Leandro Ramon Garrido (1868 - 1909)

"La petite plongeuse" 1901

Jean-Franck Baudoin (1870-1961)

"Place de l'Eglise, Saint Germain, Paris"

"The Blue Dress, Paris"

"Chateau on the bank"

"Ile de la Cité"

"L'homme sur le banc"

"The orange canoe"

"La plage du bois"

"La courbe de la frette"

"Rue de Neuilly, Paris"

"Place de la Bataille, Paris"

"Pont Royale, Paris"

"Quai de Seine"

"Une journée calme, Herblay"

"Seine"

"Porte de Saint Martin"

"Jardin de Montmartre, Paris"

"Petit Pont"

Gerlach Flicke (fl. 1545-1558)

"Such was the face of Gerlach Flicke when he was a painter in the City of London. This, he himself painted from a looking glass for his dear friends. So that they might have something to remember him after his death."

(National Portrait Gallery, London)

So reads the latin text which sits atop the left hand panel of this remarkable double portrait.

Flicke arrived in England around 1545 where he presented himself to the Tudor court as the heir apparent to that genius of early portraiture, Hans Holbein. The welcome he received and opinions on the quality of his art in comparison to Holbein have not been recorded, but clues to his reception can perhaps be gleaned from his imprisonment in the Tower of London before the year was out. Nothing is known of Flicke's crime or his time in prison other than the work above which was almost certainly executed during his time in the Tower of London. The inscription probably indicates that he expected to be executed.

The bearded gentleman on the right is Henry Strangwish, a "gentleman pirate" nicknamed "Red Rover of the Channel" who dreamt of "stealing an island" from the King of Spain and terrorised Spanish ships only to be repeatedly pardoned for his crimes by his influential friends, including Elizabeth I. The inscription on the right panel reads, "Strangwish, thus strangely depicted is One prisoner, for thother, hath done this/ Gerlin, hath garnisht, for his delight This woorck whiche you se, before youre sight." Again, nothing is known of Strangwish's imprisonment or the relationship between the pair of prisoners, but looking at them posing earnestly with lute and palette it is impossible not to speculate on the words that may have been exchanged as the wild haired, lute-wielding English pirate posed for the somehow disgraced painter from Germany. It is thought that the painting was Flicke's gift to Strangwish, a remembrance of their friendship in adverse circumstances.

Flicke may not have gained significant employment as an artist in England but when he painted this tiny double portrait, just 4 inches tall, while holed up in the Tower of London he created a striking work of art - the first self portrait executed in oils in England. A painting that certainly provided "something to remember him after his death."

An analysis of the methods behind this work can be enjoyed here.

Reading, Part 4

"Girl reading on a divan" by Ceri Richards (1903-1971)

"The Half Holiday, Alec home from school" by Elizabeth Adela Stanhope Forbes (1859-1912)

"Blue girl reading" by Frederick Carl Frieseke (1874-1939)

"Maximilian Voloshin" by Boris Kustodiev (1878-1927)

"Candlemas day" by Marianne Stokes (1855-1927)

"Robin with friend and Trixie, 1952" by Peter Samuelson (20thc.)

"Dreams" by Vittorio Matteo Corcos (1859-1933)

"Head of a child" by Etienne Gauthier (fl. 1860's)

"Interno" by Gigi Chessa (1895-1935)

"The Love Letter" by Pietro Antonio Rotari (1707-1762)

"Slovak woman at prayer" by Marianne Stokes (1855-1927)

"Sul Balcone" by Adelaide Giannini (1898-?)

"The Concerto of Angels" by Gaudenzio Ferrari (1471-1546)

"The New Novel" by Winslow Homer (1836-1910)

"Five Little Pigs" by Elizabeth Shippen Green (1871-1954)

"A Young Woman Reading" by Freek Van den Berg (1918-2000)

Stanisława de Karłowska (1876 - 1952)

"Fried Fish Shop" 1907

"Devon landscape"

"Swiss cottage" 1914

"Berkeley Square"

"A Devon farmyard" 1916

"Farmhouse"

"Farmyard gate"

"Houses along the shore"

"Still life with tulips and sculpture by Henry Gaudier Brzeska"

"Still life"

"The Singer"

Maria Oakey Dewing (1845-1927)

Maria Oakey Dewing was born in New York City in 1845. She grew up in a cultured environment and her interest in writing and painting was encouraged by her family. Though she initially wanted to become a writer, she decided at age seventeen to devote herself to painting. She received her early training at the Cooper Union School of Design for Women in 1866 and later studied under John La Farge, whose influence is particularly evident in her beautiful plein air paintings of flowers. By 1875, Dewing had established herself as an artist and was one of the primary motivators behind the formation of the Art Student's League in New York.

