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A note on Artists at Work at the Courtauld Gallery

The exhibition Artists at Work at the Courtauld Gallery featuring some of the drawings from my collection selected by the artist Deanna Petherbridge now has only another couple of weeks to run before it closes on July 15th. I am very happy that this small show has had a steady flow of visitors and a number of favourable reviews. It proves that the space dedicated to the display of drawings at the Courtauld is by now well established and helps to keep works on paper visible.  

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Katrin Bellinger 01.07.18

A note on Artists at Work at the Courtauld Gallery

The exhibition Artists at Work at the Courtauld Gallery featuring some of the drawings from my collection selected by the artist Deanna Petherbridge now has only another couple of weeks to run before it closes on July 15th. I am very happy that this small show has had a steady flow of visitors and a number of favourable reviews. It proves that the space dedicated to the display of drawings at the Courtauld is by now well established and helps to keep works on paper visible. Next week should see a last surge of visitors as London Art Week attracts drawing lovers from abroad who will, I hope, find their way there. I enjoy sharing the works I own either by lending to exhibitions or in private visits, as one of the great pleasures of collecting is showing the works to others who are equally interested and hearing their thoughts.

 

Over the years many artists have viewed my collection and I have found their responses are often quite different from those of connoisseurs or art historians, for what they bring is a knowledge and approach informed by their own practice. I was therefore delighted when Deanna Petherbridge came to visit. Herself an artist and draughtswoman, she has also written extensively about the subject of the artist at work. In her great publication The Primacy of Drawing: Histories and Theories of a Practice, two chapters are dedicated to depictions of artists in drawings [1]. I had always been impressed with her observations on the subject and was delighted when my friend Niall Hobhouse introduced us. After making her way through many boxes she suggested that she would love to curate an exhibition from my holdings. We both agreed that The Courtauld’s Drawings Gallery would be an ideal space to exhibit the small, focused selection she would make. It was interesting for me that her choice was very different from the one I would have made.

 

She combined works by well-known artist like Ingres, Fragonard, Tiepolo and Robert with very little-known ones. She included a drawing by the German artist Georg Eduard Gehbe (1845–1920) in the section that depicts artists working outdoors and it makes for an amusing addition with the artist busy at his easel being startled by a jumping deer (Fig. 1). Amongst the drawings showing artists’ studios is a great example of a cluttered interior, with the artist absent but a mannequin present, by the obscure artist Ermenegildo Antonio Donadini (1847–1936) who was working in Munich at the time (Fig. 2). Another deserted studio space is that of the sculptor Remo Rossi in Locarno, drawn by another German artist Horst Janssen (1929–1995) (Fig. 3). It was the exhibition’s co-curator Anita Viola Sganzerla who identified the space by recognising the prominent sculptures in the centre as works by Swiss artist Remo Rossi (1909–1982). I was delighted that Deanna choose not one but two examples by Janssen because this brilliant draughtsman and printmaker deserves to be better known outside his home country. I very much hope you will have a chance to see the exhibition, which is accompanied by a catalogue written by the two curators (Paul Holberton Publishing, May 2018).

 

Note

[1] Deanna Petherbridge, The Primacy of Drawing: Histories and Theories of a Practice(Yale University Press, 2010).

 

Information

‘Artists at Work’ will be on view in the Gilbert and Idliko Butler Drawings Gallery, The Courtauld Gallery, London until 15 July 2018.

 

Fig. 1 Georg Eduard Gehbe, A painter in a forest, surprised by a deer, graphite

Fig. 2 Ermenegildo Antonio Donadini, The artist’s studio, Munich, 1877, graphite

Fig. 3 Horst Janssen, The atelier of the sculptor Remo Rossi, Locarno, 1972, graphite and coloured chalks

Deanna Petherbridge 28.05.18

Reflections on ‘Artists at Work’

I just want to say a few words about the subject of Artists at Work.  This is the title of Katrin’s specialist collection, but we also chose it for the exhibition. Rather than selecting self-portraits or views of academies we concentrated on private studios and artists recording landscape or drawing antiquities out-of-doors.  We have juxtaposed important works by well-known artists (fig. 1) with revealing drawings from virtual unknowns (fig. 2) as a celebration of the universality and democracy of drawing media and have managed to pack in examples from across five European countries and five centuries to illustrate the significance of this theme for artists, which relates so closely to their ideas about creativity, self identity, art history and artistic practice.

 

In my own career, as well as lecturing in art schools and academies in many different countries, I’ve also visited as many artists’ studios as possible. I vividly remember my earliest encounters with an artist’s studio in Teheran in 1977 crowded with a collection of Qajar and folk paintings on glass; and in 1979 visiting the studio of Bengali artist Paritosh Sen (1918-2008) in a modest apartment in Calcutta that was filled with fabrics and Kalighat folk prints, as well as all the usual studio equipment of plan chests, easels, paint-stands, book shelves, musical instruments and so on.  These studios and most of the others I’ve visited have been places of enchantment. Although very localized, they’ve all shared in some hegemonic ideal – not altogether smacking of Western imperialism – of what constituted artistic practice… in the late 20th century, that is. Then about 12 years ago, when I had a studio in Umbria, I visited the British School at Rome.  I asked to see one of the historic studios and was shown into the most magnificent double volume sculptor’s atelier with huge windows and views to die for.  And lost in one corner of this amazing and totally empty white space was a small trestle table with a pair of dirty trainers, a laptop and a mobile phone. Art practice in the 21st century has changed very radically with the move to conceptual art, lens- and digital imagery-based practice and social media communication networks. Artists now carry their ideas, however expansive, locked in their portable computers and USB sticks so that the studio is not really necessary any longer for sustained artistic development except as a physical dumping ground. Perhaps representations of artist’s studios constitute a finite genre… something that, of course, I much regret.

 

Finally, I want to thank my collaborators in this exercise. No one curates an exhibition alone; it is an intensely collegiate and complex activity, involving selection, discussions, the writing of texts, shaping of the catalogue; framing decisions, conservation issues, installation and lighting, PR – a million different things. So Curator of Drawings Ketty Gottardo and Assistant Curator of Works on Paper Rachel Sloan from the Courtauld and Anita Sganzerla, Curator of Katrin Bellinger’s collection, have born the major burdens of this show, including writing the labels, and I am very grateful to them for their attention and hard work.  And I would also like to thank all the other people from different departments in the Courtauld who have been so very helpful.

 

‘Artists at Work’ will be on view in the Gilbert and Idliko Butler Drawings Gallery, The Courtauld Gallery, London until 15 July 2018. 

Fig. 1 Jean-Auguste-Dominique Ingres (1780-1867), Portrait of Auguste Gaspard Louis Boucher-Desnoyers, 1825, graphite, 357 × 270 mm

Fig. 2 Fanny Guillaume de Bassoncourt, Baronne de Molaret (1820-1888), Portrait of an artist at her easel, 1837, graphite, 282 × 222 mm

Anita V. Sganzerla 26.04.18

Artists at Work at the Courtauld Gallery

The exhibition ‘Artists at Work’ will open in the Drawings Gallery at The Courtauld on Thursday 3 May. The exhibition is the result of a collaboration between the museum, the Katrin Bellinger collection and guest curator Deanna Petherbridge. Drawings by Hubert Robert, Jean-Honoré Fragonard, Adolph Von Menzel and Giovanni Domenico Tiepolo, all united by the common theme of depicting artists, will be shown side by side with less well-known but equally intriguing sheets, dating from the sixteenth to the twentieth centuries.

