Jacques Emile Blanche Art
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Jeune Fille en Blanc - 19th Century Oil Painting Portrait of Young Paris Beauty
By Jacques Emile Blanche
Located in Gerrards Cross, GB
‘Jeune Fille en Blanc’ by Jacques-Émile Blanche (1861-1942).
The painting – which depicts one of the artist’s favourite models Wanda Zielinska – is signed and dated 1896. It is lis...
Category
Late 19th Century Impressionist Jacques Emile Blanche Art
Materials
Oil
Rue de village en Angleterre
By Jacques Emile Blanche
Located in Barbizon, FR
Provenance:
-Collection Anna de Noailles , then her descendants
-Collection Lesieutre, Sotheby's sale in June 2017, lot n°159
-Online Catalogue Raisoné reference n°RM694
A pupil of G...
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19th Century Barbizon School Jacques Emile Blanche Art
Materials
Oil, Wood Panel
Sunflower Floral Arrangement - French 1930's Art Deco flower oil painting
By Jacques Emile Blanche
Located in London, GB
This vibrant French Art Deco floral oil painting is by noted French artist Jacques Emile Blanche. Painted circa 1930, the palette is of wonderful tones of yellow and orange with spla...
Category
1930s Art Deco Jacques Emile Blanche Art
Materials
Oil
Floral Bouquet - French circa 1900 Impressionist art oil painting of flowers
By Jacques Emile Blanche
Located in London, GB
A beautiful floral oil painting by the French Impressionist artist Jacques-Emile Blanche. This stunning Impressionist painting, painted circa 1900 depicts a vast floral bouquet of wh...
Category
Early 1900s Impressionist Jacques Emile Blanche Art
Materials
Oil
Bathers on the Beach - Post Impressionist Landscape by Jacques-Emile Blanche
By Jacques Emile Blanche
Located in Marlow, Buckinghamshire
Signed post impressionist oil on canvas landscape by French painter Jacques-Emile Blanche. The work depicts crowds of people enjoying a day at Brighton beach on the south coast of England. Bathers are dotted across the sandy beach with the pier on the right hand of the scene and the Grand Hotel behind.
Signature:
Signed lower right
Dimensions:
Framed: 29.5"x47.5"
Unframed: 22.5"x39.5"
Provenance:
Private collection - Italy
This work will be included in the catalogue raisonne of the work of Jacques Emile Blanche currently under preparation by Dr Jane Roberts & Muriel Molines
Blanche received training from Gervex and Fernand Humbert. His grandfather was Émile Antoine Blanche, the psychiatrist who treated the poet Gérard de Nerval on several occasions. He was awarded a gold medal at the Exposition Universelle in Paris in 1900, and was a Commander of the Légion d'Honneur. He was well known in French and British artistic circles, and married the daughter of John Lemoine, the leader of the Diary of the Proceedings ( Journal des Débats), and author of the Life of Brummel. He exhibited his works in London and Paris.
Blanche had a wide circle of acquaintances, and the list of portraits which he executed is indicative of the diversity of those who used to meet at his home: Henri Bergson; Stéphane Mallarmé; Henry Bernstein (1902); André Gide (1912); Anna de Noailles (1912); Jean Cocteau (1912); Igor Stravinsky (1915); Francis Jammes (1917); Paul Claudel (1919); Jean Giraudoux; Paul Valéry; Marcel Proust; Max Jacob (1921); Maeterlinck (1931); Debussy; Antoine Bourdelle; George Moore; André Maurois; François Mauriac; Maréchal Foch and the Princess de Broglie.
He also wrote novels, which were more or less autobiographical, and essays, such as From David to Degas; Dates; From Gauguin to the Negro Review; Journals of an Artist ( De David à Degas; Dates; De Gauguin à la Revue nègre; Cahiers d'un artiste) in six volumes, and Manet. During meetings at his studio, he used to collect any snippets that would flesh out the essays he wrote, which alternated between being sharp and emotive. He gave them in series to the magazine Comoedia, under the title of Studio Talk. It was said that he aroused tremendous debate, notably with André Lhote, a painter younger than himself, who also doubled as a critic. The latter initially attempted to define the main characteristics of the art of the 'rebellious and charming Jacques Émile Blanche,' but subsequently treated him less generously, referring to a painter 'attached to the notion of 'high-and-mighty' genre painting.' He added that this sort of painting was marvellously illustrated by Manet.