"The Rose Garden" 1901

In 1881, Maria Oakey married Thomas Wilmer Dewing, and her primary subject matter began to shift away from figure painting, for which her husband was established as one of the finest talents, toward gardens and flowers, painted spontaneously out of doors. From 1885 to 1903, the Dewings spent their summers in Cornish, New Hampshire, where Thomas cultivated a garden and both husband and wife devoted themselves to their work. Jennifer Martin writes, " There, at the home she called 'Doveridge,' she executed many of the plein air flower paintings. The beauty of the New Hampshire landscape stimulated her creativity, just as it motivated a host of artists and writers who flocked to Cornish during those years.

"Garden in May" 1895

"...In her Cornish garden she spent long hours studying the growth patterns, textures, and dispositions of the individual plants in order to nurture her 'garden thirsty soul.' She firmly believed that a painter of nature must bind himself to a 'long apprenticeship in the garden.' Yet, for her, a flower painting was not to be a 'mere reproduction' of reality but 'picturemaking'...

"Irises and Calla Lilies" 1905

"Cartnations" 1901

"Her composition, which is similar in all of the pictures...contributes importantly to the sense of animation. The use of the highest lights in the foreground...not only emphasizes the immediacy of the composition, but also contributes to a feeling of depth. The sensation of depth is also implied by the overlapping of forms as in Rose Garden, where roses peek through the mass of green foliage, and by the rather less defined areas in the upper center...In such a two-dimensional surface where forms move out toward the frame, the viewer has an immediate sense of intimacy with growing life and, concurrently, a sense of awe."

"Poppies and Italian Mignonette" 1891

...The originality of her paintings was noted by [Arthur E.] Bye who wrote: 'These remarkable works are absolutely unique. There is nothing like them in the field of flower painting,' and by Royal Cortissoz, authoritative critic for the New York Herald Tribune, who wrote after her death, 'The salient trait of Maria Oakey Dewing, was the strain of originality that characterized her deep feeling for beauty--There was no mistaking her quality, her accent...she knew how to interpret the soul of a flower--but her principal aim was to make it a work of art...save for John La Farge we have had no one who could work with flowers the magic that was hers" ("Portraits of Flowers: The Out-of-Door Still-Life Paintings of Maria Oakey Dewing," pp. 55, 114-16).

"Iris at dawn" 1899

Though Dewing's work was largely unknown in this century until Martin began to write of her rediscovery in 1976, she was widely recognized and praised during her own lifetime. On the occasion of the exhibition of the present work at the National Academy of Design in 1923, Mr. Cortissoz wrote in the New York Herald Tribune, "Mrs. Dewing's 'Rose Garden' leads the paintings of flowers through the beauty of design it possesses, its delicacy in the detachment of white and pink blossoms against a background of heavenly green, and its distinguished style. It is painted in a singularly reticent and haunting key" (Royal Cortissoz and Maria Oakey Dewing's 'Rose Garden,' The Yale University Library Gazette, October 1977, p. 87). [biography by Susan A. Hobbs]

- Still life by Maria Oakey Dewing acquired
- Maria Oakey Dewing's flowers and figures

Zinaida Serebriakova (1884 - 1967)

"Self Portrait (At The Dressing-Table)" 1909

details

This work appeared during a period in European history when representational painting was questioned and transformed (early 20th century). The mood was even more serious and melancholic in Russia, where the Silver Age in art and literature was characterized by the dark mysterious poetry of Alexander Blok and the paintings of demons by Michael Vrubel. As one critic writes, this painting was made at a time of “spiritual crisis of Russian intelligentsia, brought about by the failure of the first Russian Revolution [of 1905]; the time of broken dreams, worst disillusionment, and loss of faith in human spirit, spiritual disconnect between dream of wonderful future and reality of everyday life.” As a result, At the Dressing-Table had a miraculous joyful impact during the exhibition in 1910 and Tretyakov Gallery (one of the largest art museums in Russia) acquired it immediately. It was included in a Soviet textbook despite its author leaving Russia in 1924, and probably remains there today
- Irina Artisarkhova

