I last visited Paris in February 2019 and hope to return after the city hosts the Olympics in 2024. In the meantime, I find myself traveling to one of the most stunning cities in the world through the eyes of Maurice Utrillo (1883-1955), an artist considered the best-known portrayer of Paris. Before his passing, his last work was a series titled Paris Capitale, featuring ten iconic views from around the city. [Read more…] about Parisian Views by Maurice Utrillo (1883-1955)
The various maps and charts of the U.S. Coast Survey were created by geologists, meteorologists, astronomers and topographers, each highly trained in this new scientific discipline and with an unheard-of attention to detail. These men and women (the Coast Survey hired women professionals as early as 1845) helped push back the limits of astronomic measures, designed new and more accurate observational instruments for sea and land surveying, developed new techniques for the mathematical analysis of the mountains of data obtained by the field parties, and further refined techniques of error analysis and mitigation. Storms, mountains, dust, mud, deserts, wild beasts, heat and cold; all were the companions of the Coast Surveyors. They engaged in a great physical adventure which is little known and little understood.
The years between the end of the American Revolution and the beginning of the Civil War were pivotal ones in the development of American coastal charting. The country was expanding, the population was resettling and the coast lines were lengthening. Industrialization in the northeast encouraged the export of manufactured goods and the import of raw materials and with the discovery of gold in California, the country had grown from one coast to the other and maritime traffic had increased significantly.
Pierre-Auguste Renoir (1841-1919) is one of the most celebrated painters of the French Impressionist movement. Renoir was born in 1841 in the town of Limoges, in south-central France. His father was a tailor, and in 1844, relocated his family to the artistic and cultural center of Paris. Renoir showed interest in music and art at an early age, and was apprenticed at the age of fifteen as a porcelain painter. He spent two years learning to decorate plates, teapots and vases in ornate detail until the china works store closed in 1858. At this point, Renoir decided to take his talent and interest beyond commercial employment; he wanted to become a serious artist.
Renoir began his art studies in 1862 under the direction of Charles Gleyre alongside fellow students Claude Monet, Frederic Bazille and Alfred Sisley. They would all become friends and influenced each other’s work.
[Read more…] about “La Danse a la Campagne” by Pierre-Auguste Renoir
Summer is finally in full swing here on the Vineyard. It was a bit of a late arrival for most people because of the extended school season and snow days that needed to be made up. Outside of the uninvited Hurricane Arthur over the 4th of July holiday weekend, it has been a most delightful summer so far. The Town postponed the holiday celebration by a day and it was certainly worth it, the fireworks were spectacular!
[Read more…] about Summer Art Happenings at The Christina Gallery
Jules Chéret is universally known as the master of the modern poster. Born in 1836 Paris into a creative family, Chéret had little formal education yet through an apprenticeship he was exposed to the art of lithography. From 1859 to 1866 he moved to London to continue his lithography training. Inspired by British posters and design techniques and the French Rococo style, Chéret applied his knowledge of printmaking towards creating ads promoting cabarets, theaters and other popular social outlets. By the end of his career he had become a major advertising force, working for all manners of clients including beverage companies and the railroads.
From 1895 to 1900, Chéret produced Les Maîtres de l’Affiche, a publication of high-quality smaller-scale iterations of popular posters from Le Belle Époque period by ninety seven top Parisian artists. Each month four lithographs were mailed out to each of the subscribers. On sixteen occasions, an additional ‘special edition’ lithograph would also be included. Today these 256 prints are extremely rare and in high demand with collectors across the globe.
“Quinquina Dubonnet” is from Les Maitres de l’Affiche. This poster by Chéret is indicative of the style for which he was known. He often portrayed spirited, flirtatious, yet elegant women, who became known as ‘Cherettes.’ These women were neither the prostitutes nor the puritans seen in many works of the time. Chéret’s modern depiction of women was seen as liberating to contemporary Parisian women. “Quinquina Dubonnet” is no exception. Here we see a young socialite sitting with her legs crossed, revealing her ankles, with her arms extended to the sides and her head thrown back in joyous laughter. In one hand she holds a bottle of Dubonnet and in the other, a glass full of the drink. The advertisement reads “Quinquina Dubonnet / Apéritif available in all cafés.” Chéret understood how to get the public’s attention and engage them in advertisements. Editions of this particular print are in collections here at The Christina Gallery as well as in the permanent collection at The Museum of Modern Art in New York.
Check out our website here to view more lithographs from Les Maîtres de l’Affiche or visit us in Edgartown, MA to see them in person!
