Artists: Charles Edouard Boutibonne, Edward Okun, Laura JamesDoris Prouty, Harald Oskar Sohlberg, Ralph Cahoon, Elisabeth Jerichau-Baumann, Arthur Wardle, Giovanni Segantini, Isobel Lilian Gloag, Edward Poynter, Edward Matthew Hale, Edvard Munch, Akseli Gallen-Kallela, Aino, Akseli Gallen-Kallela, Anton Teofil Kwiatkowski, Carl Bertling , Robert Anning Bell, William Arthur Breakspeare, Gerard de Lairesse, Howard Pyle, Julyan Davis, Albert Hanson, Victor Mottez, Victor-Louis Mottez, Victor-Louis Mottez, Léon Auguste Adolphe Belly, Christine Wyatt, Maurice William Greiffenhagen, Lord Frederic Leighton, Frederick Appleyard, Edward Burne-Jones, Herb Ritts, Francesca Stern Woodman, David Drebin
Charles Edouard Boutibonne
Mermaids Frolicking in the Sea, c. 1883
Oil on canvas
89 x 60 in. (226 x 153 cm.)
Private collection
Sold for GBP 20,000 on Jan 2014
They appear as beautiful young women with long pale green hair and pale skin. They can be seen after dark, dancing together under the moon and calling out to young men by name, luring them to the water and drowning them. The characterization of rusalkas as both desirable and treacherous is prevalent in southern Russia, the Ukraine and Belarus.
Charles Edouard Boutibonne, French, 1816-1897 was a French painter who was from the Academic Classicism School.
Boutibonne was born in Budapest, Hungary in July 1816. He was born to French Parents. His early study took place in Viennese Academy with Friedrich Amerling between the years 1832 and 1843. He then moved to Paris in 1837 where he studied under Achille Deveria. When he was 22 he painted a portrait of Hungarian composer and music teacher of the romantic era Franz Liszt.
Later he became a student and friend of Franz Winterhalter. Two years later he returned to Vienna in 1839 and spent some time there. Boutibonne portrayed many of his artwork in Paris mostly for the court of Napoleon III. He received his initial fame for Napoleon III as a court Portraitist. In 1847 he received a medal at the Salon.
He then moved to England for two years from 1854, painting the portraits of various society Royals like Queen Victoria, Prince Albert, and many others. After that, he returned to Paris and resided there till 1855. In the years 1856 and 1857, he also exhibited his artwork at the Royal Academy in London. His two paintings “Leda” and “Phryne before the Areopagus” was exhibited at the Salon in 1864.
He then became a regular exhibitor at the Paris Salon during the years of the 1860s. He was elected as a member of L’association artistique du cantin de Berne in 1867 in Switzerland. Here he also had a second home in Wilderswil near Interlaken where he spent his most of the later life. He lived there and worked there only until his death in February 1897. More on Charles Edouard Boutibonne
Sir Edward Coley Burne-Jones, Bt
The Mermaid, c. 1882
Gouache and watercolour on paper
312 × 235 mm
Tate
In 1880 Burne-Jones acquired a second home at Rottingdean, near Brighton, to which he often retreated from the bustle of London. Encouraged by his proximity to the sea, he conjured up a marine fantasy world, and between 1880 and 1890 he drew and painted a number of works on the theme of sea-nymphs or mermaids. He recalled 'the best was a mer-wife giving her mer-baby an air bath and it is howling with misery'. These works have as their background an attractive blend of downland and seashore. This watercolour was given to the gallery by Katherine Lewis, who was the recipient of many letters from the artist, which he embellished with amusing drawings. More on this painting
Edward Okun
Knight and Mermaid
Oil on canvas
I have no further description, at this time
Edward Okuń (1872–1945) was born in 1872 to a noble family and was orphaned early. He grew up with his grandparents on the maternal side. After inheriting a large fortune, he soon began drawing lessons with great painters. In 1891 he studied at the Warsaw School of Drawing. From 1891 to 1893 he studied under the direction of Isidore Jablonski and Jan Matejko at the Jan Matejko Academy of Fine Arts. He continued his studies in Munich and Paris. In 1897 Okuń went to study with Simon Hollósy who founded the Nagybánya artists' colony. For the next 20 years he lived Italy.
Okuń returned to Poland in 1921 and settled in Warsaw. From 1925 he was a professor in the School of Fine Arts. He was a member of the Society of Polish Artists. Together with his friends founded a Masonic lodge called "Copernicus". He was vice-president of the Society for the Encouragement of Fine Arts. During the annual opening of the Salon Incentives he witnessed the assassination of the first president of Poland, Gabriel Narutowicz, by Eligiusz Niewiadomski. He helped apprehend Niewiadomski, along with one of the president's aides.
During World War II he lived in Warsaw. After the Warsaw Uprising Okuń moved to Skierniewice, where he was killed by stray bullet in January 1945. More on Edward Okuń
Mama Wata, 2011
Acrylic on canvas
13.5 x 27 inches
Laura James is a self-taught painter living and working in New York City. She is a visual storyteller who explores biblical subjects, cultural issues and secular themes through her unique contemporary use of the traditional art of Ethiopian iconography. Her goal is to have her art in churches and public places where black people can actively see themselves included within the stories of the Bible.
Laura creatively re-contextualizes the Christian message to include all of God's people. This is masterfully done in her 34 paintings for the Book of the Gospel lectionary published in 2000 by LTP. Her biblical paintings visually remind us that, "red or yellow, black and white, they are ALL precious in His sight . . . Jesus loves all the children of the world." More on Laura James
African culture has portrayed the idea of the mermaid in many ways across the continent. It has also been observed that certain features are similar across these variations; she has the same purpose to seduce, beguile and intrigue mankind. She shrouds herself in her mysticism, attractiveness and, above all, her vengeance.
Typical accounts of her appearance in African Mythology, describes a beautiful woman with flowing black hair and an angelic gaze used to entrap or bewilder her spectator (not forgetting fin-like tail with a torso and head of a human).
Unknown
She goes by many names such as Mami Wata (translated to Mother Water) in West Africa to Mamba Muntu in Swahili (east). Nonetheless, they all transcend mankind’s metaphysical perceptions of reality. The history of how the mermaid developed in these cultures stemmed from a broader being in the belief of these mystical creatures.
Ovimbundu peoples, Angola. Circa 1950s-1960s
Dona Fish
Wood, pigment, metal, mixed media
Photo by Don Cole.
Most accounts of how Mami Wata or Mamba Muntu came to be the main symbol of aquatic deities originated from a belief in “water spirits”. These spirits are often referred to as minions or soldiers, often males, for the higher deities, such as Mami Wata or Mamba Muntu, where they would kidnap, trick or deceive fisherman and seafarers to sacrifice or tithe to them.
