Press

  • Émile Friant, le dernier naturaliste?

    6 December 2016

  • Und das ist Kunst?

    Faz, 21 October 2016

  • Le O de Léo

    Le Petit Léonard - Revue d'art pour les enfants, Novembre, 2016

  • À Découvrir: Peintre et graveur naturaliste

    Lorraine Magazine, 26 October 2016

  • Symposium. Drawing: A pre-eminent skill William Shipley Group for RSA History 27 March 2015

    The British Art Journal, 17.1, 1 June 2016

  • Review. Exhibitions: Drawn from the Antique

    Burlington Magazine, 1 October 2015

  • Masters of her Domain

    Town & Country, 1 September 2015

  • Reviews: Exhibition

    History Today, 31 August 2015

  • Drawing from an antique treasure chest: Martin Postle on the influence of antiquity

    The Art Newspaper, 28 August 2015

  • I can’t stop thinking about the Courtauld’s Unfinished exhibition Plus: jumbled heads, limbs and torsos at the John Soane Museum: Drawn from the Antique reviewed

    The Spectator, 15 August 2015

  • The public and private faces of Katrin Bellinger

    Antiques Trade Gazette: The Art Market Weekly, 4 July 2015

  • Drawn from the Antique: Artists & the Classical Ideal, Sir John Soane’s Museum

    Culture Whisper, 15 June 2015

  • Drawn from the Antique: Artists & the Classical Ideal

    Time Out Online, 4 June 2015
    London

  • Drawn from the Antique at Soane Museum

    The London Art File, 2 July 2015

  • Diary entry, by Katrin Bellinger

    Apollo Magazine, 1 June 2015

  • ‘Het klassieke ideaal’: Werken naar antieke beelden

    de Telegraaf Landelijk, 4 May 2015

  • Opgegraven Hercules verbijsterde Rome

    NRC Handelsblad, 10 April 2015

  • Drawing: A Pre-eminent skill

    William Shipley Group Newsletter

  • The Art of ‘Me’

    Cabana Magazine

  • Kunsticoon in Teylers

    De Telegraaf Landelijk, 21 March 2015

  • Rubens, Turner e la scultura classica

    VanityFair.it, 17 March 2015

  • Het klassieke ideaal

    Teylers Magazijn

  • Katrin Bellinger: Mein Haus ist mein Museum

    Stil Ikonen Unserer Zeit

News

  • Drawings and Friendship: Jacques Villon and Fahrelnissa Zeid

    28 July 2017

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

    12 June 2017

  • Reading Drawings at the Courtauld Gallery – Guercino

    4 May 2017

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

    24 April 2017

  • Salon du dessin 2017: artists at work

    4 April 2017

  • Portrait of the Artist – Annibale Carracci

    1 March 2017

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

    14 February 2017

  • Watteau Master Draughtsman at the Teylers Museum, Haarlem

    6 February 2017

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

    30 January 2017

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

    21 December 2016

Instagram @the.artists.at.work 18.08

Leo Whelan ‘Self-Portrait’ c1940 #selfportrait #portraitist #metropolitanschoolofthearts #dublin #pupil #williamorpen #ireland #nationalgalleryofireland @nationalgalleryofireland

Instagram @the.artists.at.work 15.08

James Barry ‘Self Portrait as Timanthes’ 1803 #selfportrait #timanthes #greekpainter #allegory #societyofarts #nationalgalleryofireland @nationalgalleryofireland #dublin #ireland

Instagram @the.artists.at.work 12.08

Kathleen Fox ‘Science and Power’ 1910 #albertpower #sculptor #studio #collegeofscience #merrionstreet #kathleenfox #womanartist #femaleartist #pupil #williamorpen #metropolitanschoolofthearts #dublin #ireland

Instagram @the.artists.at.work 10.08

Sarah Cecilia Harrison ‘Portrait of the Painter’ 1889 #painter #portraitist #femaleartist #womanartist #womansrights #sladeschoolofart #pupil #alphonselegros #hughlane @thehughlane #dublin #ireland

Instagram @the.artists.at.work 08.08

William Orpen ‘Life Class on the Beach’ 1910 in the #exhibtion ‘An Independent Spirit’ @nationalgalleryofireland on #margaretclarke depicted in the centre of the drawing #detail #watercolour #williamorpen #teaching #metropolitanschoolofart #femaleartist #womanartist #drawing #lifeclass #onthebeach #portmarnock #dublin #ireland

Instagram @the.artists.at.work 06.08

Margaret Clarke ‘Self Portrait’ 1914 in the #exhibition on the #artist #margaretclarke @nationalgalleryofireland #review @apollomagazine #giftedartist #womanartist #femaleartist #pupil #williamorpen #wife #harryclarke #dublin #ireland

Instagram @the.artists.at.work 04.08

Jacques Villon ‘The Artist in a Studio’ 1950 with a dedication to #fahrelnissazeid in memory of the #desjobert #workshop #printmaker #lithography #artistfriends #friendship #paris #jacquesvillon #gastonduchamp #brother #marcelduchamp for more information on the #drawing go to the news section on the website of the #tavolozzafoundation link in bio @fahrelnissazeid.biography

Instagram @the.artists.at.work 31.07

Fahrelnissa Zeid ‘Self Portrait’ 1944 in the exhibition @tate #tatemodern on #fahrelnissazeid for more information on the #exhibtion and the #artist go to the news section on our website #tavolozzafoundation link in bio #femaleartist #womanartist #painting #selfportrait @fahrelnissazeid.biography

Instagram @the.artists.at.work 29.07

Anonymous Photo of Fahrelnissa Zeid , Paris 1950’s in the #exhibtion @tate #tatemodern on #fahrelnissazeid for more information on the #artist and the exhibition go to the news section on our website #tavolozzafoundation link in bio #femaleartist #womanartist #fascinatinglife #bridgingcultures

News

Drawings and Friendship: Jacques Villon and Fahrelnissa Zeid

By Anita V. Sganzerla

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, and its dedicatee, Princess Fahrelnissa Zeid of Iraq (Büyükada, İstanbul 1901 – 1991 Amman).

 

Read more — expandable

News, 28.07.17

Drawings and Friendship: Jacques Villon and Fahrelnissa Zeid

By Anita V. Sganzerla

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

 

Close

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

Instagram @the.artists.at.work 26.07

Ernst Scheidegger ‘Giacometti painting a portrait of his wife Annette in his studio in Stampa’ 1960 #photo #ernstscheidegger #giacometti #albertogiacometti #studio #stampa #portrait #annette #artistatwork

Instagram @the.artists.at.work 23.07

Alberto Giacometti ‘Studio with Self Portrait’ 1925 in the #exhibition on the #artist @tate #tatemodern #albertogiacometti #giacometti #retrospective #drawing #studio #studiointerior #studioclutter #selfportrait #emptystudio #absentartist

Instagram @the.artists.at.work 22.07

Domenico Conti ‘Portrait of Antonio Canova in his studio completing the La Touche Amorino’ 1792 @simondickinsonltd #londonartweek #artweek #oldmasterpaintings #artistportrait #artistatwork #sculptor #studio #italian #18thcentury #grandtour

Instagram @the.artists.at.work 18.07

Raphael ‘Self Portrait’ c1500-1501 in the #exhibtion #RaphaelTheDrawings #RaphaelDrawings @ashmoleanmuseum #ashmolean #ashmoleanmuseum #Oxford #presumed #selfportrait #blackchalk #drawing #oldmasterdrawings #teenageartist #youth #prodigy #italian #renaissance

