1,677 results for "renaissance"

This vertical 31.5 inch high by 23.5 inch wide original oil painting on linen is wired and ready to hang. The hyperrealistic detail in the is artwork is astounding. A reimagined alternative view of the icon Cleopatra draws you in with her serpent. The sides of the artwork are not painted and it does not require framing. It is signed and titled by the artist on the back of the artwork British painter Georgina Clapham conspicuously engages with story telling and theatricality, drawing together Renaissance portraiture, Greek Mythology, folklore, mysticism, animals, nature, the artificial, high fashion, subculture, gender, identity and sexuality, in her meticulous life size figurative paintings. Through the traditional media of oil paint on linen and intaglio printmaking, she creates her own contemporary mythologies. Staging her paintings using people in her everyday life, she infuses these timeless narratives with the intimacy and tangibility of her friendships and personal relationships drawing out their psychology and sexuality; as such, the works become as much a depiction of her own imagined narrative as of the individuals’ personality. She has previously attended City and Guilds of London Art School, 2013 and The Glasgow School of Art, 2014-16, where her work was purchased into the archive. In 2015 she was awarded The Richard Ford...

"KITTY" (FRAMED) Painting 24" x 30" inch by Antonio Pelayo Medium: Marker on paper Size: 24" x 30" inch Size framed: 27.5" x 34" inch From Pelayo VS Pelayo exhibition: The exhibit...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are s...

1972-73 Eastbourne College for Art and Design: Fine Art Foundation Course: studies drawing. Works through the South Coast Period of paintings. Studio: South Coast of England. 1974-81 University of Wales: studied painting under Welsh artist Selwyn Jones. Public and private commissions: twenty-five multistory murals in Wales and England: documented by the BBC and British National Newspapers. Studios: Bethesda and Bangor City, Wales. Studies composition and portraiture. Shows at the Royal Exchange, London; Bangor City Museum, Wales. 1981-82 Commission: The Trial of Saint Deiniol: 19-panel, 18 x 21 ft. painting. Studio: Shropshire, England 1982-86 The New York Times send photographer Dith Pran (on whom the movie The Killing Fields was based) to photograph Povey in New York with The Trial of Saint Deiniol painting at Art Expo New York 1986. Povey is advised by George Bush Senior’s former campaign manager Zena Temkin on shaping his public persona. The BBC film Edward Povey with former President of the Royal Academy of Art in London - Sir Hugh Casson KCVO, RA, RDI in which Sir Hugh interviews Povey about his art career. Public and private commissions for collections in the United States, London, Wales, Belgium, West Indies. Studies symbolism and trains in color with Jan de Maere in Brussels and works through the Tapestry Period of paintings Studio: Grenada, West Indies. 1987-91 Studies psychology and narrative in art whilst he builds the extensive Childhood, Illusion and Desire Period of paintings. Studio: Guisborough, England courtesy of the town mayor. Shows in Belgium, London, New York. 1992-93 Public commission: Hall of Illusion mural: 20 X 40 ft. interior oil painting in the Chamber Concert Hall of the University of Wales. The commission is followed by BBC Television, S4C Television; BBC Radio Four and regional and national newspapers. Studios: Guisborough, England; Bangor City, Wales. Designs the Hall of Illusion mural on the island of Grenada, West Indies. 1994-96 Deepens his studies in the relationship between art and the psyche. Researches new ways to evolve concepts with models using theaters...