These male figures have been known to become “spirit husbands” for entranced women. This overarching belief in water spirits developed the specific deities of cultures through the framework of societal identity, spiritual direction and historical beliefs. More on Mermaids In African Culture
Doris Prouty
Goddess Yemoja/Mami Wata (Water) - The Original Mermaid
Quilt
I have no further description, at this time
Yemọja is a major water spirit from the Yoruba religion. She is the mother of all Orishas. She is an orisha, in this case patron spirit of rivers, particularly the Ogun River in Nigeria, and oceans in Cuban and Brazilian orisa religions. She is often syncretized with either Our Lady of Regla in the Afro-Cuban diaspora or various other Virgin Mary figures of the Catholic Church, a practice that emerged during the era of the Trans-Atlantic slave trade. Yemọja is said to be motherly and strongly protective, and to care deeply for all her children, comforting them and cleansing them of sorrow. She is said to be able to cure infertility in women, and cowrie shells represent her wealth. She does not easily lose her temper, but when angered she can be quite destructive and violent, as the flood waters of turbulent rivers.
Yemọja is often depicted as a mermaid, and is associated with the moon (in some diaspora communities), water, and feminine mysteries. She is the protector of women. She governs everything pertaining to women; parenting, child safety, love, and healing. According to myth, when her waters broke, it caused a great flood creating rivers and streams and the first mortal humans were created from her womb. More on Yemọja
Doris Elizabeth Prouty (1947-2020), a talented self-taught African American quilter who lived in Gloucester for 40 years, will be exhibited at Cape Ann Museum’s Janet & William Ellery James Center, beginning June 11 through July 31. The exhibition is called In Her Mind’s Eye.
Working in vibrant colors and incorporating an array of shapes and patterns, Prouty’s quilts are founded in the traditions of African quilt makers and vividly capture scenes and stories about her life and community on Cape Ann. Beginning in the 1980s with traditional block patterns, Prouty moved on to applique quilts which are at once functional and beautiful. With this transition, her work became increasingly complex as she explored narratives of social and climate justice, feminism, family, and Black history. More on Doris Elizabeth Prouty
Abdal 22
Mami Wata
Acrylic on canvas
Democratic Republic of the Congo, Kinshasa (1989)
I have no further description, at this time
Harald Oskar Sohlberg
The Mermaid, circa 1897
Drawing - pencil, ink and watercolor on paper
Height: 47.5 cm (18.7 in.), Width: 30 cm (11.81 in.)
I have no further description, at this time
Mermaids are included in the Shanhaijing compilation of Chinese geography and mythology, dating from the 4th century BC. A 15th-century compilation of quotations from Chinese literature tells of a mermaid who "wept tears which became pearls".
Ralph Cahoon (1910 - 1982)
MERMAIDS AND SAILORS TAKING A DIP
Oil on masonite
25 3/4 by 19 3/4 inches
Private collection
Sold for 37,500 USD in January 2014
Ralph Eugene Cahoon, Jr. (1910 - 1982) was born in Cape Cod in 1910. In lieu of taking up his ancestral family trade of whaling and fishing, the gifted young artist found his way to painting. As a teenager, he took a correspondence course in cartooning. Cahoon's formal training at Boston's School of Practical Art ceased after two years due to financial troubles brought forth by America's Great Depression.
The New England artist Ralph Cahoon has exhibited his paintings in galleries throughout America. Posthumously, more than 10 exhibitions in museums have shown his paintings to awestruck spectators. More on Ralph Cahoon
An early 19th-century book entitled Jottings on the South of China contains two stories about mermaids. In the first, a man captures a mermaid on the shore of Namtao island. She looks human in every respect except that her body is covered with fine hair of many colors. She can't talk, but he takes her home and marries her. After his death, the mermaid returns to the sea where she was found.
Ralph Cahoon (1910-1982)
JEALOUSY: HAIR PULLING MERMAIDS ON THE STRAND
oil on masonite
9 ¾ by 13 ¾ inches
Private collection
In a second story, a man sees a woman lying on the beach while his ship was anchored offshore. On closer inspection, her feet and hands appear to be webbed. She is carried to the water, and expresses her gratitude toward the sailors before swimming away.
Harald Oskar Sohlberg
The Mermaid, circa 1897
Drawing - pencil, ink and watercolor on paper
Height: 46.5 cm (18.31 in.), Width: 54.5 cm (21.46 in.)
Sold for NOK 2,000,000 in November 2022
Harald Oskar Sohlberg decided to be a painter when young, but his father wished him to follow a thorough training as a craftsman. Sohlberg therefore enrolled at the Royal School of Drawing in Kristiania (Christiania until 1877, now Oslo) in 1885 under the interior designer Wilhelm Krogh (1829-1913) and stayed at the school until 1890. Subsequently, he attended night classes under the graphic artist and painter Johan Nordhagen (1856-1956) both in the autumn of 1906 and also from 1911 to 1917, when he concentrated on printmaking.
Sohlberg painted his first pictures while staying in the Valdres region to the north-west of Kristiania in summer 1889. The following summer he painted with Sven Jörgensen (1861-1940) at Slagen, and in autumn 1891 he was a pupil of Erik Werenskiold and Eilif Peterssen in Kristiania. For some months during the winter of 1891-2 Sohlberg attended Kristian Zahrtmann's art school in Copenhagen. He also studied for four months in 1894 under Harriet Backer and Eilif Peterssen.
Sohlberg is particularly known for his depictions of the mountains of Rondane and the town of Roros. His perhaps most well-recognized painting is his 'Winter's Night in Rondane' from 1913-14. More on Harald Oskar Sohlberg
Harald Oskar Sohlberg
The Mermaid, c. 1896
Oil on canvas
Height: 51 cm (20.08 in.), Width: 89 cm (35.04 in.)
Dulwich Picture Gallery until 2nd June 2019
Elisabeth Jerichau-Baumann
A Mermaid (En havfrue), c. 1861
"The Little Mermaid"
Oil on canvas
Height: 97 cm (38.19 in.), Width: 130 cm (51.18 in.)
Private collection
Elisabeth Jerichau-Baumann
A Mermaid (En havfrue), c. 1863
Oil on canvas
Height: 97 cm (38.19 in.), Width: 130 cm (51.18 in.)
Private collection
Elisabeth Jerichau-Baumann
A Mermaid (En havfrue)
"The Little Mermaid"
Oil on canvas
Height: 97 cm (38.19 in.), Width: 130 cm (51.18 in.)
Private collection
Estimated for DKK 50,000 - DKK 60,000 in September 2012
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A Mermaid (En havfrue), 1873
Oil on canvas
Height: 96 cm (37.8 in.), Width: 126 cm (49.61 in.)
