#benezit

[naran-blr]

Alice Schoengrun (1869-?) pintora francesa.

Nació en Lille, en el Norte de Francia.

Alice Schoengrun fue alumna de Baschet y Adler y expuso en el Salon des Artistes français.

Sus naturalezas muertas se sitúan entre dos sensibilidades, la impresionista y la simbolista.

Alice Schoengrun figura en el BENEZIT, Diccionario de pintores, escultores, grabadores y diseñadores.

También figura como alumna en la Academia Julian.

[alapagedeslivres]

BD : J'y vais mais j'ai peur de Maud BENEZIT et Clarisse CREMER

Après Il est où le patron ? Chroniques de paysannes, illustrées par Maud BENEZIT, je ne pouvais m’arrêter. J’ai donc commandé le Journal d’une navigatrice : J’y vais mais j’ai peur, toujours de Maud BENEZIT mais aussi de Clarisse CREMER. En fait, c’est le contraire, je suis allée en librairie pour cette bande dessinée-là (celle de la navigatrice) et lorsque j’ai rencontré les chroniques de…

[the-paintrist]

Paul Biva (Montmartre 19 September 1851 – 13 June 1900, Avon, Seine-et-Marne) was a French painter. His paintings, both Realist, Naturalist in effect, principally represented intricate landscape paintings or elaborate flower settings, much as the work of his older brother, the artist Henri Biva (1848–1929). Paul Biva was a distinguished member of National Horticultural Society of France from 1898 until his untimely death two years later.

The literature in the press often confuses the two brothers, Paul's work is sometimes likened to that of Henri Biva, the elder who lived 30 years longer, and whose production was therefore much more abundant. The "Causerie" of Jacques Mauprat, published in Le Progrès Illustré (18 February 1894) mentions 'the flowers of both Biva's' exhibited at the Salon Lyonnais, and in 1993, Élisabeth Hardouin-Fugier and Étienne Grafe, in their book titled Les Peintres de Fleurs en France, de Redouté à Redon repeatedly mention "Biva", without specifying a first name to distinguishing between the two, even though several of their paintings are discussed and reproduced in the ouvrage.

If at first, from 1873, the young Paul Biva was influenced by the zeitgeist for genre scenes and landscapes—electing to paint landscapes that evoke those of Jean-Baptiste Corot—he subsequently explored other paths and other subjects. His flowers became more expressive, vigorous yet delicate and full of freshness, while Henri Biva's landscapes offered an intimate glimpse of a specific locale, characterized by intricate strokes and a pure palette bathed with warm natural light. Both Bivas devoted great attention to light effects.

Paul Biva's wife, Julienne Jouatte, niece of the painter Alphonse Jouatte (1827-1892), exhibited a still-life with fruit (Nature morte aux fruits) at the Salon in 188 Their daughter, Jeanne Biva, a student of Victor Marec and Paul Biva, was in one of the first coeducational classes at École des beaux-arts de Paris in 1897. where she studied under William Bouguereau. She exhibited pastels at the Salon des artistes français in 1908 (Boules de neige), 1910 (Boules de neige et muguet), 1912 (Renoncules) and 1913 (Anémones).

Their granddaughter, Huguette Graux-Berthoux (1917–2003)[16] studied at l'Ecole de dessin of Suzanne and Gigi Coutant, then at the École des beaux-arts de Paris, and exhibited at the Salon des artistes français and in several other Salons in Paris and Province.

The son of Henri Biva, Lucien Biva (1878-1965), also a painter, emigrated to the United States in 1919 where he continued to paint and work as an ornamental designer for textile fabrics and similar articles of manufacture, patenting over 80 designs between 1920 and 1950. He became an American citizen in 1928.

Charles Biva, Henri Biva, Paul Biva, Julienne Jouatte, Lucien Biva and Huguette Berthoux-Graux are mentioned in the Benezit Dictionary of Artists.

Paul Biva - A basket of roses (Fresh from the garden)

[spiphoto]

Armada 2023: autre point de vue

Un autre regard sur l’armada, parti de très bonne heure vendredi 16 juin cela m’a permis d’éviter la foule, mais aussi une trop grosse chaleur. Cette matinée fut riche en rencontres, bateaux, voiliers, marins, militaires, photographes, peintres… Et, un échange très sympathique avec Monsieur Louis Runemberg peintre de l’armada, peintre moderne et contemporain, présent dans le Benezit, créateur du…

[oupacademic]

Did you know:

Gugenheim Bilbao is meant to be the flagship of the Basque Country’s economic, social, and cultural regeneration.