 

Deanna Petherbridge, the artist, writer and curator, is returning to the theme, which she treated in her seminal book The Primacy of Drawing: Histories and Theories of a Practice, where she devoted two chapters to artists’ representations of themselves and others in the act of drawing.  [1]

 

The 22 selected works are organised around four main themes corresponding to the display – although, not surprisingly, multiple overlaps emerge throughout the show. It opens with a group of representations of artists working outdoors, depicting the grandeur of nature or of antiquity. Roman artist’s Carlo Labruzzi’s large luminous watercolour, encompasses both landscape and architecture, with its long-distant view of the Imperial Forum seen from the gardens of the English College on the Palatine Hill (fig. 1).

 

On the second wall we move indoors, with a sequence of images of ateliers, which illustrate different aspects of the working environment of painters, sculptors, draughtsmen. Here, Egon Schiele’s black crayon drawing of his office at the Mühling prisoner-of-war camp offers us a glimpse into the life of the artist during World War I (fig. 2). Deemed unfit to serve at the front, Schiele was assigned an office job as a clerk to the camp’s supply office, because of his elegant handwriting. The small office space doubled as a studio for the artist when off-duty. The sparse interior conveys a sense of his crammed quarters, and the box with art materials in the very foreground is a rare occurrence of a still life in Schiele’s oeuvre.

 

A selection of self-portraits and images of artists working in solitude includes, amongst others, Jean-Auguste-Dominique Ingres’s masterful portrait of his fellow artist Boucher-Desnoyers (fig. 3). A prominent French engraver, Desnoyers became well known for his prints after Raphael’s most admired paintings. Here, he is shown at work on his engraving after the Saint Catherine of Alexandria, now in the National Gallery, London. This engraving must have been a great source of pride for Desnoyers, and Ingres’s portrait celebrates his appointment as Engraver to the King in 1825. That same year, Ingres himself was elected a member of the Académie Royale.

 

The forth section is concerned with the studio as the place of myth, allegory and magic, the realm of the artist and his creative power. Fragonard’s The Inspiration of the artist, for example,is most likely an allegorical self-portrait (fig. 4). Surrounded by the creatures of his imagination, the artist sits at his desk covering his eyes either in inspiration or creative crisis. Emerging from the clouds we see a winged personification of Painting, holding a palette and brushes, accompanying by putti. Another winged figure, a female harpy with a dragon tail, hovers behind the artist’s desk.

 

A valuable addition to the closing section is Cornelis Dusart’s The old painter, lent by The British Museum (fig. 5). Dusart’s drawing seems reminiscent of the adage Ars longa, vita brevis (Art is long, life is short). According to this Latin saying, an individual’s lifelong commitment to the practice of his art will not guarantee him the achievement of perfection. The mastery of any art is, in fact, a most elusive goal, to be pursued generation after generation.

The assiduous practice and perfecting of the art of drawing is amply celebrated in this focused exhibition, with plenty of space for amusement and reflection.

Notes:

[1] Deanna Petherbridge, The Primacy of Drawing: Histories and Theories of a Practice(Yale University Press, 2010).

Information:

The show is accompanied by a fully illustrated catalogue with an essay by Deanna Petherbridge and catalogue entries by Anita Viola Sganzerla (Paul Holberton Publishing, May 2018). 

 

‘Artists at Work’ will be on view in the Gilbert and Idliko Butler Drawings Gallery, The Courtauld Gallery, London from 3 May to 15 July 2018. 

Carlo Labruzzi, The Colosseum seen from the Palatine Hill, Rome, Graphite, pen and brown and grey ink, watercolour

Egon Schiele, Office at the Mühling prisoner-of-war camp ,1916, black and red crayon

Jean-Auguste-Dominique Ingres, Portrait of the engraver Auguste-Gaspard-Louis Boucher-Desnvyers, 1825, graphite

Jean-Honoré Fragonard, The inspiration of the artist, black chalk, pen and brown ink, brown wash

Cornelis Dusart, The old painter, Black chalk, pen and brown and black ink, grey wash, The British Museum, London, inv. no. 1836,0811.131

Livia Schaafsma 22.02.18

Reflections – Van Eyck and the Pre-Raphaelites at the National Gallery

The exhibition explores the influence of Van Eyck’s Arnolfini Portrait and the works of the Pre-Raphaelites and their successors. Acquired in 1842, just 18 years after the National Gallery was established, Van Eyck’s Arnolfini Portrait was the first early Netherlandish painting in its holdings and made a lasting impact on those who saw it. Especially young artists such as Millais, Hunt, and Rossetti, who were enrolled at the Royal Academy housed in the same building on Trafalgar Square and would’ve easily seen it. The exhibition shows references to the painting in the Pre-Raphaelites work in the attention to symbolic details such as the shoes, oranges, lit candle and the high level of finish. The most notable feature of Van Eyck’s portrait is the convex mirror in which is reflected the backs of the two protagonists and between them two male figures, the one in the blue coat long thought to be Jan van Eyck himself.

A quirky example of an artist’s self-portrait reflected in a convex mirror can be found in a small oil painting in the Katrin Bellinger Collection by the Belgian artist Edouard Duyck (Fig. 1). Dated to 1883 this lively portrait reflects the artist as if he is looking into a convex mirror. The details of the room behind him are suitably distorted – thus we see the window to the left bend inwards as does the easel to the right. At its centre the viewer is faced by the artist who smiles back at us.

For many artists, the use of the mirror provided an opportunity to place themselves firmly within the subject of the painting. An early example of this can be seen in William Orpen’s painting The Mirror (Fig. 2, Cat. 40) in the National Gallery show. Here the painting is dominated by a circular mirror which reflects on a miniature scale the artist at work at his easel, a woman standing by his side. Orpen was fascinated by mirrors and repeatedly used them to capture his own self-image at a distance, his obsession with them linked to his own deep-felt insecurity which apparently stemmed from his overhearing as a child his parents bemoaning his appearance.[1]

Between 1908 and 1912, Sir William Orpen made a series of self-portraits in spite of an intense self-consciousness which often surfaced in his works. In his Self Portrait looking in a Mirror in the collection (Fig. 3) he makes a comical reference to his looks, inscribing along the bottom ‘a pleasant sight I have just seen while writing’. This drawing within a letter to his wife Grace is executed on the headed paper of the Metropolitan School of Art Dublin where Orpen taught.