The quality of his flat surfaces, the precious greys and silvery light effects cause Jacques Émile Blanche to be compared more with Manet, whom he admired, than with the Impressionists, with whom he was compared in terms of his early works. Nevertheless, his outdoor backgrounds with traces of sometimes vivid colours have something in common with them.
In the aftermath of World War I, he spent a long time on an enormous composition entitled Tribute to those who Died in the War. It was executed in a style which was totally different to his work as a whole. He offered this work to the church in Offranville near Dieppe. He also donated around 100 of his works to the Musée des Beaux-Arts in Rouen.
He regularly exhibited in Paris, at the Salon of the Société Nationale des Beaux-Arts (also known as the Salon de Mars) from the time it was founded in 1890. At the time of the initial exhibitions held by the Société Nationale des Beaux-Arts, he rapidly gained fame by exhibiting such portraits as Paul Adam and Charles Cottet...
Category
Mid-20th Century Post-Impressionist Jacques Emile Blanche Art
Materials
Canvas, Oil
At the Races - Post Impressionist Horses & Figures Oil by Jacques-Emile Blanche
By Jacques Emile Blanche
Located in Marlow, Buckinghamshire
Signed post impressionist horses and figures in landscape oil on canvas by French painter Jacques-Emile Blanche. The work depicts crowds of people enjoying a day at the races and watching a steeplechase horse race as the horses and their jockey's jump a fence.
Signature:
Signed lower right
Dimensions:
Framed: 28"x36"
Unframed: 21"x29"
Provenance:
Private French collection.
This work has been authenticated by Dr Jane Roberts and a certificate of authenticity will accompany the painting.
Blanche received training from Gervex and Fernand Humbert. His grandfather was Émile Antoine Blanche, the psychiatrist who treated the poet Gérard de Nerval on several occasions. He was awarded a gold medal at the Exposition Universelle in Paris in 1900, and was a Commander of the Légion d'Honneur. He was well known in French and British artistic circles, and married the daughter of John Lemoine, the leader of the Diary of the Proceedings ( Journal des Débats), and author of the Life of Brummel. He exhibited his works in London and Paris.
Blanche had a wide circle of acquaintances, and the list of portraits which he executed is indicative of the diversity of those who used to meet at his home: Henri Bergson; Stéphane Mallarmé; Henry Bernstein (1902); André Gide (1912); Anna de Noailles (1912); Jean Cocteau (1912); Igor Stravinsky (1915); Francis Jammes (1917); Paul Claudel (1919); Jean Giraudoux; Paul Valéry; Marcel Proust; Max Jacob (1921); Maeterlinck (1931); Debussy; Antoine Bourdelle; George Moore; André Maurois; François Mauriac; Maréchal Foch and the Princess de Broglie.
He also wrote novels, which were more or less autobiographical, and essays, such as From David to Degas; Dates; From Gauguin to the Negro Review; Journals of an Artist ( De David à Degas; Dates; De Gauguin à la Revue nègre; Cahiers d'un artiste) in six volumes, and Manet. During meetings at his studio, he used to collect any snippets that would flesh out the essays he wrote, which alternated between being sharp and emotive. He gave them in series to the magazine Comoedia, under the title of Studio Talk. It was said that he aroused tremendous debate, notably with André Lhote, a painter younger than himself, who also doubled as a critic. The latter initially attempted to define the main characteristics of the art of the 'rebellious and charming Jacques Émile Blanche,' but subsequently treated him less generously, referring to a painter 'attached to the notion of 'high-and-mighty' genre painting.' He added that this sort of painting was marvellously illustrated by Manet.
The quality of his flat surfaces, the precious greys and silvery light effects cause Jacques Émile Blanche to be compared more with Manet, whom he admired, than with the Impressionists, with whom he was compared in terms of his early works. Nevertheless, his outdoor backgrounds with traces of sometimes vivid colours have something in common with them.
In the aftermath of World War I, he spent a long time on an enormous composition entitled Tribute to those who Died in the War. It was executed in a style which was totally different to his work as a whole. He offered this work to the church in Offranville near Dieppe. He also donated around 100 of his works to the Musée des Beaux-Arts in Rouen.