"Portrait" 1931

"Lunchtime" 1914

Zinaida Serebriakova came from a talented artistic family, her father being the sculptor Evgeny Lanceray and her uncle the Ballets Russes designer Alexander Benois. She began to draw at a very early age selecting simple subjects from daily life surrounding her, such as her family and the landscape in her native village of Neskuchnoye. She first came to prominence in 1910 with the exhibition of her celebrated self portrait Woman at the Mirror (State Tretyakov Gallery, Moscow).

After emigrating to Paris in the 1920s, she earned a living painting society portraits, but spent much of her free time exploring subjects she had first discovered in Russia. She continued to paint her children into adulthood, including affectionate studies of her daughters, Catherine and Tatiana, often posing in the nude. She also painted other female models, reclining in her studio with patterned wraps and decorative drapes. Such nude studies were informal, often highly erotic, characterised by a spontaneous, but firm handling of line.

Her daughter Catherine accounts for the success of her mother's nude studies, probably the most immediate and intimate images of the female body in Russian art. She writes "The female nude was mother's favourite subject. While she was in Russia young peasant women would pose for her. In Paris her friends would come over to her studio, drink a cup of tea, then they would stay and pose for her. They were not the professional models that you might find in Montparnasse and maybe this is the reason why they are so natural and graceful."

"Sleeping nude"

"Nude"

"Nude" 1932

"Dreaming nude" 1934

"Portrait of Madamoiselle Neviadomskaya" 1935

"Reclining nude" 1935

"Reclining nude"

"Nude"

"Nude girl"

"Study for bather (self portrait)" 1911

"Japan" 1916

"Katya" 1923

"Tata and Katya"

"Woman" 1927

"Portrait of the artist's daughter"

"Ekaterina Zelenkova"

"Portrait of Dick Hunter"

"Portrait of Vera Fokine"

"Girl with braids" 1912

"Princess Irina Alexandrovna Yusupova" 1925

"Bath house" 1913

"Peasant woman sleeping" 1917

"Harvest" 1915

"Bathers" 1927

"Self portrait" 1921

"Self portrait" 1922

"Bather (self portrait)"

"3 Self Portraits" 1914

Joan Eardley (1921-1963)

"Little girl and comic"


"The character of Glasgow lies in its back streets which are for me pictorially exciting. There is no social or political impetus behind my paintings of that part of Glasgow, as is sometimes suggested. The back streets mean almost entirely screaming, playing children - all over the streets - and only in the shadows of doorways groups of women, and at street corners groups of men, but always chiefly children and the noise of children." Eardley rented a studio in the heart of Glasgow and it was here that she was exposed to nitty-gritty daily life with all the recognisable characters that so dominated her work of the 1950s. In the sketches of children from this period Eardley would use any old scraps of paper any medium she could find, including the blue distemper which she had used to decorate the studio walls which give her work the kind of honesty and truth that she saw in the faces of her sitters. As Cordelia Oliver observes, Eardley's studio "was brightly lit, with a glass roof, unbearably hot in summer and ice-cold in winter but, as a painter's studio, it was perfect. Better still, it was plumb in the middle of a teeming community, with street kids constantly under foot, playing their seasonal games, the boys planning and wreaking mischief and the older girls, as always, minding their younger brothers and sisters."

"Brass hair and wool"

"The Green Scarf"

"Children and chalked wall"

"Ginger"

"The Blue Socks"

"Two Children"

"Urchin in a green coat"

"Portrait of Andrew Samson"

"Samson children"

"Brother and sister"

"Samson child"

"Street kids"

"Study of a reclining girl"

"The Pink Jersey"

"Boy in a blue jersey"

"Pat"

"Jimmy"

"Young man with pipe"

"Head of a boy"

"Portrait of an old lady"

"The striped muffler"

Eardley first discovered the tiny fishing village of Catterline, just south of Stonehaven in 1950. Several visits followed and from 1956 she took up semi-residence in the village. She stayed first at The Watch House, then bought no. 1 Catterline, which she retained as a store and studio after she moved to 'Sarah's', and from there to no. 18 in the middle of the village. The sea, the shore with fishing nets stretched out to dry, the string of clifftop cottages perched high above, and the extensive fields beyond provided a constant source of inspiration. All year round she painted out of doors, revelling in the extreme conditions and developing an increasingly expressionistic technique to capture the wild landscape on canvas.