One of Orpen’s pupils at the Metropolitan School of Art was Leo Whelan whom Orpen considered ‘a promising youth’. He was influenced by Orpen’s use of the mirror device as can be seen in his painting The Mirror (Fig. 4) from the collection, first shown at the RHA in Dublin in 1912 when Whelan was just 20. Here Whelan depicts himself standing confidently with his leg firmly planted on the easel, palette and brush in hand studying his reflection in a large mirror. The mirror is framed by a velvety fabric which is held in place in the left foreground by a maquette depicting an Irish peasant group digging for potatoes, possibly referencing the Famine. A rare subject for sculptural treatment for this period, its inclusion suggests Whelan’s interest in Irish rural social subjects.

Ultimately, the use of mirrors became familiar motifs in British portraiture in the early twentieth century and allowed the artist to not only insert themselves in the pictorial narrative but also to explore their own identity and notions of self.

Reflections: Van Eyck and the Pre-Raphaelites co-curated by Susan Foister, Deputy Director and Curator of Early Netherlandish, German, and British Paintings at the National Gallery and Alison Smith, Lead Curator of British Art to 1900 at Tate Britain is open until 2 April.

End Notes

[1] Stories, page 22. why it was that he was so ugly and the rest of the children so good looking. I began to think I was a black blot on the earth.

Fig. 1 Edouard Duyck, Self Portrait, as reflected from a convex mirror, 1883, oil on panel, 120mm. diameter, Katrin Bellinger Collection 2000-015

Fig. 2 William Orpen (1878 - 1931), The Mirror, 1900, oil on canvas, 508 x 406 mm, Tate

Fig. 3 William Orpen (1878 - 1931), Self-Portrait, Looking in the Mirror, circa 1909, pen and black ink on Metropolitan School of Art writing paper, 332 x 207 mm, Katrin Bellinger Collection 2003-005

Fig. 4 Leo Whelan (1892 - 1956), The Mirror, 1912, Oil on canvas, 840 x 660 mm, Katrin Bellinger Collection 2012-024

Katrin Bellinger 03.11.17

Recent Acquisitions

There are two areas in the collection that are difficult to add to: Contemporary Art and Sculpture. I was very happy when I managed to buy two works that fall into both categories within the last couple of months.

 

One is a bronze by Phyllida Barlow, ‘Paintsticks,’ which I acquired at Frieze, London on the stand of Hauser and Wirth from their exhibition ‘Bronze Age c3500 BC – AD 2017’ (Fig. 1). I could easily have missed it in the midst of the dense display of the stand, which was designed as a fictional, forgotten museum, but the cast caught my attention on Instagram. I believe this is the first time I have bought a work I discovered on social media.

 

I have long admired Phyllida’s work ever since I came across an installation of her Pompons that looked like strange, colourful birds nesting in the attic of the old Hauser & Wirth Gallery in Piccadilly. This is the first time Phyllida has tackled bronze, and by choosing her humble tools – the paintsticks she mixes her pigments with – to cast in precious metal, it fits well within her oeuvre.

 

It resonates with a bronze in the collection by the artist Vincenzo Gemito (1852-1929) a sculptor and prodigy from Naples (Fig. 2). The wonder boy moved to Paris in 1877 where he worked in the studio of Jean-Louis Ernest Meissonier who became a great friend. Gemito’s admiration for the master is expressed in this life cast of Meissonier’s hands, shown holding a crumpled cloth, paints brushes, part of a palette and a mahl stick.

 

Another contemporary bronze added to the collection a few months ago is a self-portrait by the Swiss artist Not Vital (Fig. 3). The work is from the 1980’s when he cast body parts, like his nose or his arm and hands, in a variety of poses in bronze and aluminium. After modelling this head in clay, he put it in a backpack, hiked up a mountain and rolled it down the hill where it took quite a battering. Despite the appearance of a fragment it is still visibly his portrait – that of an old friend of mine, and a much-admired artist.

Fig. 1 Phyllida Barlow (b. 1944), Untitled (Paintsticks), 2017, 11 bronze sticks

Fig. 2 Vincenzo Gemito (1952-1929), The Hands of Jean-Louis Ernest Meissonier, 1879, bronze

Fig. 3 Not Vital (b. 1948), Untitled (Self-portrait), 1995, bronze

Anita V. Sganzerla 19.09.17

The Encounter. Drawings from Leonardo to Rembrandt at the National Portrait Gallery, London

The Encounter. Drawings from Leonardo to Rembrandt is the National Portrait Gallery’s first show devoted to European old master drawings. The exhibition, curated by Tarnya Cooper and Charlotte Bolland, and supported by the Tavolozza Foundation, explores the multiple reasons for the creation of drawn portraits. The selected works highlight how the ‘use of graphic materials allowed for direct response to the visual stimulus of the living figure’ [1]. The opportunity for an encounter between draughtsman and sitter could be offered by official portrait commissions as well as by informal, everyday occasions. Extant drawn portraits may capture the likeness of studio assistants, fellow artists, casual visitors to a master’s atelier, family members or even individuals randomly encountered in the street.

 

Of the many masterful drawings included in the exhibit, a few can be described as self-portraits. Although they do not show the artist at work they succeed in conveying the sense of an intimate encounter between the draughtsman’s eye and his hand. A remarkable example is Domenico Beccafumi’s self-portrait in black and red chalk (Fig. 1; cat. no. 13). Executed on a page of a now dispersed sketchbook, this was clearly meant as a personal exercise in the rendering of the artist’s own appearance. The same face and turban-like headdress can be found in Beccafumi’s oil on paper self-portrait, now in the Uffizi, Florence.

 

The focus on the face and swiftness of execution also characterise a pen and ink drawing currently ascribed to an unknown seventeenth-century Dutch or Flemish artist (Fig. 2; cat. no. 16). Once thought to be by Jan Lievens, this spirited sketch shares certain qualities with Rembrandt’s witty studies of facial expressions executed in pen and ink, drypoint and etching.

 

Several sheets in the Katrin Bellinger Collection are closely connected to the exhibition’s central themes, and can help further our understanding of the varied practice of early modern self-portraiture in drawn form. A recently acquired work by the Baroque artist Pierfrancesco Mola presents a more elaborate use of graphic media than the two previous examples (Fig. 3). The artist’s facial features are worked out in black and red chalks, and the portrait is further enriched with a layering of red, blue, mauve, brown and white pastels.

 

Just as Beccafumi is identifiable by his turban-like cap, Mola liked to portray himself with a beret (berettino), which combined with his wide shirt collar clearly identified him as a painter. The artist gazes towards the beholder with a self-assured look, leading Rick Scorza to date the portrait to the early 1660s, thus prior to financial troubles that led to a fast decline in Mola’s fortunes.

 

Amongst Baldassarre Franceschini’s surviving self-portraits, our red chalk drawing stands out for its meticulous and elegant execution (Fig. 4) [2].  The artist’s facial traits resemble those in his well-known painted self-portrait in the Uffizi, although our drawing shows him much younger, probably in his thirties. Volterrano’s beautiful drawings were highly sought-after by collectors and our sheet may have once belonged to Niccolò Gabburri, who owned a drawn portrait of Volterrano in his own hand –no doubt a prized possession [3].

 

The Encounter. Drawings from Leonardo to Rembrandt is on view at the National Portrait Gallery until 22 October 2017.