He regularly exhibited in Paris, at the Salon of the Société Nationale des Beaux-Arts (also known as the Salon de Mars) from the time it was founded in 1890. At the time of the initial exhibitions held by the Société Nationale des Beaux-Arts, he rapidly gained fame by exhibiting such portraits as Paul Adam and Charles Cottet. He sometimes grouped together several members of the same family in one painting: The Painter Thaulow and His Family in 1895, The Vielé-Griffin Family, and numerous refined portraits of key figures in France and England.
Apart from this Salon, for which he was one of the first driving forces and founder members, he was later to put in a great deal of effort on the occasion of the Salon des Tuileries between 1933 and 1939, even though he was by then in his seventies and already famous.
He exhibited genre scenes, scenes of fashionable places - like Brighton or Dieppe - and racecourse scenes at the Salon des Tuileries in 1933. These included Family of Pedlars in London; Portrait of the Female Novelist Sylvia Thompson; Racecourses in Ireland; Arrival of the Herring in Dieppe; White Masts; Brighton; in 1934: Portrait of James Joyce; Grand National Steeplechase; Spring Races in England (sketch); Dieppe Beach; Outer Harbour of Dieppe in Autumn; in 1935: Rugby; Walter Richard Sickert; Dieppe; Tea Party at the Madeleine; in 1939: Love Thy Neighbour. Many exhibitions have been dedicated to him since his death, including one at the Musée des Beaux-Arts in Rouen in 1997, and one at the Galerie Philippe Heim in Paris in 1999.
Museum and Gallery Holdings:
Brussels: Portrait of the French Painter Charles Cottet
Dieppe: Sleeping Child; Fish Week
Dijon: General Mangin; The Sailing Ship
London (Tate Collection): Francis Poictevin (1887, oil on canvas, portrait); Charles Conder (1904, oil on canvas, portrait); Ludgate Circus: Entrance to the City (November, Midday) (c. 1910, oil/panel); August Morning, Dieppe Beach (c. 1934, oil on canvas); other paintings
Lyons: Portrait of Debussy
Mulhouse: Begonias
Paris (Louvre): The Painter Thaulow and his Family (1895)
Paris (MAM): The Pink Room; The Port at Le Havre; Flowers in a Vase; Still-life; Portrait of the Artist's Mother (June 1895); Portrait of Igor Stravinsky
Paris (Mus. Carnavalet): Portrait of Jean Cocteau...
Category
Mid-20th Century Post-Impressionist Jacques Emile Blanche Art
Materials
Canvas, Oil
Henriette Chabot with Peonies
By Jacques Emile Blanche
Located in Washington, DC
This painting was owned by Comte Robert de Montesquiou (1855–1921), Paris
Literature:
Jane Roberts, Jacques-Émile Blanche (2012), pg. 47 (color illus.), p. 191.
Included as no. R...
Category
Early 20th Century Post-Impressionist Jacques Emile Blanche Art
Materials
Oil, Canvas
King's Road, Brighton
By Jacques Emile Blanche
Located in Belgravia, London, London
Oil on canvas
Canvas size: 13 x 18.25 inches
Framed size: 19.5 x 24.5 inches
Signed lower left
Category
20th Century Jacques Emile Blanche Art
Materials
Canvas, Oil
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Signature:
Signed lower right
Dimensions:
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Unframed: 13"x16"
Provenance:
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This work is included in the catalogue raisonne of the painter prepared by Jane Roberts under reference RM 839
Blanche received training from Gervex and Fernand Humbert. His grandfather was Émile Antoine Blanche, the psychiatrist who treated the poet Gérard de Nerval on several occasions. He was awarded a gold medal at the Exposition Universelle in Paris in 1900, and was a Commander of the Légion d'Honneur. He was well known in French and British artistic circles, and married the daughter of John Lemoine, the leader of the Diary of the Proceedings ( Journal des Débats), and author of the Life of Brummel. He exhibited his works in London and Paris.
