Historical Observations

SUZANNE Valadon

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French artist Marie-Clementine Valadon was born September 23, 1865 into extreme poverty to an unmarried laundress in Montmartre. She attended school until aged eleven years old after which she began working to help support her mother.

AROUND the age of 15 Marie began working in the circus as an acrobat. The same circus that was often visited as well as painted by Toulouse-Lautrec and Bertha Morisot. However, after a year of perfecting her craft as a featured trapesze artist, Marie suffered a serious fall that injured her back leaving her unable to continue with her chosen profession.

After her devastating injury, along with a friend, Marie took a chance at modelling for local artists’ in their atelier studios that populated Montmartre. Soon, she became one of the popular choices as a model.

Self-Portrait ~ 1893

Dance at Bougival 1883 by Renoir

Model for RENOIR

From 1880 to 1893 Suzanne modeled for the most influential artists of the period: Edgar Degas, Berthe Morisot, Pierre-Cécile Puvis de Chavannes, Théophile Steinlen, Pierre-Auguste Renoir, Jean-Jacques Henner, and Henri de Toulouse-Lautrec.

Suzanne befriended Edgar Degas in 1890, while remaining his friend until his death in 1917. He became the first person to purchase her art, teaching her soft-ground etching.

Tightrope Walker c.1880 (Valadon) by Berthe Morisot ~ Pastel

Model for MORISOT

The Hangover by Toulouse-Lautrec (upper left); Girl Braiding Her Hair c.1885 by Renoir (upper right) Valadon 1885 by Renoir (lower left): Suzanne by Toulouse Lautrec (lower center) Suzanne by Renoir (lower right)

After modeling for Toulouse-Lautrec for two years, 1886-1888, the artist suggested Marie change her name to Suzanne because he felt the new identity would suit her better.

The Abandoned Doll c.1921 ~ Portrait of Maurice Utrillo ~ Self-Portrait c.1883

Portrait of Suzanne Valadon by Miquel Utrillo c. 1891 ~ Joy of Life c.1911 by Suzanne Valadon

Casting The Net c. 1914 by Suzanne Valadon

The Blue Room by Valadon (upper left): Woman c.1928 by Valadon (upper right): Nudes c.1918 ( lower left): Portrait of Maurice Utrillo (lower center): Nudes c.1895 Valadon (lower right)

Life With Basket of Flowers c.1928 (upper left): Life With Tulips and Fruit Bowl c.1924 (upper right): Bouquet of Flowers (lower left)

The French Painter Maurice Utrillo was born Maurice Valadon on 26 December 1883 to Valadon when she was 18. He was taught by his mother and favored painting the local scenes of Montmartre. He soon becoming recognized and his created art became sought after.

Maurice Utrillo by Suzanne Valadon c.1921

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SOFONISBA Anguissola

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SOFONISBA Anguissola (1532-1625) worked professionally during the Late Renaissance and was the first of women artists to gain recognition doing so.

BETWEEN THE AGE of eleven and thirteen, when young girls were restricted with their education and artistic training during that period, her father encouraged and financially supported her apprenticeship with Bernardino CAMPI. By 1549, the young artist was being tutored by Bernardo GATTI.

Self-Portrait

siblings;group portrait;dog;spaniel;family portrait;formal;seated;fan;headdresses;headdress;renaissance;c16th;c17th

Three Children Oil on Panel ～ Self-Portrait at the Keyboard

By 1550’s SOFONISBA’S extraordinary talent was beginning to spread. After seeing one of the artist’s charcoal and pencil drawings, Child Bitten by a Sea Crab, did not fail to impress the famous MICHELANGELO.

Child Bitten by Sea Crab c.1554 Charcoal and Pencil

Portrait of a Young Monk c. 1562 Oil on canvas ~ Portrait of the Anguissola Family c. 1558

Portrait of Alessandro Farnese c.1560 Oil on canvas

The young Italian prince is represented clothed his brilliant embroidered cloak lined with ermine.

Portrait of a Young Woman (Isabel Clara Eugenia, c.1573) Oil on canvas

Self-Portrait c. 1560

Portrait of Diane d”Andouins and her daughter c.1565

Bernardo Campi’s portrait of Sofonisba Anguissola by Sofonisa c.1559

Double portrait of Sofonisba by Sofonisba and her teacher Campi. Recent restoration to the painting reveal that the artist painted right arm twice.

