Tuesday, July 31, 2012


Self Portrait
Gathered by User:Dcoetzee
Source National Portrait Gallery, London
From en.wikipedia.org

Self Portrait
From portraitsofpainters.blogspot.com

The son of Irish immigrants, Shannon was born in Auburn, New York. In 1870 he moved with his family to Saint Catherine's, Ontario where he displayed early artistic talent so much so that his father sent him to study art at the South Kensington School in London (now the Royal College of Art). There at the age of 18 he won the gold medal in the annual competition of all the art schools in the United Kingdom. He was immediately commissioned by Queen Victoria to paint the portraits of the Hon. Horatio Stopford and Mrs Henry Bourke (both now in the Royal Collection), which were exhibited at the Royal Academy in 1881 and 1882 respectively.
(Taylor Gallery, London)

Violet, Duchess of Rutland
From uniquearts.ltd.uk

On the Dunes (Lady Shannon and Kitty)
Smithsonian American Art Museum, Washington, D.C.
Gift of John Gellatly From liveinternet.ru

William Fisher Favell
Surgeon of Sheffield Infirmary
Collection: Sheffield Teaching Hospitals
NHS Foundation Trust
From bbc.co.uk

From artmight.com

In The Springtime
From onokart.wordpress.com

Young Woman in Blue
From xaxor.com

Lady Barber in a Landscape
Collection: The Barber Institute of Fine Arts
From bbc.co.uk

Martha Constance Hattie Onions (1869–1933, foundress of the Barber Institute) married the property developer Henry Barber in 1893. They moved into the eighteenth-century Culham Court on the Thames in the same year. The grounds overlooking the river appear as a backdrop for this full-length portrait in which she is accompanied by her two Yorkshire terriers. The Barber collection contains more than twenty other portraits of Lady Barber, many commissioned as gifts for her husband. (bbc.co.uk)
Based on his early success Shannon decided to stay in London where he became a noted society portrait artist. By 1892 he was so successful that he was able to purchase a substantial studio in Holland Park Road where on and off he spent the rest of his life. He was elected an associate of the London Academy of Arts in 1897.

The Flower Girl
Collection Tate
Presented by the Trustees of the Chantrey Bequest 1901
From tate.org.uk

"The Flower Girl" was painted while the artist and his family were on holiday at Eastbourne in 1900. The woman was a flower girl whom they met regularly every morning on their way down to the beach; she consented to sit to Shannon in her ordinary working clothes and is shown nursing her baby. The artist's daughter Kitty recalls that her father told the flower girl to come ‘exactly as you are, baby, basket of flowers, the white blouse with the big black spots and old battered straw hat’. (tate.org.uk)
Shannon became one of the leading portrait painters in London. He was one of the first members of the New English Art Club, a founder member of the Royal Society of Portrait Painters and in 1897 was elected an associate of the Royal Academy, and RA in 1909. His picture, "The Flower Girl", was bought in 1901 for the National Gallery of British Art. Shannon has paintings in the collection of a several British institutions including Sheffield, Derby Art Gallery, Glasgow Museum and Bradford Museum.
(Wikipedia, the free encyclopedia)
In 1904 he went with his wife and daughter Kitty for the first of three extended stays in America. There he was very prolific and had three one-man exhibitions at M Knoedler and Co in New York in 1905, 1906 and 1907. He was President of the Royal Society of Portrait Painters in 1910 and in 1922 renounced his U.S. citizenship in order to accept the Knighthood that was given him in recognition of his talents as a portrait artist. He died in 1923 at the age of 61. His work is represented in many major museums including the Metropolitan in New York.

Saturday, July 28, 2012


Mother and Child
From Artrenewal.org

Carrying the corn
From goldenagepaintings.blogspot.com

Open Air Market Scene
From goldenagepaintings.blogspot.com

Leccion de ganchilo
From insht.es

Bringing In Fish Dieppe
From xaxor.com

From xaxor.com

Dieppe (detail)
Images from fineartpartnership.com

The Drapery Market, Britanny
From stanfordfineart.net

WILLIAM LEE-HANKEY R.E. (Chester 1869 – 1952 London) was an English painter and etcher of figure studies, landscapes and harbour scenes. He left school to work as a designer but later studied painting in Paris. From 1904 he spent long periods painting in France and developed a very attractive impressionist style in his oil painting.