Facing major technical challenges in the engineering of the building’s structure, the architect made the unprecedented move of incorporating computer programmers to his studio’s core staff.

The building itself is an undeniable aesthetic object, with some parts of the design devoid of any known architectural function—they don’t contain anything and don’t provide shelter.

The largest permanent work is Richard Serra’s The Matter of Time. Originally only the centerpiece of the eight-sculpture work was commissioned; the author delivered the remaining seven parts as a second commission.

Both Jeff Koons and Yoko Ono contributed time-based works. Koons’ Puppy is covered in a coat of almost forty-thousand seasonal flowers, and Ono’s Wish Tree for Bilbao incorporates cyclical blooming and growth.

Learn more about Guggenheim Bilbao.

Image credit: Richard Serra: The Matter of Time, eight sculptures, weathering steel, variable dimensions, 1994-2005 (Bilbao, Guggenheim Bilbao Museoa); image © FMGB Guggenheim Bilbao Museoa, photo by Erika Barahona Ede. Used with permission.

[hypernet]

Microcrítica 56: No soy un hombre fácil

“No soy un hombre fácil”, pero bien simpático que soy

No me acostaré contigo la primera noche, para la segunda sí

La inversión de roles es algo que muchos nos hemos imaginado. Que los hombres sean como mujeres y las mujeres como hombres. Es la premisa de la que parte la comedieta francesa “No soy un hombre fácil”, producida por Netflix. Un machista irredento se pega un día un hostión con un poste y se despierta en un mundo donde las mujeres se comportan como hombres y viceversa, pero respetando la biología de cada uno. Lo que al principio parece una idea extraña y maquiavélica al final se convierte en una realidad plausible: como decía Simone de Beauvoir, si la construcción de la figura de la mujer ha sido meramente social, ¿por qué no también la del hombre? Entonces, la idea que plantea esta película pues no sería descabellada.

Como filme se deja ver, en tanto es una comedia simplona donde algunos aspectos son previsibles. Sin embargo, el contexto, que es lo realmente interesante, es un curioso ejercicio que, además, está bien llevado: en ese mundo los hombre son los que tienen los rasgos que aquí diríamos “femeninos”, aunque como género de comedia que es no se tratan otros temas más candentes como el acoso, la violación, la inferioridad de condiciones y la hipersexualización de la mujer (aunque algunos de estos asuntos se tocan de puntillas). Aún y así, "No soy un hombre fácil” está bastante bien, y sería una forma fácil de que los machitos (también irredentos) vean lo que es cambiar los papeles, ya que así sabrían lo que es que esas “locas feminazis” reclamen por un mundo mucho más justo, que es lo que, al final, queremos todos.

[infinitemovielist]

[littledevilsalai]

7. The Disciple

Critics maintain that Salaì was untalented, unremarkable, a mere imitator without style or subtlety. Over and over, his mediocrity is hammered home. If something about a collaborative work looks wrong, Salaì did it. If something looks right, it must be the work of another— sometimes Leonardo. One wonders why he kept Salaì around at all, when there were more worthy students to mentor.

But according to art historian Anna Maria Ferrari in Groves’ Dictionary of Art, Leonardo considered Salaì “an able pupil”. By twenty-five, Salaì “…had achieved some fame as a painter; Alvise Ciocha, an agent of Isabella d’Este, Marchioness of Mantua, described him as ‘very able for his years’ and invited him to advise Pietro Perugino who was working for her.” In Benezit’s Dictionary of Artists, Salaì is described as “one of Leonardo da Vinci’s most distinguished pupils”. And in Sotheby’s catalog for the 2007 auction of Salaì’s Head of the Christ the Redeemer, we find this:

