Marta Palau was born in Albesa in 1934, county of Merida, Spain, moving to Mexico in 1940. She began her studies in 1955 at the Escuela de Artes Plasticas La Esmeralda, in Mexico City. Later on she studied at The San Diego State University and at the workshop of Grau Garrica in Barcelona, Spain.

She hasvhad solo exhibitions in Mexico City and Los Angeles, California along with numerous commissioned works. Palau works in a characteristic style that reveals her fascination with the mythology of primitive and indigenous cultures, notably of Baja California.

Her work has been awarded with the Premio Instalaciùn of the Daienal de la Habana (1986), with the Bergerpreis at the 5th. Fellbach Triennial Germany, 1992), and with the prize Creador Art Estico, that confers the Consejo Nacional para la Cultura y las Artes (Mexico City, 1993).

Education

1955-1965 La Esmeralda, INBA Mexico, D.F. San Diego State University, San Diego, CA. Workshop Grau Garriga, Barcelona, Spain

Awards and Grants

2008 Order of Cultural Independence Rubén Darío, Nicaragua, Central America.

Art Creator 2003, National Artists, Mexico City

2002 Doctorate Honoris Causa to Catalan exile. Universitat de Lleida Catalonia, Spain

Banners 2001 Biennial 2000, Culture 2000 award, IMAC, Arts section, Tijuana, Baja, California

1999 Honorable Mention, Omnilife, Guadalajara, Mexico

Art Creator 1997, National System of Creators.

Art Creator 1993, National System of Creators.

1992 Burgerpreis-5. Triennale Fellbach, Germany

1986 First Prize-Installation · batons ¨ – 2nd. Bienal de la Habana, Cuba

Selected Solo Exhibitions

2008 Homenaje a Emilio Carballido, Galería Ramón Alva de la Canal, Universidad Veracruzana

2006 Double Wall, Installation, Sala Arte Publico Siqueiros, SAPS-El Cubo, Mexico City.

Hunting Season 2005-era Front Canal 12 Televisa Tijuana

2004 Front-era / triangle thing one and the many wars and all Stock MUSEUM OF CONTEMPORARY ART SAN DIEGO MCASD LA JOLLA

2003 The one and the multiple, multi-purpose rooms and Hermenegildo Bustos, Universidad de Guanajuato, Mex.

2003 All Wars, 3 facilities-Fisher Gallery, USC-LA U.S.

2002 Universitat de Lleida, Doctorate Honoris Causa to Catalan exile, Nomad II, Installation, Aula Magna Sala Victor Siurana.

2001 The left-wall-15m passable. x 3 – Museo de las Californias, Tijuana Cultural Center – Tijuana, Mex

1999 Kunsthaus Santa Fé, San Miguel de Allende, Mexico

1999 Cultural Center MEC, Montevideo Uruguay

1998 Centro Cultural, Tijuana, Nomads II

1993 Galería Arte Mexicano, Mexico, D.F.

1991 Fisher Gallery, Installation, Los Angeles, CA USA

1985 National Hall, Palacio de Bellas Artes, Mexico City

1978 Museo de Arte Moderno, Mexico, D.F.

Select Collections

2007 Three facilities, Kunsthaus Santa Fe, San Miguel de Allende, Guanajuato, Mexico – Festival Cervantino

2007 Atmosphere Alchemy, The Age of Discrepancy – made in 1970 and rebuilt for the MUCA, University Museum of Arts and Sciences, Campus UNAM, Mexico City.

Fantastic Zoology Quetzalcoatlus-2003-One Hundred Years of Poplar Museum, installation, 11 meters in length between the wings. UNAM, Mexico D.F.

2002 Kunsthaus Santa Fe, War Games, installation, San Miguel de Allende, Mexico

2002 Palisade of Shamans, installation in situ, Fuerte de Guadalupe, Puebla. Mexico.

1999 The seven Guama, Ritual install sun-CECUT, Tijuana, Mexico

Set 1996-2-2 facilities, Erfurt, Germany

1996 2nd. Bienal Barro de America, Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela.

1996 5th. International Biennial of Cuenca, Ecuador.

1994 Museo Carrillo Gil, Mexico, D.F. In CECUT Site 94, Tijuana, B.C.

1993 Nexus Contemporary Art Center, Atlanta, Georgia, USA.

Genova 1992 92 – Mexico Pavilion, Palace of Exhibitions Mucssarnok, Kunsthalle, Budapest, Hungary.

1990 Art Museum of the Americas, Washington, DC. U.S.

1987 19 Bienal de Sao Paulo, Campus Shamans, Brazil

Special Projects

2008 the 5th Biennial International Standards, Standards, CECUT-Tijuana, BC Mexico.