 

Endnotes

[1] T. Cooper and C. Bolland, The Encounter. Drawings from Leonardo to Rembrandt, exh. cat., National Portrait Gallery, London 2017, p. 15.

[2] Two drawn self-portraits by Volterrano once belonged to Filippo Baldinucci and are now in the Louvre (inv. nos. 1170 and 1171; cf. L’Empire du Temps. Mythes et créations, exh. cat., Louvre, Paris, 2000, nos. 131-132). The first, very similar and executed in the same medium, shows the artist at the age of 30 while in the second he is considerably older, age 61.

[3] N. Gabburri, Nota de’ Quadri…, Florence 1729, p. 37 (‘Ritratto del Volterrano in disegno di sua mano’); see M. C. Fabbri, A. Grassi, R. Spinelli, Volterrano: Baldassarre Franceschini (1611-1690), Florence 2013, under OP 121, p. 374.

Fig. 1 Domenico Beccafumi (1484-1551), Self-portrait (recto), c. 1525, black and red chalk, 221 x 150 mm, The Fitzwilliam Museum, Cambridge.

Fig. 2 Unknown Dutch or Flemish artist, Self-portrait, c. 1625-35, pen and brown ink with some brown wash over black chalk, 140 x 138 mm, Ashmolean Museum of Art and Archeology (University of Oxford), detail.

Fig. 3 Pierfrancesco Mola (1612-1666), Self-portrait, Bust-length, wearing a Beret and turned to the Right, black and red chalk and coloured pastels on light brown paper, laid, 315 x 246 mm.

Fig. 4 Baldassarre Franceschini, called il Volterrano (1611-1690), Self-portrait (recto), red chalk with white heightening, 411 x 278 mm.

Anita V. Sganzerla 28.07.17

Drawings and Friendship: Jacques Villon and Fahrelnissa Zeid

A recent addition to the collection’s 20th-century holdings offers an unexpected opportunity to reflect upon a theme that has long fascinated Katrin Bellinger, works revealing traces of artists’ friendships. In this first post on the topic, the focus is on a drawing by Jacques Villon (Danville 1875 – 1963 Puteaux), The Artist in his Studio (Fig. 1), and its dedicatee, Princess Fahrelnissa Zeid of Iraq (Büyükada, İstanbul 1901 – 1991 Amman) (Fig. 2). By a lucky coincidence, the acquisition of Villon’s drawing has coincided with the opening of the first retrospective on Zeid at Tate Modern, prompting a brief consideration of these two little known artists and the occasion for their friendship. Born into an elite Ottoman family in Istanbul Zeid was to become one of the first modern women painters in Turkey. Her unique work combines the influence of European abstract art with Byzantine, Islamic and Persian elements.

First, though, something about Villon’s drawing. Executed in pen and ink and watercolour, the sheet conveys a vivid view of the artist in a studio. Seen from behind, wearing a hat and resting his left hand on his hip, he seems to be assessing a painting positioned on an easel, possibly one of the abstract compositions with vivid colours his name is mostly associated with. Touches of grey and green washes interact with the swiftly scribbled pen lines almost turning the studio itself into an abstract space.

Today less of a familiar name than his younger brother Marcel Duchamp, Villon had a long and prolific career and is remembered in particular for his contribution to Cubism, Fauvism and abstract Impressionism. Born Gaston Duchamp, he adopted the pseudonym Jacques Villon (an homage to French medieval poet François Villon) early on in his career to distinguish himself from his three siblings. After decades spent working mostly in isolation in the outskirts of Paris, in 1944 an exhibition at the Galerie Louis Carré brought Villon’s works to the attention of the Parisian, and soon of the international, art community. Several accolades followed, including the prestigious First Prize at the Carnegie International, in 1950, the same date as our drawing.

As a printmaker, Villon experimented with etching, aquatint and lithography. It was in the workshop founded in the early 1920s by master lithographer Edmond Desjobert [1] – who ran it until 1953 when he was succeeded by his son Jacques – that Villon would have met Zeid. A testimony of the friendship between Villon and Zeid is provided by our drawing’s dedication, which translates as: ‘In memory of the Desjobert workshop and a great surprise to my friend Fahr-el-nissa on 5 December 1950. Jacques Villon’ [2].

Zeid’s presence at the atelier Desjobert is documented and so are her strong ties to the international Parisian art scene. A Francophile throughout her life, Zeid first resided in Paris in 1928 when she enrolled at the Académie Ranson. From the 1930s she lived in Europe with her second husband, Prince Zeid Al-Hussein, who acted as Ambassador of the Kingdom of Iraq first in Berlin, and later in London. Dividing her time between London and Paris, she carried out her most spectacular works – large scale abstract paintings marked by vibrant colours and black outlines (Fig. 3). Described in the exhibition catalogue as ‘feisty, charismatic and prolific,’ Zeid had a long and far-reaching career, exhibiting in Europe, the Middle East and the United State. The last years of her life were spent in Amman, Jordan, where her house became a gathering place for a cosmopolitan group of female students, fostering artistic and social exchange.

 

Fahrelnissa Zeid” is open at Tate Modern until 8 October 2017.

Curated at Tate Modern by Kerryn Greenberg, Curator, International Art and Vassilis Oikonomopoulos, Assistant Curator, Collections International Art.

The exhibition will travel to Deutsche Bank KunstHalle in Berlin in October 2017 and then to the Sursock Museum in Beirut in April 2018.

 

Endnotes:

[1] Roland Giguère, “Aux Ateliers de lithographie Desjobert,” Vie des arts 17 (1959), 40-46.

[2] En souvenir de l’atelier Desjobert et d’une grande surprise sympathique à mon amie Fahr-el-nissa le 5 décembre 1950. Jacques Villon

 

Fig.1 Jacques Villon, The Artist in his Studio, pen and ink and watercolour on paper, 316 x 246 mm

Fig. 2 Fahrelnissa Zeid, Self-Portrait, 1944, Zema and Barbaros Çağa Collection © Raad bin Zeid

Fig. 3 Fahrelnissa Zeid, Untitled (Brighton 9 June 1949), 1950, Sevtap and Tolga Kabataş Collection © Raad bin Zeid

Anita V. Sganzerla 12.06.17

‘Strive for the Sublime’: Jean-Jacques Karpff at Colmar

The Musée Unterlinden in Colmar devotes the first monographic exhibition to the portraitist and miniaturist Jean-Jacques Karpff, aka Casimir (1770-1829). Curated by Viktoria von der Brüggen and Raphaël Mariani, the show and accompanying catalogue explore the career of the Colmar-born artist, which was spent between Colmar, Paris and Versailles. While Karpff’s name will not sound familiar to many today, it is well-known in Colmar – he founded the city’s drawing school and was an active member of its cultural life.

Across seven sections, the exhibition explores Karpff’s personal response to the artistic events of his time. His style was influenced by his master Jacques-Louis David and some of his most talented students – including Isabey, Girodet and Boilly. Like Isabey, he specialised in miniature portraits, developing a unique technique: his miniatures are deftly executed in grisaille, using China ink heightened with white gouache on very thin ivory.