Ny Carlsberg Glyptotek - Copenhagen (Denmark - Copenhagen)
Mermaid, painted in 1873, is the last of at least four oil on canvas paintings of mermaids painted by the Polish-Danish painter Elisabeth Jerichau-Baumann. It depicts a mermaid with a melancholic facial expression, leaning against a rock in shallow water, with a night sky residing over a moonlit sea in the background. Purchased by Carl Jacobsen in 1877, it is now in the collection of the Ny Carlsberg Glyptotek. One of Baumann-Jerichau's earlier mermaid paintings was presented to Hans Christian Andersen as a birthday present and is now in the Funen Art Museum. The two other mermaid paintings are in private collections. More on this painting
Elisabeth Baumann was educated at the art academy in Düsseldorf in 1838–1845. She then went on a study trip to Rome, where she met the Danish sculptor Jens Adolf Jerichau. They immediately fell in love, were married in 1846, and lived in Rome until the birth of their first two children in 1847 and 1848. The revolution in 1848 prompted first Elisabeth and then her husband to move to Denmark.
The inspiration for the mermaid paintings came partly from the mermaid in the coat of arms of her home town Warsaw and partly from Hans Christian Andersen's 1837 short story The Little Mermaid. The Jerichaus first met Andersen in Rome and maintained a close friendship with him which lasted the rest of their lives. Andersen was the godfather of their daughter Caroline Elisabeth Nancy, later mostly known as Agnete, probably inspired by the folk tale Agnethe and the Merman, who was born in 1853. In 1856, Jerichau-Baumann painted a watercolour of Agnethe and the Merman as an illustration of the Danish folk song.
Jens Adolf Jerichau created a small clay model of a mermaid in a pose rather similar to that of the mermaids in his wife's paintings, but since it is undated, it is impossible to determine who was inspired by whom. More on Elisabeth Baumann
Arthur Wardle
The lure of the North , 1912–1912
Oil on Canvas
84.5 x 125 cm. (33.3 x 49.2 in.)
Private collection
Estimated for £18,000 GBP - £25,000 GBP in July 2004
Arthur Wardle (1864-1949)
A mermaid and polar bears
Pencil and coloured chalks
13 x 23 in. (33 x 58.5 cm.)
Private collection
Sold for GBP 1,058 in Mar 2003
Arthur Wardle (1864–1949) was born in London At aged just sixteen Wardle had a piece displayed at the Royal Academy. His first exhibit was a study of cattle by the River Thames, leading to a lifelong interest in painting animals. In 1880 Wardle lived in Oakley Square, Camden, but artistic success enabled him to move to the more upmarket 34 Alma Square in St John's Wood by 1892. Wardle was prolific; until 1936 he exhibited more than 100 works at the Royal Academy, as well as the Society of British Artists at Suffolk Street. He painted a variety of animal subjects with equal skill but his work may be divided into two categories, domestic and exotic; animals from overseas including leopards, polar bears and tigers such as The Deer-Stealer (1915) were painted from sketches that he made at London Zoo. He is considered equally proficient in oils, watercolours and pastels and was elected to the Pastel Society in 1911 and became a member of the Royal Institute of Painters in Water Colours in 1922. In 1931 he held his first one-man exhibition at the Fine Art Society and in 1935 the Vicar's Gallery put on an exhibition of his work. He also exhibited in Paris. By 1936 Wardle had moved to West London.
His career was highly successful and his works continue to be sought after and widely reproduced on postcards, calendars and boxes of chocolates. He remains one of the widely known dog painters of the 19th and 20th centuries, and he is particularly known for his paintings of terriers. Wardle painted what is probably the best known painting of the fox terrier in its modern form.
Arthur Wardle died on 16 July 1949. More on Arthur Wardle
Giovanni Segantini (1858–1899)
A Mermaid being mobbed by Seagulls
Oil on Canvas
Private collection
Giovanni Segantini, (born Jan. 15, 1858, Arco, Tyrol, Austrian Empire]—died Sept. 28, 1899, near Pontresina, Switz.), Italian painter known for his Alpine landscapes and allegorical pictures, which blended Symbolist content with the technique of Neo-Impressionism.
Raised by peasants in the Italian Alps as a herdsman, Segantini spent long hours of solitude in drawing. His work was noticed by the local authorities, who sent him to art school in Milan. In 1894 he settled in the Engadin region of the Swiss Alps, where he remained for the rest of his life. Living in virtual isolation in Switzerland, he experimented with optical mixtures, a technique similar to that of the Pointillists. Possibly inspired by literary sources, he also evolved a Symbolist subject matter. A pantheist by nature, he felt himself in mystic communion with his mountain environment. He usually used an Alpine background in his works and left unfinished a great triptych entitled “Life, Nature, and Death,” which is exhibited in the Segantini Museum in Sankt Moritz, Switz. More on Giovanni Segantini
Isobel Lilian Gloag, British, 1868 - 1917
The Kiss of the Enchantress, circa 1890
Watercolor
62 x 32 cm
Private collection
Estimated for $8,000 USD - $12,000 USD in March 1998
The Kiss of the Enchantress is a watercolor painting depicting a magical embrace between a woman with the tail of a serpent and a young knight. The man is entwined not only with the woman's tail but in brambles. In the background rabbits dash away from the scene.
The Knight and the Mermaid or The Kiss of the Enchantress was inspired by the poem "Lamia" by John Keats. The poem tells how the god Hermes hears of a nymph who is more beautiful than all. Hermes, searching for the nymph, instead comes across Lamia, trapped in the form of a serpent. She reveals the previously invisible nymph to him and in return he restores her human form. She goes to seek a youth of Corinth, Lycius, while Hermes and his nymph depart together into the woods. The relationship between Lycius and Lamia, however, is destroyed when the sage Apollonius reveals Lamia's true identity at their wedding feast, whereupon she seemingly disappears and Lycius dies of grief.
