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FLERS Camille ( 1802 / 1868 )
The apples picking .
Oil on canvas signed lower left .
34,2 / 57,6 in
Original frame.
Museums : Alençon , Autun , Béziers , Chalon-sur-Saône , Cherbourg , Clermont-Ferrand , Dijon , Hyères , Le Havre , Le Puy en Velay , Lille , Orléans , Reims , Rouen , Paris ( Musée du Louvre , Musée d'Orsay )
CAMILLE FLERS (1802-1868)
was one of the first French landscape painters to turn away from an idealized nature harboring nymphs and classical heroes in favor of
farmyards and real woodlands. Flers, who was a few years older than the artists known as the Barbizon School, was closely associated with the Romantics, the generation of French artists, poets and dramatist who came of age around the Revolution of 1830 and led the movement to greater naturalism in all art forms. Flers painted initially in the parks and cultivated forest on the western edge of Paris, later establishing himself in the more rustic farmlands northeast of the city. Through close friendship with Troyon and Diaz he is often associated with the Barbizon artists.
Flers was born in 1802, the son of the director of a porcelain factory just outside Paris, and at an early age he studied art with an elderly portraitist well verse in the eighteenth-century paste drawing –Flers would later play a crucial role in mid-century revival of pastel techniques. As a teenager, Flers worked as a decorator or
porcelains –a very practical painterly training that he shared with several other innovative landscape artists -Jules Dupré, Diaz, Pierre Renoir.
In his late teens, Flers was sent to work in the studios of the Ciceri family , the most important painters of stage decor in the capital. Eugene Ciceri, a few years younger than Flers, would later share his interest in landscape and provided Flers with a strong link to the artists working in Barbizon and the Forest of Fontainebleau. But initially,
Flers seems to have been as captivated by the stage as by painting, and before he reached twenty he acted, wrote and produced plays, and set off on a voyage to Brazil – on which he supported himself as a cook, a painter of portraits and ship signs, an even a dancing instructor. After adventures worthy of one of the century’s worst serial novelists, Flers returned to his father’s porcelain works and committed himself to a concentrated period of study and painting directly form nature –working in the park-like forest around Saint-Cloud, on the height above the Sein on the western edges of today’s Paris. Flers use of pastel for landscape studies was quite unusual in the 1820s, although it would later become the favored sketching technique of several of the Impressionists –notably Boudin and Monet—in the 1860s.
Flers debuted at the Salon of 1831 with a landscape from a recent trip to Switzerland –an area whose dramatic scenery attracted several of the artists who were turning away from the idealized Italianate landscape subjects professed by the official École des Beaux-Arts. Flers quickly became associated with the group of literary, dramatic
and artistic rebels who were challenging academic traditions. Often called the Romantics, or the Men of 1830, the best known members of the group were Victor Hugo and Eugene Delacroix.During his mature career, Flers worked primarily in the area of lower Normandy and Picardy. He became known for farmyard scenes featuring cottages, horse ponds, willows and great village elms —all landscape elements that were quite distinct from idealized motifs which had dominated landscape painting in France for so long. He
became especially celebrated among other artists for his sky studies and his skill in capturing the quiet, cloudy atmosphere of the humid river regions north and east of Paris. His work was generally well received ad the Salons of the 1830s and 1840s, and several of his paintings were reproduced and circulated in lithographs or etchings, increasing his influence on the next generation.
Flers died in 1868, just as the school of naturalist French landscape painters was achieving international fame. |
| | |  | | APPIAN ADOLPHE ( 1818 / 1898 )
Cows drinking in the river .
Oil on canvas signed and dated 1872 lower right .
12 / 19,8 in .
Original frame .
Eugene Lavielle collection .
Musées : Amiens , Arras , Avignon , Beziers , Bourg-en-Bresse , Bourges , Chambery , Dijon , Grenoble , Lyon , Montpellier , Mulhouse , Nantes , Nice , Pontoise , Le Puy-en-Velay , La Rochelle , Rouen , Tournus , Vesoul .
