Alfred-Pierre Agache, 1843 - 1915, FRENCH
L'ANNONCIATION, c. 1891
Oil on canvas
55 7/8 by 41 1/2 in., 141.9 by 105.4 cm
Private Collection
The Annunciation referred to as the
Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the
Annunciation of the Lord, is the Christian celebration of the announcement by
the angel Gabriel to the Virgin Mary that she would conceive and become the mother
of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name
her son Yehoshua , meaning "YHWH is salvation".
According to Luke 1:26, the Annunciation
occurred "in the sixth month" of Elizabeth's pregnancy. Many
Christians observe this event with the Feast of the Annunciation on 25 March,
an approximation of the northern vernal equinox nine full months before
Christmas, the ceremonial birthday of Jesus. In England, this came to be known
as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus
of Lyon regarded the conception of Jesus as 25 March coinciding with the
Passion. More The
Annunciation
Alfred-Pierre Agache, 1843 - 1915, FRENCH
L'ANNONCIATION, c. 1891
Detail
Alfred-Pierre Joseph Agache (29 August 1843 – 15 September 1915), also known simply as Alfred Agache, was a French academic painter. Little is known of Agache's life. He was born in Lille, France, and exhibited his work frequently in Paris until his death. He seems to have specialized in portraits and large-scale allegorical paintings. He was a member of the Société des Artistes Français, and won a third-class medal in 1885 for his work. He may have been friends with American painter James Abbott McNeill Whistler and French writer Auguste Angellier; the latter dedicated a book to him around 1893.
Two of his pieces, "Vanity" and "The Annunciation", were shown at the World's Columbian Exposition in Chicago, 1893. He was awarded the Légion d'honneur. He died in Lille in 1915. More on Alfred-Pierre Joseph Agache
Alfred-Pierre Agache, 1843 - 1915, FRENCH
L'ANNONCIATION, c. 1891
Detail
Michel-François Dandré-Bardon, AIX-EN-PROVENCE 1700 - 1783 PARIS
THE DEAD CHRIST LYING BY THE CROSS
Signed and dated lower right D'André / 1724
Oil on canvas
30,5 x 57 cm ; 12 by 22 1/2 in
Private Collection
Michel François André-Bardon (22 May 1700 – 13 April 1785) was a French history painter and etcher. He was born in Aix-en-Provence, France. He signed his name Dandré-Bardon, or D. Bardon, because his uncle, Louis Bardon, made him his heir on condition that he continued the name of Bardon; but his real name was André, as the registers of the church of St. Madeleine testify. Michel François was destined by his parents for jurisprudence, and studied at Paris.
In 1719, he began to design during his leisure hours under the direction of Jean-Baptiste van Loo, and studied painting with J. F. de Troy. His progress was so rapid, that he obtained, in 1725, the second prize at the Royal Academy. He went afterwards to Rome, and after being there six years he returned to France, through Venice, where he stayed six months.
He went to Paris, where he displayed his talents, not only as a painter and etcher, but also as a poet and writer. In 1735, he became a member of the Academy; in 1752 professor; afterwards secretary; and finally teacher of historical painting. He was also the founder of the Académie des Beaux-Arts at Marseilles. He designed with great facility, and was a perfect master in representing the nude. More on Michel François André-Bardon
Jacques Blanchard, PARIS 1600 - 1638
MADONNA WITH CHILD
Oil on canvas
82,5 x 69 cm ; 32 1/2 by 27 in
Private Collection
Jacques Blanchard (1600–1638), also known as Jacques Blanchart, was a French baroque painter who was born in Paris. He was raised and taught by his uncle, the painter Nicolas Bollery (fr) (ca. 1560–1630). Jacques’s brother and son, Jean-Baptiste Blanchard (painter) (fr) (after 1602–1665) and Gabriel Blanchard (1630–1704), respectively were also painters.
Blanchard moved to Rome in 1624. He also worked in Venice and Turin where he was commissioned to paint by the Duke of Savoy. He returned to Paris in 1628 from which year most of his paintings are dated. He developed a style unique in France at the time and reminiscent of both Titian and Tintoretto. More on Blanchard
Ignace-Henri-Jean-Théodore Fantin Latour, GRENOBLE 1836 - BURÉ 1904
SAINT CATHERINE'S MYSTICAL MARRIAGE
Oil on canvas
47 x 46 cm ; 18 1/2 by 18 1/2 in.
