Tag Archives: Paint

Jean-Auguste-Dominique Ingres – price record – Jacob Samuel – Biography

Jean-Auguste-Dominique Ingres – ( 29 August 1780 – 14 January 1867) was a French Neoclassical painter.

Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres’s portraits, both painted and drawn, that were recognized as his greatest legacy.

Ingres, was born in Montauban, Tarn-et-Garonne, France, the first of seven children (five of whom survived infancy) of Jean-Marie-Joseph Ingres (1755-1814) and his wife Anne Moulet (1758-1817). His father was a successful jack-of-all-trades in the arts, a painter of miniatures, sculptor, decorative stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, a study after an antique cast, was made in 1789. Starting in 1786 he attended the local school, Ecole des Freres de l’Education Chretienne, but his education was disrupted by the turmoil of the French Revolution, and the closing of the school in 1791 marked the end of his conventional education. The deficiency of his schooling would always remain for him a source of insecurity.

In 1791, Joseph Ingres took his son to Toulouse, where the young Jean Auguste Dominique was enrolled in the Academie Royale de Peinture, Sculpture et Architecture. There he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and-most importantly-the painter Joseph Roques, who imparted to the young artist his veneration of Raphael. Ingres’s musical talent was further developed under the tutelage of the violinist Lejeune. From the ages of thirteen to sixteen he was second violinist in the Orchestre du Capitole de Toulouse, and he would continue to play the violin as an avocation for the rest of his life.

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Don Pedro of Toledo kissing the Sword of Henri IV (1820)

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Technique: Oil/panel,
Size: 48 cm x 40.0 cm
Hammer price: $826,000

The Virgin with the Crown (1859)

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Technique: Oil/panel
Size: 69.9 cm x 50.8 cm
Hammer price: $820,000

The Virgin with the Host (1860)

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Technique: Oil/canvas
Size: 60 cm x 46.0 cm
Hammer price: $800,000

Aretino and the Envoy of Charles V (1848)

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Technique: Oil/canvas
Size: 41.5 cm x 32.5 cm
Hammer price: $599,940

Study for “Sleeper”

Ingre, A Sleeping Odalisque; Etude d'après la Dormeuse de Naples

 

Technique:Oil/panel
Size:22 cm x 36.5 cm
Hammer price: $482,720

Isis Kischka Biography – Jacob Samuel

Born and raised in Paris, to which his parents moved two years before his birth. His father, a former restaurant worker, had a grocery store in the fifteenth district of Paris. Kischka attended the local community school as a child. Later on he attended a school in Mainz and the Commercial School of Paris.
At the age of nineteen he became interested in painting and literature. His first job was designing motives on medals in a medal’s factory. Along with his friends- Jacques Copeau, Michel Saint Denis and Georges Pitoeff he made plans of opening a theater company but these plans never worked up and in 1927, he decided to turn into painting. He attended the Chaumiere Grand Academy of art in Paris. During his studies many art critics, including the notorious Waldemar George, have noticed his unique work. In 1941, Kischka was arrested by the Gestapo. He was sent to a concentration camp in Romainville and then to another camp in Compiegne, afterwards he was transferred to Drancy were he was kept for two years until the liberation day on August 1944. In the camps he became friend with other painter inmates such as Jacques Gotko, Savely Schleifer and David Hoychman. The group improvised expositions of their works in the camp. Unfortunately all of his friends from the camp didn’t survive to the liberation day and were murdered by the Nazis. Kischka promised himself to be a painter if he will survive the war. It is believed that he painted about two hundred painting before 1940 and all of these paintings were destroyed by the Nazis. He returned to Paris in 1945 and had to deal with financial problems caused to him by the war, he set his mind on rearming his father shop. Leading his two front operations, he painted before and after work, that way he managed both earning money and being a painter. In 1946, he participated in the creation of a new salon along with several other artists such as Jean Cassou, Yvon Bizardel and Raymond Cogniat, the salon was named “the painters witnesses of their time salon”.

“Kischka was an active and generous person, he truly loved art and artists. He was the initiator of the idea of creating a new salon. This Salon presented each year an exhibition that was very vivint. How could it be otherwise? Kischka was convinced in the intimate link between art and life. He felt that art is a phenomenon of life and a testimony of it. It is facilitator within the meaning of the term. It was not only that he himself was a painter, he had honor and discretion. The painter nevertheless exists and its existence as deep as the painting”.
Jean Cassou, Paris 1957.

Ennio Finzi Biography – Jacob Samuel

Ennio Finzi was born in Venice in 1931 and as a young man became interested in painting and music. After attending courses for a brief period at the Institute of Art in Venice, he became attracted to the discovery of cubist structural disarrangement, which allowed him to transcend the representation of given reality.

 

After the 1948 Biennale, the Historic Archives of the Contemporary Arts in Venice reopened, offering Finzi the chance to dedicate himself to the study of masters of avant-garde movements in history. Meeting Atanasio Soldati, who spent a period of time in Venice, stimulated Finzi and probably influenced subsequent works characte­rised by bright chromatics and rigo­rous formal symmetry.

 

In this way Finzi’s first “inventions” were born ­rhythm, colour, light and tone became fundamental elements and formed the basis of his research. In that period Virgilio Guidi and the ideological strength of his creative thought, and Emilio Vedova, with his strong brush­strokes that attacked the surface, also exerted a strong influence on Finzi. The discovery of dodecaphonic music led Finzi to seize the principle of “dis­sonance”. Then suddenly, in the same way, the praxis of colour dissolved of any shading and having the exclusive function of tone opened new and wide horizons.

