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The Reader (2014). Loui Jover (Australian). Ink/pencil/collage on found vintage papers. "Right now I like making ink drawings on adhered together sheets of vintage book paper, there is a fragility to these images that I find interesting (as if the wind may blow them away at any moment) and the hand drawn stark black lines against the intricate printed words of the book pages offer a strange fusion and depth that seems to give the images a kind of ‘meaning’ and back story…"
Danseuse Orientale. Umberto Brunelleschi (Italian, 1879-1949). Pouchoir print. In 1914 Brunelleschi added costume and set design to his active repertoire, beginning a long and fruitful relationship with the stage arts that culminated in Puccinni’s request for him to design the original costumes and some of the scenery for the opera Turandot
Reading on cover of Vogue’s Winter Fashions edition, November 1, 1915. Illustration by George Wolfe Plank (American, 1883-1965). Plank’s exotic, poetic illustration shows a man and woman in Asian attire repose underneath a yellow sky and orange-leaf trees. Plank’s work is characterized by broad fields of bright colour setting off the mass and line of his principal figures. His composition is clear and simple, the wealth of sartorial detail notwithstanding
Two Children with a Spaniel (c.1790). Sir William Beechey (English, 1753-1839). Oil on canvas. The painting depicts a brother and sister with their pet spaniel, the boy reading a broadsheet entitled “Robin Hood.” It shows Beechey in relatively light-hearted, almost sentimental mode, and is one of a small group of portraits of children which the artist painted around 1790
Portrait of a Woman Reading a Book (1916). Leslie Prince Thompson (American, 1880-1963). Oil on canvas. Thompson was identified as a member of the Boston School of painters that formed around the teachers Edmund Tarbell and Frank Benson, something that marked him as “old hat” to the modernists, as observed in a 1939 review of a show of his works in The Boston Herald
The Nightingale. “The music-master.” Stories from Hans Andersen, with illustrations by Edmund Dulac, London, Hodder & Stoughton, Ltd., 1911. "The music-master wrote five-and-twenty volumes about the artificial bird; the treatise was very long and written in all the most difficult Chinese characters. Everybody said they had read and understood it, for otherwise they would have been reckoned stupid, and then their bodies would have been trampled upon"
Girl with auburn hair. Tito Conti (Italian, 1842-1924). Oil on canvas. Conti painted elegant ladies and fine dressed maids and, at times, simply dressed women as depicted here. Conti portrays these women with an almost roguish, flirtatious quality. He dares to cross the boundary of the canvas by getting his ladies to blatantly flirt with the viewer
City Dance (1883). Pierre Auguste Renoir (French, 1841-1919). Oil on canvas. Musée d’Orsay. Designed as a pair with Country Dance. The format is identical and the almost life-size figures represent two different even opposite aspects of dancing. The elegant restraint of the city dancers and the cool ballroom around them contrasts with the gaiety of the country dance in the open air. Suzanne Valadon’s dress in City Dance is cool in colour
Saints Peter and Paul (c.1616). Jusepe de Ribera (Spanish, 1591-1652). Oil on canvas. Musée des Beaux-Arts, Strasbourg. Ribera brings to life the contrasting poses and personalities of the two most significant founders of the Church. As in Caravaggio’s paintings, the physical proximity of the figures is palpable. He conveys their spiritual fervor through strong lights, deep shadows, and the insistent description of the worn pages of the book and unfurled scroll, whose contents they seem to debate
Welcome Diversion to the Chimney Sweeps (1890). Eduard Leopold Radtke (German, 1825-?). "Now as the ladder of life Has been strung You might think a sweep’s On the bottommost rung Though I spends me time In the ashes and smoke In this whole wide world There’s no happier bloke” — From Mary Poppins
Reading Sibyl (1630-35). Simone Cantarini, called il Pesarese (Italian, 1612-1648). Banca Popolare dell’Adriatico, Pesaro. Initially Cantarini was a pupil of the Venetian Claudio Ridolfi and Pesarese Giovanni Giacomo Pandolfi, and then, from 1635 to 1639, of Guido Reni. He soon fought with his mentor, and did not return to Bologna till after Reni had died (1642). His pictures are generally derivative. Some of his works have been mistaken for examples of Reni
Mrs Cyprian Williams and her Two Little Girls (1891). Philip Wilson Steer (English, 1860-1942). Oil paint on canvas. Tate. The design of the portrait is unconventional in that the point of view looks downwards from one corner. Mrs Williams is seen in profile, and her two daughters, placed on a bench that divides the picture diagonally, are seen from above. MacColl noted that Steer was imitating the complex design of paintings by Degas, and of Japanese prints