He was a highly regarded and successful artist in his lifetime and was elected to full membership of all the following:
Royal Society of Painter-Etchers and Engravers
Royal Institute of Watercolor Painters
Royal Institute of Oil Painters
Royal Society of British Artists and the Royal Society of Painters in Watercolor
He was also President of the London Sketch Club
Served in the Artist’s Rifles 1914 – 1919
Vice President of the Royal Society of Painters in Watercolor

Le Repas
From drawingsandprints.com

A Cottage Toilette
From allinsongallery.com

Mother's Little Boy
Etching and Drypoint
From raynerfineart.co.uk

The Refugees
Behind the front line at Étaples in 1914
Source neartexchange.com
From Wikipedia

It was Hankey's black and white and colored etchings of the people of Étaples, several developed from paintings, which gained him a reputation as 'one of the most gifted of the figurative printmakers working in original drypoint during the first thirty years of the 20th century'. One that is particularly striking for its stylistic presentation was "The Refugees", above, his contribution to raising awareness of the consequences for ordinary people of the German invasion of France and Belgium in 1914.

From allinsongallery.com

Three Generations
From allinsongallery.com

The First Born
From elizabethharvey-lee.com

Already established as a watercolour painter, WILLIAM LEE-HANKEY R.E. took up etching in 1904. He took an early interest in colour prints, often printing two editions from his plates, one in monochrome and one in colour. HEe was a founder member of the Society of Graver-Printers in Colour, 1909-10, and the Society’s Secretary. Some years later, with Nelson Dawson, he organised a School of Colour Printing in Hammersmith.
His early prints are in aquatint, while his later works are generally in drypoint. For aquatint, rather than the more usual resin ground, he experimented with ‘textile’ grounds, impressing textured muslin or other material, even heavily textured paper, into a soft ground. Prints such as “The First-Born”, above, from early in his etching career, are scarce today.

Monday, July 23, 2012


Alfred Stevens in his studio ca 1885
Archives of American Art Smithsonian Institution
From aaa.si.edu

Alfred Stevens (1823-1906) was born in Brussels. He came from a family involved with the visual arts: his older brother Joseph (1816-1892) and his son Léopold (1866–1935) were painters, while another brother Arthur (1825–99) was an art dealer and critic. His father, who had fought in the Napoleonic wars in the army of William I of the Netherlands, was an art collector who owned several watercolors by Eugène Delacroix, among other artists. His mother's parents ran Café de l'Amitié in Brussels, a meeting place for politicians, writers, and artists. All the Stevens children benefited from the people they met there, and the social skills they acquired in growing up around important people. In 1843, Stevens went to Paris, joining his brother Joseph who already was there. He was admitted to the École des Beaux-Arts, the most important art school in Paris. Although it is said that he became a student of its director Jean Auguste Dominique Ingres, this is likely not true. An early picture by Stevens, The Pardon or Absolution (Hermitage, St. Petersburg), signed and dated 1849, shows his mastery of a conventional naturalistic style which owes much to 17th-century Dutch genre painting. Like the Belgian painter and friend with whom he stayed in Paris, Florent Joseph Marie Willems (1823-1905), Stevens carefully studied works by painters such as Gerard ter Borch and Gabriel Metsu.
(Wikipedia, the free encyclopedia)
In 19th-century Paris Alfred Stevens was more in demand than his friend Edouard Manet. King Leopold II of his native Belgium was a patron, the Vanderbilts snapped up his sumptuous oils of ladies in haute-couture dresses, and William Merritt Chase sought the artist’s advice. "He was kind of a bridge painter between the 19th century and Impressionism," says the New York dealer Lisa Schiller, of Schiller & Bodo European Paintings, pointing to Stevens’s occasionally loose brushwork. But according to Peter Mitchell, of John Mitchell Fine Paintings, in London, this transitional role has been largely overlooked. "When the Impressionists came along and swept everyone else away, he was forgotten," Mitchell says. As a result, many dealers and auction house specialists believe Stevens’s work is still an extremely good value. "There’s an opportunity to buy at a quality level that’s higher than the price level," says Schiller. She adds that artists born in one country but popular in another tend to be plagued by lower prices. Mitchell concurs: "The artist has suffered from not being born French."