Cattolica Barbo Anguissola (Sofonisba Anguissola, Self-Portrait, ca 1610)

Sofonisba Anguissola at 92 by Anthony va Dyck c. 1624 Oil on canvas

Anthony Van Dyke became interested in personally meeting the female artist who painted the King of Spain and corresponded with Michelangelo. During the 1624 visit with 92 year old Sofonisba, Van Dyke painted this oil and observed in his sketchbook:

“She told me how she was a miraculous artist of life and the greatest torment she had known was not being able to paint anymore because of her deteriorating eyesite. Her hand was still steady without any trembling.”

Further Reading:

Sofonissba Anguissola, Biogaphy, Work and Legacy: Maria Tsanceva

SOFONISBA”S LESSON, A Renaissance Artist and Her Work: Michael W. Cole

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HEY…are ya gunna pay me?

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COLOR PIGMENTS

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SINCE starting my artistic journey, whether creating a simple pencil sketch or fine art, historical recreations or restorations, I have always been fascinated with the science of COLOR and how it has been used throughout history.

Ancient artisans, Renaissance craftsman, Impressionists, early Picasso and the contemporary trail blazers of the modern age all favored their particular color palette of choice.

Lapis-Lazuli, the semi-precious stone from Afghanistan, was more precious than gold. Dating back seven thousand years it was only used in the royal tombs of Ur and Egyptian Pharaohs. Obtaining it was extremely dangerous, just as it is today. The pigment made from Lapis-Lazuli is called ULTRAMARINE.

A tradesman’s palette in Pompeii included excessive amounts of Cinnabar and Vermilion.

Yellow Ocher was used exclusively by Alexander the Great’s favorite painter, APELLES.

In 1503 Leonardo DaVinci favored wearing dusty rose and dark purple clothing. Among
daVinci’s clothing inventory dated 1503-1505 is:

“One gown of dusty rose..One dark purple cape..One purple satin overcoat..dark purple, dusty-rose and black tights…two pink caps”.

John Singer Sargent’s watercolor palette.

This POST explores the subject of COLOR and how it’s been applied to a surface, used for ancient decoration, individual artistic choices, or incorporated for personal use.

Reference

THE BRILLIANT HISTORY of Color in Art – Victoria Finlay

COLOR A Natural History of the Palette – Victoria Finlay

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THE BEGINNINGS

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CHANGE brings on new BEGINNINGS and one such change occurred with the prestigious BRITISH ROYAL ACADEMY regarding centuries of regulations.

The ROYAL ACADEMY rules and restrictions regarding an artist’s submission for approval from this organization had not changed for 400 years. Subjects were limited to idealized Ancient Greek, Roman and Renaissance periods. What began in 1640 remained unchallenged until 1840’s.

A PRIVATE VIEWING at the BRITISH ROYAL ACADEMY

By 1860 a significant change occurred with this art community.

Future Articles:

The DIXON TICONDEROGA pencil was created by Joseph Dixon, son of a ship captain, in 1812 from graphite, clay and water.

Early TICONDEROGA PENCILS

EARLY GREEK 5th century artists who created ART and KOSOS CRATERS.

SYRISKOS – painter – ATTIC (left)

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HAIL TO THE GIRLS

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WOMEN throughout history have contributed to business, art, science, literature, including obscure contributions of game design. Some of these female artisans received acclaim during their life time while others went unsung with little recognition for those contributions.

During the Renaissance a female was not allowed to study a live model in an Atlier setting as did males. However, SOFONISBA ANGUISSOLA (1532-1635) became the first woman to achieve the prestige of being a professional artist, regardless of strict social restrictions. Angulissola accomplished the remarkable by becoming the court painter to King Philip II of Spain.

ARTEMISIA GENTILESCHI (1592-1653) was a post-Renaissance artist. While still restricting the female artist, Gentileschi became widely recognized with her paintings of historical and religious scenarios.