According to Michael O'Neill, Lamia in the poem "is treated ambivalently but with considerable sympathy", making "a sharp contrast with the more leisurely and seemingly uncritical use of romance in [the] two narrative poems that follow....the hapless Lycius is caught between the reductive rationalism of Apollonius and the bewitching illusoriness of Lamia." More on Lamia
Isobel Lilian Gloag (1865–1917) was an English Victorian painter, known for her oil and watercolour portraits, as well as posters and stained-glass designs
Gloag was born in London, the daughter of Scottish parents from Perthshire. Her early studies were made at St. John's Wood Art School, and she later studied at the Slade School of Fine Art. Ill health compelled her to put aside plans for regular study, and she entered the studio of M.W. Ridley's for private instruction, following this with work at the South Kensington Museum. After still further study with Raphaël Collin in Paris, she returned to London and soon had her work accepted at the Royal Academy of Arts, where she exhibited a total of 19 works. She was an elected member of the Royal Institute of Oil Painters and the New Society of Painters in Water-Colours. Her earlier works were inspired by the Pre-Raphaelites, while later works were more modern, and her works have been cited as examples of post-Victorian Aestheticism. She made several designs for the stained-glass artist Mary Lowndes. Suffering from health problems throughout her life, she died in London on 5 January 1917, aged 51. Her work was posthumously featured in an exhibition at the Grafton Galleries, London. More on Isobel Lilian Gloag
Edward Poynter (1836–1919)
Cave of the Storm Nymphs, c. 1903
Oil on canvas
145.9 × 110.4 cm (57.4 × 43.5 in)
Private collection
The Cave of the Storm Nymphs is a painting by British artist Edward Poynter, depicting three nude sirens or nymphs from Greek mythology that lure sailors to their deaths. Poynter painted two versions, one in 1902 and the other in 1903, with minor differences. The former is housed in the Norfolk's Hermitage Museum, and the latter is in the private collection of Sir Andrew Lloyd Webber. One of the depicted sirens is playing a golden stringed, tortoise-shell lyre, while the other two sirens rejoice amid the foundering ship, expecting to add to the cave’s treasure.
In 1901, Poynter drew a preparatory study for the painting, housed in the National Gallery of Canada (see below). More on The Cave of the Storm Nymphs
Edward Poynter (1836–1919)
Study of a Nymph for The Cave of the Storm Nymphs, 1901
Charcoal & White Chalk, Green Woven Paper
22x23cm
National Gallery of Canada
Sir Edward John Poynter, 1st Baronet GCVO PRA (20 March 1836 in Paris – 26 July 1919 in London) was an English painter, designer, and draughtsman who served as President of the Royal Academy. Poynter was born in Paris, though his parents returned to Britain soon after. He was educated at Brighton College and Ipswich School, but left school early for reasons of ill health, spending winters in Madeira and Rome. In 1853 he met Frederick Leighton in Rome, who made a great impression on the 17-year-old Poynter. On his return to London he studied at Leigh's academy in Newman Street and the Royal Academy Schools, before going to Paris to study in the studio of the classicist painter Charles Gleyre where James McNeill Whistler and George du Maurier were fellow-students. He became best known for his large historical paintings. More on Sir Edward John Poynter
Edward Matthew Hale (1852-1924)
The Mermaid's Rock, ca. 1894
Oil on canvas
Leeds City Art Gallery
Edward Hale lived in London and Godalming. He studied in Paris from 1873-75 with Alexander Cabanel and Carolus-Duran, and from 1877-78 he worked as a war artist for the Illustrated London News with the Russian Army, and later in Afghanistan.
Most of his genre scenes are of army life, or the sea. Two works are in Leeds. He exhibited at the Royal Academy, Society of British Artists, Grosvener Gallery, New Gallery and elsewhere...
Born in Hastings, Edward Matthew Hale studied in Paris and began his career as an illustrator. vHe worked for The Illustrated London News following the Russian army in the Russo-Turkish War.
Later in life he concentrated on painting establishing a reputation for his highly original and fantastical depictions of sea life, as well as ambitious canvases of Classical subjects. More on Edward Hale
Edward Matthew Hale (British, 1852–1924)
The sirens
Oil on Canvas
76 x 127 cm. (29.9 x 50 in.)
In Thailand, Suvannamaccha is a daughter of Tosakanth (Ravana) who appears in the Thai and other Southeast Asian versions of Ramayana. She is a mermaid princess who tries to spoil Hanuman's plans to build a bridge to Lanka but falls in love with him instead.
Suvannamaccha (lit. golden mermaid)
I have no further description, at this time
In Thailand, Hanuman learns that Sita is being held captive on the island of Lanka. He informs Rama, her husband, who orders him to build a causeway to Sri Lanka from India so Rama's army can attack. Hanuman collects his band of Vanaras and they begin throwing huge boulders into the sea to make a foundation for the causeway.
Hanuman battles fish taking stone from Rama's bridge
Thai Ramayana mural
I have no further description, at this time
After a few days they notice something is wrong and call Hanuman to report. They tell him that each day they throw rocks into the sea and the next day they are gone. Hanuman leads his volunteers into the waves. They find a large number of mermaids underwater. The mermaids are taking the rocks and carry them away. Hanuman looks for their leader. He spots lovely mermaid supervising the others. He swims towards her but she skillfully evades him. Time and again he begins an attack but it comes to nothing.
Machanu, the son of Hanuman, the monkey-king, and Supanna Matcha, a mermaid
I have no further description, at this time
Hanuman finds he is falling in love with the creature. He changes his tactics and begins to silently woo her. She responds to him and soon they are together.
Hanuman and Mermaid Suvannamaccha Thailand
Detail
I have no further description, at this time
She tells him that when Ravana saw Hanuman's Vanaras building a causeway he instructed Suvannamaccha to stop it. He tells her of the abduction of Sita, the battle between Rama and her father Ravana, how they started to build a bridge, and in consequence was ordered to finish the causeway within seven days or pay with his life.
Suvannamaccha turned to Hanuman and her eyes were filled with love. No more, she said, would she prevent Hanuman from completing his mission. Her mermaids underwater would, in fact, return all the stolen rocks to the causeway.
They parted as lovers part but it was not to be the end for them. Hanuman had left a seed with Suvannamaccha and soon she would give birth to their son, Macchanu. More
Edvard Munch
Mermaid on the Shore, c. 1893
also known as Summer Night, Mermaid
Oil on canvas
Height: 93 cm (36.61 in.), Width: 117 cm (46.06 in.)
Munch-museet (Norway - Oslo)
Edvard Munch (12 December 1863 – 23 January 1944) was a Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century. One of his most well-known works is The Scream of 1893. More
Edvard Munch was a prolific yet perpetually troubled artist preoccupied with matters of human mortality such as chronic illness, sexual liberation, and religious aspiration. He expressed these obsessions through works of intense color, semi-abstraction, and mysterious subject matter. Following the great triumph of French Impressionism, Munch took up the more graphic, symbolist sensibility of the influential Paul Gauguin, and in turn became one of the most controversial and eventually renowned artists among a new generation of continental Expressionist and Symbolist painters. Munch came of age in the first decade of the 20th century, during the peak of the Art Nouveau movement and its characteristic focus on all things organic, evolutionary and mysteriously instinctual. More on Edvard Munch
Akseli Gallen-Kallela (1865–1931)
Aino Myth, Triptych, c. 1891
The middle panel: 154 × 154 cm (60.6 × 60.6 in)
The left and right panels: 77 × 154 cm (30.3 × 60.6 in)
Suomi: Keskiosa: 154,0 cm × 154,0 cm. Sivuosat: 77,0 cm × 154,0 cm
Ateneum, Helsinki, Finland
Painting by Akseli Gallen-Kallela, depicting the Aino Story of Kalevala on three panels: The left one is about the first encounter of Väinämöinen and Aino in the forest. The right one depicts mournful Aino weeping on the shore and listening to the call of the maids of Vellamo who are playing in the water. The central pane depicts fishing Väinämöinen having thrown away a small fish, now turning out to be Aino, who laughs at him and vanishes forever.
