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Mother & Child: Mary Cassatt
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Fine Art:
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Charcoal:
Pre 1940 item# 1095925 (stock# 2529)
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King Art
414-276-6779
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Mary Cassatt, Pittsburg, PA., France,1844-1926, The Impressionist painter, Mary Cassatt is best known for her mother and child compositions. She was recognized by the turn of the century as one of the preeminent painters both of her native country and of France, which she made her permanent home in 1875.
She spent her childhood in Pennsylvania, and then lived with her mother in Europe from 1851 until 1858, studying in a number of cities including Paris, Parma, and Seville. She returned to study at the Pennsylvania Academy of Fine Arts from 1861 to 1865 and in 1866 went back to France, which she decided was best suited for her professional goals. There she spent much time studying works by artists living and deceased, and painted with Auguste Renoir, Alfred Sisley, and Edgar Degas. Her first public success came at the Salon of 1868 with a painting praised by a New York Times critic for its "vigor of treatment and fine qualities of color". Cassatt continued to exhibit at the Salon through the mid-1870s, and attracted the attention of Edgar Degas, who invited her to join the artists dedicated to the "new painting", the Impressionists.
At this time she abandoned the somber palette and traditional subject matter of the Academic style in favor of the light-filled modern life compositions favored by her colleagues, among them Monet, Renoir, and Berthe Morisot. She quickly adopted impressionist techniques of applying paint rapidly from a bright palette. Cassatt developed her own subject matter, using her family members as models because her lifestyle, with aging parents, was much more confined than that of the male Impressionists who were able to spend time in cafes and paint subjects of society life. From 1879 to 1886 she was one of only three women to exhibit with the Impressionists, and the only American woman. She received much more attention in France than she ever did in the United States. She is still the subject of major exhibitions, such as "Mary Cassatt, Modern Woman," which opened at the Art Institute of Chicago in 1998. A traveling exhibition, it included 100 of the most beautiful of her paintings, the first traveling retrospective of her work in
30 years.
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French Street Scene Le Croisic: Henri Le Sidaner
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Oil:
Europe:
French:
Pre 1940 item# 1095922 (stock# 2528)
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King Art
414-276-6779
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Henri Le Sidaner, French, 1862-1939. Oil on board, signed lower left Le Sidaner. Dimension of 40.6cm h by 33.8cm w (17"H by 14 3/8"w) in a period frame 24 1/8"h y 21 1/5"w. Historians have frequently described Le Sidaner's work in terms of musicality and silence. Always in a 'minor key,' its subtle harmonies are seen to evoke a wistful mood that is intensified, as Paul Signac notes, by the absence of figures: "His oeuvre displays a taste for tender, soft and silent atmospheres. Gradually, he even went so far as to eliminate all human presence from his pictures, as if he feared that the slightest human form might disturb their muffled silence" (Y. Farinaux- Le Sidaner, op cit., p. 31).
Many of his works including Canal a Annecy demonstrate beautiful solitude such as a lone swan drifting along a canal framed by flowering trees. The stillness of the gliding swan, the absence of figures, and quiet surroundings reinforce the poetic tranquility of the canal scene. Le Sidaner's signature rich brushwork creates a lovely impasto of textured stones, lush flowers, and rippling water. The town of Annecy is a beautiful lakeside village in the Haute Savoie region of France. Its picturesque canals are lined with ancient buildings and flowering tress and are the home to a bevy of white swans. Various French artists have visited and painted Annecy, including Le Sidaner (who painted two works here in 1936) and Paul Cezanne.
After spending the first years of his life in the West Indies, Henri Le Sidaner returned to France with his family in 1872. He began art studies in 1877 with the history painter Alexandre Desmit in Dunkerque, and in 1882 entered Alexandre Cabanel's atelier at the Ecole des Beaux-Arts in Paris. From 1882 to 1893, Le Sidaner often retreated to Etaples. The stern coastal landscape of the northern town appealed to the young artist, who suffered under the Ecole's dictum of copying pictures in the Louvre. Le Sidaner explained that "Etaples-that is to say, Nature-revived me," and that city provided many themes for his plein-air works.
Le Sidaner began exhibiting at the Salon des Artistes Francais in 1887. His naturalistic figural groups set in Etaples were well received and won him trips to Italy and Holland in 1891. Three years later, he exhibited Impressionists works influenced by Monet at the less conservative Societe Nationale des Beaux-Arts. From around 1896 to the end of the century, Le Sidaner painted Symbolist themes where pensive, virginal women dressed in white inhabit dimly-lit gardens. In these paintings, which recall the early canvases of his friend Henri Martin, Le Sidaner initiated the aura of mystery and the divisionist technique characteristic of his late work.