To attend an Academy that taught applied arts in the 1850’s women needed the approval from her male guardian. One woman breaking with tradition was BERTHE MORISOT (1841-1895). Consequently, Berthe was the only woman to exhibit with Monet, Renoir, Pissarro, Sisley and Bazille at the first Impressions” SALON 1874.

SUZANNE VALADON (1865-1938) A French model that developed into an accomplished artist. She inspired Van Gogh, Degas, Lautrec and Renoir and was the mother of Maurice Utrillo a notable artist in his own right. She became the first woman admitted to the Société Nationale des Beaux-Arts.

The game of MONOPLY was invented by ELIZABETH J MIGIE who applied for the patent in 1902.

Please check back as I continue with my research as more will be added in the future.

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MICHELANGELO: The Man and The Myth

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EARLY in his career Michelangelo established himself with the reputation as being an industrious enterprising craftsman and not above forgery. Michelangelo signed the Sistine Chapel ceiling contract on May 10, 1508. For his efforts he would receive 3,ooo ducats, which in today’s market would equal approximately $300,oo. But, this commission came with a price.

MICHELANGELO and the Sistine Chapel are as recognizable as McDonalds and the Golden Arches. This Renaissance Master is positioned high above all others while most have never given a second thought to the man behind the myth. Michelangelo’s masterful contributions in the art world might be the only things most of us know about him. However, if we go beyond the bigger than life persona insight can be given into underestanding the complex artistic personality and reveal complex family secrets. Throughout his lifetime these dynamics had a profound affect on Michelangelo the man.

Michelangelo Buonarroti (1475-1565) was the second of five sons. His mother died when he was not yet ten years old, after she gave birth to his youngest brother. His position within the family was one of caretaker. The clan demanded the artist support the father, four brothers, including his aunt and uncle. Financially as well as emotionally.

Early in his artistic career Michelangelo established himself with the reputation as being an industrious enterprising craftsman who was not above forgery.

He arrived dramatically upon the scene when he reportedly unearthed and subsequently sold the ancient Roman statue to Cardinal Raffael Riario. However, is was soon exposed as a fake: for, it was discovered that Michelangelo himself had copied the statute and buried it in a local garden. But, the outcome proved favorable for the artist because the Cardinal was impressed with his talents and agreed to sponsor and became the patron of the young Michelangelo.

Michelangelo signed the Sistine Chapel ceiling contract on May 10, 1508. For his efforts he would receive 3,000 ducats, which in today’s market would equal approximately $300,000. But, this commission came with a price. Contrary to popular belief the artist did not lay on his back to paint as he stood during the ceilings execution. Examining correspondence we discover an insecure overworked technician. Writing to his father he complained of severe neck pain, crippling depression and was in dire need of funds owed him by Pope Julius II all the while suffering from doubt as to the competence of the execution. Alas, his words went unheard. It was discovered that while the artist was obsessed with the painting the frescoed ceiling along with meeting the deadline for its completion it was revealed that his father had stripped his account of all monies leaving the overworked, exhausted, frustrated artist with insufficient funds to live on or much less finish the work.

The Man and the Myth – Uncouth, unkempt and not bathed – But, boy can you paint

RAPHAEL (1483-1520) and Michelangelo were contemporary rivals and working in Rome at the same time. The men were complete opposites as Raphael was considered the showman dandy completely outfitted with a cape while Michelangelo was an unpretentious master who wore the same clothes for months at a time and who rarely bathed. Raphael was constantly in gay spirits surrounded by an adoring entourage while Michelangelo often walked Rome’s streets alone with stooped shoulders, exhaused and often preoccupied about family and finances.

The Sistine Chapel ceiling was completed in 1522. It is interesting to note that Michelangelo considered himself a sculptor first and an inexperienced painter second. Life continued for the Renaissance Master as pressing family dynamics were not allowed to interfere with the ceilings execution. Consequently, today the Chapel ceiling is regarded as the most masterful example of human accomplishment achieved by a single artist during the Renaissance or Modern History.