Aino is a figure in the Finnish national epic Kalevala. It relates that she was the beautiful sister of Joukahainen. Her brother, having lost a singing contest to the storied Väinämöinen, promised Aino's "hands and feet" in marriage if Väinämöinen would save him from drowning in the swamp into which Joukahainen had been thrown. Aino's mother was pleased at the idea of marrying her daughter to such a famous and well born person, but Aino did not want to marry such an old man. Rather than submit to this fate, Aino drowned herself. However, she returned to taunt the grieving Väinämöinen as a salmon. More on Aino
Akseli Gallen-Kallela (1865–1931)
Aino Myth, Triptych, c. 1891
Left Panel
The left panel one is about the first encounter of Väinämöinen and Aino in the forest.
Akseli Gallen-Kallela (1865–1931)
Aino Myth, Triptych, c. 1891
Right Panel
The right panel depicts mournful Aino weeping on the shore and listening to the call of the maids of Vellamo who are playing in the water. Aino has made her decision to choose death rather than her wizened suitor.
Akseli Gallen-Kallela (1865–1931)
Aino Myth, Triptych, c. 1891
central pane
Aino has made her decision to choose death rather than her wizened suitor. The middle panel depicts the end of the story. Väinämöinen uses his magic to fish for Aino in the lake that she entered. He catches a small fish but decides it is too plain and insignificant to be his fiancée, so he throws it back. In that instant the fish changes into Aino who proceeds to mock the old man, that he held her in his hand but chose to let her go. After that she vanishes for ever. More on Aino Myth
Akseli Gallen-Kallela (26 April 1865 – 7 March 1931) was an artist from Finland. He started his career with realistic pictures of poor people from the countryside, and continued with romantic paintings of the themes of the Kalevala, the Finnish national epic. His work was considered very important for the Finnish national identity. He pioneered major changes in Finnish art.
In addition to paintings Gallen-Kallela made prints, frescoes and designed textiles and furniture. His house and studio Kalela became a work of total art.
When Finland became independent, Gallen-Kallela designed uniforms and medals for its army. More on Akseli Gallen-Kallela
Teofil Kwiatkowski (1809 - 1891)
Syreny, Mermaids, c. 1845
MUSEUM TOMATORUM
Sirens splashing around in the water. But one of them sees an approaching vessel. Soon all will flow in that direction to lure sailors to their doom.
Anton Teofil Kwiatkowski, (Polish, 1809–1891)
Les Sirènes, Study
Watercolor and pastel
41 x 56.5 cm. (16.1 x 22.2 in.)
Private collection
Anton Teofil Kwiatkowski, (Polish, 1809–1891)
Nereids
Oil on canvas
44 x 63.5 cm. (17.3 x 25 in.)
Private collection
In Greek mythology, the Nereids are sea nymphs. The daughters (numbering 50 or 100) of the sea god Nereus; inhabiting any water, salt or fresh. They often accompany Poseidon, the god of the sea, and can be friendly and helpful to sailors, like the Argonauts in their search for the Golden Fleece.
They symbolized everything that is beautiful and kind about the sea. Their melodious voices sang as they danced around their father. They are represented as very beautiful girls, crowned with branches of red coralt. They were part of Poseidon's entourage and carried his trident. More on the Nereids
Teofil Antoni Jaksa of Griffins Kwiatkowski (February 21, 1809 in Pułtusk – August 14, 1891 in Avallon, France) was a Polish painter.
Kwiatkowski participated in the November 1830 Uprising. After its suppression, he emigrated to France.
His artistic work includes many images of Frédéric Chopin, including a picture of him playing at a ball at Paris's Hôtel Lambert and Chopin on His Deathbed (1849). More on Anton Teofil Kwiatkowski
Carl Bertling, (German, 1835–1918)
Hermaphroditus and Salmacis, 1892
Oil on panel
45 x 33.5 cm. (17.7 x 13.2 in.)
Private collection
In Greek mythology, Hermaphroditus was the son of Aphrodite and Hermes. He was born a remarkably handsome boy with whom the water nymph Salmacis fell in love and prayed to be united forever. A god, in answer to her prayer, merged their two forms into one and transformed them into an androgynous form. He was one of the Erotes. More on Hermaphroditus and Salmacis
Carl Bertling , also Karl Bertling ( September 7, 1835 in Dahlinghausen , Kingdom of Hanover ; † February 23, 1918 in Wachau , Kingdom of Saxony ) was a German history , portrait and genre painter and illustrator of the Düsseldorf School .
From 1852 Bertling studied painting at the Düsseldorf Art Academy . Under the direction of Wilhelm von Schadow , he created his first known picture entitled Hagar and Ismael . Another teacher at the Düsseldorf Academy was the painter Eduard Bendemann . Between 1862 and 1864 he helped him with the execution of the monumental painting Cain and Abel (The Death of Abel) , which today hangs in the stairwell of the former Naumburg Assize Court . Bertling was a member of the artists' association Malkasten . Among his circle of friends was the animal painter Christian Kröner. In 1879 Bertling moved to Dresden . In 1898 he lived in the inner old town. More on Carl Bertling
Robert Anning Bell
Mermaid and Sea, c. 1919
Oil on canvas
Height: 114.3 cm (45 in.), Width: 68.6 cm (27.01 in.)
Victoria Art Gallery (United Kingdom - Bath)
Robert Anning Bell, 1863–1933, was British painter, sculptor, designer, illustrator, and teacher, born in London. His highly varied artistic training began with two years in an architect's office, continued at the *Royal Academy and the Westminster School of Art, and was rounded off with stays in Paris and Italy. He gained some of his sculptural expertise by sharing a studio for a while with Sir George *Frampton. Bell's interest in the architectural setting of art helped him to win numerous decorative commissions for mosaics, stained glass, and relief sculpture. His clear, linear style, influenced by Italian Renaissance art, was well suited to this type of work. Examples of his mosaics are in Westminster Cathedral and the Houses of Parliament, and his stained glass includes the Shakespeare window in Manchester Reference Library.
His second wife, Laura Anning Bell (1867–1950), was a portraitist, mainly in pastel. More on Robert Anning Bell
William Arthur Breakspeare
The Mermaid
Oil on Canvas
101.6 x 41.3 cm. (40 x 16.3 in.)
Private collection
William Arthur Breakspeare (19 January 1856 – 8 May 1914) was an artist from Birmingham, England, the son of John Breakspeare, a flower painter working in the Birmingham japanning trade.