1972-73 Eastbourne College for Art and Design: Fine Art Foundation Course: studies drawing. Works through the South Coast Period of paintings. Studio: South Coast of England. 1974-81 University of Wales: studied painting under Welsh artist Selwyn Jones. Public and private commissions: twenty-five multistory murals in Wales and England: documented by the BBC and British National Newspapers. Studios: Bethesda and Bangor City, Wales. Studies composition and portraiture. Shows at the Royal Exchange, London; Bangor City Museum, Wales. 1981-82 Commission: The Trial of Saint Deiniol: 19-panel, 18 x 21 ft. painting. Studio: Shropshire, England 1982-86 The New York Times send photographer Dith Pran (on whom the movie The Killing Fields was based) to photograph Povey in New York with The Trial of Saint Deiniol painting at Art Expo New York 1986. Povey is advised by George Bush Senior’s former campaign manager Zena Temkin on shaping his public persona. The BBC film Edward Povey with former President of the Royal Academy of Art in London - Sir Hugh Casson KCVO, RA, RDI in which Sir Hugh interviews Povey about his art career. Public and private commissions for collections in the United States, London, Wales, Belgium, West Indies. Studies symbolism and trains in color with Jan de Maere in Brussels and works through the Tapestry Period of paintings Studio: Grenada, West Indies. 1987-91 Studies psychology and narrative in art whilst he builds the extensive Childhood, Illusion and Desire Period of paintings. Studio: Guisborough, England courtesy of the town mayor. Shows in Belgium, London, New York. 1992-93 Public commission: Hall of Illusion mural: 20 X 40 ft. interior oil painting in the Chamber Concert Hall of the University of Wales. The commission is followed by BBC Television, S4C Television; BBC Radio Four and regional and national newspapers. Studios: Guisborough, England; Bangor City, Wales. Designs the Hall of Illusion mural on the island of Grenada, West Indies. 1994-96 Deepens his studies in the relationship between art and the psyche. Researches new ways to evolve concepts with models using theaters...

During the renaissance period artists turned towards the nostalgia and glorification of classical antiquity, Kopacsi, too, uses an ancient subject as a starting point for my creation...

A multidisciplinary artist and experimental musician with synaesthesia, Jake-Andrew's practice is centred around the way the mind can perceive audio stimulus as colour, texture, shap...

A multidisciplinary artist and experimental musician with synaesthesia, Jake-Andrew's practice is centred around the way the mind can perceive audio stimulus as colour, texture, shape and movement. Exploring sensory perception, Jake-Andrew documents the emotional and physical response to the relationships that exist between colour and sound, and how they can reflect the minutiae and melancholia of the human condition through gestural abstraction and introspective layering; exploring the progression of his physical practice for the digital renaissance by introducing pixel manipulation to digital gesture and occasionally physical attributes through coding. Jake-Andrew's work exists as an expressive, physical performance that allows him to create projected installation environments and immersive experiences; either on screen or in situ. Which affects the relationship that all of us have with colour and sound. Undertaken projects with Glenfiddich, Braun Audio...

A multidisciplinary artist and experimental musician with synaesthesia, Jake-Andrew's practice is centred around the way the mind can perceive audio stimulus as colour, texture, shape and movement. Exploring sensory perception, Jake-Andrew documents the emotional and physical response to the relationships that exist between colour and sound, and how they can reflect the minutiae and melancholia of the human condition through gestural abstraction and introspective layering; exploring the progression of his physical practice for the digital renaissance by introducing pixel manipulation to digital gesture and occasionally physical attributes through coding. Jake-Andrew's work exists as an expressive, physical performance that allows him to create projected installation environments and immersive experiences; either on screen or in situ. Which affects the relationship that all of us have with colour and sound. Undertaken projects with Glenfiddich, Braun Audio...

A multidisciplinary artist and experimental musician with synaesthesia, Jake-Andrew's practice is centred around the way the mind can perceive audio stimulus as colour, texture, shape and movement. Exploring sensory perception, Jake-Andrew documents the emotional and physical response to the relationships that exist between colour and sound, and how they can reflect the minutiae and melancholia of the human condition through gestural abstraction and introspective layering; exploring the progression of his physical practice for the digital renaissance by introducing pixel manipulation to digital gesture and occasionally physical attributes through coding. Jake-Andrew's work exists as an expressive, physical performance that allows him to create projected installation environments and immersive experiences; either on screen or in situ. Which affects the relationship that all of us have with colour and sound. Undertaken projects with Glenfiddich, Braun Audio...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

This is a wonderful still life of lobster, fish, and mushrooms painted by the French-trained artist Martin Baer. The pleasing composition has all the traditional elements of an epic...

Peggie Blizard is an 82 year old painter. Realism as a style has basically remained unchanged since the Renaissance. Realism as a technique, however, has definitely been altered and...

Messenger Oil Painting on Panel Portrait In Stock Tino Luciano (1953, Sardinië) Like most artists, Luciano started painting at an early age. His paintings can be considered as imagi...

Brooklyn-based artist Jacob Hicks creates one of a kind portraits inspired by history, humanism, beauty, and mythology. Hicks explores how the female portrait embodies archetypes of power and respect. In this series of works, Hicks references portraits from paintings made hundreds of years ago by Primitive Flemish...