Plein air painting was first popularized by the impressionists in the 1870s. For centuries artists have been painting outdoors on location, but it wasn’t until the advent of metal tubes of oil paint that painting en plein air truly became a movement. Finally, artists were able to easily transport their supplies to whatever location they chose and paint on site. Prior to the introduction of paint tubes, artists had to mix their own pigments individually each time they desired to use a particular color. Paints would dry out quickly and so it was simply impractical to attempt to move a palette and supplies outdoors, far away from one’s studio.
Impressionists fully embraced plein air painting. This method was directly in line with their goal of capturing the magic of light and the essence of the landscape. Painting on location encourages the artist to work quickly to capture the mood of the setting. This can often account for the energetic brushstrokes seen in Impressionist canvases. Artists of all time periods and styles worked outdoors from life, but often they would only sketch or draft the composition they saw before them. The final paintings were reserved for the shelter of the indoor studio. Impressionists such as Vincent van Gogh challenged this method.
When inspired by an environment, he would often work fastidiously to render the scene in paint right then and there, such as in “The White Orchard” (1888). These spontaneous paintings by van Gogh and other artists like Claude Monet and Camille Pissarro define the oeuvre of the Impressionists.
Today, Jan Pawlowski works in a similar manner to many well-known masters. “A Day for Sailing” was painted from the beach on Chappaquiddick overlooking the harbor and Edgartown lighthouse. Pawlowski was inspired by the beautiful sunny blue sky and gentle wind to capture this image of sailboats keeling in the wind in front of the lighthouse.
Many artists that we represent here at The Christina Gallery paint en plein air. Stop by and ask us to point out some paintings for you or see if you can pick out which paintings were painted en plein air on our website!
Lucien Vogel stirred the French fashion world in 1912 with the publication of Le Gazette du Bon Ton, a fashion journal highlighting the artistic qualities of clothing design. Perhaps if this magazine were produced today it would be equated with the likes of Vogue or ID and possibly even referred to as a commercial catalogue, but these comparisons do not do Le Gazette Bon Ton justice. From 1912-1925 Vogel issued limited edition journals of beautifully rendered fashion plates showcasing designs by avant garde fashion houses including Lanvin and Paquin.
The images printed in Le Gazette du Bon Ton were all pochoir (French for stencil) prints. This work-intensive technique creates beautiful illustrations that preserve the vibrant colors and intricate details of the original designs. Individual stencils would be cut for each color required. The stencils are then hand painted with gouache and watercolor and printed on hand-made paper.
“L’Utile Recommandation” is an exceptional example of the intricate fashion plate prints from Gazette du Bon Ton. Accompanied by the witty text, “Dinner’s ready / Dinner gown by Cheruit.” we see an image of an elegant young woman wearing a vibrantly dyed red dinner dress with a sheer overlay bodice. She looks back over her shoulder at a butler in the background, standing over a set dinner table. This woman is clearly living an enviable life full of leisure and grace. Her head is turned away from the viewer while her body faces forward allowing us to gaze at her dress without being caught staring. It is easy to infer, as the artist intended, that by purchasing this dress one also achieves part of the same quality of life. This combination of intricate imagery and tempting advertisement made Gazette du Bon Ton a very successful endeavor. It helped reinforce the public’s fascination with an idyllic life of leisure and highlighted the artistic abilities of both the fashion houses and the artists themselves who were producing these exquisite poichor prints.
Enjoy more images from Vogel’s Gazette du Bon Ton here on our website or visit us in person at The Christina Gallery in Edgartown, MA on the island of Martha’s Vineyard.
Pierre-Joseph Redouté is perhaps the most famous painter of flowers in the world. He served as the official flower painter to both Queen Marie Antoinette and Empress Josephine Bonaparte of France, Napoleon’s first wife. He is best known for his work “Les Roses,” a series of stipple engravings of roses based on his watercolor paintings.
Redouté was born in 1759 in the Belgian Ardennes. Both his father and grandfather were artists and encouraged Redouté to begin painting at the age of thirteen. He began his career in religious art, modeling himself after the likes of Michelangelo and Raphael. While working at a cathedral in the Netherlands he was first introduced to the flower paintings of Van Huysum and other Dutch artists. In 1782, after this initial exposure, Redouté ventured to Paris to further his interest in botany painting by studying specimens at Jardin du Roi. While there he met Gerard van Spaendonck, an artist, and Charles Louis L’Heritier de Brutelle, an amateur botanist. Both individuals became dominant forces propelling Redouté’s career. In fact it was L’Heritier who first introduced Redouté to Marie Antoinette; a connection that soon led to his appointment as court painter.