Breakspeare lived in Edgbaston, Birmingham until the age of 22. He was apprenticed to the japanners, Halbeard and Wellings, as a decorator. In 1877, he moved to central Birmingham. He was closely associated with the Royal Birmingham Society of Artists (RBSA) gallery, exhibiting 34 works from 1874 to 1899. He was also a founder member of the Birmingham Art Circle. His work covered many genres including genre, portrait, figure and 18th-century costume pieces and landscape.
Breakspeare spent time in Paris, moving there in 1879. Whilst living there he exhibited 'An Eastern Maid' at the RBSA, perhaps showing an influence of Orientalism from his stay. However his stay was short and moved to Haverstock Hill in London a few years later in 1881. He is understood to have spent the rest of his life there. As well as his training in Paris, Breakspeare was initially trained at the Birmingham Government School of Design and Charles Verlat's Academy in Antwerp.
He died at his home at the age of 58 in May 1914. More on William Arthur Breakspeare
Gerard de Lairesse (1640–1711)
Ulysses and the Sirens, c. 17th century
Oil on canvas
144.5 × 186.6 cm
State Gallery in New Castle
Branch gallery of the Bavarian State Painting Collections
Gerard or Gérard (de) Lairesse (11 September 1641 – June 1711) was a Dutch Golden Age painter and art theorist. His broad range of talent included music, poetry, and theatre. De Lairesse was influenced by the Perugian Cesare Ripa and French classicist painters as Charles le Brun, Simon Vouet and authors as Pierre Corneille and Jean Racine. His importance grew in the period following the death of Rembrandt. His treatises on painting and drawing, Grondlegginge der teekenkonst (1701), based on geometry and Groot Schilderboek (1707), were highly influential on 18th-century painters. More on Gerard de Lairesse
Howard Pyle
The Mermaid, c. 1910
Oil on canvas
Height: 144.78 cm (57 in.), Width: 99.06 cm (39 in.)
Delaware Art Museum (United States - Wilmington, DE)
Howard Pyle (March 5, 1853 – November 9, 1911) was an American illustrator and author, primarily of books for young people. A native of Wilmington, Delaware, he spent the last year of his life in Florence, Italy.
In 1894 he began teaching illustration at the Drexel Institute of Art, Science and Industry. After 1900, he founded his own school of art and illustration, named the Howard Pyle School of Illustration Art. The scholar Henry C. Pitz later used the term Brandywine School for the illustration artists and Wyeth family artists of the Brandywine region, several of whom had studied with Pyle. Some of his more notable students were N. C. Wyeth, Frank Schoonover, Elenore Abbott..., Pyle's home and studio in Wilmington, where he taught his students, is still standing and is listed on the National Register of Historic Places.
His 1883 classic publication The Merry Adventures of Robin Hood remains in print, and his other books, frequently with medieval European settings, include a four-volume set on King Arthur. He is also well known for his illustrations of pirates, and is credited with creating what has become the modern stereotype of pirate dress. He published his first novel, Otto of the Silver Hand, in 1888. He also illustrated historical and adventure stories for periodicals such as Harper's Weekly and St. Nicholas Magazine. His novel Men of Iron was adapted as the movie The Black Shield of Falworth (1954).
Pyle travelled to Florence, Italy in 1910 to study mural painting. He died there in 1911. More on Howard Pyle
Julyan Davis
Towards Fort Sumter, Spring, 1861
The Mermaid Storm
3600 × 3406
Private collection
Julyan Davis
The Hunt, The Mermaid Storm
3600 × 3406
Private collection
Julyan Davis
Oil study (Mermaid Storm series), c. 2016
2009 × 2558
Private collection
Julyan Davis
Oil study (Mermaid Storm series), c. 2016
2009 × 2558
Private collection
Julyan Davis
Mermaid
2009 × 2558
Private collection
Julyan Davis, British (b. 1965). Julyan Davis is an English-born artist who now lives in the United States. He received his art training at the Byam Shaw School of Art in London. In 1988, having completed his B.A. in painting and printmaking, he traveled to the South on a painting trip that was also fueled by an interest in the history of Demopolis, Alabama and its settling by Bonapartist exiles. Julyan’s home is now in Asheville, North Carolina. More on Julyan Davis
Albert Hanson, Australia, 22 Sep 1867 - 11 Jul 1914
Mermaids, c. 1948
Watercolour, gouache on paper
34.0 x 51.5
Art Gallery of NSW
Albert John Hanson (28 September 1867 – 11 July 1914) was an Australian artist, winner of the 1905 Wynne Prize.
Hanson was born in Paddington, Sydney and studied at the Royal Art Society's school. In 1889 Hanson went to New Zealand and founded an art school at Dunedin but returned to Sydney after a short stay. In 1892 The Low Lispings of the Silvery Waves, a water colour, was purchased by the Sydney gallery, and later that year Hanson went to London. He was elected a member of the Royal Society of British Artists and in 1893 his On the New South Wales Coast near Sydney was on the line at the Royal Academy.
Hanson returned to Sydney in 1896, and in 1898 his Pacific Beaches, an oil, was purchased for the National Gallery of Australia. In 1905 Hanson's watercolour, The Blue Noon, was the winner of the Wynne Prize. Hanson was an able landscape painter in both oil and water-colour and is represented in the Sydney, Adelaide, Brisbane, Geelong, Wellington, Auckland, Dunedin, and Christchurch galleries.
He died at his home in Haberfield on 11 July 1914. More on Albert John Hanson
Victor Mottez 1809-1897
Ulysse et les sirènes
Victor-Louis Mottez was a French fresco painter, painter and portraitist.
He was born in Lille. His father was passionate about art and was himself a painter. Sent to Paris with a pension for some years, Victor was recalled due to the poor state of his father's finances and his studies were cut short. He followed courses at the École de dessin in Lille and worked under the direction of his father and his father's painter friends such as Édouard Liénard, student of Jacques-Louis David. He returned to Paris from 1828 to 1829 to enter the École des Beaux-Arts and at first studied under the direction of François-Édouard Picot, then as a free student of Dominique Ingres.
The Mottez family was highly religious and devoted to the House of Bourbon, and so the July Revolution in 1830 came as a catastrophe to them. Victor was again recalled to Lille by his father and married shortly afterwards. From there he made many trips, of which the longest and most notable was that to Italy and he came to consider its old masters as the absolute masters of painting. In Rome he met Ingres again - Ingres liked him very much and often gave him advice. His Christ in the Tomb (now in the église Sainte-Catherine de Lille) and The Martyrdom of Saint Stephen (now in the église Saint-Étienne de Lille) date to this era. Also on this trip to Italy he became hugely interested in fresco art—Mottez painted his wife Julie in this medium and, showing Ingres the end result, pulled it off the wall at Ingres' request (it was later given to the Louvre by Mottez's two children).