Brooklyn-based artist Jacob Hicks creates one of a kind portraits inspired by history, humanism, beauty, and mythology. Hicks explores how the female portrait embodies archetypes of power and respect. In this series of works, Hicks references portraits from paintings made hundreds of years ago by Primitive Flemish...

Original Painting by Jacob Hicks Jacob Hicks (b. 1985, Midland, TX) completed his BFA in 2010 at Southern Methodist University and his MFA in 2012 at the New York Academy of Art. He...

Tempera mixed with gum arabic and alcohol on Renaissance Panel "Robert Riggs was awarded the Gold Medal for Excellence by the New York Art Directors Club for ten consecutive years and received many additional awards." He was elected to the Society of Illustrators' Hall of Fame. His work is in the permanent collections of the Metropolitan Museum of Art in New York, the Philadelphia Museum of Fine Arts and the U.S. Library of Congress. Riggs's compositons are "monumental" Walt Reed Riggs was a Gay Artist...

Maurice Sterne American, 1878-1957 On the Ganges Oil on canvas 28 by 31 ¼ in, w/ frame 35 by 38 ¼ in Signed lower right Maurice Sterne studied with Thomas Eakins at the National Ac...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are s...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are stories of recurring human issues often prompted by a twisted reality. Ushenko’s earlier works where primarily mythological and allegorical. Her later works are focused on depicting human situations and interactions of people who are both living and dead. These paintings represent social situations, timeless stories and enduring issues that are rendered with a contemporary twist. Always a significant element in Ms. Ushenko’s work is her integration of Venetian Renaissance methods of paint application with Impressionist color and light theory. The combination of the old masters’ technique of glazing the canvas and carefully layered surfaces of paint enhance the luminosity of Ushenko’s work. Audrey Ushenko has exhibited her work extensively throughout the United States including several shows at Denise Bibro Fine Art, NYC; the Fort Wayne Museum of Art, IN; The National Academy of Design, NYC; University Museum, Southeast Missouri State University, Cape Girardeau...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are stories of recurring human issues often prompted by a twisted reality. Ushenko’s earlier works where primarily mythological and allegorical. Her later works are focused on depicting human situations and interactions of people who are both living and dead. These paintings represent social situations, timeless stories and enduring issues that are rendered with a contemporary twist. Always a significant element in Ms. Ushenko’s work is her integration of Venetian Renaissance methods of paint application with Impressionist color and light theory. The combination of the old masters’ technique of glazing the canvas and carefully layered surfaces of paint enhance the luminosity of Ushenko’s work. Audrey Ushenko has exhibited her work extensively throughout the United States including several shows at Denise Bibro Fine Art, NYC; the Fort Wayne Museum of Art, IN; The National Academy of Design, NYC; University Museum, Southeast Missouri State University, Cape Girardeau...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are s...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are stories of recurring human issues often prompted by a twisted reality. Ushenko’s earlier works where primarily mythological and allegorical. Her later works are focused on depicting human situations and interactions of people who are both living and dead. These paintings represent social situations, timeless stories and enduring issues that are rendered with a contemporary twist. Always a significant element in Ms. Ushenko’s work is her integration of Venetian Renaissance methods of paint application with Impressionist color and light theory. The combination of the old masters’ technique of glazing the canvas and carefully layered surfaces of paint enhance the luminosity of Ushenko’s work. Audrey Ushenko has exhibited her work extensively throughout the United States including several shows at Denise Bibro Fine Art, NYC; the Fort Wayne Museum of Art, IN; The National Academy of Design, NYC; University Museum, Southeast Missouri State University, Cape Girardeau...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are stories of recurring human issues often prompted by a twisted reality. Ushenko’s earlier works where primarily mythological and allegorical. Her later works are focused on depicting human situations and interactions of people who are both living and dead. These paintings represent social situations, timeless stories and enduring issues that are rendered with a contemporary twist. Always a significant element in Ms. Ushenko’s work is her integration of Venetian Renaissance methods of paint application with Impressionist color and light theory. The combination of the old masters’ technique of glazing the canvas and carefully layered surfaces of paint enhance the luminosity of Ushenko’s work. Audrey Ushenko has exhibited her work extensively throughout the United States including several shows at Denise Bibro Fine Art, NYC; the Fort Wayne Museum of Art, IN; The National Academy of Design, NYC; University Museum, Southeast Missouri State University, Cape Girardeau...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are stories of recurring human issues often prompted by a twisted reality. Ushenko’s earlier works where primarily mythological and allegorical. Her later works are focused on depicting human situations and interactions of people who are both living and dead. These paintings represent social situations, timeless stories and enduring issues that are rendered with a contemporary twist. Always a significant element in Ms. Ushenko’s work is her integration of Venetian Renaissance methods of paint application with Impressionist color and light theory. The combination of the old masters’ technique of glazing the canvas and carefully layered surfaces of paint enhance the luminosity of Ushenko’s work. Audrey Ushenko has exhibited her work extensively throughout the United States including several shows at Denise Bibro Fine Art, NYC; the Fort Wayne Museum of Art, IN; The National Academy of Design, NYC; University Museum, Southeast Missouri State University, Cape Girardeau...