Instagram @the.artists.at.work 16.07

Netherlandish Artist ‘Self Portrait’ c1625-1635 in the exhibition ‘The Encounter ‘ @nationalportraitgallery #thenationalportraitgallery #theencounter #portaitdrawings #artist #selfportrait #dutch #flemish #penandink #sepia

Instagram @the.artists.at.work 14.07

Domenico Beccafumi ‘Self Portrait’ c1530 #tempera #onpaper #selfportrait #sienese #artist #vasaricorridor #selfportraitcollection #medici #italian #renaissance @uffizigalleries

Instagram @the.artists.at.work 11.07

Domenico Beccafumi ‘Self Portrait’ c1525 in the exhibition ‘The Encounter’ @nationalportraitgallery #nationalportraitgallery #theencounter #exhibtion #justopened #tavolozzafoundation #drawing #blackandredchalk #portraitdrawings #selfportrait #sienese #artist

Instagram @the.artists.at.work 09.07

Girolamo Francesco Maria Mazzola, Il Parmigianino ‘Self Portrait’ c1530 #selfportrait #drawing #lookingatduerer #penandink #sepia #sketches #virgins #steccata #parma #background #italian #renaissance @chatsworthofficial #chatsworthdrawings

Instagram @the.artists.at.work 07.07

Howard Coster ‘William Orpen’ 1927 #photography #portrait #portraitoftheartist #williamorpen #focus #outoffocus #blackandwhitephoto #nationalportraitgallery @nationalportraitgallery

Instagram @the.artists.at.work 05.07

William Orpen ‘Self Portrait’ 1910 #selfportrait #mirrorimage #mirror #reflection #creativeclutter #williamorpen #irish #artist #dublin @metmuseum

Instagram @the.artists.at.work 03.07

William Orpen ‘Self Portrait ‘ 1910 #selfportrait #mirror #mirrorimage #reflection #drawing #artistdrawing #williamorpen #nationalportraitgallery @nationalportraitgallery

Instagram @the.artists.at.work 01.07

William Orpen ‘Self Portrait’ 1906 #selfportrait #mirror #mirrorimage #artisttools #venus #artistatwork #painter #williamorpen #irish #dublin #hughlane #hughlanegallery @thehughlane

Instagram @the.artists.at.work 29.06

William Orpen ‘Self Portrait looking in the Mirror’ 1909 #selfportrait #drawing #penandink #mirror #reflection #metropolitanschoolofthearts #dublin #ireland #artist #teacher

Facebook 28.06.17

You can now also follow us on Twitter @Artists_atwork
Posting about news, events, exhibitions and more relating to the theme of the artist at work.

Instagram @the.artists.at.work 26.06

Thomas Couture ‘Young Artist sketching’ 1865 #study #preparatory #drawing #therealist #painter #thomascouture #blackchalk #whitechalk #bluepaper

Instagram @the.artists.at.work 24.06

Thomas Couture ‘The Realist Painter’ 1865 #drawing #preparatory #blackchalk #sketch #pighead #hat #nationalgalleryofireland @nationalgalleryofireland

Instagram @the.artists.at.work 22.06

Thomas Couture ‘The Realist Painter’ 1865 #satire #historypainter #realistpainter #artstudent #pighead #plastercast #antiquecast #collection #chesterbeatty #nationalgalleryofireland @nationalgalleryofireland

Instagram @the.artists.at.work 19.06

Francis Bacon ‘Self Portrait’ 1991/92 #unfinished #sketchy #selfportrait #francisbacon #bequest #studio #7reecemews #hughlanegallery

Instagram @the.artists.at.work 17.06

Francis Bacon’s Studio @thehughlane #7reecemews #studio #francisbacon #artistsudio #creativechaos #workspace #painter #dublin #ireland

Instagram @the.artists.at.work 15.06

Yuri Vashenko ‘Self Portrait’ 1986 in the #exhibition @pushkinhouselondon ‘Geometry of Nonsense’ #russian #illustrator #yurivashenko #lewiscarol #print #etching #artistshand #pushkinhouse #pushkinhouselondon #bloomsbury #london

Instagram @the.artists.at.work 13.06

Stefan Moses ‘Gerhard Richter drawing Konrad Fischer and his family’ 1975 #gerhardrichter #zeichnend #drawing #artistatwork #KonradFischer #düsseldorf #blackandwhitephoto #stefanmoses #photography

News

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

By Anita V. Sganzerla

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.

Read more — expandable

News, 12.06.17

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

By Anita V. Sganzerla

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.

 

Close

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.

Instagram @the.artists.at.work 11.06

Sven Simon ‘Oskar Kokoschka painting Konrad Adenauer’ 1966 #portrait #kanzler #adenauer #como #blackandwhitephoto #svensimon #axelspringer #junior #pseudonym #künstler #maler #oskarkokoschka #artistatwork

Instagram @the.artists.at.work 07.06

Oskar Kokoschka ‘Self Portrait ‘ 1923 #selbstbildnis #selfportrait #colour #painting #austrian #expressionist #albertinum #albertinumdresden @albertinum.dresden

Instagram @the.artists.at.work 04.06

Max Liebermann ‘Self Portrait’ 1929 #selbstbildnis #selbstportrait #maler #german #impressionist #mannmithut #selfportrait #painter #painterstools #palette #brushes #impasto #strawhat #gemälde #albertinum #albertinumdresden @albertinum.dresden

Instagram @the.artists.at.work 02.06

Käthe Kollwitz ‘Self Portrait’ 1911 #blackchalk #whitechalk #touchofcolour #selfportrait #largedrawing #observant #german #artist #womanartist #femaleartist #pacifist #socialist

Instagram @the.artists.at.work 31.05

Theodor Rehbnitz ‘Self Portrait ‘ 1817 #nazarener #nazarene #selbstportrait #selbstbildnis #romantik #deutsch #germanromantic #19thcentury #drawing #zeichnung #19jahrhundert

Instagram @the.artists.at.work 29.05

Carlo Maratta ‘Self Portrait’ 1706 #grandeur #selfportrait #roman #baroque #redchalk #redchalkdrawing #rötel #selbstportrait #kupferstichkabinett #printroom #oldmasterdrawings #dresden @skdmuseum

Instagram @the.artists.at.work 27.05

Anton Raphael Mengs ‘ Self Portrait at the age of twelve’ 1740 #youthful #talent #prodigy #antonraphaelmengs #selportrait #artistportrait #drawing #oldmasterdrawings #printroom #dresden #kupferstichkabinett #kupferstichkabinettdresden @skdmuseum

Instagram @the.artists.at.work 24.05

Anton Raphael Mengs ‘Self Portrait in a Red Coat’ 1745 #pastel #pastelcollection #dresden #gemäldegalerie #selfportrait #youth #prodigy @skdmuseum

Instagram @the.artists.at.work 22.05

Rosalba Carriera ‘Self Portrait as Winter’ 1731 #pastel #selfportrait #portraitist #femaleartist #womanartist #italian #rococo #venetian #18thcentury #winter #oldage #goingblind #gemäldegalerie #dresden #skdmuseum @skdmuseum #pastelcollection

Instagram @the.artists.at.work 20.05

Jean-Etienne Liotard ‘Self Portrait in Turkish Costume’ 1745 #pastel #portrait #artistatwork #exotic #turkish #costume #türkischetracht #furhat #longbeard #dresden #collection #gemäldegalerie #altemeister #altemeisterdresden @skdmuseum