The Colmar museum’s holdings are complemented by loans from both public institutions and private collections. A drawn Self-Portrait of 1793-94 is on loan from the Katrin Bellinger collection (fig. 1). This accomplished pastel is the earliest of three self-portraits by Karpff [1], and was executed when the artist’s stay in Paris was about to end. Due to the Revolution, his main patron, the Comte de Narbonne-Lara (1755-1813), had emigrated to England, forcing Karpff to return to Alsace. Thus, our self-portrait may be interpreted as a souvenir of his Parisian years as well as a demonstration of his skills, aimed at attracting new commissions in Colmar.

In this masterful sheet, the confident young artist looks out towards the viewer with piercing blue eyes as if interrupted while drawing. His right hand holding the porte-crayon rests on an open album – perhaps he looks up in search of inspiration or to observe his appearance in a mirror, thus alluding to the act of self-portraiture. He is styled according to the latest Parisian fashion, with high-neck jacket, foulard and round earrings. The meticulous handling of the pastel emphasised the theme of observation, contributing to the engaging quality of the work. It may be surprising to discover that we know of no other pastel executed by Karpff. The technique was highly popular in Paris at the time, but once back in Colmar the artist would specialize in his grisaille miniature portraits, better suited to the requirements of the new local elite.

Karpff would once more draw himself proudly holding the porte-crayon – the unmistakable symbol of the draughtsman – in his Self-Portrait at the Pulpit, now in Colmar (fig. 2), which was made into a lithograph by his friend, the painter Jean-Baptiste Mauzaisse, after the artist’s death. The porte-crayon, a drawing tool for holding chalk, is a recurring motif in representations of artists, as shown by prime 18th-century examples in the Katrin Bellinger collection. A noteworthy case is the Portrait of Jean Honoré Fragonard by Jacques Antoine Marie Lemoine – one of very few extant portraits of the master (fig. 3). Here, the aging artist is shown holding the porte-crayon close to his heart – a touching proclamation of the primacy of drawing [2].

 

Jean-Jacques Karpff (1770-1829) “Visez au Sublime” is on view at the Musée Unterlinden, Colmar until 19 June 2017.

 

Endnote

[1] For the three self-portraits see Viktoria von der Brüggen and Raphaël Mariani eds., Jean-Jacques Karpff (1770-1829): Visez au Sublime, exhibition catalogue, Musée Unterlinden, Colmar, p. 10, fig. 1, cat. nos. 9, 73, illustrated.

[2] Cf. Marie-Anne Dupuy-Vachey, ‘The Portrait of Fragonard by Jacques-Antoine-Marie Lemoine,’ Master Drawings, LIV, 4, 2016, pp. 491–500.

 

Fig. 1 Jean-Jacques Karpff, Self-Portrait, 1793 or 1794, pastel, 310 x 230 mm.

Fig. 2 Jean-Jacques Karpff, Self-Portrait at the Pulpit, black chalk, stomp and highlights in white chalk, 297 x 237 mm, Musée Unterlinden, Colmar.

Fig. 3 Jacques Antoine Marie Lemoine, Portrait of Jean Honoré Fragonard, 1797, black chalk, stomp and highlights in white chalk on beige paper, 320 x 225 mm.

Anita V. Sganzerla 04.05.17

Reading Drawings at the Courtauld Gallery – Guercino

The display Reading Drawings, currently on view in the The Gilbert and Ildiko Butler Drawings Gallery at The Courtauld, explores the varied role of inscriptions on drawings, across periods and schools. Curated by Rachel Hapoienu, the selection addresses issues of identity, making and meaning, by deciphering and contextualizing the various forms of textual traces found on drawings by famous as well as little known artists.

 

Amongst the drawings on view, Cesare Gennari’s Two putti supporting a medallion portrait of Guercino (fig. 1) was designed as frontispiece to a series of 14 etchings after Guercino’s much admired evocative landscape drawings. The artist’s nephews, Cesare and Benedetto Gennari, published the print series in the early 1670s with a dedication to Francesco II d’Este, Duke of Modena [1]. In Cesare’s design, the putto at the centre lifts a curtain to unveil a Guercino-inspired pen and ink landscape, while the one on the right points at a red chalk portrait of the artist as a young man.  The blending of different drawing media reflects the Centese master’s preferences and distinctive style.

 

An example of Guercino’s own design for a frontispiece can be found in a sheet in the Katrin Bellinger collection (fig. 2). Its composition corresponds, with small variations, to Oliviero Gatti’s print accompanying a series of 22 engravings after Guercino (fig. 3). Published as the Book of the Principles of Drawing (Bologna, 1619) the series was dedicated to Ferdinando Gonzaga, Duke of Mantua, hence the prominence of the Gonzaga heraldry [2].

 

The allegorical figure of Painting, well suited to the book’s didactic purpose, is shown in the act of painting a coat of arms while her canvas is being supported by two putti. A red chalk study for the central female figure is in the Ashmolean, Oxford (fig. 4). While the Royal Collection holds a preliminary study in pen and ink for the whole composition (fig. 5), not yet completed with many of the details delineated in our sheet [3].

 

Apart from the absence of the inscriptions and some differences in the coat-of-arms’ design, our drawing is very close to the finished engraving. Indeed, its high level of finish and the controlled handling of the pen open to the possibility that it may have been executed using Gatti’s print as a model rather than as a preparatory study for the engraver to follow. Our draughtsman may therefore be a follower of Guercino, possibly one of the Gennari – an issue presently open for discussion.

 

Reading Drawings will be on view at The Courtauld Gallery until 4 June 2017.

 

Endnotes:

[1] Cf. D. Mahon and N. Turner, The Drawings of Guercino in the Collection of the Her Majesty the Queen at Windsor Castle, Cambridge, 1989, 105–7; P. Bagni, Il Guercino e il suo Falsario: i Disegni di Paesaggio, Bologna, 1985, 57–165.

[2] Illustrated Bartsch, 41, New York, 1981, 109, illustrated.

[3] See N. Turner and C. Plazzotta, Drawings by Guercino from British Collections, London, 1991, nos. 20–21, illustrated.

Fig. 1 Cesare Gennari, Two Putti Supporting a Medallion Portrait of Guercino, red and black chalk, pen and brown ink, and watercolour, 417 x 279 mm, The Courtauld Gallery, London, D.1952.RW.567.

Fig. 2 Guercino, An Allegory of Painting, with Putti, pen and brown ink, 165 x 227 mm.

Fig. 3 Oliviero Gatti after Guercino, An Allegory of Painting, engraving, 165 x 225 cm, Harvard Art Museum/Fogg Museum.

Fig. 4 Guercino, A Woman Painting, red chalk touched with pen and brown ink on off-white paper, 194 x 161 mm, The Ashmolean Museum, Oxford, WA1948.92.

Fig. 5 Guercino, A Woman Painting a Coat of Arms, 1619, pen and wash over slight traces of black chalk, 160 x 216 mm, Royal Collection, Windsor Castle, RCIN 902730.

