matting from Holland, gold filet from Italy, and foam board backing. All archival
Matted size: 17" x 14.5"
Sheet size: 12" x 9"
Image size: 9" x 7.25"
Condition: In excellent condition
Notes:
Printed in one color: bistre.
This review was founded in 1897 in the continuity of the review Les Beaux-Arts published between 1861 and 1865; Jules Comte, the founder, entitled his first issue Les Beaux-Arts - Revue nouvelle then changed the title to La Revue de l'art ancien et moderne. Jules Comte directed the review until his death in 1912. Raymond Woog took over , who was provisional director until the start of the war in July 1914. In 1919, André Dezarrois took over this review and was its director until December 1937, date of last issue (published in January 1938). In the meantime, it publishes the Bulletin of ancient and modern art, which has gained a certain notoriety in the community.
Biography:
Tony Minartz, pseudonym of Antoine Guillaume, born 8 April 1873 to Cannes and died in that city on 13 December 1944 Is a painter, draftsman , illustrator and engraver French.
Painter autodidact , Tony Minartz starts to become known in 1896 by exhibiting paintings at the Salon of the National Society of Fine Arts , and then decorates the Pompadour theater of painted panels for fashion shows " Grand Guignol ", directed by L. Darthenay. In 1903, Henri Béraldi , with whom he worked, praised him in The Journal of ancient and modern art, writing that "it was thirty years ago," and he has received advice from Paul Renouard to be formed the technique of etching ; Béraldi adds that his favorite subjects are "Paris at night Paris at night, always." Minartz also gives them some high-remarkable in The Journal of ancient and modern art until 1910: balls, cafe concerts, Parisian in their most beautiful dresses, but also music-halls, music halls, restaurants, large and small theaters, are the preferred settings of his compositions.
Its fertile period seems to end in 1914. In addition to the National Salon, Minartz exhibited in Paris at the gallery Bartholomew (1903), the Independent Living (1905, 1906) and the gallery Devambez (1909) and received the Academic Palms . He occasionally collaborates with periodic illustrated as The Almanac Sports (Ollendorff, 1899), or satirical as Gil Blas and L'Assiette au beurre . It also shows some sheet music and a number of books bibliophile.
During the years 1900 and 1910, he worked for the couturier Jacques Doucet , running designs, elegant watercolors and parades. During the Belle Époque, an attentive witness of Montmartre , he resides in Paris at 37 rue Fontaine . He participated in 1918 in an exhibition for the benefit of works of war and seems to permanently retire to Cannes to devote himself to painting.
- Creator:Tony Minartz (1873 - 1944, French)
- Creation Year:1903
- Dimensions:Height: 17 in (43.18 cm)Width: 14.5 in (36.83 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Saint Augustine, FL
- Reference Number:1stDibs: LU12121238913
Tony Minartz
Antoine Guillaume (Tony) Minartz (1870-1944) was a self-taught painter. He created a significant body of work, particularly of skilfully rendered sketches and watercolours, which may be divided into two main series: Parisian life and society, and landscapes of the Côte-d’Azur. On the Côte-d’Azur, his sketches trace an itinerary between St-Tropez and Cannes, by way of Nice and Monaco, and extending even to Venice. He depicted ports crowded with yachts and other boats, the beaches and their pleasant bustle. The Parisian subjects mostly date from pre-WWI, while the post-WWI subjects tend to be of fashionable life on the Côte d’Azur. He was most known for his interpretations of Parisian life, of the Belle Époque through to the excesses of the 1930s. He illustrated the vicissitudes of society life, and was a faithful chronicler of its parties, the casino, cabaret, circus shows and their backstage goings-on, the music-hall, the Opéra and its ballets. He showed in collective exhibitions from 1896 to 1914, most notably at the Salon de la Société Nationale des Beaux-Arts, of which he became an associate member in 1901.
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