Instagram @the.artists.at.work 18.05

Anton Graff ‘ Selfportrait at the age of 58’ 1794 #detail #artistshands #portraitpainter #swissartist #portecrayon #readytodraw #lace #velvet #silk #kniebundhosen #künstlerhand #samtundseide @skdmuseum #gemäldegalerie #altemeisterdresden

Instagram @the.artists.at.work 16.05

Carl Christian Vogel von Vogelstein ‘Portrait of Freiherr Otto Magnus von Stackelberg’ 1831 #detail #portait @albertinum.dresden #albertinum #dresden #albertinumdresden #gentlemanartist #ruins #portfolio #portecrayon

Instagram @the.artists.at.work 14.05

Carl-Christian Vogel von Vogelstein ‘Young Lady with Drawing Utensils’ 1816 @albertinum.dresden #albertinum #albertinumdresden #femaleartist #womanartist #drawing #portfolio #portecrayon #german #19thcentury

Instagram @the.artists.at.work 12.05

Anton Graff ‘Self Portrait ‘ 1794/95 @skdmuseum #skdmuseum #gemäldegalerie #dresden #detail #selfportrait #painter #artisttools #58yearsold #18thcentury

Instagram @the.artists.at.work 10.05

Victor Emil Janssen ‘Self Portrait at the Easel’ 1828 #selfportrait #mirror #mirrorimage #germanromantic #deutschromantik #norddeutsch #melancholic #schwermut #maler #painter #easel #paintbox #hamburgerkunsthalle @hamburger.kunsthalle

Instagram @the.artists.at.work 08.05

Julius Schnorr von Carolsfeld ‘Portrait of Johann Christoph Erhard’ 1821 #friendshipportrait #freundschaftsportrait #künstlerfreunde #artistfriends #federzeichnung #penandink #roman #portraits #profile #deutschrömer #germanromantic

Instagram @the.artists.at.work 06.05

Johann Adam Klein ‘Ernst Welker and Johann Christian Erhard sketching in Aigen’ 1818 #freundschaftsportrait #friendshipportrait #travellingartists #artistfriends #aufreisen #künstlerfreunde #sketching #watercolour #german #19thcentury #germanromanticism #deutschromantik

Facebook 04.05.17

Johann Adam Klein ‘Johann Christoph Erhard in his studio’ 1818 #friendshipportrait #freundschaftsportrait #künstlerfreunde #artistfriends #künstlerportrait #artistportrait #studio #vienna #atelierbild #fensterbild #portfolio #reflection #germanromanticism #deutschromantik

Instagram @the.artists.at.work 04.05

Johann Adam Klein ‘Johann Christoph Erhard in his studio’ 1818 #friendshipportrait #freundschaftsportrait #künstlerfreunde #artistfriends #künstlerportrait #artistportrait #studio #vienna #atelierbild #fensterbild #portfolio #reflection #germanromanticism #deutschromantik #watercolour #draughtsman

News

Reading Drawings at the Courtauld Gallery – Guercino

By Anita V. Sganzerla

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.

Read more — expandable

News, 04.05.17

Reading Drawings at the Courtauld Gallery – Guercino

By Anita V. Sganzerla

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.

Close

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.

Facebook 01.05.17

Johann Christoph Erhard ‘The Painter Johann Adam Klein in his studio’ 1818 #artistfriends #artistportrait #künstlerfreunde #studio #vienna #atelierbild #fensterbild #plastercast #parthenon #horsehead #horsepainter #portfolio #watercolour #aquarel

Instagram @the.artists.at.work 01.05

Johann Christoph Erhard ‘The Painter Johann Adam Klein in his studio’ 1818 #friendshipportrait #artistfriends #artistportrait #künstlerfreunde #freundschaftsportrait #studio #vienna #atelierbild #fensterbild #plastercast #parthenon #horsehead #horsepainter #portfolio #watercolour #aquarel

Facebook 29.04.17

Johann Christoph Erhard ‘The Dwarf Artist Georg Hoffmann sketching after nature’ 1815 #friendshipportrait #freundschaftsportrait #artistfriends #künstlerfreunde #Zeichner #draughtsman #germanromanticism #romantik #nachdernatur #zwerg #19thcentury #drawing

Instagram @the.artists.at.work 29.04

Johann Christoph Erhard ‘The Dwarf Artist Georg Hoffmann sketching after nature’ 1815 #friendshipportrait #freundschaftsportrait #artistfriends #künstlerfreunde #Zeichner #draughtsman #germanromanticism #romantik #nachdernatur #zwerg #19thcentury #drawing

Facebook 27.04.17

Johann Rudolf Schellenberg ‘Portrait of the Painter Johann Caspar Füssli’ c.1770 father of the more #famous Johann Heinrich Füssli #füssli , in the #exhibition ‘La quete de la ligne, trois siecle de Dessin en Allemagne’ @fondationcustodia #paris more on my visit with the collector Hinrich Sieveking to his exhibition is in the news section on our website #tavolozzafoundation #collector #german #drawings #19thcentury #pictureinpicture #minature #artisttools #satyr #sketchbook

Instagram @the.artists.at.work 27.04

Johann Rudolf Schellenberg ‘Portrait of the Painter Johann Caspar Füssli’ c.1770 father of the more #famous Johann Heinrich Füssli #füssli , in the #exhibition ‘La quete de la ligne, trois siecle de Dessin en Allemagne’ @fondationcustodia #paris more on my visit with the collector Hinrich Sieveking to his exhibition is in the news section on our website #tavolozzafoundation #collector #german #drawings #19thcentury #pictureinpicture #minature #artisttools #satyr #sketchbook

Instagram @the.artists.at.work 24.04

Erwin Speckter ‘Bernhard Neher and Erwin Speckter in their Studio in Rome’ 1831 in the #exhibition ‘La quete de la ligne, trois siecle de Dessin en Allemagne’ @fondationcustodia #paris more on my visit with the collector Hinrich Sieveking to his exhibition go to news section on our website #tavolozzafoundation #collector #german #drawings #19thcentury #watercolor #studio #stove #artists #rome #artistfriends

News

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

By Katrin Bellinger

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 Foundation Custodia.

Read more — expandable

News, 24.04.17

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

By Katrin Bellinger

 

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.

Close

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.

Instagram @the.artists.at.work 22.04

Wojciech Weiss ‘Crisis’ 1934 thank you @albertgodycki for pointing out this #painting by the #polish #artist #wojciechweiss #mannequin #silentpartner #studioclutter #artisttools #crisis

Instagram @the.artists.at.work 20.04

Wojciech Weiss ‘Goodbye to the Academy’ 1949 thank you @albertgodycki for pointing out this #unusual #picture #farewell #artist #model #academy #krakow #polish #painter

Facebook 18.04.17

David Hockney ‘The Artist and Model’ 1974 #etching #homage #picasso #hockney #davidhockney #artist #model #nude #crommelynck #petersburgpress

Instagram @the.artists.at.work 18.04

David Hockney ‘The Artist and Model’ 1974 #etching #homage #picasso #hockney #davidhockney #printmaker #artist #model #nude #crommelynck #petersburgpress

Facebook 15.04.17

David Dawson ‘David Hockney and Lucian Freud’ 2003 #artistportrait #artistfriends #studio #sitting #modernbritish #davidhockney #lucianfreud @nationalportraitgallery

Instagram @the.artists.at.work 15.04

David Dawson ‘David Hockney and Lucian Freud’ 2003 #artistportrait #artistfriends #studio #sitting #modernbritish #davidhockney #lucianfreud @nationalportraitgallery