2007 Curator Tenth Anniversary Tuesday, 15 facilities, Cecut, Tijuana, BC Mexico

2006 Draft and Curation, IV International Biennial of Standards, ES2006 Tijuana, Tijuana Cultural Center Tijuana, BC Mexico.

2005 140 years Naualli Mano Poderosa – Art & Idea – Spain Park, La Condesa, Mexico City

2004 Draft and curator-ES2004 TIJUANA / III International Biennial of Standards, CECUT, Tijuana, Mex.

2002 Draft and curator-ES2002 TIJUANA / II International Biennial of Standards, CECUT, Tijuana, Mex.

2000 Draft and Conservatorship ES2000 TIJUANA / I International Biennial of Standards, CECUT, Tijuana, Mex.

1998-2000 Project Management and Five Continents and One City, Museo de la Ciudad de Mexico. Three Rooms

1998 Draft and Curation – ES TIJUANA98-III International Exhibition of Standards-CECUT-Tijuana, BC Mexico.

1998 Curator and Founder, International Textile Miniature Michoacan. Casa de la Cultura, Morelia, Michoacan, Mexico.

1997 Draft and Curation – ESTIJUANA97-II International Exhibition of Standards-CECUT-Tijuana, BC Mexico

1996 Founder, Project and Curaduria ES96TIJUANA – I International Exhibition Banners – Cecut-Tijuana, BC Mexico.

1975 Collaborator of Ballet Nacional de Mexico, Mexico DF

1971-74 Coordinator of the Centro de Arte Moderno, Guadalajara, Jalisco.

Tony Delap (American 1927-) grew up in the Bay Area and studied art, illustration, and graphic design at several Bay Area colleges, including the San Francisco Academy of Art;  he also attended the Claremont Colleges in Southern California. He returned to the Bay Area, where he taught at the California College of Arts and Crafts, the San Francisco Art Institute and at UC Davis until he secured a teaching position at the newly founded campus of the University of California, Irvine. DeLap has been a mentor to some notable artists, including Bruce Nauman, James Turrell and John McCracken. With artists such as Ellsworth Kelly, DeLap followed a path of Geometric abstraction and Minimal art embracing the principles of limited color, geometry, precise craftsmanship, and intellectual rigor since the early 1960s associated with an emerging movement of West Coast minimalism referred to as “finish fetish,” with artists such as Craig Kauffman, Larry Bell, and DeWain Valentine.

DeLap’s work has been widely exhibited both nationally and internationally in several important group exhibitions of the 1960s including; Primary Structures at the Jewish Museum; American Sculpture of the Sixties at the Los Angeles County Museum of Art; and The Responsive Eye at The Museum of Modern Art, New York City.

COLLECTIONS: San Jose Museum; LACMA; Museum of Contemporary Art, San Diego; San Francisco MOMA; Whitney Museum; The Museum of Modern Art; The Guggenheim; The Walker Art Center; and the Tate, among others.

Ted Diamond was an artist who spent much of his life, obsessed with death and suicide, eventually taking his own life in 1985 at forty-seven years of age.

Although Diamond briefly studied at The School of the Museum of Fine Arts, Boston, he did not enjoy a conventional education or a career as a trained artist. Most of the work was executed while he was living in a public psychiatric hospital in the Boston area, but even under these harsh conditions he found precious moments to paint.

A group of intimate paintings in gouache mounted on black paper in several notebooks were found in his room after his death by a supporter and friend who has kept them safe for nearly 30 years.  An exceptional discovery, the energy of these tempera paintings, and their handling results in powerful scale beyond their humble size, a function of emotional and neurotic content elevated by coloristic and painterly mastery. All are either self-portraits or renderings of other psychiatric patients encountered on the wards in his hospital stays. These remarkable works have never been seen publicly until now.

John Ashworth (American b. 1940-) began his painting career in Boston, and continues to reside and work in Massachusetts. John Ashworth–American, born 2/1/1939

The Ashworth family moved to NYC in 1947 where John’s “art pre-education” (age 10!)  consisted in trips to the Metropolitan Museum of Art (MET), The Museum of Modern Art (MOMA), The Whitney Museum of American Art,  and the galleries all along 57th street.

His first public showing was in the summer of 1949–age 10- at Washington Square Park, New York. He had made 100s of folded Rorschach-type blots in poster paint  on typing paper, some of which looked like butterflies to the young artist who cut them out and pasted them together on vertical scrolls displayed on the high iron fence with the work of grown-up artists. They all sold.

EDUCATION:

1951–move to Massachusetts where the young artist completed highschool in 1956.

1957–Wentworth Institute, Boston, evening school, Applied Industrial Physics.

1957–1960-

Northeastern University, Boston, Civil and Structural Engineering, including an internship in the Engineering Department for the City of White Plains NY.