Katrin Bellinger 24.04.17

A visit with Hinrich Sieveking to his exhibition at the Fondation Custodia, Paris

 

One of the great pleasures of collecting is the exchange with others who share the affliction.

There is nothing more exciting than to show one’s treasures to someone interested and knowledgeable, or in turn to look at what a fellow collector has assembled and to hear their stories.

I had that pleasure when I was last in Paris with my friend Hinrich Sieveking who showed me around the exhibition of his collection currently on view at the Fondation Custodia (fig. 1). Hinrich is an old friend who was instrumental in getting me started as a dealer and collector in Munich in the 1980’s. I fondly recall many visits to look at his drawings which he kept in boxes away from the light. I therefore believed I knew his collection well but was amazed to see so much more than I’d remembered. Their impact is also altogether different when you see 120 drawings carefully chosen and displayed on the walls. I was very impressed with what Hinrich has put together over several decades with tremendous knowledge and passion.

The focus of the exhibition is on German drawings starting with some splendid examples by Mannerist artists from around 1600 including a work by Friedrich Sustris which Hinrich discovered in a house sale where it was catalogued as an “Art Nouveau Design for a Fountain.” When he took me around he related several other riveting stories of discoveries he made where his knowledge of an artist’s work snatched it from oblivion.

The Baroque and Rococo sections display glorious works, particularly by Southern German artists leading to the heart of the collection which is the Golden Age of German Romanticism between 1770 and 1830.

Throughout the collection there are a few wonderful portrait drawings – a subject that has always attracted Hinrich. One of them depicts the artist Caspar Füssli – father of the more famous Johann Heinrich Füssli – drawn by Johann Rudolf Schellenberg (fig. 2). A small oval miniature is shown as a picture within a picture surrounded by the artist’s tools, as well as a small satyr flipping through a sketch book which might be an allusion to Füssli’s large art collection.

In the 19th century section there is a watercolour of my favourite subject by Erwin Speckter depicting his and Bernhard Neher’s studio in Rome (fig. 3). The two artists shared Neher’s studio in the winter because it provided a stove. They are wearing coats to keep warm and Neher has also kept his top hat on while they both are working on the paintings on their easels. The drawing is a testament to their close friendship. In their Roman circle they were teasingly called ‘Castor and Pollux’ after the inseparable brothers of Greek mythology.

I spotted quite a few drawings in the exhibition which are old friends I sold to Hinrich over the years. Hinrich in turn found a few things for me, amongst them a touching drawing by Johann Christoph Erhard depicting his artist friend the dwarf Johann Georg Hoffmann (fig. 4). The inscription on the drawing records that this is the first time he has drawn from nature, an event he later commemorated in a print.

The exhibition is well worth a trip because, even without Hinrich himself, you will get a very strong sense of his presence, his extraordinary eye and personal taste as well as a rare insight into the development of drawing in Germany.

 

La quête de la ligne, trois siècles de dessin en Allemagne is on view at the Fondation Custodia in Paris until 7 May 2017.

Fig. 1 Hinrich Sieveking in the last section of his exhibition covering the French and Italian drawings in his collection.

Fig. 2 Johann Rudolf Schellenberg (1740–1782), Portrait of the Painter Johann Caspar Füssli the Elder, black chalk, pen and brown ink, grey and brown wash, heightened with white, 198 x 136 mm.

Fig. 3 Erwin Speckter (1806–1835), Bernhard Neher and Erwin Speckter in their Studio in Rome, 1831, watercolour over a sketch in graphite, 192 x 249 mm.

Fig. 4 Johann Christoph Erhard (1795–1822), The dwarf artist Johann Georg Hoffmann sketching in a landscape, pencil, 138 x 104 mm.

Anita V. Sganzerla 04.04.17

Salon du dessin 2017: artists at work

 

The Salon du dessin in Paris closed its doors on Monday 27 March. This year’s edition was marked by the celebration of the tenth anniversary of the association Le cabinet des amateurs de dessins de l’École des Beaux-Arts. The exhibition Le partage d’ une passion, curated by Emmanuelle Brugerolles, featured forty highlights of the École des Beaux-Arts’ collection.

 

One such work was George Paul Leroux’s Études classiques de la peinture (fig. 1). Made in preparation for a now lost triptych, it dates to the early phase of Leroux’s career, when he was a pupil of Léon Bonnat (1833–1922) at the École. It illustrates the three components of academic teaching: copy from the antique, drawing from the model and anatomical study. Also related to this project is Leroux’s A life class, in the Katrin Bellinger collection (fig. 2), a study for the triptych’s central panel. While the EBA drawing is reminiscent of Georges Seurat’s graphic style, our painterly sheet combines pen and ink with chalk, watercolour and white heightening.

 

Amongst the images of artists at work on view at the Salon, Jacques-André Portail’s delicate chalk drawing Jeune fille dessinant (fig. 3), with Galerie Talabardon & Gautier, unsurprisingly sold on the opening night. The Paris-based gallery also presented Paul César Helleu’s charming palette-shaped portrait of his son.

 

Helleu, who trained at the École des Beaux-Arts, was a talented oil painter, draughtsman and printmaker. The popularity of his distinctive style was reaffirmed this year at sales across Paris. An intimate portrait of the artist’s daughter Paulette – sold at Galerie Alexis Bordes – made a welcome addition to the Katrin Bellinger collection (fig. 4). Frequently depicted by Helleu, Paulette donated her father’s graphic works to the Musée Bonnat in Bayonne, since renamed Musée Bonnat-Helleu.

Fig. 1 George Paul Leroux (1877–1957), Études classiques de la peinture, 1904, charcoal on three assembled sheets of paper, Paris, École des Beaux-Arts, inv. no. 7905.

Fig. 2 George Paul Leroux, A life class, 1904, pen, chalk, watercolours, heightened with white.

Fig. 3 Jacques-André Portail (1695–1759), Jeune fille dessinant, black chalk, sanguine and blue pastel framing, private collection (detail).

Fig. 4 Paul-César Helleu (1859–1927), The artist’s daughter Paulette, drawing, c. 1920, sanguine (detail).

01.03.17

Portrait of the Artist – Annibale Carracci

Amongst the Italian drawings featuring in the Queen’s Gallery exhibition, Portrait of the Artist, three relate to the Carracci workshop. One is a pen and ink study of circa 1603-05 preparatory for Annibale’s Self-portrait on an easel known in two versions in the Hermitage, St Petersburg and the Uffizi, Florence. The other two appear instead to be earlier works and may have been executed by Annibale and Agostino as experiments in self-portraiture. Both the making of drawings and its links to the representation of nature, were central to the Carracci’s reform of the arts, initiated in Bologna in the late 16th century. It would thus not be surprising to encounter a pair of chalk studies executed by the two brothers each capturing their own likeness, perhaps engaging in a sort of performance, a competition of skills and wit (Figs. 1–2). Such components were to become central to their innovative approach to art making as attested by the many extant sheets of caricatures, alternatively attributed to Annibale, Agostino or the two together, where swift and skilful execution is combined with canning introspection. Both Royal Collection portraits, with their fresh and distinguished style, make a strong claim for the Carracci circle as their origin, and may be amongst the earliest works attributed to the two brothers.