What Is Called Vagrancy
From kingsacademy.com

What Is Called Vagrancy is representative of the early part of his career, when he was keen to represent the squalor of the time in realist paintings. This Parisian street is the setting for an urban drama. Soldiers lead a mother and her ragged children away to prison for the crime of vagrancy. An elegant woman is trying to intercede with the soldiers, while an old, invalid workman has already given up. The attempt is doomed to failure as shown by the soldier's gesture of refusal. A similar scene can be found in Victor Hugo's Things Seen. On the long grey wall, posters referring to property sales ("sale by auction") and the pleasures of high society ("ball"), contrast with the poverty described in the painting. The different social groups who occupy the same urban space find themselves side by side here in a moving composition, and the role of the State, purely repressive, does not come out well. Stevens' objective was to denounce the poor living conditions in the towns and the cruel treatment meted out to those who lived there. The message struck a chord with Napoleon III who, on seeing this painting at the 1855 Universal Exhibition, supposedly said: "That will not happen again". As a consequence of this, the Emperor ordered that any vagrants should henceforth be taken to the Conciergerie, not on foot, but hidden away in a closed carriage.

From artclon.com

Pleasant Letter
Current Loc hermitage Museum
Source Web Gallery of Art
From commons.wikimedia.org

Reverie La Japonaise

Images from bjws.blogspot.com

Autumn Flowers
From fineart-china.com

Portrait of a Woman in Blue
From oceansbridge.com

‘La Douloureuse Certitude’

In the Country

‘L Inde A Paris Le Bibelot Exotique’

‘La Tricoteuse’
Images from xaxor.com

Aspiring to join the ranks of Parisian high society, in the mid 1850s he hit upon a subject that would capture this elite’s interest: upper-class ladies and their outfits. For the salons in Antwerp, Brussels, and Paris, he turned out anecdotal scenes of modern women garbed in crinoline and crumpled silk. He raided the closet of his friend Pauline von Metternich, an Austrian royal and Parisian society fixture, to outfit his models in up-to-the-minute fashions. "You can date the paintings by the dresses," says Polly Sartori, the senior vice president of 19th-century European paintings, drawings, and sculpture at Sotheby’s New York.
His exhibits at the Salons in Paris and Brussels attracted favorable critical attention and buyers. In 1863, he received the Legion of Honor (Chevalier) from the Belgian government. In 1867, he won a first-class medal at the Universal Exposition in Paris, where he and Jan August Hendrik Leys were the stars of the Belgian section, and was promoted to Officer of the Legion of Honor. His friends included Edouard Manet, Edgar Degas, Charles Baudelaire, Berthe Morisot, James Abbott McNeill Whistler, Frédéric Bazille, and Puvis de Chavannes, and he was a regular in the group that gathered at the Café Guerbois in Paris.
In 1895, a large exhibition of his work was held in Brussels. In 1900, Stevens was honored by the Ecole des Beaux-Arts in Paris with the first retrospective exhibition ever given to a living artist. Supported by patrons led by the Comtesse de Greffulhe, it achieved social cachet as well as popular success.
In 1905, he was the only living artist allowed to exhibit in a retrospective show of Belgian art in Brussels. Despite these exhibitions, he was not able to sell enough of his work to manage well financially. Having outlived his brothers and most of his friends, he died in Paris in 1906, living alone in modest rooms.
(Wikipedia, the free encyclopedia)

Wednesday, July 18, 2012


William Logsdail (25 May 1859 - 3 September 1944) was a prolific English landscape, portrait, and genre painter. He exhibited at the Royal Academy, the Royal Society of British Artists, the Grosvenor Gallery, the New Gallery (London), and others. He is notable for his realistic London and Venice scenes and his plein air style. Logsdail attended the Lincoln School of Art, where he initially showed an aptitude for architecture, but with the encouragement of his art master, Edward R. Taylor, (who was also Head of the School) he took to painting. While there, he won the Gold Medal for his work in competition with students at other English art schools. He went on to study in Antwerp, at the École des Beaux-Arts, under Michel Marie Charles Verlat. While there, he became the first Englishman to win first prize at the School. One of his works from this period, The Fish Market (1880), was bought on behalf of Queen Victoria for Osborne House., When told of this, Logsdail supposedly commented, 'Shows her Majesty's good sense'.