Instagram @the.artists.at.work 12.04

Godfrey Argent ‘David Hockney’ 1969 #portait #artistatwork #photo #godfreyargent #blackandwhite #davidhockney #signature #glasses #magnifyingglass #comission @nationalportraitgallery

Facebook 10.04.17

David Hockney ‘Self Portrait ‘ 1983 in the exhibition @tate #tatebritain #tate #davidhockney #drawing #selfportrait #mirror #mirrorimage #draughtsman #modernbritish

Instagram @the.artists.at.work 10.04

David Hockney ‘Self Portrait ‘ 1983 in the exhibition @tate #tatebritain #tate #davidhockney #drawing #selfportrait #mirror #mirrorimage #draughtsman #modernbritish in the #collection of @nationalportraitgallery

Instagram @the.artists.at.work 08.04

David Hockney ‘Self Portrait with blue guitar’ 1977 #davidhockney #drawing #guitar #draughtsman #british #modernbritish

Facebook 06.04.17

David Hockney ‘Model with unfinished Self Portrait’ 1977 in the #exhibtion @tate #tate #tatebritain #hockney #davidhockney #painting #selfportrait #model #drawing #1970s

Instagram @the.artists.at.work 06.04

David Hockney ‘Model with unfinished Self Portrait’ 1977 in the #exhibtion @tate #tate #tatebritain #hockney #davidhockney #painting #selfportrait #model #drawing #1970s

News

Salon du dessin 2017: artists at work

By Anita V. Sganzerla

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.

 

Read more — expandable

News, 04.04.17

Salon du dessin 2017: artists at work

By Anita V. Sganzerla

 

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.

Close

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).

Facebook 03.04.17

Deanna Petherbridge with her Self Portrait drawing of 2001 which was shown then @nationalportraitgallery in their #exhibtion ‘Mirror Mirror: Self Portraits by women artists’ #selfportrait #contemporary #artist #femaleartist #womanartist #primacyofdrawing #inkdrawing #mirrormirror #nationalportraitgallery

Instagram @the.artists.at.work 03.04

Deanna Petherbridge with her Self Portrait drawing of 2001 which was shown then @nationalportraitgallery in their #exhibtion ‘Mirror Mirror: Self Portraits by women artists’ #selfportrait #contemporary #artist #femaleartist #womanartist #primacyofdrawing #inkdrawing #mirrormirror #nationalportraitgallery

Facebook 03.04.17

André Caillard ‘Students sketching in Gustave Moreau’s Studio’ c. 1895 #studio #sketching #plastercast #students #pupils #blackchalk #fusain #fusainistes #atelier #gustavemoreau #paris #french #19thcentury

Instagram @the.artists.at.work 01.04

André Caillard ‘Students sketching in Gustave Moreau’s Studio’ c. 1895 #studio #sketching #plastercast #students #pupils #blackchalk #fusain #fusainistes #atelier #gustavemoreau #paris #french #19thcentury

Facebook 30.03.17

Georges-Paul Leroux ‘Etudes classiques de la peinture’ 1904 #drawing #academy #model #nude #lifedrawing #blackchalk #fusain #beauxarts @beauxartsparis

Instagram @the.artists.at.work 30.03

Georges-Paul Leroux ‘Etudes classiques de la peinture’ 1904 #drawing #academy #model #nude #lifedrawing #blackchalk #fusain #fusainistes @beauxartsparis

Instagram @the.artists.at.work 28.03

Louis Aubert ‘Le jeune Amateur de Dessins’ sold @artcurial__ #artcurial #paris #french #rococo #18thcentury #pastel #dessinateur #draughtman #portfolio #portecrayon #youngartist #candlelight #ciaroscuro

Facebook 25.03.17

Anonymous French 19thcentury ‘Une École de Dessin au Louvre’ sold @christiesinc #christiesparis #salondudessin2017 #drawingsweek #drawing #louvre @museelouvre #french #19thcentury

Instagram @the.artists.at.work 25.03

Anonymous French 19thcentury ‘Une École de Dessin au Louvre’ sold @christiesinc #christiesparis #salondudessin2017 #drawingsweek #drawing #louvre @museelouvre #french #19thcentury

Instagram @the.artists.at.work 23.03

Henri Fantin-Latour ‘Allegorie de la Creation’ c.1880 with Galerie AB @salondudessin #salondudessin2017 #drawingsweek #paris #drawing #blackchalk #allegory #fantinlatour

Facebook 22.03.17

Jacques-André Portail ‘Jeune fille dessinant ‘ shown by #talabardongautier @salondudessin #opening #tonight #salondudessin2017 #french #18thcentury #rococo #drawing #blackandredchalk #sanguine

Instagram @the.artists.at.work 22.03

Jacques-André Portail ‘Jeune fille dessinant ‘ shown by #talabardongautier @salondudessin #opening #tonight #salondudessin2017 #french #18thcentury #rococo #drawing #blackandredchalk #sanguine

Facebook 20.03.17

Paul César Helleau ‘The Artist’s Daughter Paulette drawing’ 1920 in the #exhibition at Alexis Bordes #paris #salondudessin #salondudessin2017 #drawingsweek #drawing #portraitdrawing #portrait #redchalk #sanguine #rötel #fatherdaughter

Instagram @the.artists.at.work 20.03

Paul César Helleau ‘The Artist’s Daughter Paulette drawing’ 1920 in the #exhibition at Alexis Bordes #paris #salondudessin #salondudessin2017 #drawingsweek #drawing #portraitdrawing #portrait #redchalk #sanguine #rötel #fatherdaughter

Instagram @the.artists.at.work 19.03

Pierre Drevet ‘Self Portrait of the Painter Hyacinthe Rigaud’ 1721 #engraving #print #reproductionprint #technical #virtuosity #printmaker #engraver #french #18thcentury #readyforparis #salondudessin

Instagram @the.artists.at.work 16.03

Hyacinthe Rigaud ‘Self Portrait in a Turban’ 1698 #french #baroque #versailles #selfportait #velvet #turban #portecrayon #draughtsman #louisxiv

Instagram @the.artists.at.work 14.03

Bruce Bernard ‘Michael Andrews with a Portrait of Bruce Bernard’ c. 1990 in the #exhibition on the #artist @gagosiangallery #selfportrait #portrait #artistfriends #painter #photographer #friendshipportrait

Instagram @the.artists.at.work 11.03

Michael Andrews ‘Self Portrait’ in the #exhibtion @gagosiangallery #gagosiangallery in #Mayfair on his #extraordinary #work #michaelandrews #selfportrait #painting #modernbritish

Facebook 09.03.17

Kay Harris ‘Robert Rauschenberg in his Studio with his work Monogram ‘ 1958 in the #exhibition @tate #tatemodern #monogram #1950s #combines #rauschenberg #americanart

Instagram @the.artists.at.work 09.03

Kay Harris ‘Robert Rauschenberg in his Studio with his work Monogram ‘ 1958 in the #exhibition @tate #tatemodern #monogram #1950s #combines #rauschenberg #americanart

Instagram @the.artists.at.work 08.03

Albert Oehlen ‘Selbstporträt mit Palette’ 2005 sold last night @christiesinc in the #contemporaryart #eveningsale #germanart #germancontemporaryart #painter #maler #palette #brush #pinsel