The Art Historian

ART Frederick Hartt: A History of Painting, Sculpture, Architecture

Encyclopedia of Painting

Michelangelo And The Pope’s Ceiling – Ross King

Michelangelo – Howard Hibbard

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PAINT IT ANY COLOR AS LONG AS ITS BLUE

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...Stated in the ancient Amarna Letter EA 11 the King of Babylon wrote to Akhenaten, the rebellious 18^th Dynasty Pharaoh sent ten lumps of genuine lapis lazuli as your greeting-gift, and to the mistress of the house I sent twenty crickets of genuine lapis lazulia

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Okay, I’LL HANG IT SOMEWHERE ELSE – IMPRESSIONISTS part 2

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IMPRESSIONISTS of the 1860’s CHALLENGE the PREVIOUSLY ACCEPTED COLOR PALETTE

AS PREVIOUSLY discussed, the world of the artist in the 1860’s was changing radically after four hundred long years of enforced artistic regulations. The major difference between the Old Masters and the Impressionists is the illusion of brightness reflected from the paintings by the independent artists.

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IMPRESSIONIST Pioneers: Berthe Morisot and Mary Cassatt

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TO ATTEND AN ACADEMY 1850’s a woman needed the approval from a male guardian. These social restrictions existed worldwide for women and were strictly enforced. Females who participated in an Academy’s curriculum were not only excluded from attending the life-drawing classes but also prohibited from competing in the history painting category of the Salon competition.

THE TALE OF THE TWO

STRICT rules existed regarding the appropriate behavior of the positioned social elite woman during the nineteen hundreds. For instance, it was not acceptable for a woman to be alone in a room with a man if he was not her father or brother. To fill her time she was encouraged to pursue light domestic activities that might include music, sewing, flower arranging or watercolor painting. Few women choose to extend these limiting boundaries. For, it was considered unconventional for woman of middle-class status to be desirous of obtaining a profession because they were not expected to do paid work.

To attend an Academy that taught the applied arts in the 1850s, a woman needed the approval from her male guardian. Regardless of the institutions’ geographical location the same social restrictions for women existed worldwide and were strictly enforced. And, if indeed the young woman received permission to attend an art academy there still remained obstacles in her path. Not to mention that it was considered unacceptable and therefore not permitted to sketch a fully clothed male model. Therefore, female students who participated in an Academy’s curriculum were not only excluded from attending the life-drawing classes but also prohibited from competing in the history painting category of the Salon competition. The former was important to build strong drawing skills while the latter was necessary to insure the artists financial survival.

The Artists’ Daughter, Julie, with her Nanny c. 1884 by Berthe Morisot

One woman who broke with tradition was Berthe Morisot (1841-1895). Morisot was born into an artistic family and was fortunate enough to receive encouragement to pursue her vision. She and her sister began their training in the mid-1850s by copying the Old Masters in the Louvre. From their very first meeting, Manet recognized and supported Morisot’s artistic pursuits, suggesting that she join the Independents.

Hanging the Laundry Out to Dry by Berthe Morisot (upper left): Oil ~ Berthe Morisot: Reading by Berthe Morisot (middle left): Berthe Morisot ~ Oil (bottom right): Sisters c.1869 Berthe Morisot (bottom left)

Consequently, Berthe was the only woman to exhibit with Monet, Renoir, Pissarro, Sisley, and Bazille at the first IMPRESSIONISTS‘ Salon in 1874. After this first exhibit together she remained loyal to the group by refusing to submit works to the Beaux-Arts yearly Salon competition. Throughout her life she remained closely associated with the Impressionists. During her career her paintings were in high demand and brought the highest prices of any in the group. She married Manet’s brother Eugene in 1874.

Second to follower her convictions was Mary Cassatt (1845-1926). Born in Pennsylvania, to wealthy parents. Over the objections of her father she moved to Paris to study painting after completing studies at Philadelphia Academy of Fine Arts. Like Morisot, Cassatt also studied the Old Masters but on location in Italy.Her work attracted the enthusiastic attention of Degas while she was exhibiting at the Beaux-Arts Salon in 1875. That first meeting developed into a lifelong friendship for the two of them.