Adolphe Appian (pseudonym for Jacques Barthelemy) was both a respected landscape painter, merging the influences of Camille Corot and Charles Daubigny, and on the most original landscape draftsmen of the nineteenth century. His finely executed etchings and soft, shadowy charcoal or conte crayon drawings have led the revival of interest in the artist of the misty waterways of the Ile-de-France and the more sun splashed southern countryside of Lyon and Provence.
Appian was born in Lyon in 1818, in the first generation of nineteenth-century naturalist painters. He had his initial training at the Ecole des Beaus-Arts in Lyon, the best French art school outside of Paris. In the early 1840’s, he established a career as a designer of textiles – Lyon was a major center of textile manufacture and printing, and he
initially painted only for his private satisfaction.
The Rhone landscape around Lyon fostered a serious school of landscape art, however Appian retained close ties with a fellow student, Ravier, a gifted and eccentric Lyonnais landscape artist. Through Ravier, Appian crossed paths with Corot, Daubigny and Courbet during the 1840’s and 1850’s, eventually farming strong friendships with Corot and Daubigny. Appian’s first submission to the Paris Salon in 1853 was a charcoal drawing (the salon exhibited highly finished “presentation” drawings and prints as well as paintings and sculpture); and it was as a “fusainiste” or master of charcoal and crayon landscape drawings that Appian first gained fame. He was particularly admired and promoted by Philippe Burty, the leading art critic of the period. Through a close working friendship with Daubigny, who painted in the Lyon area several times and who encouraged Appian to travel with him to the Forest of Fontainebleau during the mid-1950’s, Appian acquired the painting experience to accompany his considerable skill in black and white. In 1864, Appian joined the Societe des Aquafortistes, exhibiting
and publishing venture introduced by Cadart. Cadart published Appian’s etchings regularly into the 1880’s and also sold his paintings.
Appian’s career as a painter was firmly established in 1867, when his large Salon painting the “Lac du Bourget” was acquired by the Emperor Napoleon III. Throughout the 1870’s, he painted in the Pyrenees, in southern France and along the Riviera, and in Venice and Genoa. During this period he was one of the few artist to regularly show plein air (outdoor) painted sketches as well as large scale finished paintings as the Salon; and her was thus often associated with he younger Impressionists.
Over his lifetime Appian received more that a dozen gold medals for landscapes in virtually all media: drawings, paintings, and prints, both at the Paris Salon and at the World’s Fairs in Munich and London as well as Paris. He died in Lyon in 1898 . |
| | |  | | CHAIGNEAU Paul ( XIX / XX )
Shepherd and its herd the evening in the plain of Chailly .
Oil on panel signed lower left .
13,8 / 10,6 in .
Original frame .
Chaigneau was one of the central figures in the second generation of Barbizon painters, Chaigneau combined rural subject matter inspired by his informal mentors Millet and Charles Jacque with the polished skills acquired in many years of academic training.
Chaigneau's ability at figure drawing and pictorial composition gave his Barbizon and Fontainebleau scenes a distinctive originality and recognizability. And his long association with the village of Barbizon (where he maintained a home for 50 years), as well as his efforts to make Barbizon art better known internationally in 1882, with Charles Jacque, Chaigneau founded the "Societe des artistes animaliers" distinguished Chaigneau as the principal representative of Barbizon art during the last quarter of the nineteenth-century.
Chaigneau was born on March 6, 1830 in the shipping center of Bordeaux, where he studied drawing under the successful academic painter Jean-Paul Alaux. In 1847, he moved to Paris to continue
studies with an uncle who was a marine painter; and in 1848 he submitted a landscape to the unjuried Salon (the Revolution of 1848 had suspended the normal Salon restrictions). In 1849, encouraged by
Jacques Brascassat, a family friend and successful animal painter, Chaigneau entered the prestigious Ecole des Beaux-Arts. He studied in the studio of Picot, one of the most traditional teachers at the
Ecole, and in the studios of Jules Coignet and Brascassat, both more forward-looking and skilled as landscapists.