Blanche had a wide circle of acquaintances, and the list of portraits which he executed is indicative of the diversity of those who used to meet at his home: Henri Bergson; Stéphane Mallarmé; Henry Bernstein (1902); André Gide (1912); Anna de Noailles (1912); Jean Cocteau (1912); Igor Stravinsky (1915); Francis Jammes (1917); Paul Claudel (1919); Jean Giraudoux; Paul Valéry; Marcel Proust; Max Jacob (1921); Maeterlinck (1931); Debussy; Antoine Bourdelle; George Moore; André Maurois; François Mauriac; Maréchal Foch and the Princess de Broglie.
He also wrote novels, which were more or less autobiographical, and essays, such as From David to Degas; Dates; From Gauguin to the Negro Review; Journals of an Artist ( De David à Degas; Dates; De Gauguin à la Revue nègre; Cahiers d'un artiste) in six volumes, and Manet. During meetings at his studio, he used to collect any snippets that would flesh out the essays he wrote, which alternated between being sharp and emotive. He gave them in series to the magazine Comoedia, under the title of Studio Talk. It was said that he aroused tremendous debate, notably with André Lhote, a painter younger than himself, who also doubled as a critic. The latter initially attempted to define the main characteristics of the art of the 'rebellious and charming Jacques Émile Blanche,' but subsequently treated him less generously, referring to a painter 'attached to the notion of 'high-and-mighty' genre painting.' He added that this sort of painting was marvellously illustrated by Manet.
The quality of his flat surfaces, the precious greys and silvery light effects cause Jacques Émile Blanche to be compared more with Manet, whom he admired, than with the Impressionists, with whom he was compared in terms of his early works. Nevertheless, his outdoor backgrounds with traces of sometimes vivid colours have something in common with them.
In the aftermath of World War I, he spent a long time on an enormous composition entitled Tribute to those who Died in the War. It was executed in a style which was totally different to his work as a whole. He offered this work to the church in Offranville near Dieppe. He also donated around 100 of his works to the Musée des Beaux-Arts in Rouen.
He regularly exhibited in Paris, at the Salon of the Société Nationale des Beaux-Arts (also known as the Salon de Mars) from the time it was founded in 1890. At the time of the initial exhibitions held by the Société Nationale des Beaux-Arts, he rapidly gained fame by exhibiting such portraits as Paul Adam and Charles Cottet. He sometimes grouped together several members of the same family in one painting: The Painter Thaulow and His Family in 1895, The Vielé-Griffin Family, and numerous refined portraits of key figures in France and England.
Apart from this Salon, for which he was one of the first driving forces and founder members, he was later to put in a great deal of effort on the occasion of the Salon des Tuileries between 1933 and 1939, even though he was by then in his seventies and already famous.
He exhibited genre scenes, scenes of fashionable places - like Brighton or Dieppe - and racecourse scenes at the Salon des Tuileries in 1933. These included Family of Pedlars in London; Portrait of the Female Novelist Sylvia Thompson; Racecourses in Ireland; Arrival of the Herring in Dieppe; White Masts; Brighton; in 1934: Portrait of James Joyce; Grand National Steeplechase; Spring Races in England (sketch); Dieppe Beach; Outer Harbour of Dieppe in Autumn; in 1935: Rugby; Walter Richard Sickert; Dieppe; Tea Party at the Madeleine; in 1939: Love Thy Neighbour. Many exhibitions have been dedicated to him since his death, including one at the Musée des Beaux-Arts in Rouen in 1997, and one at the Galerie Philippe Heim in Paris in 1999.
Museum and Gallery Holdings:
Brussels: Portrait of the French Painter Charles Cottet
Dieppe: Sleeping Child; Fish Week
Dijon: General Mangin; The Sailing Ship
London (Tate Collection): Francis Poictevin (1887, oil on canvas, portrait); Charles Conder (1904, oil on canvas, portrait); Ludgate Circus: Entrance to the City (November, Midday) (c. 1910, oil/panel); August Morning, Dieppe Beach (c. 1934, oil on canvas); other paintings
Lyons: Portrait of Debussy
Mulhouse: Begonias
Paris (Louvre): The Painter Thaulow and his Family (1895)
Paris (MAM): The Pink Room; The Port at Le Havre; Flowers in a Vase; Still-life; Portrait of the Artist's Mother (June 1895); Portrait of Igor Stravinsky
Paris (Mus. Carnavalet): Portrait of Jean Cocteau...