Instagram @the.artists.at.work 05.03

Michiel van Musscher ‘An Artist in his Studio with his Drawings’ c.1665 in the the exhibition ‘Drawings for Paintings in the Age of Rembrandt’ @fondationcustodia #paris coming from #washington @ngadc a great #exhibition illustrating the use of #drawings in #dutch #artists #practise in the #17thcentury #holland #ageofrembrandt #marinepainter #studio #artistatwork #palette #tavolozza

Facebook 03.03.17

Henri Matisse ‘The Pink Studio’ 1911 in the #exhibition #iconsofmodernart #shchukin #amazing #collection #shchukincollection #enlightened #collector at the @fondationlouisvuitton #foundationlouisvuitton until Sunday in #paris on loan from the @pushkinmuseum #pushkinmuseum #moscow #russia

Instagram @the.artists.at.work 03.03

Henri Matisse ‘The Pink Studio’ 1911 in the #exhibition #iconsofmodernart #shchukin #amazing #collection #shchukincollection #enlightened #collector at the @fondationlouisvuitton #foundationlouisvuitton until Sunday in #paris on loan from the @pushkinmuseum #pushkinmuseum #moscow #russia

News

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.” – by Anita Viola Sganzerla

Read more — expandable

News, 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

Close

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.

Instagram @the.artists.at.work 01.03

Charles-Joseph Natoire ‘Young man holding a sheet of paper’ c.1745 in the #exhibition ‘French Drawings from the time of Gainsborough’ with a #catalogue by Christoph Voghtherr @gainsboroughshouse #drawing #paper #french #18thcentury #artist #natoire from the #collection of @ashmoleanmuseum

Facebook 26.02.17

Antoine Watteau ‘Study for a Self Portrait with Palette’ #detail #drawing #redchalk in the #exhibition ‘Watteau: Der Zeichner’ @teylersmuseum #teylersmuseum #haarlem #holland #netherlands coming from the @staedelmuseum #staedelmuseum #frankfurt #germany #deutschland #watteau #watteauderzeichner #zeichnung #rötel #palette #pinsel #brushes #tavolozza for more information go on the news section at www.tavolozzafoundation.com

Instagram @the.artists.at.work 26.02

Antoine Watteau ‘Study for a Self Portrait with Palette’ #detail #drawing #redchalk in the #exhibition ‘Watteau: Der Zeichner’ @teylersmuseum #teylersmuseum #haarlem #holland #netherlands coming from the @staedelmuseum #staedelmuseum #frankfurt #germany #deutschland #watteau #watteauderzeichner #zeichnung #rötel #palette #pinsel #brushes #tavolozza for more information go on the news section at www.tavolozzafoundation.com

Facebook 26.02.17

Thomas White, George John Pinwell Drawing (1862; Victoria and Albert Museum, London; D.177–1906)

Facebook 26.02.17

💓

Facebook 26.02.17

John Singer Sargent ‘View from a window, Genoa’ 1911 #watercolour in the #exhibition @britishmuseum ‘Places of the mind : British watercolour landscapes 1850-1950’ #opening #tonight #roomwithaview #artisttools #watercolorist #genoa #italy #italianlight

Instagram @the.artists.at.work 24.02

Nikolai Trepsikhorov ‘The first Motto’ 1924 in the #exhibtion ‘Revolution: Russian Art 1917-1932’ @royalacademyarts #studio #artiststudio #plastercasts #aftertheantique #banner #slogan #red #russianrevolution @tretyakov_gallery #moscow #russia

Instagram @the.artists.at.work 21.02

John Singer Sargent ‘View from a window, Genoa’ 1911 #watercolour in the #exhibition @britishmuseum ‘Places of the mind : British watercolour landscapes 1850-1950’ #opening #tonight #roomwithaview #artisttools #watercolorist #genoa #italy #italianlight

Facebook 19.02.17

Lovis Corinth in his Studio 1925 #photograph #foto #blackandwhitephotography #artistatwork #artiststudio #studio #studioportrait #selfportrait #portrait #selbstporträt #loviscorinth

Instagram @the.artists.at.work 19.02

Lovis Corinth in his Studio 1925 #photograph #foto #blackandwhitephotography #artistatwork #artiststudio #studio #studioportrait #selfportrait #portrait #selbstporträt #loviscorinth

Facebook 19.02.17

Lovis Corinth ‘Self Portrait ‘ 1920 #etching #drypoint #selfportrait #drawing #concentrated #print #printmaker #loviscorinth

Instagram @the.artists.at.work 17.02

Lovis Corinth ‘Self Portrait ‘ 1920 #etching #drypoint #selfportrait #drawing #concentrated #print #printmaker #loviscorinth

Facebook 16.02.17

Lovis Corinth ‘Self Portrait’ 1924 #pencil #bleistift #drawing #zeichnung #zeichner #selfportrait #selbstbildnis #mirror #mirrorimage #spiegel #spiegelbild #reflection #german #20thcentury #expressionist #deutschekunst

Facebook 16.02.17

Lovis Corinth ‘Self Portrait with Skeleton’ 1896 #selfportrait #selbstporträt #knochenmann #skelett #skeleton #mementomori #vanitas #studio #studioprop #studiowindow #german #artist #deutscher #künstler #loviscorinth #lenbachhaus #münchen

Instagram @the.artists.at.work 15.02

Lovis Corinth ‘Self Portrait with Skeleton’ 1896 #selfportrait #selbstporträt #knochenmann #skelett #skeleton #mementomori #vanitas #studio #studioprop #studiowindow #german #artist #deutscher #künstler #loviscorinth #lenbachhaus #münchen

Facebook 15.02.17

Lovis Corinth ‘Self Portrait’ 1924 #pencil #bleistift #drawing #zeichnung #zeichner #selfportrait #selbstbildnis #mirror #mirrorimage #spiegel #spiegelbild #reflection #german #20thcentury #expressionist #deutschekunst

News

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.

 

 

Read more — expandable

News, 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

Close

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

Instagram @the.artists.at.work 13.02

Lovis Corinth ‘Self Portrait’ 1924 #pencil #bleistift #drawing #zeichnung #zeichner #selfportrait #selbstbildnis #mirror #mirrorimage #spiegel #spiegelbild #reflection #german #20thcentury #expressionist #deutschekunst

Instagram @the.artists.at.work 11.02

Raphael Soyer ‘Self Portrait’ 1927 #selfportrait #mirror #mirrorimage #painting #painter #youngartist #americanart #20thcentury @phillipscollection #washington

Instagram @the.artists.at.work 10.02

Raphael Soyer ‘Self Portrait with Cigarette’ 1932 #lithography #selfportrait #cigarette #drawing #mirror #mirrorimage #artistfriends #raphaelsoyer #chaimgross #chaimgrossfoundation @rcg_foundation

Facebook 09.02.17

Visit to the well preserved Studio of Chaim Gross 1904-1991 @rcg_foundation thank you @sdgfisher for taking me around #artiststudio #sculptor #sculptures #studio #greenwichvillage #newyork #chaimgross #chaimgrossfoundation #american #20thcentury

Instagram @the.artists.at.work 08.02

Visit to the well preserved Studio of Chaim Gross 1904-1991 @rcg_foundation thank you @sdgfisher for taking me around #artiststudio #sculptor #sculptures #studio #greenwichvillage #newyork #chaimgross #chaimgrossfoundation #american #20thcentury

Facebook 07.02.17

Arnold Newman ‘Portrait of Chaim Gross’ @rcg_foundation #sculptor #portrait #friendshipphoto #blackandwhitephotography #photo #chaimgrossfoundation #chaimngross #arnoldnewman #grenwichvillage #studio #newyork

Facebook 06.02.17

A major exhibition devoted to Antoine #Watteau’s drawn oeuvre just opened at the #Teylers Museum in Haarlem. In our latest news post we look for traces of the artist at work amongst the pieces on show.