Returning to France in 1838, he set up shop in Paris and exhibited at the Paris Salons, especially turning more and more towards the neglected genre of frescoes, notably religious ones. He also translated the Treatise by the 14th century Florentine painter Cennino Cennini and learned from his techniques. His most remarkable works are those for churches (at Église Saint-Germain-l'Auxerrois in the 1840s, and at the Saint-Séverin in the 1850s), which were admired by Ingres and Delacroix. However, the clergy's hostility to them, the materials used, the saltpeter walls and their situation all meant that they were already deteriorated by the end of the 19th century and are now largely lost (except for Saint Martin cutting his cloak in two at St-Germain l'Auxerrois), though Mottez's cartoons for them survive.
During the same years he frequented the Bertins' salon, alongside the main writers and artists of the time (a sketch of his for a portrait of Victor Hugo survives). He produced two frescoes for this salon, destroyed in 1854. After the 1848 Revolution Mottez set out for the United Kingdom, where he produced several portraits of British nobles and personalities and the exiled minister François Guizot, which were exhibited at the Royal Academy salons. He was an excellent portraitist throughout his career and it was that which mainly occupied him in the last years of his career. He returned to France in 1853 and worked with Delacroix at the Église Saint-Sulpice, at the start of the 1860s, where their highly opposed styles clearly showed the struggle between the neo-classical and romantic visions. Maurice Denis considered these frescoes at St-Sulpice (another Saint Martin) as "unforgettable". He designed the stained glass windows at the église Saint-Maurice de Lille.
He married three times:
Victor Mottez died on 7 June 1897 in Bièvres. More on Victor-Louis Mottez
Leon Belly
Ulysses And The Sirens, c. 1867
Oil on canvas
Musée de l'hôtel Sandelin
Léon Auguste Adolphe Belly (1827–1877) was born at St. Omer, in 1827. He studied under Troyon, and in 1849 visited Barbizon where he came under the influence of Théodore Rousseau.
In 1850–1 he travelled to Greece, Syria, and Egypt. In 1853 he made his debut at the Paris Salon, exhibiting four landscapes of Nablus and Beirut, and of the shores of the Dead Sea, which attracted critical acclaim. In 1855–6 he visited Egypt, travelling up the Nile in the company of another painter, Edouard Imer. A second trip to Egypt in 1856 was largely spent making studies for his painting Pilgrims going to Mecca, now in the Musée d'Orsay.
Pilgrims going to Mecca, painting from 1861. Now at the Musée d'Orsay.
As well as his paintings of Middle Eastern subjects he painted portraits and landscapes of Normandy and the Sologne throughout his career, and in 1867 bought land at Montboulan. He died in Paris in 1877. More on Léon Auguste Adolphe Belly
Christine Wyatt
Ocean of Dreams
Christine Wyatt, Bio and Artist Statement: Florida is my native home. After growing up in Miami, I lived for four wonderful years in Caribou, Maine beginning my formal education in fine art at the University of Maine at Presque Isle. I then relocated to Richmond, Virginia. It was there where I raised my son while earning my BFA in Painting and Printmaking from Virginia Commonwealth University School of Fine Art. Later, I returned to South Florida to live and work full time on my art.
My paintings are my poetry. They are inspired by grace found in the natural world and by the reverence inherent in the sanctuary of peace. I take refuge in the making of my art...it's my intention to create for the viewer a connection to that place "Where dreams live and poets speak". More on Christine Wyatt
Maurice William Greiffenhagen
The Mermaid
Oil on canvas
Height: 100 cm (39.37 in.), Width: 100 cm (39.37 in.)
Paisley Museum and Art Galleries (United Kingdom - Paisley, Renfrewshire)
This early work was inspired by a poem by Goethe, which tells the story of a mermaid who rises from the waters to complain to a fisherman that he is enticing her children to death. Gradually the mermaid's own beauty lures the fisherman into the water and to oblivion. More on this painting
Maurice Greiffenhagen RA (15 December 1862 – 26 December 1931) was a British painter and Royal Academician. He illustrated books and designed posters as well as painting idyllic landscapes.
He was born in London. Exhibiting at the Royal Academy of Arts from 1884, he was made an Associate Member in 1916 and a Royal Academician in 1922. From 1906 until 1926, he taught at the Glasgow School of Art. Greiffenhagen exhibited at the first exhibition of the Society of Graphic Art in 1921.
His friendship with H Rider Haggard led to him illustrating the author's popular adventure books, starting with an edition of She: A History of Adventure in 1889 – though Greiffenhagen apparently "disliked doing black-and-white work". He illustrated the serialisation of Ayesha The Return of She (1904–05) and that of The Holy Flower (1913–14) in the Windsor Magazine.
He also illustrated a number of Edgar Wallace's Sanders of the River books for the Windsor Magazine: The Keepers of the King's Peace (1916–17), Lieutenant Bones (1917–18) and Sandi, The Kingmaker (1921).
Greiffenhagen's 1891 painting, An Idyll, inspired D H Lawrence's novel The White Peacock. The painting had "a profound effect" on the author. In 1910, Greiffenhagen illustrated a book of poems by Charles F. Parsons entitled Some Thoughts at Eventide.
Greiffenhagen also created distinctive commercial posters, including a colourful 1894 advertisement for Pall Mall Budget magazine which "created a distinct sensation among the younger men" according to one contemporary periodical. In 1924, he created "The Gateway of the North", one of the most popular travel posters in a series commissioned by London, Midland and Scottish Railway. More on Maurice Greiffenhagen
Frederic, Lord Leighton 1830–1896
Helios and Rhodes
Oil paint on canvas
1658 x 1099 mm
Tate Collection
Rhode, was also known as Rhodos in ancient Greek religion, was the sea nymph or goddess of the island of Rhodes, and was thought of as a daughter of Poseidon.
In Rhodes, to which she gave her name, she was the consort of Helios, and a co-protector of the island, which was the sole center of her cult. Her name was applied to the rose, which appeared on Rhodian coinage.
Helios made the island rise from the sea and with Rhode, fathered seven sons and one daughter, Electryone. Electryone died a virgin and the sons became legendary astronomers and rulers of the island, accounting for the cities among which it was divided. Rhode was worshipped on Rhodes in her own name, as well as Halia, the embodiment of the "salt sea" or as the "white goddess", Leucothea. More on Rhode
Lord Frederic Leighton (1830-1896), was one of the most famous British artists of the nineteenth century. The recipient of many national and international awards and honours, he was well acquainted with members of the royal family and with most of the great artists, writers and politicians of the late Victorian era.