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La Salle a Manger a Offranville - 20th Century Oil by Jacques Emile Blanche
By Jacques Emile Blanche
Located in Marlow, Buckinghamshire
A lovely oil on board by French Impressionist painter Jacques Emile Blanche showing an interior view of a dining room with painted red chairs, a birdcage to the right, a lantern hanging from the mantel piece and china cups and saucers on top of it. The piece was painted in the dining room of the artist's home in Offranville where he lived for 60 years. Signed lower left. Framed dimensions are 19 inches high by 15 inches wide.
Blanche received training from Gervex and Fernand Humbert. His grandfather was Émile Antoine Blanche, the psychiatrist who treated the poet Gérard de Nerval on several occasions. He was awarded a gold medal at the Exposition Universelle in Paris in 1900, and was a Commander of the Légion d'Honneur. He was well known in French and British artistic circles, and married the daughter of John Lemoine, the leader of the Diary of the Proceedings ( Journal des Débats), and author of the Life of Brummel. He exhibited his works in London and Paris.
Blanche had a wide circle of acquaintances, and the list of portraits which he executed is indicative of the diversity of those who used to meet at his home: Henri Bergson; Stéphane Mallarmé; Henry Bernstein (1902); André Gide (1912); Anna de Noailles (1912); Jean Cocteau (1912); Igor Stravinsky (1915); Francis Jammes (1917); Paul Claudel (1919); Jean Giraudoux; Paul Valéry; Marcel Proust; Max Jacob (1921); Maeterlinck (1931); Debussy; Antoine Bourdelle; George Moore; André Maurois; François Mauriac; Maréchal Foch and the Princess de Broglie.
He also wrote novels, which were more or less autobiographical, and essays, such as From David to Degas; Dates; From Gauguin to the Negro Review; Journals of an Artist ( De David à Degas; Dates; De Gauguin à la Revue nègre; Cahiers d'un artiste) in six volumes, and Manet. During meetings at his studio, he used to collect any snippets that would flesh out the essays he wrote, which alternated between being sharp and emotive. He gave them in series to the magazine Comoedia, under the title of Studio Talk. It was said that he aroused tremendous debate, notably with André Lhote, a painter younger than himself, who also doubled as a critic. The latter initially attempted to define the main characteristics of the art of the 'rebellious and charming Jacques Émile Blanche,' but subsequently treated him less generously, referring to a painter 'attached to the notion of 'high-and-mighty' genre painting.' He added that this sort of painting was marvellously illustrated by Manet.
The quality of his flat surfaces, the precious greys and silvery light effects cause Jacques Émile Blanche to be compared more with Manet, whom he admired, than with the Impressionists, with whom he was compared in terms of his early works. Nevertheless, his outdoor backgrounds with traces of sometimes vivid colours have something in common with them.
In the aftermath of World War I, he spent a long time on an enormous composition entitled Tribute to those who Died in the War. It was executed in a style which was totally different to his work as a whole. He offered this work to the church in Offranville near Dieppe. He also donated around 100 of his works to the Musée des Beaux-Arts in Rouen.
He regularly exhibited in Paris, at the Salon of the Société Nationale des Beaux-Arts (also known as the Salon de Mars) from the time it was founded in 1890. At the time of the initial exhibitions held by the Société Nationale des Beaux-Arts, he rapidly gained fame by exhibiting such portraits as Paul Adam and Charles Cottet. He sometimes grouped together several members of the same family in one painting: The Painter Thaulow and His Family in 1895, The Vielé-Griffin Family, and numerous refined portraits of key figures in France and England.
Apart from this Salon, for which he was one of the first driving forces and founder members, he was later to put in a great deal of effort on the occasion of the Salon des Tuileries between 1933 and 1939, even though he was by then in his seventies and already famous.
He exhibited genre scenes, scenes of fashionable places - like Brighton or Dieppe - and racecourse scenes at the Salon des Tuileries in 1933. These included Family of Pedlars in London; Portrait of the Female Novelist Sylvia Thompson; Racecourses in Ireland; Arrival of the Herring in Dieppe; White Masts; Brighton; in 1934: Portrait of James Joyce; Grand National Steeplechase; Spring Races in England (sketch); Dieppe Beach; Outer Harbour of Dieppe in Autumn; in 1935: Rugby; Walter Richard Sickert; Dieppe; Tea Party at the Madeleine; in 1939: Love Thy Neighbour. Many exhibitions have been dedicated to him since his death, including one at the Musée des Beaux-Arts in Rouen in 1997, and one at the Galerie Philippe Heim in Paris in 1999.