Private Collection
The Mystic Marriage
of Saint Catherine covers two
different subjects in Christian art arising from visions received by either
Saint Catherine of Alexandria or Saint Catherine of Siena (1347–1380), in which
these virgin saints went through a mystical marriage wedding ceremony with
Christ, in the presence of the Virgin Mary, consecrating themselves and their
virginity to him.
The
Catholic Encyclopaedia notes that such a wedding ceremony "is but the
accompaniment and symbol of a purely spiritual grace", and that "as a
wife should share in the life of her husband, and as Christ suffered for the
redemption of mankind, the mystical spouse enters into a more intimate
participation in His sufferings." Catherine of Alexandria was
martyred, while Catherine of Siena received the stigmata.
Both Saint
Catherines are frequent
subjects in Christian art; the scene usually includes one of the Saint
Catherines and either the infant Jesus held by his mother or an adult Jesus.
Very rarely both saints are shown in a double ceremony (as above). Saint Catherine of Alexandria is
invariably dressed as a princess in rich clothes, often with a crown, and
normally with loose long blonde hair and carrying a martyr's palm, sometimes
with her attribute of a wheel; Saint Catherine of Siena is shown as a Dominican
nun in white with a black over-robe open at the front, so it is usually easy to
tell which saint is depicted. More Saint Catherine
Henri Fantin-Latour (14 January 1836 – 25 August 1904) was a French painter and lithographer best known for his flower paintings and group portraits of Parisian artists and writers. He was born Ignace Henri Jean Théodore Fantin-Latour in Grenoble, Isère. As a youth, he received drawing lessons from his father, who was an artist. In 1850 he entered the Ecole de Dessin. After studying at the École des Beaux-Arts in Paris from 1854, he devoted much time to copying the works of the old masters in the Musée du Louvre. Although Fantin-Latour befriended several of the young artists who would later be associated with Impressionism, including Whistler and Manet, Fantin's own work remained conservative in style.
Whistler brought attention to Fantin in England, where his still-lifes sold so well that they were "practically unknown in France during his lifetime". In addition to his realistic paintings, Fantin-Latour created imaginative lithographs inspired by the music of some of the great classical composers.
In 1875, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife's family at Buré, Orne in Lower Normandy, where he died on 25 August 1904. More on Henri Fantin-Latour
JOSÉ DE ALCÍBAR, (1751-1803)
Asunción de la Virgen, c. 1779
Oil on copper
15 by 11 in.; 38 by 28 cm
Private Collection
The Assumption of Mary into Heaven, often shortened to the
Assumption and also known as the Falling Asleep of the Blessed Virgin Mary,
according to the beliefs of the Catholic Church, Eastern Orthodoxy, Oriental
Orthodoxy, and parts of Anglicanism, was the bodily taking up of the Virgin
Mary into Heaven at the end of her earthly life. More on The Assumption of Mary
Alcíbar, José de (Mexico City, 1730-1803). Mexican painter. One of the most active and representative artists of the pictorial scene of Mexico City during the second half of the eighteenth century. His commissions were numerous, especially religious paintings for various churches and portraits of pre-eminent figures of Mexican society, with a personal style not unrelated to the artistic processes that developed in the metropolis. It is worth remembering that in the eighteenth century Mexico City lived a moment of special cultural importance, also in the artistic aspect, with the foundation of the Royal Academy of Fine Arts of San Carlos in 1784, of which Alcíbar was one of its founding members and the one that participated actively until his death. Despite the relative successes of his teachings, The Academy represented the arrival in Mexico of painters trained and active in Madrid. The two portraits preserved in the Prado Museum are characteristic of a part of the production of Alcíbar, the portraiture, and show the pretension of elegance and ostentation of its brushes. More José de Alcibar
Attributed to Pieter Pourbus, GOUDA VERS, 1523 - 1584 BRUGES
THE INCREDULITY OF SAINT THOMAS
Oil on panel
154 x 99 cm ; 60 1/2 by 39 in
Private Collection
A doubting Thomas is a skeptic who refuses to believe without direct personal
experience—a reference to the Apostle Thomas, who refused to believe that the
resurrected Jesus had appeared to the ten other apostles, until he could see
and feel the wounds received by Jesus on the cross.