This is a poignant piece from Sax Berlin, an almost iconic working of pre-Renaissance religious painting. His woman is classically posed and portrays her emotions perfectly in the ca...

Aponovich paints complex still life compositions, with a strong undercurrent of surrealism pervading the work. His exquisite paintings are distinguished by their geometry, proportion...

Aponovich paints complex still life compositions, with a strong undercurrent of surrealism pervading the work. His exquisite paintings are distinguished by their geometry, proportion...

Original and unique painting in acrylic and mixed media. Signed, dated and titled at the back of the canvas. Sold with the Certificate of Authenticity. This bold pop art piece rein...

Original and unique painting in acrylic and mixed media. Signed, dated and titled at the back of the canvas. Sold with the Certificate of Authenticity. This bold pop art piece rein...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents, but in one wholeness. Fomin is a fairy-tale artist, a romance teller, who is choosing never ending life stories for a viewer. He is telling these stories with realistic language of the artist, citing the language of Bruegel sentimental sincerity of Chagall, but also a precise coloristic scheme, that was a signature of French Art in the second half of XX century. The fantastic World of the artist is perfectly detailed that makes it truthful. This artistic language principle defined the style of the artist long before he entered the Art World market...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents, but in one wholeness. Fomin is a fairy-tale artist, a romance teller, who is choosing never ending life stories for a viewer. He is telling these stories with realistic language of the artist, citing the language of Bruegel sentimental sincerity of Chagall, but also a precise coloristic scheme, that was a signature of French Art in the second half of XX century. The fantastic World of the artist is perfectly detailed that makes it truthful. This artistic language principle defined the style of the artist long before he entered the Art World market. His love for Italian Renaissance was born in Minsk during his study years. Art, Music and Architecture made Igor Fomin...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents,...

A painting will be taken off the stretcher and rolled up in a roll. At all time they are together, a man and a woman. Duality of differences, two views, different accents, but in o...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents,...

Bearing the same name as Michelangelo’s famous marble sculpture, this enormous painting on canvas portrays the body of Jesus - post-crucifixion - as ...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents,...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents, but in one wholeness. Fomin is a fairy-tale artist, a romance teller, who is choosing never ending life stories for a viewer. He is telling these stories with realistic language of the artist, citing the language of Bruegel sentimental sincerity of Chagall, but also a precise coloristic scheme, that was a signature of French Art in the second half of XX century. The fantastic World of the artist is perfectly detailed that makes it truthful. This artistic language principle defined the style of the artist long before he entered the Art World market. His love for Italian Renaissance was born in Minsk during his study years. Art, Music and Architecture made Igor Fomin...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents,...

At all time they are together, a man and a woman. Duality of differences, two views, different accents, but in one wholeness. Fomin is a fairy-tale artist, a romance teller, who is choosing never ending life stories for a viewer. He is telling these stories with realistic language of the artist, citing the language of Bruegel sentimental sincerity of Chagall, but also a precise coloristic scheme, that was a signature of French Art in the second half of XX century. The fantastic World of the artist is perfectly detailed that makes it truthful. This artistic language principle defined the style of the artist long before he entered the Art World market. His love for Italian Renaissance was born in Minsk during his study years. Art, Music and Architecture made Igor Fomin...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents,...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents, but in one wholeness. Fomin is a fairy-tale artist, a romance teller, who is choosing never ending life stories for a viewer. He is telling these stories with realistic language of the artist, citing the language of Bruegel sentimental sincerity of Chagall, but also a precise coloristic scheme, that was a signature of French Art in the second half of XX century. The fantastic World of the artist is perfectly detailed that makes it truthful. This artistic language principle defined the style of the artist long before he entered the Art World market. His love for Italian Renaissance was born in Minsk during his study years. Art, Music and Architecture made Igor Fomin...