In 1804, after six years of patronage, Empress Josephine Bonaparte took on Redouté as her official artist. Empress Josephine was known for her love of roses and is often referenced as having grown the first garden exclusively composed of roses at her home near Choisy, Chateau de Malmaison. It was her mission to collect and plant every known rose variety. To achieve this goal she worked closely with nurserymen including M. Andre du Pont, the director of the Luxembourg Gardens. Of the Empress’ extensive collection, Redouté published over 160 stipple engravings of roses from the Empresses Chateau de Malmaison. He was an avid botanist, an interest that was nurtured by his relationship with van Spaendonck, as well as an artist. It was this combination that impressed Empress Josephine and allowed Redouté to produce such exquisite, elegant and accurate renderings of each flower he painted.
“Les Roses” was commissioned by Empress Josephine as a record of her extensive rose garden. Each Redouté’s career flourished and he enjoyed the success of his career merging naturalist research with timeless art. In 1828 at the height of his fame, Redouté met Jean-Jacques Audubon (or John James Audubon as he is also known). The two became close friends and supporters of each other’s work. Today they are both recognized as pioneers of iconographical botany and ornithology painting.
A number of rare original engravings from Redouté’s “Les Roses” series are on display at The Christina Gallery in Edgartown, MA. You can also view them here on our website.
“La Belle Epoque” was an era of great beauty, excess, innovation and renewal in France from the 1890’s until World War I. Paul César Helleu encapsulates the elegance of the time period in his work. Using oil paint, pastel and drypoint etching with a diamond stylus, Helleu is known for his animated renderings of Parisian society women. His portraits are a far cry from the structured, rigid canon that was frequently followed throughout the Victorian era. Rather than relying on the three quarter length, forward facing, hands-crossed-in-lap pose that was traditionally employed, Helleu encouraged his subjects to relax and be themselves.
The etching “Elegante de Chien Faisant le Beau” depicts a finely dressed woman crouching slightly to play with her spirited puppy. Her back is turned to the viewer, obscuring much of her face, yet she still feels familiar. Helleu introduces us to this woman through her other details. She wears an elegant tiered dress and a formal hat that clearly speak to her status as an aristocrat. The ornate molding and lavish furniture in the background of the etching also support this conclusion. The figure becomes much more personal when we consider the whimsical way she has been shown. Helleu chooses to show the woman bending forward towards an eager puppy while delicately lifting the skirt of her dress. There are very few details in this etching yet Helleu’s sparing use of line brings life to the scene.
This richly burred print is an exquisite example of Helleu’s etchings. He understood how each mark on the copper plate would translate to the paper. This knowledge helped Helleu bring his images to life. Look, for example, at the short staccato lines that compose the woman’s skirt. The lines transform into a tactile image of bustling fabric. One can almost hear her skirt rustling as she moves towards the dog.
Helleu was part of a group of artists including Tissot, Manet and Whistler who depicted Edwardian era Paris. In fact, it was Tissot himself who first introduced Helleu to the technique of using a diamond stylus to create drypoint etchings such as “Elegante de Chien Faisant le Beau.” Helleu’s most famous commission was the star-filled ceiling of Grand Central Terminal in New York City. After being covered for over six decades, the mural of the night sky was restored in 1998 and is on display for the millions of travelers passing through the train station today.
“Elegante de Chien Faisant le Beau” is currently on display at The Christina Gallery. Come visit us in Edgartown to see the etching for yourself or check out our website here to learn more about Paul César Helleu.
Art Nouveau, although short-lived, defined the social landscape of turn of the century Europe. The movement sought to socialize all art forms, viewing crafts and decorative arts as equally valuable to what has historically been known as ‘high art,’ painting and sculpture. Artists working within the style created modern motifs blending organic curvilinear shapes with angular designs. Art Nouveau can be seen as a rejection of the ornate art celebrated in the Victorian-era and the patronizing academic attitude often credited for the decline in the prestige of decorative art.
In 1894 the French department store La Belle Jardinière commissioned Grasset to complete a series of twelve original artworks for a calendar the fashionable retailer would then publish. In twelve iterations corresponding to each calendar month, Grasset depicts beautiful young women in seasonal costumes and gardens that incorporate his signature Art Nouveau style into whimsical color wood engravings. In “Octobre” a woman is shown raking leaves in an autumn garden full of green, yellow and brown foliage. Despite partaking in yard work the woman is elegantly dressed, advertising La Belle Jardinière. She wears a long-sleeved yellow dress and a wide brimmed hat protecting her from the elements; her skirt is blowing in the breeze.
Eugène Grasset’s diverse body of work exemplifies the attempt to eliminate the hierarchy of the arts. Best known for his poster art, his career spanned a multitude of different media including drawing, sculpture, architecture, tapestry, ceramics and jewelry-making. Grasset approached each endeavor with the same enthusiasm and did not discriminate against lesser-appreciated craft-art. The 19th century had been a time of great industrial achievement yet the quality and workmanship of decorative arts was not yet up to par. Grasset, and other Art Nouveau artists, returned the skill to craft-making.