After the turn of the century, Le Sidaner rarely portrayed the human figure. Instead, he depicted provincial setting in Bruges, Beauvais, and Chartres and urban areas such as London and Venice. Images of the gardens and interior of his home in Gerberoy, where he resided from 1901 or 1902, also are prevalent in later works. He did, however, often imply human presence in a set table or an open book, adding to the intimate yet mysterious quality of his painting.
Like his close friends Henri Martin and Ernest Laurent, Le Sidaner was associated with Neo-Impressionism only tenuously and tempered its techniques with an otherwise traditional approach. He enjoyed continued favor and from 1897 was regularly honored by solo shows not only in Paris, but also in London, Brussels, and the United States. In 1930 he was made a professor at the Academie des Beaux-Arts, replacing Ernest Laurent, and was named its president in 1937.
Museum Collections Include:
Phillips Collection, Washington, D.C.; Detroit Institute of the Arts, Michigan; Musee d'Art Modern, Paris; Museum of Modern Art, Rome; Nelson Atkins Museum, Kansas City; Ashmolean Musem, Oxford, England; Phoenix Art Musem, Phoenix; Fine Arts Museums of San Francisco; The Tate Collection, England
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Mother Children in Garden: Adolph Monticelli
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Pre 1900 item# 1095920 (stock# 2527)
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414-276-6779
"$25,000."
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Adolphe Monticelli, French, 1824-1886. This lovely oil on panel is 14 6/8"h by 11 3/8"w in a lovely 19th C Frame (22 1/4"h by 18"w). It is signed and in good condition. A pupil of Paul Delaroche, the master who was to have the greatest influence over the young Monticelli was N. V. Diaz de la Peña, whom he met when he returned to Paris from 1855 to 1856. Monticelli’s visits to Paris exposed him to the Rococo Revival, which was being popularized by artists including Diaz, and he started producing scenes of courtly figures in garden settings à la Watteau. This became a favorite subject, and from the 1860s until the end of his career Monticelli treated numerous variations on the theme. His final sixteen years were his most productive. The vibrant colors and thick, impastic surfaces of his late works struck a responsive chord in the young Vincent Van Gogh, who collected Monticelli’s paintings and expressed his indebtedness to the older artist’s work.Museums:Atlanta, High Museum of Art; Caen, Musée des Beaux-Arts; Compiègne, musée national du château; Dijon, Musée national Magnin; London, National Gallery; Lyon, Musée des Beaux-Arts; Marseille, Musée Cantini, Musée des Beaux-Arts; New York, Metropolitan Museum of Art; Paris, Musée du Louvre, Musée d’Orsay, Musée national Jean Jacques Henner; Péronne, Musée Alfred Danicourt; Rouen, Musée des Beaux-Arts; Strasbourg, Musée d’art moderne et contemporain;
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Early Modernist Portrait: Frantisek Kupka
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Pre 1940 item# 1095913 (stock# 2526)
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414-276-6779
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Frantesek Kupka, 1871-1957, Opocno. Bohemia, Czech, and died in France. This stunning early mordernist painting is an early and an
extremely fine example of Kupka's painting. It is approximately 17"H by 13"w in a 4" frame. It is signed clearly lower right and the entire painting and signature under black light looks good with no in painting. Kupka attended the Ecole des Beaux Arts in Prague at 17 years old and the Beaux Arts in Vienna. He moved to Paris in 1895 and also won the Prix de Rome. He lived in Putreau and was also a Professor for Academie Beaux Arts de Prague for Czech art students in Paris. He was in many exhibitions and after 1910 he remained faithful to the Modernist style he is known for. This painting is from his earliest modernist period. He is held in great regard with artists such as Delauney and Picabia. Kupka's works are represented in many museums: Museum of Modern Art, Chicago Art Institute, Los Angeles, Guggenheim, Paris Museum of Modern Art, etc and his paintings sell for up to 1 Million. He has a very long listing in Benezit and has been the subject of many articles and books.