1962–Harvard School of Design

1963—1966–Boston Museum School, scholarship

STUDIOS:

By 1962 Ashworth maintained 2 studios in Boston: Harrison Ave and later Columbus Ave.

1967–Studio move to  Chickering Piano Building, Tremont St

1970 Studio–Berkley St. Boston

1970–1972 Studio–Kingfield ME.–studio sales/ private collections

1972–1974 Studio–Port Clyde ME., studio sales/private collections

1974–1987 Studio–Ipswich, MA. Central Street

1987–1991 Studio–Gloucester MA. St. Louis Ave–Painting, Architecture, Marine Design–studio sales

1991–2005 Studios–Rowley MA. Main St. Architecture, Marine Design, Ipswich MA. Cherry Island, Painting and Outdoor Kinetic Sclupture–, Skylines” and “Stix”

2006-2015  Studio–Newburyport, MA. Central Place. Painting, Architecture, Marine Design.–studio shows/sales

2015–Studio–Ipswich, MA. Cherry Island, Architecture, Painting, Kinetic Scupture

2016 to present  Studio in Ipswich, MA Essex St. Architecture, Painting, Marine Design, Interior and Exterior, Kinetic Sculpture

ONE-MAN EXHIBITIONS and GROUP SHOWS:

1968  Harkus Krakow Gallery, Newbury St. Boston

1968–Parker St Gallery Boston

1970- Thayer Academy, Braintree, MA., “Fan Paintings”

1969–Decordova   Museum, Lincoln, MA. Group show, Director acquired painting

1968–“Young New England Painters,” Ringling Museum, Sarasota, Florida

1969–Museum of Art , Portland, ME

1968 Currier Gallery, Manchester NH. exhibited a canvas 77″x 90″ 1968  [press review-“Ashworth’s are among the most satisfying works evoked by the subject of stripes since Morris Louis “

1969–“Color in Control”– Museum of Fine Arts, St. Petersberg, Florida

1969–Loch Haven Art Center, Orlando, Fla. “Tarwater” 72″x 72″

1971–1975 ATT Main Office Lobby, Tremont St. Boston

8ft x 18ft Painting-Untitled

Ipswich, MA. Cherry Island–Kinetic Sculpture—Exhibited Maudslay State Park, Newburyport, MA. “Skylines”–“Stix

Pingree School Hamilton, MA., “Stix”

His work was represented by the Harcus-Krakow Gallery, and the Tragos Gallery in Boston in the 1960s, and exhibited in museums including the Rose Art Museum at Brandeis University, and the De Cordova Museum in Lincoln, Mass.

Additionally, Ashworth is the principal of Ashworth Co, with over 30 years of experience in architectural planning, design, interior design, energy management, environmental consulting, and marine design to residential, commercial and marine projects.

His recent paintings are in acrylic and metal paints on wood panels, and will be the subject of a first one-man show in Los Angeles in 2017 in Los Angeles.

Carl Holty (American 1900-1973)

In 1926, after studying art in Milwaukee, Chicago and New York, Holty attended Hans Hofmann’s school in Munich and developed a special interest in Cubism.  His fascination with advanced painting was heightened in 1930, when he relocated to Paris and joined the revolutionary artist’s group, Abstraction-Création.  Returning to New York in 1935, Holty emerged as a major force in the modernist movement, promoting abstraction through his membership in American Abstract Artists.  He continued to maintain his connection with the Midwest by making periodic visits to Wisconsin, where he disseminated the precepts of modernism through lectures given in Milwaukee.

Born in Hangchow, China on April 4, 1911. Yuan began drawing and painting at a young age. Hangchow was the capital of China during the Southern Sung Dynasty. Rich in natural beauty it was known for centuries as a center for the arts. Yuan was the eldest of four children. After the birth of his sister, Yu Sun Shen, whom his parents favored, he was sent to live with his maternal grandparents 40 miles away in Kuchon.

Yuan performed well academically and displayed a talent for art at an early age. His family did not support his interests and wanted him to pursue a more traditional career. Despite their lack of support he was permitted to study at the Fine Arts Academy of the Central University in Nanking with Xu Beihong (also known as Péon Ju), one of China’s most prestigious artists who gave him extensive training in the French academic manner of painting. While Yuan’s studies had been primarily in the Western tradition he was also influenced by the delicacy and emphasis on line that was present in the Chinese paintings that surrounded him.

He studied for several years with Péon Ju at the Central University in Nanking. During the Sino-Japanese War and WWII he worked as an artist in the cultural department for the Nationalists and as a liaison interpreter for the U.S. Air Force. Shortly after Yuan graduated with a teaching credential, the Sino-Japanese War and World War II had broken out. In 1938 he moved to the new Chinese capital of Chungking and worked as an artist in the cultural department for the Nationalists, handling political propaganda, and as a liaison interpreter for the U.S. Air Force.

