Late 18th Century English School of Figurative Pastel the Visit at the Nursemaid

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Late 18th Century English School of Figurative Pastel the Visit at the Nursemaid

About the Item

"The visit at the nursemaid". Gorgeous late 18th-century English school of figurative pastel, circa 1760-1780. Pastel on paper in perfect original condition with an original gilt frame. From an "Hôtel Particulier" city of Reims Dimensions unframed: W 33.85 in., H 43.30 in. Dimensions with frame: W 41.33 in., H 49.60 in. Pastel art in art history. The manufacture of pastels originated in the 15th century.[9] The pastel medium was mentioned by Leonardo da Vinci, who learned of it from the French artist Jean Perréal after that artist's arrival in Milan in 1499. Pastel was sometimes used as a medium for preparatory studies by 16th-century artists, notably Federico Barocci. The first French artist to specialize in pastel portraits was Joseph Vivien. During the 18th century, the medium became fashionable for portrait painting, sometimes in a mixed technique with gouache. Pastel was an important medium for artists such as Jean-Baptiste Perronneau, Maurice Quentin de La Tour (who never painted in oils), and Rosalba Carriera. The pastel still life paintings and portraits of Jean-Baptiste-Siméon Chardin are much admired, as are the works of the Swiss-French artist Jean-Étienne Liotard. In 18th-century England the outstanding practitioner was John Russell. In Colonial America, John Singleton Copley used pastel occasionally for portraits. In France, pastel briefly became unpopular during and after the Revolution, as the medium identified with the frivolity of the Ancien Régime. By the mid-19th century, French artists such as Eugène Delacroix and especially Jean-François Millet were again making significant use of pastel. Their countryman Édouard Manet painted some portraits in pastel on canvas, an alternative ground for the medium. Edgar Degas was an innovator in pastel technique and used it with an almost Expressionist vigor after about 1885 when it became his primary medium. Odilon Redon produced a large body of works in pastel. James Abbott McNeill Whistler produced quantity of pastels around 1880, including a body of work relating to Venice, and this probably contributed to a growing enthusiasm for the medium in the United States. In particular, he demonstrated how few strokes were required to evoke a place or an atmosphere. Mary Cassatt, an American artist active in France, introduced the Impressionists and pastel to her friends in Philadelphia and Washington. According to the Metropolitan Museum of Art's Time Line of Art History: 19th Century American Drawings : Among American artists, by far the most graphic and, at the same time, most painterly wielding of pastel was Cassatt's in Europe, where she had worked closely in the medium with her mentor Edgar Degas and vigorously captured familial moments such as the one revealed in Mother Playing with Child. On the East Coast of the United States, the Society of Painters in Pastel founded in 1885. The Pastellists, led by Leon Dabo, was organized in New York in late 1910 and included among its ranks, Everett Shinn and Arthur Bowen Davies. On the American West Coast the influential artist and teacher Pedro Joseph de Lemos, who served as Chief Administrator of the San Francisco Art Institute and Director of the Stanford University Museum and Art Gallery, popularized pastels in regional exhibitions. Beginning in 1919 de Lemos published a series of articles on “painting” with pastels, which included such notable innovations as allowing the intensity of light on the subject to determine the distinct color of laid paper and the use of special optics for making “night sketches” in both urban and rural settings. His night scenes, which were often called “dreamscapes” in the press, were influenced by French Symbolism, and especially Odilon Redon. Pastels favored by many modern artists because of the medium's broad range of bright colors. Modern notable artists who have worked extensively in pastels include Fernando Botero, Francesco Clemente, Daniel Greene, Wolf Kahn, and R. B. Kitaj.

Dimensions:
Height: 41.34 in (105 cm)Width: 49.61 in (126 cm)Depth: 3.15 in (8 cm)
Materials and Techniques:
Hand-Painted
Place of Origin:
England
Period:
Late 18th Century
Date of Manufacture:
circa 1760-1780
Condition:
Wear consistent with age and use. In fine original condition.
Seller Location:
Saint Ouen, FR
Reference Number:
1stDibs: LU173626946063