Venetian Scene, Canal
From bbc.co.uk

The Ponte dei Pugni, Venice
From artrenewal.org

In the autumn of 1880, Logsdail visited Venice where he was to remain, with occasional visits to England, the Balkans, Egypt and the Middle East, until 1900. During this early period in his career, he gravitated towards architectural and subject paintings. His The Piazza of St. Mark's, Venice, painted in 1883, was judged by the Royal Academy to be the 'picture of the year' when it was exhibited in London although he appears to have been dissatisfied by it, and seriously considered cutting the painting up during its composition.

The Bank and the Royal Exchange
From richard-green.com

The Bank and the Royal Exchange (detail)
From goldenagepaintings.blogspot.com

Logsdail’s view of The Bank of England and the Royal Exchange is taken from the vantagepoint of the Mansion House. The artist obtained special permission to set up his easel between the columns of the Mansion House façade. This viewpoint was raised and thus the painting allows a glimpse both of the passengers seated atop an omnibus as well as an aerial view of passing carts and carriages. The omnibus, which enters the frame at the far right-hand edge of the painting, is of particular interest. Logsdail delighted in including portraits of his family, friends and contemporaries in his fabulously detailed city scenes and The Bank and Royal Exchange was no exception. Logsdail commissioned a local carpenter to construct an exact scale model of the top of an omnibus in the artist’s studio in Primrose Hill. He then convinced a group of friends and relatives who lived on Primrose Hill to pose for this elegant and engaging group. In a letter of 13th May 1917 to Sir Alfred Newton, who had purchased the painting, Logsdail drew a diagram identifying each of these figures by name and profession, noting that many of these merry friends had died by 1917. The figure carrying a tennis racket and dressed in a striped jacket and cap of radiant turquoise blue at the pinnacle of the group was Tom Lloyd, the watercolourist; the head of a man with a beard and a bowler hat immediately to the left of this figure is a portrait of William Logsdail painted by his friend, the artist J W Waterhouse. The man with glasses and sideburns, reading a newspaper, is Wolf, the distinguished animal painter. The man without a hat and with the exposed white shirtfront is Lance Calkin, the portraitist. The ginger-bearded man in a top hat to the left of Logsdail’s head is the war correspondent Fred Villiers. The five figures in the front driving seat are, from left to right: the late Pre-Raphaelite painter who was Logsdail’s closest friend, J W Waterhouse, who leans forward, his fists on his thighs, wearing a brown suit and a blue tie and handkerchief. His wife, dressed in pink, is seated next to him; the driver is the ruddy-cheeked landscape painter P M Feeney. The driver is speaking to a woman in white and peach gown with a parasol who is Waterhouse’s step-sister Mrs Somerville. The lady in blue who gazes off pensively is Mrs P M Feeney, wife of the landscape painter and Waterhouse’s sister-in-law. The painting was well placed at the Royal Academy Summer Exhibition of 1887. The many favourable press notices included one review which particularly admired the charming group atop the omnibus: ‘the jovial driver and his party of gaily dressed shop girls.’ This work is one of the finest examples of the five London street scenes which William Logsdail painted in the 1880s, all of which were exhibited at the Royal Academy.
The theme of the bustling life of the capital was a source of fascination for Logsdail, as he explained in his memoirs: ‘I had always thought that London of all places in the world, ought to be painted, but it appeared too formidable, too unassailable…I do not wonder that so few have even dared to touch it. However, I did take courage to try and leave a few records of it, only after a very few years to acknowledge myself beaten.’ This view of the financial hub of the British Empire was particularly important to the artist, who described it in later life as being of: ‘real value…in the years to come that may increase as at least an historical record of exactly how the scene looked in 1888 (or 7?).’