News

News

Watteau Master Draughtsman at the Teylers Museum, Haarlem

By Anita V. Sganzerla

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 in the Netherlands, featuring more than sixty paintings and drawings by the French master and a selection of works by his followers.

Read more — expandable

News, 06.02.17

Watteau Master Draughtsman at the Teylers Museum, Haarlem

By Anita V. Sganzerla

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.

 

Close

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.

Instagram @the.artists.at.work 06.02

Arnold Newman ‘Portrait of Chaim Gross’ #sculptur #portrait #friendshipphoto #blackandwhitephotography #photo #chaimgrossfoundation #chaimngross

Instagram @the.artists.at.work 04.02

Gjon Mili ‘Giorgio de Chirico’ 1949 #timelife #portrait #photo #blackandwhitephotography #painter #artistatwork #artistportrait #regram @italianmodernart #italianmodernart #exhibtion #giorgiodechirico

Instagram @the.artists.at.work 02.02

Giorgio de Chirico ‘Self Portrait with the head of Mercury’ 1924 in the #exhibition ‘Giorgio de Chirico / Giulio Paolini’ @italianmodernart #italianmodernart #newyork #dechirico #giorgiodechirico #selfportrait #autoritratto #mercurio #mercury #painting #portrait

Facebook 01.02.17

A beautiful exhibition dedicated to the work of James Ensor recently closed at the Royal Academy; here is our latest post discussing #Ensor’s representations of his #studio and his exploration of the art of #drawing.

News

Instagram @the.artists.at.work 30.01

Max Beckmann ‘Self Portrait with Horn’ 1938 in the #exhibition ‘Max Beckmann in New York’ @metmuseum #metmuseum #maxbeckmann #selfportrait #manwithhorn #german #expressionist

News

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

By Anita V. Sganzerla

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.

Read more — expandable

News, 30.01.17

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

By Anita V. Sganzerla

 

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.

Close

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

Instagram @the.artists.at.work 29.01

Hubert Robert ‘Artist sketching a young girl’ looking at #hubertrobert with @perrin_stein @metmuseum @metdrawingsandprints @sarah_catala #metmuseum #redchalkdrawing #detail #redchalk #artist #sketching #french #18thcentury

Instagram @the.artists.at.work 26.01

Eugene Emmanuel Violet-Le-Duc ‘The Artist sketching while trapped in a Crevasse’ 11 July 1870 #detail #watercolour in the #exhibition @stephenongpinfineart @masterdrawingsny #MasterDrawingsNewYork #masterdrawingsny #MDNY #accident #survivor #intrepid #draughtsman #ewigeseis #blaugrün

Instagram @the.artists.at.work 25.01

Hyacinthe Rigaud ‘Portrait of the Sculptor Pierre Puget’ c1732 @christiesinc #ChristiesOldMasters #oldmasterdrawings #auction #today #newyork #french #18thcentury #drawing #portrait #sculptor #puget #rigaud

Instagram @the.artists.at.work 23.01

Jean Alphonse Roehn ‘Portrait of an Artist painting her Self Portrait ‘c1850 #mirror #selfportrait #mirrorimage #reflection #painting #studio #femaleartist #womanartist #painter #french #19thcentury

Instagram @the.artists.at.work 21.01

Henri Fantin-Latour ‘The Drawing Lesson, Portrait of Louise Riesener and Eva Calimaki-Catargi’ 1879 in the #exhibition ‘Fantin-Latour, A Fleur de Peau’ at the #museeduluxembourg #paris #drawinglesson #femaleartists #pupils #fantinlatour

Instagram @the.artists.at.work 19.01

Henri Fantin-Latour ‘Portrait of Sarah Elizabeth Budgett’ 1883 in the #exhibition ‘Fantin-Latour, À Fleur de Peau’ at the #museeduluxembourg #paris #artist #painter #pupil #master #fantinlatour #french #19thcentury

Instagram @the.artists.at.work 17.01

Henri Fantin-Latour ‘Self Portrait’ 1859 in the #exhibition ‘Fantin-Latour, À Fleur de Peau’ at the #museeduluxembourg #paris #shadow #chiaroscuro #blackandwhite #grisaille #paintbrush #painter #french #fantinlatour

Instagram @the.artists.at.work 15.01

Anonymous Photographer ‘Henri Fantin Latour in his studio’ 1904 #vintage #photograph #artiststudio #artistportrait #henrifantinlatour

Instagram @the.artists.at.work 13.01

Henri Fantin-Latour ‘Self Portrait’ c1860 #oilsketch #study #selfportrait #mirrorimage #theartistsatwork #fantinlatour #french #19thcentury

Instagram @the.artists.at.work 11.01

Henri Fantin-Latour ‘Self Portrait’ c1860 in the #exhibition ‘Fantin-Latour, a fleur de peau’ #museeduluxembourg #paris #blackchalk #drawing #fusain #estompes #fusainistes #selfportrait #fantinlatour #french #19thcentury #penetratinggaze

Instagram @the.artists.at.work 09.01

Studio Visit Sandra Ramos #contemporaryart #cubanart #cubanartist #havana #cuba #artiststudio #printmaker

Instagram @the.artists.at.work 09.01

Edoardo Ponjuan and Rene Francisco Rodriguez ‘Palette’ 1994 #paleta #palette #metalobject #sculpture #cubanart #cuban #artist #contemporaryart #cooperation #museobellasartes #havana #cuba

Instagram @the.artists.at.work 08.01

Eugenio Gonzales Olivera ‘Portrait of Antonio Rodriguez Mores’ #cuban #artist #cubansrtist #cubanart #landscapepainter #artistportrait #artistfriends #museonacionaldebellasartes #cuba #havanna

Instagram @the.artists.at.work 07.01

Sir Lawrence Alma-Tadema ‘The Roman Art Class’ 1877 #lifedrawing #nude #femalemodel #artistsmodel #academy #almatadema #fragment #havana #cuba

Instagram @the.artists.at.work 05.01

Gustave Courbet ‘Self Portrat’ 1852 in the #exhibition ‘French Portrait Drawings from Clouet to Courbet’ @britishmuseum #blackchalk #noir #fusainistes #drawing #confident #obsessive #selfportraitist #french #19thcentury

Instagram @the.artists.at.work 04.01

John+Charles Watkins ‘Sir Edwin Landseer RA’ mid 1860s #albumenprint #early #photography #portrait #victorian #artist #royalacademian #animalpainter #portecrayon

Instagram @the.artists.at.work 02.01

Sir Edwin Landseer ‘The Connoisseurs: Portrait of the Artist with two Dogs’ 1865 in the #exhibition ‘Portrait of the Artist’ at the #queensgallery #royalcollection #selfportrait #drawing #portecrayon #dogs #animalpainter #victorian #royalacademian

Instagram @the.artists.at.work 30.12

Thomas Frye ‘Self Portrait’ 1760 in the #exhibition ‘Portrait of the Artist’ at the #queensgallery #royalcollection #mezzotint #18thcentury #british #portecrayon #selfportrait #mirror #printmaker

Instagram @the.artists.at.work 28.12

Artemisia Gentileschi ‘Self Portrait as the Allegory of Painting’ 1638 in the #exhibition ‘Portrait of the Artist’ at the #QueensGallery #royalcollection #selfportrait #pictura #femalartist #womanartist #autoritrato #italian #baroque #baroqueart

Instagram @the.artists.at.work 25.12

Merry Christmas #froheweihnachten #happychristmas #victorian #christmas

Facebook 24.12.16

We wish you all a very Merry Christmas & a happy New Year!