Museum and Gallery Holdings:
Brussels: Portrait of the French Painter Charles Cottet
Dieppe: Sleeping Child; Fish Week
Dijon: General Mangin; The Sailing Ship
London (Tate Collection): Francis Poictevin (1887, oil on canvas, portrait); Charles Conder (1904, oil on canvas, portrait); Ludgate Circus: Entrance to the City (November, Midday) (c. 1910, oil/panel); August Morning, Dieppe Beach (c. 1934, oil on canvas); other paintings
Lyons: Portrait of Debussy
Mulhouse: Begonias
Paris (Louvre): The Painter Thaulow and his Family (1895)
Paris (MAM): The Pink Room; The Port at Le Havre; Flowers in a Vase; Still-life; Portrait of the Artist's Mother (June 1895); Portrait of Igor Stravinsky
Paris (Mus. Carnavalet): Portrait of Jean Cocteau...
Category
Early 20th Century Impressionist Jacques Emile Blanche Art
Materials
Oil, Board
Flowers - 19th Century Oil, Still Life Vase Red Flowers by Jacques-Emile Blanche
By Jacques Emile Blanche
Located in Marlow, Buckinghamshire
Oil on original canvas by Jacques-Emile Blanchard depicting a ornate vase filled with red flowers in an interior. Signed, dated 1927 and inscribed Offranville lower right. Framed dimensions are 46 inches high by 37 inches wide.
Blanche received training from Gervex and Fernand Humbert. His grandfather was Émile Antoine Blanche, the psychiatrist who treated the poet Gérard de Nerval on several occasions. He was awarded a gold medal at the Exposition Universelle in Paris in 1900, and was a Commander of the Légion d'Honneur. He was well known in French and British artistic circles, and married the daughter of John Lemoine, the leader of the Diary of the Proceedings ( Journal des Débats), and author of the Life of Brummel. He exhibited his works in London and Paris.
Blanche had a wide circle of acquaintances, and the list of portraits which he executed is indicative of the diversity of those who used to meet at his home: Henri Bergson; Stéphane Mallarmé; Henry Bernstein (1902); André Gide (1912); Anna de Noailles (1912); Jean Cocteau (1912); Igor Stravinsky (1915); Francis Jammes (1917); Paul Claudel (1919); Jean Giraudoux; Paul Valéry; Marcel Proust; Max Jacob (1921); Maeterlinck (1931); Debussy; Antoine Bourdelle; George Moore; André Maurois; François Mauriac; Maréchal Foch and the Princess de Broglie.
He also wrote novels, which were more or less autobiographical, and essays, such as From David to Degas; Dates; From Gauguin to the Negro Review; Journals of an Artist ( De David à Degas; Dates; De Gauguin à la Revue nègre; Cahiers d'un artiste) in six volumes, and Manet. During meetings at his studio, he used to collect any snippets that would flesh out the essays he wrote, which alternated between being sharp and emotive. He gave them in series to the magazine Comoedia, under the title of Studio Talk. It was said that he aroused tremendous debate, notably with André Lhote, a painter younger than himself, who also doubled as a critic. The latter initially attempted to define the main characteristics of the art of the 'rebellious and charming Jacques Émile Blanche,' but subsequently treated him less generously, referring to a painter 'attached to the notion of 'high-and-mighty' genre painting.' He added that this sort of painting was marvellously illustrated by Manet.
The quality of his flat surfaces, the precious greys and silvery light effects cause Jacques Émile Blanche to be compared more with Manet, whom he admired, than with the Impressionists, with whom he was compared in terms of his early works. Nevertheless, his outdoor backgrounds with traces of sometimes vivid colours have something in common with them.
In the aftermath of World War I, he spent a long time on an enormous composition entitled Tribute to those who Died in the War. It was executed in a style which was totally different to his work as a whole. He offered this work to the church in Offranville near Dieppe. He also donated around 100 of his works to the Musée des Beaux-Arts in Rouen.