The hero at this painting is a human. His eyes are a lenses that artist using. At all time they are together, a man and a woman. Duality of differences, two views, different accents,...

These new works start from polar opposite impulses which juxtapose the purity and beauty of platonic forms opposed to impulsive muscular instantaneous painting. Shifreen internalizes...

These new works start from polar opposite impulses which juxtapose the purity and beauty of platonic forms opposed to impulsive muscular instantaneous painting. Shifreen internalizes...

These new works start from polar opposite impulses which juxtapose the purity and beauty of platonic forms opposed to impulsive muscular instantaneous painting. Shifreen internalizes...

These new works start from polar opposite impulses which juxtapose the purity and beauty of platonic forms opposed to impulsive muscular instantaneous painting. Shifreen internalizes...

New York - is a capital of the World that will no one indifferent. That’s the way the artist, Igor Fomin is seeing it. He is showing historical portrait of ...

Canvas Size: approx 32 x 39 inches Framed Size: approx. 37 x 45 inches Nicola Simbari is a painter of semi-abstract impressionist works. He is a colorist who favors brilliant tones...

Part of Sax Berlin's Silver Series; a portrait of a beautiful woman, she looks gentle and wise. Oil on canvas with pure gold and silver leaf. Quote from Sax Berlin "Obscure visions...

Quim Bove' first picked up a paintbrush when he was six, and hasn't put it down since. Born in the Catalonia region of Spain along the Pyrenees, he became fluent in Spanish, French ...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...

Foot of Pistyll Rhaeadr, Ink and Wash Painting by John Piper, circa 1939-1941 Additional information: Medium: Ink and wash 12.5 x 17.7 cm 4 7/8 x 7 in Titled under the mount John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

Cheltenham (Fantasia/Panorama), Pen and Ink Painting by John Piper, 1939 circa Additional information: Medium: Pen and ink 19 x 26.5 cm 7 1/2 x 10 3/8 in Inscribed extensively The upper image closely resembles a 1940 painting, Cheltenham Fantasia, which was sold to a Mr Anderson at the Leicester Galleries in March of that year. The lower image is a study for Piper's 1940 Curwen Press auto-lithograph 'Cheltenham', produced while he was also working on illustrations for the Shell and BP Shilling Guide to Gloucestershire (1939; not used in the project). Betjeman, then head of the project, also used the image to illustrate his article "Book Illustration Can Colour a Whole Town or City" in 'Signature' in 1940. The Cheltenham design is covered and reproduced in Hugh Fowler-Wright's book on Piper. John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

Kirby Hall, Northamptonshire, Gouache with Ink and Wash Painting, 1940-42 circa Additional information: Medium: Gouache with ink and wash 15.2 x 18.5 cm 6 x 7 1/4 in As part of an eight-page pamphlet for The Colour of English Country Houses in 1944, Piper included a lovely auto-lithograph of Kirby Hall in Northamptonshire. This work was most likely sketched on the occasion of his visit to the Hall at this time and is of a slightly different angle. It is a working version of the cover of C Aspinall-Oglander's 'Admiral’s Widow’, 1942 (Hogarth Press). The print is cat. no.51.\\\ Piper gives a lovely description of this Elizabethan country house in the introduction to the pamphlet as follows: ‘A yellow stone house of the seventeenth century, in rolling green hunting-country. It gleams in the sun, forms a warm eye-catcher in dull weather and glimmers whitely in moonlight. It is another ruin, partly roofless, and has recently taken over by the Office of Works to be preserved as a show-place.’ (John Piper). Here, Piper, painting at night in the light of the moon, depicts the north front from the inner courtyard, capturing the brilliance of the moonlit night as it dances over the ruins making it in Piper’s own words ‘glimmer whitely’ whilst the dramatic shadows darken the archways and windows. John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