Instagram @the.artists.at.work 23.12

Giovanni Benedetto Castiglione ‘The Genius of Castiglione’ 1648 #etching #genius #allegorical #selfportrait #fame #italian #baroque #genova in the #exhibition ‘Portrait of the Artist’ at the Queens Gallery #queensgallery

Instagram @the.artists.at.work 21.12

Nicolas Poussin attributed to ‘Self Portrait ‘ 1630 #redchalk #drawing #whohasdoneit #selfportrait in the #exhibition ‘French Portrait Drawings from Clouet to Courbet’ @britishmuseum

News

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

When I visited the wonderful exhibition of French portrait drawings at the British Museum, I was delighted to come across a drawing by Émile Friant who we discuss in our previous post.

Read more — expandable

News, 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.

Close

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.

Instagram @the.artists.at.work 20.12

Giovanni Francesco Barbieri , Il Guercino ‘Allegory of Painting’ 1618 #allegory #painting #womanpainting #redchalk #drawing #guercino @ashmoleanmuseum

Instagram @the.artists.at.work 17.12

Giovanni Francesco Barbieri , Il Guercino ‘Allegory of Drawing and Painting’ 1656 #allegory #disegno #colore #italian #bolognese #baroque #painter #crosseyed #guercino @skdmuseum

Instagram @the.artists.at.work 15.12

Guido Reni ‘Disegno e Colore’ 1620-25 #allegory #union #drawingandpainting #disegno #colore #italian #bolognese #baroque #painting #guidoreni #tender @museelouvre

Facebook 13.12.16

Jan de Bisshop ‘Disegno e Colore’ c. 1665 after Guido Reni’s painting of the same subject #disegno #colore #creativecopy #bisshopink #sephia #drawingafterpainting #dutchgoldenage #allegory #drawing #painting

Instagram @the.artists.at.work 13.12

Jan de Bisshop ‘Disegno e Colore’ c. 1665 after Guido Reni’s painting of the same subject #disegno #colore #creativecopy #bisshopink #sephia #drawingafterpainting #dutchgoldenage #allegory #drawing #painting

Instagram @the.artists.at.work 11.12

Ferdinand Boll ‘Self Portrait’ 1647 in the #exhibition ‘Hinter dem Vorhang’ #Verhüllung und #Enthüllung seit der #Renaissance von #Tizian bis #Christo @smkmuseum #düsseldorf #Ausstellung #hinterdemvorhang #selbstporträt #selfportrait #vorhang #dutch #goldenage #rembrandt #pupil

Facebook 09.12.16

@studiomuseums on Twitter just posted Holman Hunt’s Jerusalem studio (with goat)…

Facebook 08.12.16

Emile Friant ‘Le Coin Favori , Portrait of Victor Prouve’ 1883 in the exhibition ‘Emile Friant, le dernier naturaliste?’ at the Musée des Beaux Arts de Nancy. For more information go to the News section on the website www.tavolozzafoundation.com #friendshipportrait #artistfriends #nancy #ecoledenancy #artnoveau #victorprouve #emilefriant #studiocorner #atelier #creativeclutter

Press: 6 December 2016

Émile Friant, le dernier naturaliste?

captura-de-pantalla-2016-12-06-a-las-15-09-39

Three paintings by Émile Friant from the Katrin Bellinger Collection have gone on loan to the exhibition at the Musée des Beaux Arts de Nancy from the 4th of November 2016 to the  27th of February 2017.

The article can be downloaded here.

Facebook 06.12.16

Leon Spillaert ‘Self Portrait with Easel in the Mirror’ 1907 @kmska_museum #watercolor #selfportrait #mirror #reflection #easel #artistatwork #belgian #artist #symbolist #ostend

Facebook 03.12.16

C. Permeke, M.Anthony , J.Ensor 1921 Ostende #photograph #convex #mirror #bauble #round #reflection #belgian #bizarre #ensor #jamesensor

Press: Faz, 21 October 2016

Und das ist Kunst?

captura-de-pantalla-2016-12-01-a-las-16-50-14

The article can be downloaded here.

Facebook 30.11.16

James Ensor ‘Studio Stilllife’ 1882 #sketckbookpage #drawing #studio #attic #interior #artisttools #bottles #pigment #oil #easel #belgian #artist #jamesensor #ensor #ostende

Press: Le Petit Léonard - Revue d'art pour les enfants, Novembre, 2016

Le O de Léo

captura-de-pantalla-2016-11-28-a-las-14-31-14

The article can be downloaded here.

Facebook 26.11.16

James Ensor ‘Studio Still life’ 1889 #studiostilllife #stilleben #atelier #palette #tavolozza #masks #ensor #jamesensor #belgian @pinakotheken

Press: Lorraine Magazine, 26 October 2016

À Découvrir: Peintre et graveur naturaliste

AUTOPORTRAIT

The article can be downloaded here.

Facebook 24.11.16

James Ensor ‘My Portrait as a Skeleton ‘ 1889 in the #exhibition ‘Intrigue:James Ensor by Luc Tuymans ‘ #drypoint #etching #print #printmaker #selfportrait #skeleton #macabre

Facebook 23.11.16

James Ensor in his studio 1895 #photograph #anonymous #artistatwork #studio #artiststudio #skull #masks #belgian #artist

Facebook 23.11.16

James Ensor ‘The Skeleton Painter’ 1896 in the #exhibition ‘Intrigue : James Ensor by Luc Tuymans’ @royalacademyarts #detail #painting #studio #belgian #artist #artist #outsider #ensor #luctuymans #macabre #sculls #masks

Facebook 20.11.16

Today, we would like to recommend two exhibitions related to the topic of the artists at work:
In London, ‘Portrait of the Artist’ (at The Queen’s Gallery, Buckingham Palace until April, 2017) focuses, in broad terms, on the evolution of the status of the artist in society, royal patronage, and the self-image of the artist throughout history. https://www.royalcollection.org.uk/collection/themes/exhibitions/portrait-of-the-artist/the-queens-gallery-buckingham-palace
In Madrid, at Museo Nacional del Prado , you may visit until February 2017 ‘Meta-painting. A Journey to the Idea of Art’. Divided thematically, it devotes a section to ‘the places of art’, from artists’ training to art on display.
https://www.museodelprado.es/en/whats-on/exhibition/meta-painting-a-journey-to-the-idea-of-art/1d0500f9-5f3c-4ad0-a345-5626e65fa702

Facebook 16.11.16

James Ensor ‘Self Portrait’ 1879 in the #exhibition ‘Intrigue: James Ensor by Luc Tuymans’ @royalacademyarts #belgian #artists #ensor #tuymans #contecrayon #blackchalk #selfportrait

Facebook 14.11.16

Satire in the eighteenth century expanded to include politics, as well as art. Well-known examples of this form of wit were Voltaire, Jonathan Swift or William Hogarth. Here, Charles-Germain de Saint-Aubin (1721-1786) draughtsman and ‘dessinateur du Roi pour la broderie et la dentelle’ to Louis XV represented François Boucher painting Mme de Pompadour’s portrait as a satyr whose morality and taste can be called into question.
Charles-Germain de Saint-Aubin, La verite Surmonte l’Autorité, in Livre de Caricatures tant bonnes que mauvaises, 1757, watercolour, ink and graphite on paper
(Waddesdon, The Rothschild Collection – The National Trust)
See: http://collection.waddesdon.org.uk/search.do?view=detail&page=1&id=41811&db=object