He regularly exhibited in Paris, at the Salon of the Société Nationale des Beaux-Arts (also known as the Salon de Mars) from the time it was founded in 1890. At the time of the initial exhibitions held by the Société Nationale des Beaux-Arts, he rapidly gained fame by exhibiting such portraits as Paul Adam and Charles Cottet. He sometimes grouped together several members of the same family in one painting: The Painter Thaulow and His Family in 1895, The Vielé-Griffin Family, and numerous refined portraits of key figures in France and England.
Apart from this Salon, for which he was one of the first driving forces and founder members, he was later to put in a great deal of effort on the occasion of the Salon des Tuileries between 1933 and 1939, even though he was by then in his seventies and already famous.
He exhibited genre scenes, scenes of fashionable places - like Brighton or Dieppe - and racecourse scenes at the Salon des Tuileries in 1933. These included Family of Pedlars in London; Portrait of the Female Novelist Sylvia Thompson; Racecourses in Ireland; Arrival of the Herring in Dieppe; White Masts; Brighton; in 1934: Portrait of James Joyce; Grand National Steeplechase; Spring Races in England (sketch); Dieppe Beach; Outer Harbour of Dieppe in Autumn; in 1935: Rugby; Walter Richard Sickert; Dieppe; Tea Party at the Madeleine; in 1939: Love Thy Neighbour. Many exhibitions have been dedicated to him since his death, including one at the Musée des Beaux-Arts in Rouen in 1997, and one at the Galerie Philippe Heim in Paris in 1999.
Museum and Gallery Holdings:
Brussels: Portrait of the French Painter Charles Cottet
Dieppe: Sleeping Child; Fish Week
Dijon: General Mangin; The Sailing Ship
London (Tate Collection): Francis Poictevin (1887, oil on canvas, portrait); Charles Conder (1904, oil on canvas, portrait); Ludgate Circus: Entrance to the City (November, Midday) (c. 1910, oil/panel); August Morning, Dieppe Beach (c. 1934, oil on canvas); other paintings
Lyons: Portrait of Debussy
Mulhouse: Begonias
Paris (Louvre): The Painter Thaulow and his Family (1895)
Paris (MAM): The Pink Room; The Port at Le Havre; Flowers in a Vase; Still-life; Portrait of the Artist's Mother (June 1895); Portrait of Igor Stravinsky
Paris (Mus. Carnavalet): Portrait of Jean Cocteau...
Category
1920s Impressionist Jacques Emile Blanche Art
Materials
Canvas, Oil
Bouquet de Fleurs - Post Impressionist Oil, Flowers by Jacques Emile Blanche
By Jacques Emile Blanche
Located in Marlow, Buckinghamshire
A stunning oil on canvas circa 1890 by French post impressionist painter Jacques Emile Blanche. The work depicts a beautiful bouquet of flowers in shades of orange, pink and purple in a silver cup placed on a green table cloth...
Category
1890s Post-Impressionist Jacques Emile Blanche Art
Materials
Canvas, Oil
Young Woman with a Hat - Original lithograph
By Jacques Emile Blanche
Located in Paris, FR
Jacques-Emile BLANCHE
Young Woman with a Hat
Original stone lithograph
Printed signature in the plate
On China paper 39 x 28 cm (c. 16 x 11 inch)
Excellent condition, light defects...
Category
Early 20th Century Realist Jacques Emile Blanche Art
Materials
Lithograph
Portrait of Mademoiselle Georgette Camille
By Jacques Emile Blanche
Located in Los Angeles, CA
Category
Jacques Emile Blanche Art
Jacques Emile Blanche art for sale on 1stDibs.
Find a wide variety of authentic Jacques Emile Blanche art available for sale on 1stDibs. You can also browse by medium to find art by Jacques Emile Blanche in oil paint, paint, canvas and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the Post-Impressionist style. Not every interior allows for large Jacques Emile Blanche art, so small editions measuring 25 inches across are available. Customers who are interested in this artist might also find the work of Gaston Sebire, Andre Hambourg, and Albert Andre. Jacques Emile Blanche art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $12,678 and tops out at $49,032, while the average work can sell for $19,048.