 

Although it captures a more mature likeness of Annibale, a recently discovered sheet by the Roman Carlo Maratti, datable circa 1660-70, now in the Katrin Bellinger collection, still preserves some of the spirit of the artist’s youthful appearance (Fig. 3). In this beautifully preserved drawing, Maratti has immortalized Annibale, whom he greatly admired as one of the fathers of Italian Seicento painting. We are not too far from matters of self-representation, since Maratti’s model was an oval self-portrait of Annibale made when he was around 35 years old. Once a prized possession of Giovan Pietro Bellori – the theorist of Roman classicism – the painting is now sadly lost.

 

An engraving derived from Maratti’s drawing opens Bellori’s life of Annibale in his Le vite de’ pittori, scultori e architetti (Rome, 1672). However, it is more than a study for a print. Maratti displayed his bravura in the handling of red and black chalk to distinguish the frame and portrait components. Together with its meticulous execution, further evidence suggests that the drawing was conceived as a work of art in its own right. The inscribed name of the artist, initially reversed to be easily transferred onto the copper plate, was probably rewritten in the right direction, thus preserving the aesthetic unity of the sheet. Finally, the drawing’s importance is corroborated by its prestigious provenance, it was owned, by Jonathan Richardson – who inscribed Maratti’s name on the mount – having previously been in the collection of the great drawings connoisseur and collector Padre Sebastiano Resta, a friend of both Bellori and Maratti.

 

by Anita Viola Sganzerla

 

Portrait of the Artist is on the view at the Queen’s Gallery, Buckingham Palace until 17 April 2017

Fig. 1 Attributed to Annibale Carracci, A presumed self-portrait, black and white chalks on blue-grey paper, 380 x 250 mm. Royal Collection, Windsor Castle.

Fig. 2 Agostino Carracci, A self-portrait (?), black and white chalks on blue-grey paper, 330 x 211 mm. Royal Collection, Windsor Castle.

Fig. 3 Carlo Maratti, Portrait of Annibale Carracci, black and red chalk, 157 x 120 mm.

14.02.17

Between Dimensions. “The Sculptural Line at the J. Paul Getty Museum”

The exhibition The Sculptural Line opened on 17 January at the J. Paul Getty Museum, Los Angeles. Curated by Ketty Gottardo the show presents a thought-provoking juxtaposition of drawings and sculptural objects, ranging in date from the Renaissance to the 20th century.

 

Alongside the preparatory studies and exploratory sheets, some of the drawings are concerned with presenting classical and Renaissance sculpture as a source of learning and inspiration. In this group we find Federico Zuccaro’s portrayal of his brother Taddeo working from the antique – part of the Getty’s unique series devoted to Taddeo’s early life. In Hubert Robert’s Draughtsman in the Capitoline Gallery (Fig. 1), the diminutive figure surrounded by colossal statues, probably the artist himself, is at once inspired and humbled by the grandeur of the classical past.

 

In a drawing by Robert in the Katrin Bellinger Collection (Fig. 2), the practices of learning from antiquity and the fascination with the theme of the artist at work come together as two interconnected aspects of the sculptural line. Robert’s masterful black chalk drawing of The Roman Studio of Bartolomeo Cavaceppi (1716–99) pays tribute to the successful restorer of ancient sculpture by showing him at work on a monumental female statue, surrounded by antique fragments.

 

A few of the drawings on show offer an allegorical celebration of the figure of the sculptor. Felice Giani’s Allegory of the Life of Antonio Canova, a study for a never executed monument in honour of the artist, compares Canova to his illustrious predecessor of Greek antiquity, Phidias and Praxiteles. Antiquity is also the inspiration behind Francisco de Goya’s sepia wash drawing Pygmalion and Galatea (Fig. 3). With his distinctive irony, Goya appears to have portrayed himself as Pygmalion at work on the statue soon to come to life as his wife. The sheet offers a sardonic interpretation of the evocative myth, while attesting to Goya’s absolute mastery of his chosen medium.

 

Related to the themes explored in the Getty exhibition is the continuous fascination exercised by the sculptor’s creative energy associated with his power to turn inert materials into the resemblance of ‘living’ things; a theme alluded to in Goya’s Pygmalion and traceable in several sheets in the Katrin Bellinger Collection. Amongst the many vigorous portraits of fellow artists and intellectuals executed by the neo-impressionist Maximilien Luce, we find one of the sculptor Raoul Lamourdedieu in his studio, fervently at work on a statuette (Fig. 4).

 

by Anita Viola Sganzerla

 

The Sculptural Line is on view at the J. Paul Getty Museum, Los Angeles until 16 April 2017

Fig. 1 Hubert Robert, A Draftsman in the Capitoline Gallery, c. 1765, red chalk, 45.7 × 33.7 cm (on show)

Fig. 2 Hubert Robert, The Roman Studio of Bartolomeo Cavaceppi, 1765, black chalk, 33.9 x 44.3 cm

Fig. 3 Francisco de Goya, Pygmalion and Galatea, about 1812-20, sepia wash, 20.5 × 14.1 cm (on show)

Fig. 4 Maximilien Luce (1858-1941), The Sculptor Lamourdedieu in his Studio, black crayon, 29 x 19 cm, detail

Anita V. Sganzerla 06.02.17

Watteau Master Draughtsman at the Teylers Museum, Haarlem

The exhibition Watteau Der Zeichner just opened at its second venue, the Teylers Museum in Haarlem. Organized by the Teylers in collaboration with the Städel Museum in Frankfurt, this is the first major exhibition of Antoine Watteau (1684–1721) in the Netherlands, featuring more than sixty paintings and drawings by the French master and a selection of works by his followers. The show is accompanied by a richly illustrated catalogue with contributions by the curators of the two museums, Michiel Plomp and Martin Sonnabend, and Watteau specialist Christoph Martin Vogtherr. [1]

 

The two institutions’ prestigious holdings of Watteau’s drawn oeuvre are complemented by several important loans, including two drawings from the Katrin Bellinger Collection. Featured in the section entitled “Art and Artist”, the works are: a study for a possible self-portrait by Watteau, and a portrait of Anthony van Dyck (1599–1641). Both are prime examples of Watteau’s talent as a draughtsman and are produced in his preferred technique of red and black chalk. The former (Fig. 1; cat. no. 38) shows the figure of a standing man holding a palette and brushes, one arm resting on a stick. Although no painting directly related to this drawing survives today, two prints from the 1730s show Watteau in a very similar pose, suggesting that our lively and confident study was conceived as the starting point for a self-portrait. [2]

 

An etching by Nicolas-Henri Tardieu entitled Assis, au près de toy, 1731, depicts Watteau in the company of his friend and protector Jean de Jullienne in a parkland setting (Fig. 2). While some scholars argue for Watteau’s authorship of the composition, others, including the authors of Watteau Der Zeichner, interpret Tardieu’s print as an invention created to promote Julienne’s image as a reliable connoisseur of Watteau’s works, given his closeness to the artist. Indeed, Assis, au près de toy became the frontispiece of the Oeuvre gravé, 1735, a collection of prints reproducing Watteau’s oeuvre, produced and sold at Jullienne’s initiative.