Facebook 13.11.16

James Ensor ‘Portrait of the Artist at his Easel’ in the #exhibition ‘Intrigue:James Ensor’ by Luc Tuymans’ @royalacademyarts #belgian #artist #painter #easel #palette #royalacademy #luctuymans #curated

Facebook 12.11.16

Annie Leibovitz, Photograph of Georgia O’Keeffe’s Handmade Pastels

Facebook 11.11.16

Maître du Couronnement de la Vierge, Illumination, ‘Livre que fist Jehan Bocace de Certalde des cleres et nobles femmes, lequel il envoia à Audice de Accioroles de Florence, contesse de Haulteville’, 1402, Paris: BNF, Ms.12420, folio 101v .
(http://gallica.bnf.fr/ark:/12148/btv1b10509080f)

Facebook 10.11.16

‘Jan Steen’s elegant painting, The Drawing Lesson…triggers a wicked thought. To say it at once: the girl in the picture is not watching her master’s instruction, and nor is the boy; which leaves the depicted painter, the man in the middle, flanked by bilateral inattention. Has this slight to the honor of art (or of teaching) not been observed, or is there an unspoken agreement to talk it?’ – Leo Steinberg, ‘Steen’s Female Gaze and Other Ironies’, Artibus et Historian, 11.22 (1990), 107-128 (p.107)

Jan Steen, The Drawing Lesson, c. 1665, Los Angeles: The J. Paul Getty Museum

Facebook 09.11.16

Thomas Le Clear, ‘Interior with Portraits’, ca. 1865, Washington D.C.: Smithsonian American Art Museum. This studio was located, according to the scholar Annette Blaugrund, in the the Tenth Street Studio Building in New York.

Press: The British Art Journal, 17.1, 1 June 2016

Symposium. Drawing: A pre-eminent skill William Shipley Group for RSA History 27 March 2015

Susanna Avery-Quash reviews the one-day symposium that took place at the Royal Academy (RA) on March, 2015. The academic event was supported by the RA and the Tavolozza Foundation. It commemorated the tercentenary of the birth of  the drawing master William Shipley (1715–1803) by discussing the earliest history of drawing schools in Britain.

The article can be downloaded here.

Press: Burlington Magazine, 1 October 2015

Review. Exhibitions: Drawn from the Antique

Taddeo in the Belvedere

Taddeo in the Belvedere

Clare Hornsby reviews the exhibition ‘Drawn from the Antique’.

The article can be downloaded here.

Press: Town & Country, 1 September 2015

Masters of her Domain

A profile of Katrin and her private collection.Katrin Bellinger

The article can be downloaded here.

Press: History Today, 31 August 2015

Reviews: Exhibition

Colin Cruise reviews ‘Drawn from the Antique’ at Sir John Soane’s Museum, calling it a ‘an engrossing display, full of well-chosen delights’.

The article can be downloaded here.

Press: The Art Newspaper, 28 August 2015

Drawing from an antique treasure chest: Martin Postle on the influence of antiquity

The Artist Moved by the Grandeur of Antique Fragments; the Right Hand and Left Foot of the Colossus of ConstantineMartin Postle’s review of the “powerful” exhibition, ‘Drawn from the Antique’, at Sir John Soane’s Museum.

View the article online here.

Press: The Spectator, 15 August 2015

I can’t stop thinking about the Courtauld’s Unfinished exhibition Plus: jumbled heads, limbs and torsos at the John Soane Museum: Drawn from the Antique reviewed

Turning Road (Route Tournante)Martin Gayford reviews ‘Drawn from the Antique’ at Sir John Soane’s Museum in conjunction with a concurrent exhibition at the Courtauld.

View the article online here.

Press: Antiques Trade Gazette: The Art Market Weekly, 4 July 2015

The public and private faces of Katrin Bellinger

A short entry on Katrin’s  loan of objects to the exhibition at Sir John Soane’s Museum.

The article can be downloaded here.

Press: Culture Whisper, 15 June 2015

Drawn from the Antique: Artists & the Classical Ideal, Sir John Soane’s Museum

A Painter’s StudioThe exhibition at Sir John Soane’s Museum is promoted on culturewhisper.com.

The article can be downloaded here.

Press: Time Out Online, 4 June 2015
London

Drawn from the Antique: Artists & the Classical Ideal

The exhibition at Sir John Soane’s Museum is promoted on timeout.com.

The article can be downloaded here.

Press: The London Art File, 2 July 2015

Drawn from the Antique at Soane Museum

The London Art FileA glowing review of the current exhibition, Drawn from the Antique at Sir John Soane’s Museum.

The article can be downloaded here.

View the article online here.

Press: Apollo Magazine, 1 June 2015

Diary entry, by Katrin Bellinger

Study of a Plaster Cast of the Belvedere TorsoKatrin describes her affinity with Sir John Soane and explains how the forthcoming exhibition, ‘Drawn at the Antique: Artists & the Classical Ideal’ came about.

The article can be downloaded here.

Press: de Telegraaf Landelijk, 4 May 2015

‘Het klassieke ideaal’: Werken naar antieke beelden

The Image SellerDutch review of Drawn from the Antique, in which the exhibition is awarded 4 out of 5 stars.

The article can be downloaded here.

Press: NRC Handelsblad, 10 April 2015

Opgegraven Hercules verbijsterde Rome

captura-de-pantalla-2016-11-02-a-las-8-24-31Review of the Teylers exhibition Drawn from the Antique, awarding 4 out of 5 marks.

The article can be downloaded here.

Press: William Shipley Group Newsletter

Drawing: A Pre-eminent skill

The report by Dr Susanna Avery-Quash on the one-day symposium of the same title, held at the Royal Academy of Arts on 27 March 2015.

The article can be downloaded here.

Press: Cabana Magazine

The Art of ‘Me’

The Art of "Me"A stunning photo shoot offers a glimpse of Katrin Bellinger’s collection.

The article can be downloaded here.

Press: De Telegraaf Landelijk, 21 March 2015

Kunsticoon in Teylers

Photo by Hilde de WolfDutch society page profile on Katrin and her collection.

The article can be downloaded here.

Press: VanityFair.it, 17 March 2015

Rubens, Turner e la scultura classica

Drawing by RubensAn interview with Curator Adriano Aymonino of the exhibition Drawn from the Antique: Artists & the Classical Ideal at the Teylers Museum.

The article can be accessed here.

Press: Teylers Magazijn

Het klassieke ideaal

Preview of special exhibition at the Teylers Museum, Drawn from the Antique: Artists and the Classical Ideal, written by the Curator of the Teylers Museum, Michiel Plomp. This exhibition features 15 works from the Katrin Bellinger Collection.

The article can be downloaded here.

Press: Stil Ikonen Unserer Zeit

Katrin Bellinger: Mein Haus ist mein Museum

Stil Ikonen Unserer Zeit

Katrin Bellinger interviewed by Ralf Eibl and photographed by Wolfgang Stahr in ‘Stil Ikonen Unserer Zeit’.

The article can be downloaded here.

News

Our current news, events, press and social feeds all in one place.

Follow us on social media

Subscribe to stay updated