Chaigneau seems to have focused on a career in landscape painting from the beginning, and he entered the quadrennial competitions for the Prix de Rome in Historical Landscape almost immediately after his acceptance at the Ecole — finishing a noteworthy 6th in 1849 and receiving Honorable Mention (runner-up or second place) in 1854. During these years, alongside his studies in the restrained, classical landscape style favored by the Coignet and others at the Ecole, Chaigneau also honed his skills as a realistic landscape artist, traveling throughout France to study a wide variety
of terrain — the Rhone valley around Lyon, the Normandy coast, the marshes of the southern Landes region, and the mountains of the Auvergne. At the Exposition Universelle of 1855 he exhibited a
landscape in the tradition of Theodore Rousseau, then the most highly acclaimed member of the Realist school of French landscape, entitled Marais dans les Landes. |
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LAUVRAY ABEL ( 1870 / 1950 )
Ouistreham ( Bretagne )
Oil on canvas signed lower right
32 / 23,7 in
Catalogue raisonné N° 504 .
Literature : Benezit , Dictionnaire des petits maitres de la peinture par Pierre Cabanne et Gerald Schurr . Abel Lauvray catalogue raisonné par Yves Jaubert . Editions L'Amateur 1992 . |
| | |  | | MICHEL HENRY ( 1928 / XXè )
French anemones .
Oil on canvas signed lower left
24 / 19,7 in
Original frame with artist 's initials
Literature : Benezit .
Michel HENRY
Born to Langres in 1928 Painter of landscapes, still lives
Michel HENRY made famous, especially, by his bunches of flowers That he exhibited regularly in Paris and Tokyo where he is very appreciated -
Among his admirers and faithful customers, we count Mr. and Mrs Chirac, Mr. and Mrs Barre, Alain Poher, P. Bérégovoy, Ph. Douste-Blazy, Hervé Bazin, Countess Pierre of Beaulieu , Princess Bernadotte of Sweden - J.P. Belmondo, Line Renaud, Nicoletta, Jeanne Moreau, etc. … |
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RIVIERE CHARLES ( 1848 / 1920 )
Still life in seafoods shellfish and lobster .
Oil on canvas signed lower right .
29,8 / 42,5 in
Musées : Orleans , Roanne . |
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BERTHOMME ST ANDRE LOUIS ( 1905 / 1977 )
Landscape animated.
Oil on canvas signed and situated : Les bords de la Leyre Bassin d'Arcachon .
28,8 / 36,2 in
Original frame .
Musées : Narbonne .
BERTHOMME-SAINT-ANDRE Louis André -
Born in 1905 to Barbery ( Oise) - Death in 1977 in Paris -
Painter of compositions to characters, faces, nudes, portraits, landscapes, engraver -
Pupil of Cormon and Paul Laurent to the School of Fine Arts of Paris - Louis BERTHOMME-SAINT-ANDRE paints numerous animated landscapes, townscapes, landscapes of Provence, views of harbours, - but he is especially a painter of faces - painter of women - women of any circles - rather young and allurées, that he surprised gladly in the occupations of their intimacy - Louis BERTHOMME-SAINT-ANDRE also paints the women of show and those of pleasure whom he seized in the violent lightings of the scene and the bars - Louis BERTHOMME-SAINT-ANDRE exhibited in the annual main Parisian Shows: French Artists from 1924 till 1929 (when he obtains a silver medal) - of Autumn since 1928 - from the National Society of the Fine arts from 1934 till 1936 - Tuileries from 1935 - Louis BERTHOMME-SAINT-ANDRE had commands of wall decorations: Staircase of the Faculty of Poitiers-
Entrance of the Direction of the Fine arts of the city of Paris
Louis BERTHOMME-SAINT-ANDRE was to officiate of the Legion of Honour - |
| | |  | | GUILLEMINET CLAUDE ( 1821 / 1860 )
The farm wakes up .
