Emma Ciardi

Rio de San Barnaba, Venice 1927 - Impressionist Riverscape Oil by Emma Ciardi

1927

Signed and dated oil on panel landscape by Canadian impressionist painter Robert Wakeham Pilot. The piece depicts a view of rural landscape in Quebec, Canada in winter. The bare trees and the ground are covered in blanket of white snow. Blue sky breaks through the cloud above. The spire of the church from a nearby village can be seen on the horizon. This work pairs with another recorded 5 x 7 inch example painted in 1916 by Pilot that was painted near the Hotel Dieu in Quebec City - the work was likely painted in February of that year just before Pilot enlisted in the Canadian Expeditionary Force to serve on the front lines in France. Signature: Signed and dated 1916 lower right Dimensions: Framed: 15.5"x17" Unframed: 5.5"x7" Provenance: The Dominion Gallery - Montreal, Canada (stock number B2594) The Isaacs Gallery - Toronto, Canada Robert Wakeham Pilot DCL MBE RCA (9 October 1898 – 17 December 1967) was a Canadian artist, who worked mainly in oil on canvas or on panel, and as an etcher and muralist. He is known for his ability to capture the tone and atmosphere, especially at twilight, of the landscape of Quebec. Pilot is the last of the Canadian painters considered "to lend authority to Canadian Impressionism". Pilot was born at St. John's, Newfoundland, to Edward Frederick Pilot and his wife Barbara (née Merchant). In 1910, his widowed mother married the artist, Maurice Cullen...

Signed divisionist style oil on panel landscape circa 1906-1907 by French Neo-Impressionist painter Henri Edmond Cross. This brightly painted piece depicts a view Saint Tropez. This...

Signed impressionist landscape oil on canvas by French painter Jean Baptiste Armand Guillaumin. This stunning piece depicts a view of Crozant a commune located in the department of C...

Signed post impressionist oil on canvas landscape by French painter Lucien Levy-Dhurmer. The piece depicts the gardens of a Moorish Palace at evening. Painted in largely blues, there are some flowering trees in the front of the work below a much larger bare tree. Beyond that the palace sits below a starry sky. Mr. Jumeau-Lafond believes the work was likely painted in Morocco but he also stated that Dhurmer often used imagination to construct settings for his ideas. Signature: Signed lower left Dimensions: Framed: 39"x31" Unframed: 32"x24" Provenance: Private collection - France The authenticity of this work has been confirmed by Jean-David Jumeau-Lafond A certificate of authenticity from Mr. Jumeau-Lafond is available upon request Lucien Lévy-Dhurmer did not follow the conventional route for education in fine arts but was nevertheless a pupil of the painters Raphaël Collin, Vio and Wallet. He was an ornamental painter in an earthenware factory in Golfe-Juan from 1887 to 1895, which influenced his use of pastel. He travelled to Italy in 1895. Around 1902 he painted the portraits of Rodenbach, Pierre Loti and Marguerite Moreno. Although he had not been instructed by Puvis de Chavannes or Gustave Moreau, he seemed to have much in common with those visionary 'painters of the soul' who had been exhibiting at the Salon de la Rose-Croix for several years: Edmond Aman-Jean, Louis Welden Hawkins, Henri Martin, Charles Maurin and Alphonse Osbert. Following the example of some of these artists, Lévy-Dhurmer admired Italian Renaissance art, evidence of which can be seen in pastels such as Woman with a Medal, Medusa, Circes and Florence. His translation of the Symbolist themes in the scores of Beethoven ( Appassionata), Fauré or Debussy into different hues made him seem like a visionary, but his aesthetic seems to have changed to some extent after 1900, when his landscape painting became more prominent. In fact, only his presentation and style changed. He continued to suggest feelings, interpretations and emotions but without relying on any traditional allegories. He became involved in the Intimist movement, along with Ernest Laurent, Charles Cottet, Henri le Sidaner and René Ménard, whose pastels presaged the Classicism of the 1930s. He exhibited at the Salon des Artistes Français in Paris from 1882. From 1906 he was associated with the Salon de la Société Nationale des Beaux-Arts. He showed his works in individual exhibitions, notably in 1896 at the Galerie Georges Petit in Paris, which was a very successful exhibition and earned him admiration in artistic and literary circles alike. Several decades later the exhibition Around Lévy-Dhurmer ( Autour de Lévy-Dhurmer) at the Galeries du Grand Palais in Paris in 1973 revealed a tendency in art which had been largely unknown until then and which remained on the margins of the great innovative movements of the 20th century, but which was nonetheless of a quality which could not be ignored. Lévy-Dhurmer obtained a distinction from the Salon des Artistes Français in 1896 and a bronze medal at the 1900 Exposition Universelle in Paris. He became a Chevalier of the Légion d'Honneur in 1902. Museum and Gallery Holdings Bayonne (Mus. Basque): Portrait of Pierre Loti (1896, pastel) Brest (MBA): Circes Detroit (AI): Vase with Dragonflies (1890, earthenware with iridescent glaze) Mulhouse: Harvest New York (Metropolitan Mus. of Art): Flower Pot (c. 1893, earthenware with metallic glaze) Paris (Mus. d'Orsay): Portrait of Georges Rodenbach (c. 1895, pastel on paper); The Woman with a Medal (1896, pastel on paper on card); The Lost Explorer...