"Cottage and beehives"

"Yellow Sky" 1962

"Sea and sky"

"Crashing waves"

"Setting sun" 1963

"Catterline in winter"

"Summer evening"

"Todd Ness Lighthouse, Catterline"

"The sun and the sea"

"Cottages at Catterline"

"Beehives, storm approaching"

"Snow"

"Self portrait"

- Hidden Fires - The Overlooked Genius of Joan Eardley
- Selection of works from the National Galleries of Scotland collection
- Extensive overview of her career at Studio International
- BBC 4 Women's Hour documentary on Eardley
- Great Scots: Joan Eardley
- 2007 monograph on her work by Fiona Pearson and Sara Stevenson.
- Rare Eardley hidden behind sketch

Emma Fordyce MacRae (1887 - 1974)

Among the most esteemed members of "The Philadelphia Ten" who exhibited together between the years of 1917 and 1945, Emma Fordyce MacRae (1887-1974) developed a distinct and singular manner of painting that was wholly her own. By drawing upon the aesthetic influences of Japanese art and Renaissance painting and updating them with a modernist's sensibility, MacRae created a visually harmonious and striking style that was at once both timeless and modern. Born in Vienna in 1887, Emma Fordyce MacRae was raised in New York City and enrolled in the Art Students League in 1911. By the time she joined the Philadelphia Ten in 1937, MacRae had already established herself as an artist of note, exhibiting widely in New York, Boston and elsewhere in New England, winning awards from organizations such as the National Association of Women Painters and Sculptors, and the Allied Artists of America.

"The Dress"

"Still life"

Using elegantly linear, flat forms, each object in her still lifes is artfully placed, and her compositions reflect a sense of tranquil, subdued color while also dazzling the viewer with an extraordinary sense of pattern and surface texture. In her still lifes she creates a visual relationship between her objects, and utilizes the aesthetic of planar flatness that is a hallmark of Japanese printmaking, integrating the background and objects in a modernist manner. Though she populates her works with figures, a quiet stillness and overall sense of harmony and calm is favored.

"Belgian Woman" 1930

"Rockport Beach, New England"

MacRae often incorporated the texture and surface of her supports into her compositions by purposefully leaving areas exposed, integral to the overall aesthetic of her work. MacRae would begin by layering gesso on her support creating a hard, plaster-like surface. She would often then sketch her subject with a black chalk or pencil, leaving the outlines of this underdrawing visible in her final composition. By leaving areas of the canvas or masonite visible under her thinly applied paint layer, MacRae created a chalky, mottled aesthetic which evokes a timeless feeling of an Italian fresco or tapestry. She would also scrape away the paint and leave her surfaces unvarnished, further playing up their decorative qualities.

"Still life"

The paintings of Emma MacRae interweave elements of both past and present, of liveliness and quietude, of representation and abstraction, all in her own unique and distinctive manner. Complexly composed and yet elegantly simplified, these works evince a sense of style that was uniquely her own.

"Melina in green" 1931

"Foxgloves"

"Cosmos" 1933

Unknown

"Gloucester Garden"

"Stage Fort Park"

"Anenomies and Freesias"

Grethe Jürgens (1899 - 1991)

"Flower Girl" 1931

I will be posting female painters all this week.

Motherhood, Part 1

"Portrait de la belle-fille de Maxim Gorki (Motherhood)" by Boris Dmitrievich Grigor'ev (1886-1939)

"Maternité" by Maria Mela Muter (1876-1967)

"L'ange et la mère" by Louis Janmot (1814-1892)

"Mother and Child" by Elizabeth Bourse (1860-1938)

"Motherhood" by Le Pho (1907-2001)

"Frucht der Liebe" by Giovanni Segantini (1858-1899)

"Breton Village with Mother and Child strolling" by Henri Maurice Cahours (1889-1974)

"Maternité" by Maria Blanchard (1881-1932)

"L'enfant malade" by Eugène Carrière (1849-1906)

"Motherhood" by Paul Cesar Helleu (1859-1927)

"Fleeing mother" Anonymous.