In art, the episode (formally called the Incredulity of Thomas) has
been frequently depicted since at least the 5th century, with its depiction
reflecting a range of theological interpretations. More doubting Thomas
Pieter Jansz. Pourbus (Gouda, around 1523 – Bruges, 30 January 1584) was a Dutch Flemish Renaissance painter, sculptor, draftsman and cartographer. He was born in Gouda but moved to Bruges at a young age. Though he painted many good works in Bruges, his best work was in the Sint Janskerk in Gouda, the History of Saint Hubertus. Besides painting, he was also a surveyor and engineer. He was known primarily for his religious and portrait painting and worked mainly in Bruges, where he had settled before 1543, when he became a member of the Bruges Guild of Saint Luke. His pupils were his son, Frans Pourbus the Elder, Antonius Claeissens, and his grandson Frans Pourbus the younger. He died in Bruges.
Pourbus' early work was a mix of the traditional Flemish style of the early sixteenth century and Italianate influences brought north by his peers such as Frans Floris. He later began to adapt Italian influence more and more, thus his later works can be considered early Flemish mannerism, which still contained some idioms of the traditional northern style. He never traveled to Italy and instead looked to his peers for stylistic influence. The Groeningemuseum in Bruges displays many of his works. The Museum Het Catharina Gasthuis in Gouda possesses a few of his works. The Sint Janskerk and the Church of Our Lady, Bruges have some of his art. More on Pieter Pourbus
Workshop of Pieter Coecke van Aelst
MADONNA WITH CHILD
Oil on panel
41,5 x 30,5 cm ; 16 1/4 by 11 3/4 in
Private Collection
Pieter Coecke van Aelst or Pieter Coecke
van Aelst the Elder (Aalst, 14 August 1502 – Brussels, 6 December 1550) was a Flemish
painter, sculptor, architect, author and designer of woodcuts, stained glass
and tapestries. His principal subjects were Christian religious themes. He
worked in Antwerp and Brussels and was appointed court painter to Charles V,
Holy Roman Emperor.
Coecke van Aelst was a polyglot. He published
translations of Ancient Roman and modern Italian architectural treatises into
Flemish, French and German. These publications played a crucial role in
spreading Renaissance ideas to the Low Countries. They contributed to the
transition in Northern Europe from the late Gothic style then prevalent towards
a modern 'antique-oriented' architecture. More on Pieter Coecke van Aelst
Henry Varnum Poor
Mother and Child, 1924
Oil on canvas
598x547 mm; 23 1/2x21 1/2 inches
Private Collection
Henry Varnum Poor (September 30, 1887 – December 8, 1970) was an American architect, painter, sculptor, muralist, and potter. He was a grandnephew of the Henry Varnum Poor who was a founder of the predecessor firm to Standard & Poor's. Poor attended Stanford University, studied painting at the Slade School in London and under painter Walter Sickert, then attended the Académie Julian in Paris. He returned to the United States in 1911 and taught art at Stanford University before moving to San Francisco to teach at the San Francisco Art Association. Following military service in World War I, he settled in Rockland County, New York, and focused on ceramics.
In the late 1920s, Poor gained recognition as a painter and eventually turned to murals; he was commissioned to paint twelve murals in the U.S. Department of Justice and the mural Conservation of American Wild Life in the Department of the Interior during the 1930s. During World War II he was head of the War Art Unit of the Corps of Engineers. He served on the U.S. Commission of Fine Arts from 1944 to 1945. In 1946 Poor was one of the founders of the Skowhegan School of Painting and Sculpture and taught at Columbia University. Poor was a member of the American Academy of Arts and Letters and was a resident fellow in visual arts at the American Academy in Rome from 1950 to 1951.
Self-taught as an architect. He was also a potter, with ceramics in the permanent collections of the Art Institute of Chicago and the Metropolitan Museum of Art, and ceramics designed for Radio City Music Hall. He also has works in the collections of the Whitney Museum and the Phillips Collection. Poor's papers are in the Archives of American Art at the Smithsonian.
He died on December 8, 1970 in New City, New York. More on Henry Varnum Poor
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