He was born in Scarborough, Yorkshire to a medical family. His father was a doctor, and his grandfather had been the primary physician to the Russian royal family in St. Petersburg, where he amassed a large fortune. Leighton's career was always cushioned by this family wealth, his father paying him an allowance throughout his life. Leighton's parents were worried about his choice of career as he wrote in a letter of 1879, "My parents surrounded me with every facility to learn drawing, but, strongly discountenanced the idea of my being an artist unless I could be eminent in art".
Leighton did succeed in becoming 'eminent in art' with Queen Victoria buying his first painting in 1855 and in 1878 he reached the pinnacle of his profession, becoming the President of the Royal Academy of Arts. He never married and just before his death from heart failure in 1896, he was ennobled, becoming Frederic, Lord Leighton, Baron of Stretton. He is the only British artist to have been awarded this honour and is buried in St Paul's Cathedral. More on Lord Frederic Leighton
Frederick Appleyard (1874-1963):
Pearls for Kisses
Oil on canvas
I have no further description, at this time
Fred Appleyard (1874 – 1963) was a British landscape artist. He had 41 works exhibited during his lifetime by the Royal Academy and painted the mural 'Spring driving out Winter' in the Academy Restaurant.
Having received his formal education at Scarborough, he attended Scarborough School of Art under the genre and landscape painter Albert Strange. It was at the Scarborough School of Art that he met Harry Watson, the two were to remain lifelong friends. He then proceeded to the National Art Training School at South Kensington, and from there to the Royal Academy Schools, which he entered on 27 July 1897 at the late age of twenty-two. He was recommended to the R.A. by John Sparkes. He was awarded the Turner Gold Medal, the Creswick Prize for landscape, the Landseer Scholarship and others. More on Fred Appleyard
Nonna Aleshina
Scene from The Little Mermaid
I have no further description, at this time
A Daughter of the Gods, c. 1916
Annette Kellerman (1887–1975)
(1916, dir. Herbert Brenon)
A Daughter of the Gods was a 1916 American silent fantasy drama film written and directed by Herbert Brenon. The film was controversial because of the sequences of what was regarded as superfluous nudity by the character Anitia, played by Australian swimming star Annette Kellermann. It was filmed by Fox Film Corporation in Kingston, Jamaica, where huge sets were constructed, and directed by Herbert Brenon. More on Daughter of the Gods
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A Daughter of the Gods, c. 1916
Actress Annette Kellerman in the film A Daughter of the Gods (1916)
Unknown artist
Lillian Roth and Frances Dee, c. 1930s
Original Photograph
8x10 inches
Original Photograph
Actresses Lillian Roth and Frances Dee dressed as mermaids of the sea. Frances Dee (right) appears opposite Maurice Chevalier in his new production "Playboy of Paris", and Lillian Roth (left) plays Jack Oakie's leading lady in "Sea Legs". ca. 1930 Hollywood, Los Angeles, California, USA. More on this work
Mermaid Land
I have no further description, at this time
I have no further description, at this time
I have no further description, at this time
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The Depths of the Sea, c. 1887
Watercolor and gouache on wove paper mounted on panel
197 x 76 cm
Harvard Art Museums/Fogg Museum
A smiling mermaid hauls the dead body of a naked young man to the bottom of the sea in this painting by British artist Edward Burne-Jones. With its warped forms, wavering lights and monochrome dimness, the painting is evocative of the strange seaways of underwater life. In fact, Burne-Jones was so determined to get these underwater effects right that he borrowed a large glass tank from another artist, Henry Holiday, filled it with tinted water, and used it as a prop to paint from in his studio. But this painting is more than just an eerie scene of mermaid mythology or a demonstration of the artist’s technical skill; it can also be seen as a psychological exploration of fear, desire, and fatal attraction. More on this painting
Sir Edward Coley Burne-Jones, 1st Baronet ARA (28 August 1833 – 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain. His early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic "voice". In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement. More on Sir Edward Coley Burne-Jones
Photo reenactment of The Depths of the Sea, 1886 by Edward Burne Jones
I have no further description, at this time
Herb Ritts
Stéphanie Seymour, 1989
Silver print (Tirage argentique viré réalisé du vivant de l'auteur)
51 x 46 cm
Private collection
Stephanie Michelle Seymour (born July 23, 1968) is an American model and actress. During the 1980s and 1990s, she was one of the most popular supermodels, being featured in the Sports Illustrated Swimsuit Issue and the cover of Vogue, as well as being a former Victoria's Secret Angel. She had a book published about beauty tips and has participated in advertising campaigns for clothing and cosmetic products. In 2017, Seymour launched her own line of lingerie. She has ventured into acting with one appearance in each medium of film, television, and video games. More on Stephanie Michelle Seymour
Herb Ritts (American, 1952–2002)
Stéphanie Seymour, 1989
Silver print (Tirage argentique viré réalisé du vivant de l'auteur)
51 x 46 cm
Private collection
Herbert "Herb" Ritts Jr. (August 13, 1952 – December 26, 2002) was an American fashion photographer and director prolific for his photographs of celebrities, models, and other cultural figures throughout the 1980s and 1990s. His work concentrated on black-and-white photography and portraits, often in the style of classical Greek sculpture, which emphasized the human shape.
During the 1980s and 1990s, Ritts prominently photographed celebrities in various locales throughout California. Ritts' work with them ushered in the 1990s era of the supermodel and was consecrated by one of his most celebrated images, "Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989" taken for Rolling Stone Magazine. More on Herb Ritts
Francesca Woodman
Untitled, c. 19776
Boulder, Colorado
I have no further description, at this time
The above photograph shows Woodman entwined with a tree at a waterside location, although we are intellectually aware that she must have placed herself within the confines of the tree roots, we are given the impression that her body has been ‘captured’ by the roots, entwined over time by their growth.
Francesca Stern Woodman (April 3, 1958 – January 19, 1981) was an American photographer best known for her black and white pictures featuring either herself or female models. Many of her photographs show young women who are nude, blurred (due to movement and long exposure times), merging with their surroundings, or whose faces are obscured. Her work continues to be the subject of much critical acclaim and attention, years after she died by suicide at the age of 22, in 1981. More Francesca Stern Woodman
Lin Koin
Starfish
I have no further description, at this time
DAVID DREBIN
Mermaid in Paradise I, 2015
épreuve couleur / C-print
48 x 72 in. (121.9 x 182.9 cm.)
Private collection
David Drebin is an American artist who works in photographs, lightboxes, neon light Installations, sculptures and etchings on glass.
After graduating from Parsons School of Design in New York City in 1996, Drebin started creating images of movie stars, sports personalities and entertainers. He later received commissions for advertising campaigns worldwide.
In 2005, Drebin had his first solo exhibition at Camera Work in Berlin. In 20017, he published his first comprehensive illustrated book entitled Love and Other Stories.
Drebin's photographs frequently incude femme fatales in cities such as Hong Kong, New York, and Paris. More on David Drebin
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