Saint Francis of Assisi and the Heavenly Melody
Frank Cadogan Cowper
Frank Cadogan Cowper Saint Francis of Assisi and the Heavenly Melody (c. 1920) Oil on Canvas. (91.5 x 73.5 cm) Private Collection.
The Bluebird by Frank Cadogan Cowperthis is the most perfect painting ever let me marry it
Frank Cadogan Cowper R.A The Bluebird (1918) Oil on canvas. (88.4 x 71.1 cm.)
(via jesuskristeva)
Wedding dress, 1921
From the Cincinnati Art Museum via Worn Through
Jessie Arms Botke (1883 - 1971), Blue Peacock, n.d.
Flower Girl, 1922, Gerda Wegener. (Gerda Gottlieb Wegener Porta). Danish Illustrator, Painter (1886 - 1940)
(via oldpainting)
Lawrence Koe - Idyll (1908 - 11)
- Lawrence Kow Idyll (c.1908–1911) Oil on canvas. (61 x 51.2 cm) Brighton and Hove Museums and Art Galleries
Top: George Luks, The Wrestlers, 1905
From the Museum of Fine Arts, Boston:
Criticized for his poor handling of the human anatomy, Luks answered his detractors by rendering this complex scene of two nude wrestlers. The artist’s perspective was radical for the time. Luks’s composition effectively presses the viewer to the edge of the wrestling pit, thereby emphasizing the down-at-heels setting. The jarring vantage point also evokes the sweaty underbelly of modern urban life, a theme for which he and fellow members of the Ashcan School would become known.
Luks’s scene of entangled human flesh under duress is reminiscent of the sporting scenes that fellow Philadelphian Thomas Eakins painted, in particular Eakins’s 1899 Wrestlers. Whereas Eakins depicted a wrestling hold with the impassive eye of a painter rendering a studio model, Luks conveys the passion exuded by the heaving torsos. Eakins applied carefully blended strokes of pigment, building up solidly modeled forms after the manner of his studio training with the French academic painter Jean-Léon Gérôme. Luks, in contrast, enlivens his figures with energetic brushwork and thick impasto. Luks’s familiarity with the popular press, gained from his work for illustrated periodicals, may have inspired the sense of immediacy he suggested—brilliantly illuminated flesh is thrown into relief against the dark background as though caught in a reporter’s flashbulb.The opponent at the left also recalls the terrifying visages of the early-nineteenth-century Spanish painter Francisco Goya’s so-called Black Paintings, in which humans are transformed into ghouls. Luks portrays a distinctive type among the multitudes in New York City, in this case an aggressive athlete. Once again, his training as a newspaper illustrator likely honed his astute sensitivity to physiognomy, and here the thickly furrowed brow, devilish eyes, and flushed complexion suggest the bellicose personality befitting a pugnacious wrestler.
Bottom: William Etty R.A. The Wrestlers (c. early 19th century) oil on board (49.5 x 39.7 cm.)
Tamara de Lempicka - The Two Friends c. 1928
A brief timeline of her life, from www.delempicka.org:
1898 - Tamara de Lempicka was born Maria Górska in Warsaw, Poland on May 16. There are claims that she was in fact born in Moscow, Russia.
1911 - Tamara de Lempicka was exposed to the art of Italian masters while spending the winter with her grandmother in Italy and the French Riviera
1912 - Tamara de Lempicka’s parents divorced
1916 - Tamara de Lempicka married lawyer Tadeusz Lempicki in St. Petersburg, Russia and gave birth to a daughter she named Maria Krystyna, also known as Kizette
1917 - Tadeusz de Lempicki was arrested by the Bolsheviks during the Russian Revolution but was soon released with the help of Tamara de Lempicka. They traveled to Denmark and England and finally settled in Paris, France.
1918 - Tamara de Lempicka studied art the Academie de la Grande Chaumiere in Montparnasse under Maurice Denis and Andre Lhote
1923 - Tamara de Lempicka began showing her work at various galleries in Paris
1924 - Tamara de Lempicka’s work was shown at the Salon des Femmes Artistes Modernes (FAM) also in Paris
1925 - Tamara de Lempicka had her first major exhibition in Milan, Italy. It is believed that she finished 28 new works in 6 months
1928 - Tamara de Lempicka divorced her husband Tadeusz
1929 - Tamara de Lempicka traveled to the United States to paint a commissioned portrait and to organize an exhibition of her work in Pittsburgh, Pennsylvania at the Carnegie Institute
1933 - Tamara de Lempicka married the Baron Raoul Kuffner
1939 - Tamara de Lempicka and Baron Kuffner moved to Beverly Hills, California
1943 - Tamara de Lempicka moved to New York City
1960 - Tamara de Lempicka started using palette knives and changed her style to abstract
1962 - Baron Kuffner died of a heart attack
1978 - Tamara de Lempicka moved to Cuernavaca, Mexico
1980 - Tamara de Lempicka died in her sleep on March 18 in Mexico
Tamara de Lempica Innocence (1937) oil on canvas. (27 x 24 cm)
“The face, hairdo, and ribbon necklace hark directly back to various sketches by Watteau. But the result Lempicka achieved perfectly embodies her era’s photographic bent.”
Just giving my art historian opinion here, there is nothing innocent about those eyes. Girlfriend knows whats going on.
Tamara de Lempicka
Andromeda (1927-28)
(99 x 65 cm) Oil on canvas. Private Collection
(Source: onlyartists)
Short podcast from MoMA on the drawings and sketches which led to ‘Red Cocotte’ (1914).
Felicien Rops La Dame au Pantin (date unknown)