Gian Giacomo Caprotti was one of Leonardo da Vinci’s most faithful pupils and the chief propagator of his art… Leonardo himself described him in his notebooks as a liar and a thief (but) admired him greatly for his artistic talent. Vasari considered Salaì to be Leonardo’s most faithful follower and he even went so far as to say that some of their works were (so similar as to be) confused… Unlike the other Leonardeschi - such as Giovanni Antonio Boltraffio, Marco d’Oggiono, Andrea Solario, Cesare da Sesto - Salaì did not embark upon an independent artistic career but seemed content in copying and interpreting his master’s works, thus disseminating Leonardo’s inventions throughout the first quarter of the 16th century. As Shell and Sironi have observed, ‘Salaì represents another kind of Leonardesco; the faithful replicator of Leonardo’s models and, by his own lights, executor of Leonardo’s intentions’…

When another painting by Salaì (Penitent Magdalen) came to auction in Paris in 2020, Anna Brady of the Art Newspaper wrote:

But da Vinci forgave him his petty crimes and Salaì stayed with him for more than 25 years until da Vinci’s death in 1519, serving as a financial manager, model, agent and lover and accompanying him on all his travels. He carried on painting, too, and became a teacher at the workshop in 1515. Leonardo left the Mona Lisa to Salaì upon his death.

The article goes on to describe how Italian art historian Cristina Geddo identified the Magdalen as Salaì’s:

In a video produced by the auction house, Geddo says she was able to make the discovery due to Salaì’s painting of Head of the Christ the Redeemer, recently donated to the Pinacoteca Ambrosiana in Milan, which is signed ‘Salaì’ and dated 1511… Geddo adds the technique is ‘extremely faithful to that of the master… difficult to find in his other pupils, the Leonardeschi.’ She refers specifically to Salaì’s use of Leonardo’s characteristic sfumato but also to the many thin washes of diluted paint that are layered to subtle effect and create ‘a gradual passage from light to shadow which is incredibly close to Leonardo’s technique.’ Geddo also notes an ‘obsessive attention to detail’, particularly in the rendering of the hair.

Old Master specialist Eric Turquin adds:

Salaì was able to assimilate the fine technique of the master. He positioned himself as one of the most influential promoters of Leonardo’s models through the production of copies and variations of Leonardo’s masterpieces. But he is also the author of original works which bear witness to the master’s lesson interpreted with a certain autonomy.

Valuated at €348,000, Salaì’s Head of the Christ the Redeemer sold for over €506,000. Valuated at €150,000, Salaì’s Penitent Magdalen sold for close to €2,000,000.

What a loser, right?

[books0977]

Allegory (1850). Frederick Richard Pickersgill (English, 1820-1900).

A romantic scene with a girl playing a lute. Pickersgill is seen as a follower of William Etty, having been influenced by his academic approach as well as by his "powerful use of colour" (Benezit Dictionary, 215). But in 1856, John Ruskin called him "already a Pre-Raphaelite in purpose" (49), and a Pre-Raphaelite attention to detail can also be seen in some of Pickersgill's work.

[alithiapes]

De Cool was the son of painter Delphine Arnould de Cool and studied under Cabanel. He became an exhibiting member of the Salon des Artistes Francaises in 1897. He was awarded the Medaille de Troisieme Classe in 1908. He showed an adherence to the “symbolist” movement of the early 20th century. Listed in Benezit and Gerlad Schurr’s “Les Petits Maitres de la Peinture 1820-1920”

The Muse (1895). Gabriel de Cool (French, b.1854). Oil on canvas.

Wow

[alapagedeslivres]

BD : Il est où le patron ? de Maud BENEZIT

Je me lance dans un autre thème de BD : j’ai débuté avec un classique (Orgueil et préjugés), avec des thèmes humanistes (la vieillesse, la maladie, le handicap), je poursuis avec une certaine image du monde rural… En avant, Il est où le patron ? Chroniques de paysannes, illustrées par Maud BENEZIT. Le résumé des éditions MARAbulles – 05 mai 2021 : De jeunes paysannes combatives et passionnées…

[latenightladydj]

I Am Not an Easy Man, or: Who run the world?