A Czech painter and graphic artist, he was a pioneer and co-founder of the early phases of the abstract art movement. In 1887 he began training as an artist at the Prague academy under Frantisek Sequens, who had been strongly influenced by the Nazarener School. In 1891 the artist transferred to the academy in Vienna, where he worked under Professor Eisenmenger until 1893. In 1894 Kupka traveled to London and Scandinavia, settling in Paris, France in 1895. He worked as an illustrator of books and posters and created satirical drawings for newspapers and magazines. In 1905 Kupka moved to Puteaux in the suburbs, where he got acquainted with Jacques Villon, who introduced him to a circle of painters in 1910/11, including Marcel Duchamp, Robert Delaunay, Fernand Léger, Francis Picabia and others. Through their discussions of Cubism, Futurism and the relationship between painting and music, Kupka's work became increasingly abstract, reflecting his theories of motion, color, and orphism. In 1909, he had exhibited for the first time at the Salon d'Automne, with the submitted work marking a break in his representational style. In 1912, Kupka exhibited his abstract pictures, which are associated with Orphism because of their proximity to music. In 1918 Frantisek Kupka accepted a post as guest professor in Prague and in 1931 he co-founded the group 'Abstraction-Création' with Hans Arp, Jean Hélion, Auguste Herbin, Georges Valmier and Georges Vantongerloo, becoming a member of the group's board. In 1936, his work was included in the exhibition Cubism and Abstract Art at the Museum of Modern Art in New York City, and in an important show with another Czech painter, Alphonse Mucha, at the Jeu de Paume in Paris. Kupka spent the Second World War in Beaugency, returning to Puteaux immediately after the liberation. In 1946 at the occasion of his 75th birthday the artist's first major retrospective was shown in Prague. In 1955 Kupka participated in documenta I in Kassel, Germany.He died in Puteaux on July 21, 1957 and a year later a large-scale retrospective exhibition took place at the 'Musée d'Art Moderne' in Paris, which dedicated an entire room to Frantisek Kupka.
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Deux Femmes (Two Women): Fernand Leger
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Fine Art:
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Pen:
Pre 1940 item# 1095873 (stock# 2524)
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414-276-6779
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Fernand Leger, French,1881-1955.Fernand Léger was born in 1881, the same year both Picasso and Braque were born, in Normandy; his father was a substantial cattle grazer. Fernand was trained as an architectural draughtsman and later worked as a professional retoucher of photographs. He was an abstract painter before the War, in which he had a brilliant record. He had visited the United States twice. In France, he lived in a villa next to some railroad tracks in a Paris suburb, and a farm in Normandy where he raised pigs and made cider.It is often said that Léger was the artist of the machine age, but he was not entirely a man of his time. He knew poverty as a child, was gassed in World War I, had to flee before the invading Nazis in World War II. But there is little of death and destruction in his work. Other men have painted with more passion, few with more exuberance.Léger returned to France at the end of 1945 after spending the war years traveling and lecturing in the United States. There had been three previous visits to America in the 1930s, all entrepreneurial adventures of only modest success. He had resumed his practice of making public appearances to explain his art to a sometimes curious, sometimes bewildered public. In addition, he enjoyed many celebrity encounters, like a holiday with Zelda and F. Scott Fitzgerald, an evening at the theatre with James Joyce and friendships with Ezra Pound and Henry Miller. His paintings sell for up to 37 Million and his paintings are in many museums.
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Cattle in Landscape: Arthur Parton
Catalogue:
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Paintings:
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N. America:
American:
Pre 1920 item# 1095871 (stock# 2523)
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Arthur Parton,New York, 1842-1914. Known as a Hudson River School painter, especially of mountain landscapes, Arthur Parton was well established in the New York art world where he exhibited at the National Academy of Design for more than half a century. He was born in Hudson, New York to a religious family supported by a cabinetmaker father. He enrolled in the Pennsylvania Academy of Fine Arts as a student of William Trost Richards, who remained a strong influence, and in 1862, his first exhibitions were in Philadelphia.
In 1864, he moved to New York City where he exhibited regularly with the National Academy of Design excepting 1869 when he spent a year in Europe and was influenced by the Barbizon style of painting.
In 1874, he and his wife moved into the Tenth Street Building in New York City, and he kept his studio there until 1893. In 1876, he gained much national notoriety at the Philadelphia Centennial Exposition for his paintings November, Loch Lomond and Solitude.
He spent summers painting in the Adirondacks and Catskill Mountains and also in England and Scotland as indicated by his entry at the Philadelphia Exposition.
During his career, he explored several styles including Tonalism and Impressionism but seemed to remain most closely influenced by the Hudson River style including Luminism
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