"Yamauba and Kintaro" by Utamaro Kitagawa (1753-1806)

"Macierzynstwo" by Olga Boznanska (1865-1940)

"Maternité" by Gari Julius Melchers (1860-1932)

"Bearing a burden" by Mortimer Ludington Menpes (1860-1938)

"Mother and child" by Anne Pierre de Kat (1881-1968)

Antonio Ortiz Echagüe (1883 - 1942)

"The Orange Seller"

Unknown

"La Festa Della Confraternita Di Atzara" 1908-09

"Retrato De Encarna Y Su Hija" 1926

"Atzara"

"Etapa Marroquí"

"Donne di Sardegna" 1908

"La Misa De Narvaja" 1900

"Comida En Mamoiada" 1908

"Holandesas Tomando Café" 1920

"Retrato De La Madre Del Pintor" 1933

Albert Durand (? - 1885)

"Portrait de jeune fille" 1890

Jacob Hendricus Maris (1837 - 1899)

"Fillette nourrissant un oiseau en cage" (L) and "Fillette assise devant une maison" (R)

Daniel Garber (1880 - 1958)

"Delaware Hillside"

"Byram Hills" 1937

"Sycamore Road" 1938

"Down in Pennsylvania"

"Canal bridge, Smithtown" 1940

"Uplands, November" 1939

"Bayou" 1935

"Early Spring, New Hope" c.1940

"Evans Road" 1946

"Elm Bough" 1940

"Corn" c.1937

"Geddes Run" 1930

"Burning leaves"

"Buds and Blossoms" 1916

"Tohickon"

"Self Portrait" 1911

- Biography

Thanks to Michael for the suggestion!

Tetsuya Ishida (1973-2005)

"Collection" 1998

The paintings of Tetsuya Ishida address the anxieties of an individual adrift in a world becoming unrecognisable through economic growth and technological advance. His loneliness and crisis of identity are communicated in a series of astonishing canvasses where he is tragically trapped or consumed by his surroundings in a rapidly advancing world where the pressure to conform is often too much to bear.

"Prisoner" 1997

"Untitled" 1996

Although his paintings are wrapped heavily in skepticism, claustrophia and solitude, the works are above all beautiful, touching self-portaits of a man helplessly adrift in a world lacking in meaningful contact with others.

Physically and mentally introverted, as he morphs into a supermarket conveyor belt, a microscope or a urinal; rusted, awkward, used and trampled on, his sober gaze and detailed, subdued handling save these paintings from lapsing into modern caricature and moves them into the realm of something far more meaningful.

"Bodily fluid" 2004

"A man can't fly anymore" 1996

His neatly composed, orderly canvasses are painted in minute, obsessive detail. Paint is applied in semi-opaque layers of tiny brushtrokes, a ritualistic approach that convey the therapeutic aspect of Ishida's painting. The result is a depth and richness that defy the cold, low-key palette that Ishida so often preferred. Traumatised by loss of purpose and identity, angered by the rigid social and educational structure of his native Japan, Ishida reveals his anxiety through his bizarre and original metamorphoses, heightened by his well-resolved, highly effective vision - a simplified schematic style and muted, foreboding colors.

"Untitled" 1998

"Supermarket" 1997

Well respected but little known internationally during his lifetime, Ishida's work is now finding a global audience. Ishida was hit by a train in Machida, Tokyo in 2005 at the age of 31.

"Untitled" 2001

http://www.tetsuyaishida.jp/

See more:

- Works @ Ishida's Official site
- Further works

Leo Putz (1869 - 1940)

"Waldesruhe" 1925

"Frieda Blell" 1908

"Einer Jurgen Frau"

"Abendsonne" 1914

"Erlos" 1920

"Lisl am Diwan"

"Lisl" 1920

"Weiblicher akt am baum" 1910

"Wintersonne" 1913

"Zwei madchen im wald"

"Am steilufer"

"Am ufer" 1909

"Dame in blau" 1908

"Steiniger boden II" 1911

"Herbststurm" 1900

"Mina Hasch" 1911

- Official site
- Official biography
- Other works
- Biography @ Kettererkunst

Maruja Mallo (1902-1995)

"Head of a woman"

- Other works, biography (Spanish)