Je ne suis pas un homme facile (original title) Film: I Am Not an Easy Man (2018) Director: Eléonore Pourriat Cast: Vincent Elbaz, Marie-Sophie Ferdane, Pierre Benezit Synopsis: A shameless chauvinist gets a taste of his own medicine when he wakes up in a world dominated by women and locks horns with a powerful female author. *Spoilers* Continue reading

[onlineantiques]

E Benezit Dictionannaire Des Peintres, Sculpteurs, Dessinateurs Et Graveurs 1966 eBay item number 223993485211 or visit shop in my bio https://www.instagram.com/p/CKqvR_Pn62q/?igshid=1ji6a3zxu1igb

[ceramicaddict]

Stunning rendition of the arrival of the fishermen in the Harbor of Douarnenez at the beginning of the XXth century. Large oil on canvas by Gaston Bouillon (1881-1957) who will settle in Finistère and work along other artists such as Lionel Floch, Charles Cottet, Desire-Lucas ... to name just a few. 80 cm x 100 cm , 90 cm x 110 cm with original sculpted wood frame. ——————————————— Superbe huile sur toile illustrant l’arrivée de la pêche et son effervescence dans le port de Douarnenez au début du XXe siècle. Une œuvre réalisée par Gaston Bouillon (1881-1957), Peintre normand tombé sous le charme de la Bretagne et qui choisit de s’installer à Pont-Croix dans le Finistère. Il y côtoiera Charles Cottet, Lionnel Floch, Max Jacob, Henri Matisse et bien d’autres encore. Belles dimensions avec ses 80 cm de hauteur pour 100 cm de largeur sans cadre, et 90 cm de hauteur pour 110 cm de largeur avec cadre, à vue. 📲 ☎️ 📧 ——————————————— #modern #modernart #art #artmoderne #20thcentury #expressionism #gastonbouillon #douarnenez #pontcroix #pontaven #CrozonAntiquites #Crozon #modernhome #moderndecor #decoration #decorateur #bretagne #morgat #bretagnetourisme #artbreton #treboul #peintresfrancais #peinturebretonne #ecoledepontaven #benezit #laroutedespeintres #collection #collectioneur https://www.instagram.com/p/CIYFzt9IZ7h/?igshid=hlc4r25hotxy

[oupacademic]

19 August is World Photography Day 

How much do you know about the different types of photography? Whether you are a pro with your Canon or love taking selfies on your phone, celebrate by learning more about the subject with our reading list.

Architectural photography

Digital photography

Documentary photography

Fashion photography

Photography in the art market

Science and photography

Street photography

War photography

Women and photography

Image credit: Film Love GIF via GIPHY.

[italianartsociety]

By Maggie Bell

Emilio Notte died 7 July 1982 in Naples. Born in Ceglie Messapica on 30 January 30 1891, Notte was a prolific painter with a diverse oeuvre that has been classified as Post-Impressionist and Futurist.  At the age of fifteen Notte was seent to Naples to study at the Accademia di Belle Arti where he trained under Vicenzo Volpe, a student of Domenico Morelli.  Soon thereafter, Notte’s family moved to Prato, which caused him to transfer to the Accademia di Belle Arte in Florence.  During this time Notte developed a friendship with Giovanni Fattori through whom he met other Italian artist whose work addressed the conditions of the modern world.  Through this network Notte eventually met the foundational members of the Futurist movement, including Filippo Marinetti who he would later follow to Milan. 

While embracing aspects of the Futurist doctrine, including the interest in schematization and abstracted geometric forms (Notte was a signatory on the Manifesto sul fondamento lineare geometrico), he had been deeply affected by the horrors of World War I, and many of his painting addressed human suffering at the hands of modern warfare. 

In 1929, Notte returned to Naples where had begun his education but found that the city had, in his view, changed from a “fabulous” and “authentic” city full of opportunity (Notte, 1974) to a place of isolation where his Futurist identity was not accepted. His work during this period is of a more probing psychological nature, with an interest in representing the residual trauma of the war. 

Further reading:  Emilio Notte. Rome, Italy: Galleria Nazionale d’Arte Antica. Palazzo Barberini, 1974.

“NOTTE, Emilio.” Benezit Dictionary of Artists. Oxford Art Online. Oxford University Press, accessed July 5, 2017, http://www.oxfordartonline.com/subscriber/article/benezit/B00131573

I poveri di Prato, 60x 60 cm, 1906, Nappo Collection

Piazza Battistero A Firenze, 60x 90 cm, 1916, Notte Collection 

Soldato e sentinella, 100 x 120 cm, 1919, D’Agostino Collection 

Autoritratto, 40x 50 cm, 1937, Private Collection 

Cavatori di Marmo, 100x 140 cm, 1964, Borghese Collection