 

The second work on loan from the Collection (Fig. 3; cat. no. 36), remarkable for its vigorous handling of black chalk, bears the inscription “a. Van dick mort en 1641” and is based on Van Dyck’s Self-Portrait now in the Hermitage, St. Petersburg (Fig. 4). The canvas was once part of the collection of Pierre Crozat in Paris, where Watteau would have studied it. Crozat’s passion for the works of Rubens and Van Dyck was shared by Watteau, who in his drawing focused on the painter-gentleman’s intense expression and on his pose, managing to vividly capture the self-assured stance and engaging gaze of the famous artist at the peak of his career.

 

The final section, dedicated to the artist’s followers, features a drawn portrait of Watteau by the Venetian pastellist Rosalba Carriera (1675–1757) – from the Städel Museum’s collection (Fig. 5; cat. no. 67). The two became acquainted during Carriera’s visit to Paris in 1720–21, during the last months of Watteau’s life, and seem to have held each other in high esteem. As opposed to her more solemn depiction of the French master now in the Museo Civico, Treviso, in the Frankfurt pastel Carriera imagined a youthful Watteau, gently directing his gaze at the beholder.

 

Watteau is on view at the Teylers Museum, Haarlem until 13 May 2017

 

Endnotes:

[1] exh.cat. M. Plomp and M. Sonnabend (eds.), Watteau Der Zeichner, München, 2016.

[2] On both prints see exh. cat. Christopher Martin Vogtherr and Jennifer Tonkovich, Jean de Jullienne. Collector and Connoisseur, London, 2011, pp. 77–79, cat. no. 4.

 

Fig. 1 Antoine Watteau, Study for a Self-Portrait (?) with Palette and Cane, c. 1717–19, red chalk, 24.7 x 18.8 cm.

Fig. 2 Nicolas-Henri Tardieu, Assis, au près de toy, 1731, etching, 37.9 x 29.4 cm (plate).

Fig. 3 Antoine Watteau, Copy after a Van Dyck Self-Portrait, c. 1715–20, black, red and white chalk, 21.2 x 15.3 cm.

Fig. 4 Anthony van Dyck, Self-Portrait, circa 1622/23, oil on canvas, 116.5 x 93.5 cm, Hermitage, St. Petersburg.

Fig. 5 Rosalba Carriera, Portrait of Antoine Watteau, 1721 or circa 1727–30, pastel on blue paper, 26.5 x 22.6 cm, Städel Museum, Frankfurt.

Anita V. Sganzerla 30.01.17

Intrigue: James Ensor by Luc Tuymans at the Royal Academy of Arts, London

 

The exhibition ‘Intrigue: James Ensor by Luc Tuymans’ just closed at the Royal Academy of Arts, London. Curated by Luc Tuymans – an influential Belgian painter – the show, and accompanying catalogue, offered a unique chance to encounter and be immersed in the eccentric work of James Ensor (1860–1949). Tuyman’s selection of paintings, drawings and prints reflects Ensor’s versatility in technique and subject matter. Several self-portraits and representation of the artist at work were displayed side by side with satirical images.

A spirited sheet from the Katrin Bellinger Collection, View of the Artist’s Studio with ‘La Coloriste’, signed by Ensor and dated 1882, once formed part of the same sketchbook as several of the studies exhibited at the Royal Academy.

The drawing is carried out in Ensor’s preferred medium for sketching, black chalk, and captures the immediacy of everyday activities in the artist’s studio in his parental house in Ostend, Belgium. Behind a table piled with drawings and art materials, we catch a glimpse of Ensor’s famous painting La Coloriste (1880; Royal Museums of Fine Arts of Belgium, Brussels) portraying the artist’s sister Mitche in the act of painting a fan.

In 1880–85, Ensor filled several sketchbooks with vigorous back chalk studies of his working space and the objects inhabiting it. Although many of the motifs recur in his paintings, these sketches were not conceived as preparatory bur instead document his exploration in the material properties of objects, such as tonality and volume, as well as in the act of drawing itself.

It was probably long after having made them that he cut the best drawings out of the sketchbooks, added his signature, and sold them to collectors. The several hundred sheets he did not sell remained in his family and are found today in the Royal Museum, Antwerp, that holds the largest collection of Ensor’s works in Europe.

Another work by Ensor in the Collection, the 1888 etching titled Crânes et Masques, shows some skulls and a mask displayed on a shelf like props in the artist’s studio; a typical example of Ensor’s macabre and witty still-life compositions.

James Ensor, View of the Artist’s Studio with ‘La Coloriste’, 1882, black chalk, 22.4 x 17.5 cm.

21.12.16

Friant II – French Portrait Drawings from Clouet to Colbert at the British Museum

The British Museum exhibition ‘French Portrait Drawings from Clouet to Colbert’ contains more than 65 portraits by French artists, many of them not previously exhibited. The selection of drawings yet again demonstrates the incredible quality of the Print Room’s holdings.  Curated by Sarah Vowles, it illustrates the development of French portrait drawing from the Renaissance until the 19th century and runs until 29 January 2017.

I was so pleased to see a drawing by Émile Friant after having familiarised myself with his work at the exhibition on the artist in Nancy discussed in the previous post. The drawing in the British Museum was believed to be a self-portrait but the subject is clearly not the man in Friant’s self-portraits, including the example from the Katrin Bellinger Collection currently on view in Nancy.  It is perhaps of a friend or patron, who is shown leaning sideways looking at a painting. While the head is beautifully drawn and finished, typical of the artist’s style, the remainder of the drawing is only lightly sketched in.

Another work from the Collection now on view in Nancy, ‘Coin d’atelier,’ shows a woman posing for Friant in the studio. The painter is not represented but his presence is suggested by his tools on the table’.[1]  During the preparation for the exhibition Michèle Leinen, a researcher at the Musée des Beaux-Arts de Nancy, identified the model as Gaby, who appears to have been one of Friant’s favourite models of that time, despite evidence from personal correspondence that she was not the most reliable. Friant wrote in 1920 that: ‘one has to be rather crazy in order to be willing to start any important project with her right now’.

Among the advantages of lending works to an exhibition are the insights that further research brings to light on works in the Collection. ‘Émile Friant, le dernier naturaliste?’  is on view at the Musée des Beaux-Arts de Nancy until February 2017.

[1] Mouriel Mantopoulos, ‘Coin d’atelier, no.51-d’, in Émile Friant. Le dernier naturaliste?, p.113.

Émile Friant, 'Portrait of a Man Admiring a Painting', 1900, drawing, 40.6 x 32.8 cm, British Museum, London

Émile Friant, ‘Self-Portrait’, 1892, oil on panel, 17.4 x 14.7 cm.

Émile Friant, ‘Un coin d’atelier’, 1922, oil on panel, 28 x 24 cm.