 

From that moment until the late 1950s his work became an obsessi­ve search for the semantics of brush­stroke, light and tone. The colour­sound relationship, a colour that Finzi loved to “listen to” more than “to see” in its most intimate resonance, allowed him to express himself freely under different and altogether aleatory rules.

At the end of the 1950s (years marked by the remarkable insight of Lucio Fontana, whom Finzi met in Milan on the occasion of the artist’s exhibi­tion at the Apollinaire Gallery) the gestured turbulence and expressive urgency of Finzi’s work became calm and expressed a more reflective dimen­sion.

 

It was the path of superseding painting itself and moving closer to gestalt theories on the phenomenology of perception. Up until 1978 the prin­ciples of optical art informed his research on optical effects, due to the phenomenon of the retinal conserva­tion of images. After a short crisis fol­lowing an exhaustion of interest in the principles of structural visuality, Finzi with renewed energy and enthusiasm in 1980 yielded to the rediscovery of the immediacy of painting.

Once again he began exploring fascinating themes relating to colour, and went beyond the dissonance of the 1950s. Painting again became the dominant space with colour and non-colour, light and shade successively alternating and competing on the surface of the work. Black was used as the light of the dark, of emptiness, of silence, and led him to probe the most secret reso­nance of non-existence in the invisibi­lity of painting itself In the conti­nuing dialectics that counter-distin­guishes the principle of his research, Finzi proceeds in successive stages of development characterised by greater chromatic sumptuousness and sudden elimination of luminosity in which energy is concentrated in a potential state.

 

This incessant questioning of working style makes him foreign to any preconceived stylistic form and gives him the professional label of “non-style”: Through the experience of experience, Finzi continually follows the dream of surprise in painting with a stress on constant regeneration and catharsis.

In more recent years he retakes connotations that are rooted in painting and colour, but these connotations are no longer inhibited by ideologically closed regimes; the artist retakes with an abandon that is completely open and available to the totality of feeling which is painting.

Hugo Scheriber Biography – Jacob Samuel

Hugo Scheirber was born in Budapest in 1873. At the age of eight he moved with his family to Vienna. There he worked with his father in painting signs for the largest fair in Vienna. At 1898  Scheriber returned with his family to Budapest where he started studying commercial art in the evening.

During the day  Scheriber worked in order to support his family. In 1900 he graduated. Scheriber artistic taste showed he was drawn to futurism and Expressionism. At 1915 he met Marinetti who invited him to join the futurism movement.

His modern art style didn’t match the academic art studies which held in Hungary, from this reason his paintings were overlooked. In 1919  Scheirber  and his friend  Béla Kadar held an exhibition in Vienna, this exhibition was so successful that Budapest museum had purchased two of his paintings
In 1920,  Scheirber had returned to Vienna. A turning point in his career happened at 1921 when he met Herwarth Walden the founder of “Der Sturm” gallery. From that moment and on his paintings were exhibit in waldens magazine. The exposure caused  Scheirber  to be invited to participate in exhibitions in London, Rome, Bolivia and New-York.
 Scheirber paintings are rich with spontenous and active brush strokes. The Café and cabaret life played an important role the European avant-grad. Scheirber focus in the cafe life was illustrated in number of his works where you can find dancers, musicians, singers and actors.
Hugo Scheirber died in 1950, at the age of 77.
Today Scheirber is a well known and is shown in many museums and exhibitions around the world.

Walter Dexel Biography – Jacob Samuel

Walter Dexel (8 Feb 1890 – 8 June 1973) was an artist, designer, advertiser and Dr. of art history. Dexel is a prominent artist  in the Constructivism (Russian avant-garde that began in 1914) movement and in “concrete” style of painting.

Dexel painted his first painting at 1913 during a trip to Italy. Dexel was an autodidact, this way Dexel obtained most of his artistic abilities. Dexel studied art history with Heinrich Wölfflin and Fritz Burger for four years (1910-1914) in Munich . During this period he also studied painting. Dexel graduated in 1916 and received his doctorate at 1919. He was influenced by many artists and artistic movements of his time such as Cézanne and later by Cubism and Expressionism.

The first paintings in his solo exhibition were painted in a cubist style, he studied during this period the work of the Bauhaus artist Lionel Finingr, through him Dexel started painting using compositions that are based on simple geometric elements. In 1918, after the war, Dexel became the head of exhibitions in Jena, where he organized exhibitions with contemporary artists.

Dexel began in 1920 to paint in the  “Constructivism” style later Dexel started to paint in abstract style. In 1923, Walter Dexel joined with his friend Kurt Schwitters, the Da-daist, to the “November” group. Dexel was also a gifted advertiser so he joined in 1928 to the “new graphic artists cycle”.
Dexel wasn’t only a painter, he worked at advertising, interior design and decor stages. Dexel was socially involved and interested in the problems of modern life and even published a book with the title “The House today.”

From 1928 to 1935 Dexel lectured on graphic design, but the Nazis dismissed him from this position. More over his works were vilified by the Nazis. These events made dexel to forsake his artistic life, he will return to draw only in the end of his life.After the war, Dexel became interested in the “domestic consumption” history. During 1942 to 1955, he assembled the “Historical collection of forms” and published several books on “forms”.
A Retrospective exhibition in Berlin were held in 1961, the exhibition caused Dexel to renew his interest in art and he returned to paint.
Dexel died in 1973 at the age of 83.