Offering the Panel to The Bullfighter c.1873 Mary Cassatt

Woman with Pearls c.1879 (upper left): The Child’s Bath c.1893) by Cassatt: Lady at the Tea Table c.1883 by Cassatt (upper right): Children on the Beach c.1884 by Cassatt (lower left): Self Portrait c.1880 by Cassatt (lower right)

Maternite c.1890 by Mary Cassatt

Nurse Reading to a Little Girl c.1895 (left): Mother and Child Before a Pool c.1898 by Cassatt (upper right): Lydia At The Tapestry Loom c.1881 (lower right)

Reine LaFabre and Margot Before A Window c.1902 by Mary Cassatt

Cassatt enjoyed both a long and successful career so much so that upon her death in 1926 she was completely financially independent without having to rely on assistance from her family in later years. Her support of the Impressionists and influential connections helped establish their presence in private American collections and awareness in today’s museums.

Photograph of Mary Cassatt c.1913

Unlike Morisot and Cassatt the female student of today does not have restrictions placed on her curriculum. Gallery attendees can appreciate all forms of landscape, still life, history and portrait painting without regard as to which gender painted what picture. Created by both men and women without restrictions, rules or guidelines.

Cynthia

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Okay, I’LL HANG IT SOMEWHERE ELSE – IMPRESSIONISTS part 1

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REMBRANDT – Self-Portrait – 1660 – oil (left): 17th Century Spanish Artist VELAZQUEZ – 1599-1660 – (right)

Old MASTERS COLOR PALETTE

The 1840’s had the Academy’s four hundred year old-established restrictions remaining unchanged and unchallenged. The approved choices for appropriate presentation subjects remained as before. Idealized representation of the ancient Greek, Roman and Renaissance periods still remained as the only acceptable subjects. Throughout history the Academy always required the artist to paint interiors. [Read more…] about Okay, I’LL HANG IT SOMEWHERE ELSE – IMPRESSIONISTS part 1

IT’S ALL BEEN DONE BEFORE

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THROUGHOUT HISTORY it has been documented that early civilizations had an interest in beautifying their surroundings.

EXPLORING THE ARTISTIC EGYPTIAN, MINOAN, GREEK, ROMAN AND MODERN

One might think that that great decorating idea is ours alone. We might be the first to suggest a particular subject matter with an unusual color palette for a chosen still life, portrait or landscape painting. Perhaps this idea could start a completely new positive trend within our circle. However, it can safely be said that it has all been done before.

The Egyptian, Minoan, Greek and Roman culture all had one thing in common and that was to bring beauty into their environment.

Example of the colorful palette chosen by 18th Dynasty EGYPTIAN Artisians

FOR THOUSANDS OF YEARS Egyptian artisans were required to follow a particular state style that regulated all official sculptures and paintings. Even with these limitations these ancient artisans hand decorated the Pharaoh’s burial chamber with breathtaking beauty using everyday themes in the hope that these wall murals would guide the deceased through the afterlife for eternity.

IN THE FIRST CENTURY A.D. the Roman elite of Pompeii and Herculaneum had no state regulations that enforced and limited artistic expression. They did however continue the tradition of requesting artists to depict everyday themes that would now embellish the areas of the living rather than the dead. Both the villas of Boscoreale a private residence and Boscotrecase the country residence of the emperor Augustus are located north of Pompeii.

Examples of the Recreated Villa of P. Fannius Synistor at BOSCOREALE in the late second style (left): ceiling image (upper right): mural detail (bottom right)

FOUND ON THESE LOCATIONS are examples of frescos that had been painted on the walls of dining rooms, bedrooms and baths. Evidence remains of an ancient brothel in the Roman resort of Pompeii painted with colorful explicit graffiti. Also, unlike the current artists of today, ancients were limited with a color palette that had been used to create their masterpieces. For, these pigments had to be hand ground from nature’s resources. It might be noted that paint was not the only medium used for artistic expression, for mosaics were brought to their zenith during this period in Roman history.

MODERN CIVILIZATION has progressed in their choice of artistic representation, along with the how, where and on what it is to be rendered. For, today the available surfaces on which to decorate are endless. Our choices for creative expression are vast and only limited to our imagination.

UNLIKE THE ARTISANS OF ANCIENT CIVILIZATIONS the artisans of today can paint the landscape, portrait or still life using an unlimited color palette far exceeding nature’s own and upon any stationary or portable surface: thus, offering the art connoisseur endless possibilities. Consequently, creating something totally unique and special that is a welcome addition not only to our homes but adding to the richness of our lives and well being as well.

Cynthia

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