Scena galante. Vittorio Reggianini (Italian, 1858–1938). Oil on canvas. Reggianini combined fantasy with reality, sensuality with sensibility and above all, like many of the Florentine historical genre painters, furnished his costume pieces in luxury
La joueuse de mandore (1879). Théobald Chartran (French, 1849-1907). Oil on canvas. Chartran was primarily recognized for his warm, very sympathetic portraits of sitters from Belle Epoque Paris and Gilded Age New York. Like most of the French painters from his era, he matriculated in the ateliers of Pairs, studying first at the Lycée Victor-Hugo and then working under the well-known “history” and portrait painter Alexander Cabanel (1823-1889). He also won admittance to the prestigious École des Beaux-Arts
Portrait of la Contesse de Lameth (1790s). Adelaide Labille-Guiard (French, 1749-1803). Oil on canvas. The portrait is datable by the model’s costume. La Contesse de Lameth (1766-1825), born Marie-Anne Picot, looks up from her reading. Labille-Guiard was close to the Lameth couple; she painted a pastel portrait of Charles de Lameth (1757-1832), the husband
The Painter’s Studio (c.1640). Joos van Craesbeeck (Flemish, 1605/06-c.1660). Oil on panel. Frits Lugt Collection. A painter – long thought to be a self-portrait – prepares a composition in chalk on a panel. The figures seated around a table represent the five senses. It is not a realistic studio scene: so many models did not pose at the same time. The still life in the foreground shows that this is an allegory of the power and vanity of painting
In the Library (by 1923). John Arthur Lomax (British, 1857-1923). Oil on wood. Lomax was a genre painter, born in Manchester. He studied in Stuttgart and at the Munich Academy, but returned to Manchester and later relocated to London. His subjects were mainly historical genre of the 17th and 18th Centuries, often with a dramatic or sentimental theme
A Lady of the Petre Family Playing the Guitar (1820). Manner of Joseph Karl Stieler (German, 1781-1858). Oil on canvas. National Trust, Baddesley Clinton. As with the Petre lady work, the most distinguishing feature of Stieler’s portraits is his utter focus on the sitter. Decorative additions are left out, and there is nothing that distracts the viewer’s scrutiny. Stieler accomplished this concentration through deliberate light–dark contrast, which above all highlights the accurately characterized facial features
Girl Reading (c.1882). Georgios Jakobides (Greek, 1853-1932). Oil on canvas. A young girl holds a newspaper with utter seriousness and pretends to read in imitation of adult behaviour, directing her gaze through a pair of eyeglasses perched on the tip of her nose. The painter lends the figure a commanding presence through meticulous observation and detailed description. The fine handling of detail in the girls garments and the concentration of light and shadow effects on her face and hands endow the picture with a sense of genuineness and lively presence
Girl Reclining (1751). François Boucher (French, 1703-1770). Oil on canvas. Wallraf-Richartz-Museum, Cologne, Germany. Its subject, lying naked on a daybed after putting down her open book, is Marie-Louise O’Murphy – a Parisian “child-courtesan,” 14 at the time of painting, soon after to become the mistress of Louis XV. This piece exemplifies many ideals of Rococo including, the values of aristocracy and the Ancien Regime, objects of wealth and leisure, pleasant and decorated imagery, and most overbearingly, sexual validation
Portrait of a Woman Holding a Pencil and a Drawing Book (c.1808). Robert-Jacques Lefèvre (French, 1755-1830). Oil on canvas. LACMA. Lefèvre was not content to be simply a fashionable portrait painter but took extraordinary pains in his attention to detail (clothing, accessories, and decor). He was always striving for the closest resemblance possible. This work was one of the period paintings that helped LACMA create historically accurate mannequin ensembles
The Florentine Girl (The Artist’s Daughter), exhibited 1827. Henry Howard (English, 1769-1847). Oil paint on canvas. Tate. In 1824, Howard sent to the Royal Academy ‘A Young Lady in the Florentine Costume of 1500,’ a portrait of the painter’s daughter, engraved by Charles Heath for the ‘Literary Souvenir’ of 1827, and purchased by Lord Colborne; it was so much admired that Howard painted some replicas of it, and other portraits in a similar style
The Realm of Fairyland. H W Lomas (British, 20th century). Pen and ink with wash and bodycolour. “There is such a place as fairyland - but only children can find the way to it. And they do not know that it is fairyland until they have grown so old that they forget the way. One bitter day, when they seek it and cannot find it, they realize what they have lost; and that is the tragedy of life. On that day the gates of Eden are shut behind them and the age of gold is over.” ― L.M. Montgomery, The Story Girl