St Martin’s in the fields
From goldenagepaintings.blogspot.com

The Procession of Sir James Whitehead Lord Mayor
The Ninth of November, 1888
From lordmayorsshow.org

The Bank of England
From bbc.co.uk

Near Menton, Southern France
From ta-which.dreamwidth.org

He also painted some sixty-nine small paintings for the Fine Art Society on the subject of the French and Italian Riviera. Seven of these were sold to the Duke of Westminster. In 1893, Logsdail was awarded a medal for oil painting at the World's Columbian Exposition (also known as the Chicago World's Fair).

Lady in Red Dress
From goldenagepaintings.blogspot.com

After spending two years in Taormina and Sicily, he and his family returned to England, settling in West Kensington, London, where his The Early Victorian (1906) (a costume portrait of his daughter Mary) was well received. This marked the beginning of a period of portrait painting for Logsdail, who was offered so many commissions that he was able to pick and choose his sitter at will. (Wikipedia)
The great success of Logsdail's portrait of his daughter Mary, entitled An Early Victorian (Usher Gallery, Lincoln) which was voted 'Picture of the Year' at the Royal Academy exhibition of 1907 led to an influx of portrait commissions. Whilst Logsdail's earlier portrait commissions tended to be small in scale and of family and friends, his later portraits were more flamboyant and elegant. He took to painting portraits with enthusiasm and unlike other artists who disliked having to paint portraits Logsdail was happy to accept commissions. He wrote '... no more rising at dawn, no more searching for models and paying them for their services, no more out in the open at the mercy of all weathers with all the difficulties of complicated subjects, no more doubt as to the sale of my work when done. Instead of all this, while I remained quietly in my comfortable studio my models sought me one after another at the reasonable hour of 10 or 11 and actually paid me hundreds of pounds to paint their valuable selves.'
Logsdail married Mary Ashman in 1892 and they spent their early married life in Venice. Logsdail worked prolifically in Venice where he painted many topographical and architectural scenes. He was also commissioned by the Fine Art Society to paint a series of small pictures of the French and Italian Riviera, seven of which were bought by the Duke of Westminster. He returned to England in 1902 and the success of his portrait of his daughter entitled An early Victorian exhibited at the Royal Academy in 1907, led to many portrait commissions. Amongst his most important sitters were the Viscount Halifax, the R. Hon. Sir Edward Grey, Bt., and Lord Curzon.

Still Life of Flowers in a Green Vase
From bbc.co.uk

In 1912, he was elected as a member of the Royal Society of Portrait Painters. As his career progressed, he turned to flower studies. In 1922, he and his family moved to Noke, near Islip, Oxfordshire, where Logsdail would remain until his death at age 85.

Tuesday, July 17, 2012


A J Munnings Collage
From theapprenticejockey.blogspot.com

Sir Alfred Munnings
From esperanto-christine.blogspot.com

Alfred Munnings was born of old East Anglian farming stock on the 8th October 1878, the second son of John Munnings, Miller of Mendham, Suffolk. He revealed artistic talents at a very early age, even before his school days at Redenhall Grammar School and Framlingham College, and readers of his autobiography will recall the drawings of Indians, trappers and scalp-hunters, Knights Templers, and "My Mother's pony, Fanny', done at the age of nine.
Leaving Framlingham at the age of fourteen and a half Alfred Munnings was apprenticed to the firm of Page Brothers, lithographers of Norwich as a poster artist from which period date the designs of "lovely girls in large hats" for Caley's Chocolates. Many examples of his posters are to be seen in the Studio at Castle House. After working from nine in the morning to seven at night he attended the Norwich School of art for a further two hours each evening. During his six years of apprenticeship he came to the attention of John Shaw Tomkins, a director of Caley's Chocolates, who was his earliest patron and who greatly encouraged him and subsequently took him on a visit to the Continent.