This superb French 19th century oil painting, La Source, location previously unknown according to the Jean Jacques Henner Catalogue Raisonee, is a fantastic art historical re-discovery. It is by noted artist Jean Jacques Henner, a French painter, Henner was noted for his use of sfumato and chiaroscuro in painting nudes, religious subjects, and portraits. La Source, or Spring, is a magnificent, very large French Romantic oil painting depicting a subject for which Henner became famous. Painted in 1881 it was exhibited at the Paris Salon that year. The sitter is Dorothy Tenant (1855-1926) or Dolly, an English art pupil of Henner’s and also his model. (See her biography below). La Source is a painting of a beautiful young woman, Dolly, unclothed, with long auburn hair sat on the edge of a pool in a landscape. Her serene face and body are almost glowing against the darker landscape, all enhanced by the sfumato and chiaroscuro technique. Beyond is a patch of startling blue sky, reflected in the pool at her feet. The rough brush work in the flora and fauna around her, a precursor to French Impressionism, contrasts with the smoothness of her skin. A really stunning painting with excellent provenance. This painting is in the Henner Musee National catalogue raisonne by Isabelle de Lannoy, noted as location unknown and exhibited at the Salon in 1881. Also noted in the catalogue raisonne are two studies for La Source identifying the sitter as Dolly Tennant. One of the images is also shown on the front cover. Signed lower right. Provenance. Exhibited Paris Salon 1881 entitled La Source. Catalogue Raisonne, for National Museum of Jean Jacques Henner, France, p174. La Source, Salon 1881, location unknown. Plus study of Dolly Tennant for La Source and another study for La Source. . The New York Market for French Art in the Gilded Age, 1867-1893 by Dr Leanne Zalewski, published by Bloomsbury Visual Arts, 2022, page 39, La Source image 3.3. Formerly in the collection of Mary Jane Morgan (see below). Aitken Dott - The Scottish Gallery ref R9101. Sotheby sale 30th Dec 1985. Thomas Agnews and Sons. Condition. Oil on canvas, image size 35 inches by 27 inches and in good condition. Has been relined and had restoration during its life time. Housed in a fine frame, 45 inches by 37 inches, in good condition. Jean-Jacques Henner (15 March 1829 – 23 July 1905) was a French painter, noted for his use of painting nudes, religious subjects, and portraits. Henner was born at Bernwiller (Alsace). He began his studies in art as a pupil of Michel Martin Drolling and François-Édouard Picot. In 1848, he entered the École des Beaux Arts in Paris, and took the Prix de Rome with a painting of Adam and Eve finding the Body of Abel in 1858. In Rome, he was guided by Flandrin, and painted four pictures for the gallery at Colmar among other works. He first exhibited Bather Asleep at the Salon in 1863 and subsequently contributed Chaste Susanna (1865), now in the Musée d'Orsay. Other noted works include: Byblis turned into a Spring (1867); The Magdalene (1878); Portrait of M. Hayem (1878); Christ Entombed (1879); Saint Jerome (1881); Herodias (1887); A Study (1891); Christ in His Shroud and a Portrait of Carolus-Duran (1896); a Portrait of Mlle Fouquier (1897); and The Dream (1900).The Levite of the Tribe of Ephraim (1898) was awarded a first-class medal. Among other professional distinctions, Henner also took a Grand Prix for painting at the Paris Exposition Universelle of 1900. He was made Chevalier of the Legion of Honour in 1873, Officer in 1878, and Commander in 1889. In 1889, he succeeded Cabanel in the Institut de France. Henner's most widely known work is his 1885 portrait of Saint Fabiola. Although the original is now lost, it was copied by artists around the world for devotional purposes. Artist Francis Alÿs has collected over 500 copies of the portrait in a variety of media. The collection, known as the "Fabiola Project," is on exhibit at the Byzantine Fresco Chapel of the Menil Collection in Houston from May 21, 2016 - May 13, 2018. Henner had numerous pupils; among them were the American painter Mathilde Mueden Leisenring and the Romanian artist Dimitrie Serafim. From 1874 to 1889, organized with Carolus-Duran, what he called "the studio of the ladies" for women were not allowed entry to the École des Beaux-Arts. Some also served as his models. One of these was Dorothy Tennant who later married Henry Morton Stanley. Henner died at age 76 in Paris. SITTER BIOGRAPHY Dorothy Tennant (22 March 1855 – 5 October 1926) was an English painter of the Victorian era neoclassicism. She was married to the explorer Henry Morton Stanley. Tennant was born in Russell...