General Desaix (1800-01). Andrea Appiani (Italian, 1754-1817). Oil on canvas. Musée National du Château, Versailles. In Appiani’s subtle conception, Desaix (1768-1800) is still very much alive, reading a service order; his profile pose suggests a posthumous portrait. It is his former service in Egypt, where he had earned his nickname of ‘Just Sultan’, that is acknowledged by the two turbaned Mamluks, and he appears in a peaceful role, with sword sheathed and in civilian clothes
The Book Signing. Collier’s Magazine illustration (1950s). J. Frederick Smith (American, 1917-2006). Gouache. Smith was one of a group of pin-up artists who were drafted by Esquire to replace the solo sketches of George Petty, Alberto Vargas, and Al Moore. Not only did Smith provide pin-up art, but he was also employed doing a series of memorable articles for which he supplied pretty girls and the occasional guy. He also handled more family-oriented fare with Esquire’s sister mag, Coronet, usually doing the covers
Dura Lex Sed Lex (1905). Paul Jean Gervais (French, 1859-1936). Arduous is the law, but it is the law. “The law applies in all its rigor.” Alternate title: La Loi, la Justice, la Vérité. The painting is in the Salle des Illustres of the Capitole de Toulouse. Today the Capitole houses the city hall, as well as the Théâtre du Capitole de Toulouse opera company and a symphony orchestra. The Salle des Illustres contains 19th century works of art
Queen Elizabeth signing the Death Warrant of Mary, Queen of Scots (1879). Sándor Liezen-Mayer (Hungarian, 1839-1898). Oil on canvas. Magyar Nemzeti Galéria, Budapest. Mary was convicted of treason. Elizabeth hesitated to order her execution, even in the face of pressure from the English Parliament to carry out the sentence. She was concerned that the killing of a queen set a discreditable precedent. On 1 February 1587, Elizabeth signed the death warrant
In The Louvre (L’Esthétique) (1883-85). James Tissot (French, 1836-1902). Oil on canvas. Museo de Arte de Ponce, Puerto Rico. The window looks out on the façade of the Pavillion Sully. A couple sit behind a large vase decorated by bacchic heads atop a massive base with Egyptian and Roman motifs, both from the Borghese collection, in the Rotonde de Mars in the Hall of Antiquities. To the left, an artist works at an easel, likely painting the second-century Roman bust of a woman
Portrait of Anna Hindström (1902). Hugo Backmansson (Finnish, 1860-1953). Officer, battle scene painter, Morocco traveler, and chess master – Hugo Backmansson was a true cosmopolitan. He was an untiring portraitist and landscape painter. Backmansson portrayed Russian and Finnish military life as well as North African life. At his finest, Backmansson was a virtuoso painter and a master colourist.
Odalisque. Charles Amable Lenoir (French, 1861-1940). Oil on canvas. Lenoir’s inspiration derives directly from Bouguereau and the Academic tradition, which placed a premium on superb draughtsmanship, rich, saturated colors and smooth paint surfaces. Like his master, Lenoir concentrated on allegorical, mythological and religious subject matter. He favored images of beautiful girls sometimes set, as in the present painting, in exotic and mysterious places
Artist’s Studio. Josef Loukota (Czech, 1879-1967). Oil on canvas The artist has taken off his smock and is now playing the guitar. The model has taken a seat and is reading or looking at sketches. The break seems to be short in duration as the paint box is open and the model elected not to get dressed. The furniture appears to be inappropriate for a working studio
Historia (1892). Nikolaos Gyzis (Greek, 1842-1901). Oil on panel. History (from Greek ἱστορία - historia, meaning “inquiry, knowledge acquired by investigation”) is the study of the human past. It is a field of research which uses a narrative to examine and analyse the sequence of events, and it sometimes attempts to investigate objectively the patterns of cause and effect that determine events
Book of the Marquise. Illustration 8 (1918). Konstantin Somov (Russian, 1869-1939). Lithography. Somov also illustrated books, including the cheeky Book of Marquise, and had a flair for capturing women. Whimsy and merrymaking pervade his earliest work, and his admiration of Watteau and Fragonard is manifest
Philosophy and Christian Art (1868). Daniel Huntington (American, 1816-1906). Oil on canvas. LACMA. The painting depicts opposing, but equally worthy, points of view. The wisdom of the aged scholar, reading a book, is contrasted with the intuitive perceptions of the young woman who examines a work of art. Huntington has cast them as ideal figures in one of the pressing problems of his own times, when scientific findings seemed to challenge the truth and wisdom of religion conveyed by artistic and other nonscientific forms of perception
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Spanish School, A Saint, 16th century
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