Pike Fishing in January
From goldenagepaintings.blogspot.com

Pike fishing in January together with Stranded (Bristol City Art Gallery) were the first pictures that Munnings exhibited at the Royal Academy, when he was merely twenty years old. This early example of Munnings' preference for plein air observation was vividly described in the artist's autobiography: “At the School of Art I was already painting still life oils, and soon began, on Saturday afternoons, to carry out box and easel to the country for landscape; but I badly wanted to find a model and do a figure somewhere outside. In the press room downstairs at Page Brothers two men were always at work... The younger man ‘Jumbo’ Betts became and friend of mine. We arranged to.. leave on a Saturday (and go) to the river at Lakenham - imagine a quiet chill January afternoon, a grey sky, a sluggish narrow river between rows of bare pollarded willows with pale dead reeds and sedges along either bank. This being a small picture I carried it through in a painting with "Jumbo" Betts the model stamping his feet to keep warm. Hung on the line (at the Royal Academy) and sold for ten guineas - a vast sum”

Portrait of Mrs Margaretta Park Frew Riding
From artrenewal.org

A Winner At Epsom
From artrenewal.org

The Apprentice Jockey
From theapprenticejockey.blogspot.com

Going out at Kempton
From theapprenticejockey.blogspot.com

Munnings lost the sight of his right eye in an accident when he was twenty (a blow from a briar when lifting a dog over a hedge) and, rejected on two occasions by the Army because of his sight, he spent the first three years of the 1914-18 war mainly in Lamorna. In 1917, with the help of a friend, he got a lowly job caring for remounts at Calcot Park near Reading and on his departure from Lamorna, Laura Knight said of him "His extraordinary vitality, his joy in his work, none of us could forget him. He was a fighter. He fought the wind that shivered his easel and canvas. He fought the heat and cold. He fought the shifting sun and the changing shadows". Her remarks underline his amazing achievements in overcoming the handicap of being blind in one eye. Visitors to Castle House will see evidence of the enormous and versatile output which was to continue to the end of his life. (siralfredmunnings.co.uk)
Alfred Munnings is regarded as one of the greatest sporting artists of all time. His superb collection of equestrian portraits and horse racing scenes has inspired many of today’s equestrian artists. (theapprenticejockey.blogspot.com) In 1918 Alfred Munnings served as a war artist attached to the Canadian Cavalry brigade. After the war in 1919 Alfred Munnings was elected an associate of the Royal Academy and moved to a new studio in Glebe Place, Chelsea and bought Castle House at Dedham.

Munning's glorification of Flowerdew's charge
The last great cavalry charge
Battle of Moreuil Wood
From en.wikipedia.org

Nearly three-quarters of the Canadian cavalry involved in this attack against German machine-gun positions at Moreuil Wood on 30 March 1918 were killed or wounded. This included Lieutenant G.M. Flowerdew, Lord Strathcona's Horse, who was awarded the Victoria Cross for leading the charge. Unable to break the trench deadlock and of little use at the front, cavalry remained behind the lines for much of the war. During the German offensives of March and April 1918, however, the cavalry played an essential role in the open warfare that temporarily confronted the retreating British forces.

Study of a Bay Racehorse

Study of J. B. Rank's Horse, 'Prince Regent', Druids' Lodge

My Grey Mare

The Bay Horse, 'Patrick', Bought in Dublin with Grey Mare

A Grey Horse in the Unsaddling Paddock
Epsom Collection: The Munnings Collection
The Sir Alfred Munnings Art Museum
Images from bbc.co.uk

Sir Alfred Munnings Art Museum
From bbc.co.uk

Munnings was elected president of the Royal Academy of Art in 1944, a post he held until 1949. His presidency is most famous for the departing speech he gave in 1949, attacking modernism. The broadcast was heard by millions of listeners to BBC radio. An evidently inebriated Munnings claimed that the work of Cézanne, Matisse and Picasso had corrupted art. He recalled that Winston Churchill had once said to him, "Alfred, if you met Picasso coming down the street would you join with me in kicking his... something something?" to which Munnings said he replied "Yes Sir, I would". He was awarded a knighthood in 1944. He died at Castle House, Dedham, Essex, on 17 July 1959. After his death, his wife turned their home in Dedham into a museum of his work. The village pub in Mendham and a street is also named after him.