Oil on canvas signed lower right
25,7 / 21,2 in
Musées : Montpellier
Claude GUILLEMINET
Born in 1821 / Death in 1860
Painter of scenes of genre, animals, landscapes, landscapes of water -
Claude GUILLEMINET is the painter of farmyards and henhouses - Claude GUILLEMINET exhibited to the Show of Paris from 1857 the farmyards where the landscape and the rustic architectures work towards to make of Claude GUILLEMINET a conventional but charming painter. |
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Lithographed engravings XIXTh century signed L.Boilly and dated 1825, according to the caricatures by Louis Léopold Boilly ( 1761 / 1845 ).
11,5 / 8,9 in
Original frame . |
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VLAMINCK Maurice de ( 1876 / 1958 )
Village covered with snow in the Perche .
Estampe originale numérotée : 30 / 100 signée Vlaminck dans la planche et hors planche .
Editions Gaillard 1957
17 / 19,8 in
Musées : Anvers - Avignon - Belgrade - Berlin - Bruxelles - Chartres - Chicago - Grenoble - Le Havre - Londres - Munich - Nantes - New - York - Ottawa - Paris - St Tropez - Stuttgart - Tokyo -
VLAMINCK Maurice or WLAMINCK
Born in 1876 in Paris - Death in 1958 at Rueil-la-Gadelière ( Eure-et-Loir) Painter of faces , portraits, nudes, landscapes, animated landscapes, urban landscape, inside, still lives, flowers and fruits, painter in the gouache, watercolorist, engraver, draftsman, illustrator, Fauve .
His name, the exact spelling of which would be of Wlaminck, means: the Flemish man - Vlaminck, and so he will sign simply his paintings.
For him there was neither a School of Fine Arts, not even of Decorative arts, nor any free academy - In 1895, Maurice de Vlaminck received the advice of drawing of a member of the French Artists as well as those of Henri Rigal, with whom he worked on the island of Chatou -
In 1900, Maurice de Vlaminck meets Monet - especially, he gets acquainted of Derain with whom he rents a studio ruined on the island of Chatou - Maurice de Vlaminck penetrates, in force, into the world of the art, only at the beginning of the twentieth century: He will be one of the Fauves during some years when it respected the law of the pure color, the use of the color such as it goes out of the tube-
Between fauvism and definitive production of the landscapes of Beauce and the Perche, with a farm under the snow, the miscellaneous paintings of banks of the Seine or still life show that Maurice de Vlaminck had another period of " return in the shape ", in fact a period post-cézannienne, the construction of the volume and the space of which was be closed with caution to the cubism - Then concerning the production which occupied the longest part of its life (on about 1912 in its death), you should not neglect the painter of faces . The writer of art Vanderpyl said : " A portrait of Vlaminck it is also a landscape, a landscape of flesh, spring flesh or flesh lit as autumn, of flesh dry as a poor earth " - if he made nudes, they do not really play a role in the enormous production of the revolutionary of Chatou become the hermit of her house ( La Tourillière )
Maurice de Vlaminck was also a lithographer and an engraver on wood - its drawings in the Indian ink are rarer - he illustrated some of his own works, among others: Stories and Poems of my period- |
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The rewarded obeissance d'apres Boucher .
Print beginning 19Th century dédicaced to Monsieur Papillon de la Ferté .
17,3 / 14,2 in
Original frame |
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Chinese school feminine Nude .
Drawing signed above on the left.
15,4 / 12 in
Original frame . |
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TEXIER ( 1946 / )
Small wild boar .
Technique mixte on convas
11,8 / 11,8 in |
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TEXIER JEAN YVES ( 1946 / )
The show jumping .
Technique mixte on convas signed lower right
29,5 / 27,6 in |
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