All twelve images can be seen here and at The Christina Gallery. Read more of Eugène Grasset’s biography here.
Born on the island of St. Thomas in 1830, Camille Pissarro became a master of the Impressionist movement whose influence extended to not only his contemporaries in Paris, where his career blossomed, but also to his own immediate family. Pissarro learned to paint by carefully observing the changing light during different times of day and different seasons, a legacy he passed on to all those who studied under him.
Of Pissarro’s seven children, four of his sons grew to be respected artists in their own right; Lucien, Ludovic-Rodo, Georges Henri and Paulémile. Lucien, the eldest, was skilled in a variety of media, ranging from oils and watercolors to engravings and lithographs. Aside from studying under his father, he also surrounded himself with such figures as Paul Signac and Georges Seurat. The pointillist style practiced by these two masters affected Lucien’s style, as well as his father’s.
Though Lucien eventually moved to London permanently, playing a large role in spreading the Impressionist movement in Britain, the majority of Camille’s other artistic protégés remained closer to home. Georges Henri, who went by the alias “Manzana” in his earlier years, was a prolific painter and decorative artist who regularly exhibited paintings in the avant-garde galleries and exhibitions across Paris, including but not limited to the “Salon d’Automne” and the “Salon de Independents.”
Georges Henri’s next closest brother, Ludovic-Rodo, was a figure in the anti-academic Parisian art world; his first woodcuts were published in the anarchist journal Le Pere Peunard. Rodo and the youngest Pissarro brother, Paulémile, lived in the Montmarte region and frequented the nightlife and cafe scene there, coming into contact with such Fauvists as Maurice Vlaminck, Kees Van Dongen and Raoul Dufy.
Paulémile’s oldest child, Hugues Claude, who was named after his godfather, Claude Monet, was born in 1935 and is still actively painting. Initially taught by his father, Hugues first exhibited his work at the age of fourteen. He subsequently studied art in Paris at prestigious establishments such as Ecole du Musée du Louvre and, in particular, at Ecole Normale Supérieur, a unique French institution dedicated to the pursuit of achievement and excellence to which only the academic elite have access. Hugues youngest child, Lélia was born in 1963. She has been painting since she was four and was educated by her grandfather, Paulémile. Her interest in drawing and painting was nurtured by her grandfather, who taught her the fundamental impressionist and post-impressionist techniques.
Camille Pissarro (1830 – 1903) is frequently referred to as the patriarch of the Impressionist movement. Pissarro moved from his birthplace of St. Thomas to Caracas in 1852, and after this taste of independence from his family’s bourgeois life, returned to Paris (where he had studied as a boy) in 1855 to begin his life as an artist. Pissarro’s artistic talents were apparent from an early age, yet he increasingly grew to dislike the aesthetic canon revered by the Salons of Paris. Pissarro embraced the technical act of painting [and printmaking] and enjoyed the freedom and possibility that the paintbrush allowed him. He eliminated historical and sentimental associations from his artwork and instead focused on the quality of light and the modeling of form. Academies and the Salon that presided over the respected artistic world of Europe did not share this viewpoint. Instead they admired the artist whose work captured the likeness of the subject matter while not revealing the artist’s hand or the mark of the brush. A passionate brushstroke was seen as a weakness. Pissarro, along with his like-minded contemporaries including Monet, Renoir, Degas, Sisley and Morisot, organized their own exhibition of Impressionist works separate from the exhibitions hosted by the Salon. This exhibition was held in 1874 and was the first of eight independent Impressionist shows.
Throughout his life, Pissarro remained committed to his artistic ideals which were adopted by his children and future generations of artists. He was the only artist to exhibit works in all eight of the independent exhibitions, demonstrating his support of the younger generations of Impressionist artists. All of Camille Pissarro’s children were encouraged to draw frequently and four of his seven sons became well-established artists in their own right.
Pissarro produced engravings for his own enjoyment; he did not seek to sell them and as such they are often printed on small or unrefined pieces of paper. Despite this amateur attitude towards the medium of printmaking, Pissarro was to become a master in aquatint later in his career. His Femme a la Barriere (1889) combined both drypoint and aquatint and is a prime example of the varied techniques with which Pissarro experimented. He was known for remaining open minded about methods of artistic expression and embraced many styles within his works. The print is of a woman opening a garden gate. Varied lines capture the texture of the woman’s bustling skirt, the leaves of a bush blowing in the breeze, and the fine detail of the thatched roof cottage in the background. Pissarro’s prints reveal his private thought process and layers of preparation that lie behind each of his oil paintings.