In 1947 when the war had ended Yuan moved to Shanghai and adopted the English name Wellington because he admired the Chinese diplomat, Wellington Koo, who was the current ambassador to the U.S. It was also in Shanghai where Yuan was introduced to his future wife, Jen-Chi, the sister of his friend Kai-Zhou Lu, a pilot with the Flying Tigers in the Chinese Air Force. He visited the household often and was commissioned by Jen-Chi’s father to paint her portrait. With the Communists taking control of the country, Yuan left China for Jamaica in 1949 where he was principal of a Chinese school. In 1950 he was granted a tourist visa to the United States, and in the following year he moved to San Francisco to work as a cook at the Fairmont Hotel.

In 1952 he visited the Monterey Peninsula and was offered a job at The Highlands Inn. He fell in love with the natural beauty of the area and decided to stay, and in 1953 obtained a better position–teaching Mandarin Chinese at the Defense Language Institute. He succeeded in persuading Jen-Chi to join him as his wife, and on May 23rd they were married at the Church of the Wayfarer in Carmel.  They settled in on the Monterey Peninsula w, making several trips abroad to Europe and Mexico were while maintaining a home and studio in Carmel.  Working in oil and watercolor, he produced still lifes, High Sierra snow scenes, European and Mexican scenes, harbor and beach scenes, and seascapes. His painting style submitted to occidental influence and varied from Impressionism to Abstractionism He is known to have used the pseudonym Zambini.

In 1954 their daughter Rae was born and they purchased a small home in Pacific Grove. In 1955,with his wife’s support Yuan resigned from the Defense Language Institute to paint full-time, and  opened a gallery on Alvarado St. in Monterey; he joined the Carmel Art Association. He signed his early Western paintings “Wellington Yuan” and exhibited widely in the U.S. winning many awards (an abstract painting he entered into the Monterey County Fair under the pseudonym “Zambini” won first prize!)

In 1958 their second child died of a congenital heart defect. Grief stricken, Yuan, unable to paint, put his energy into opening a gallery and restaurant on Cannery Row in Monterey called “Yuan’s.” Unfortunately, there was little demand for authentic Chinese food at the time, and the restaurant soon closed.

His first one-man show was held in 1958 at the Carmel Art Association and received great reviews. In the 1960s he continued to show frequently, opening two separate galleries in Carmel. In 1969 they opened another restaurant “The Merry Peach” at the mouth of the Carmel River. Mrs. Yuan ran the front end of the business, and S.C. Yuan did the cooking. The business supported the family and allowed Yuan to continue his travels.

Yuan was known for being temperamental and moody. He had difficulty dealing with galleries, and the general public. He would price his drawings and paintings erratically limiting sales.   By 1972 his marriage was suffering. To try to improve his marriage Yuan hired an architect to help build a new house, but he was bale to spend much of his time painting on the property while the house was being built, and he continued to exhibit. In 1974 the house was finished, but Jen-Chi refused to move into the house with him. This was very hard for him emotionally, and hee turned to his artists friends for support.  S. C. Yuan hung his last show at the Carmel Art Association on September 4, 1974, and the day after the opening  put a bullet through his head at age 63, the same age his father died. All the paintings from his final show were bought by Yuan’s friends, and fellow artists. He is remembered fondly as one of the most influential artists to paint in Monterey.Member: Carmel Art Association; Society of Western Artists.

Exhibited: Carmel Art Association, 1958, 1962, 1974, 1994; Monterey Peninsula Museum, 1968; Pacific Grove Art Center, 1972: Zantman Art Gallery, Carmel 1967; Laky Gallery, Carmel 1972; Galerie de Tours, Carmel; M.H. Memorial De Young Museum, San Francisco, 1961;

Awards: First prizes, Monterey County Fair, 1959, 1966, 1972; first prize, Monterey Peninsula Museum, 1967; Anna Elizabeth Klumple Memorial Award; City and County of San Francisco Trophy, for Best Exhibit in Traditional Art, Monterey County Fair 1966; Best in Show, Lodi Annual Competitive 1967; Finalist for the National Benedictine Art Award, The American Federation of Arts, Manufacturer’s Hanover Trust Gallery, NY 1968

–Edan Hughes, “Artists in California, 1786-1940” –Carmel Art Association “S.C. Yuan” 1994

HANS BURKHARDT

(SWISS-AMERICAN 1904-1994)

An extremely prolific artist, Hans Burkhardt remained relatively silent in the Los Angeles art world, choosing to let his artworks express his feelings and thoughts (although the artist often lamented the close knit circle he left in New York).  A forerunner of abstracted, expressionist painting, unusual amid the more conservative Los Angeles figurative painters in the late 1930s, Burkhardt based his experimentation on a solid artistic foundation. Following the advice of his mentor, Arshile Gorky, who had often directed the young artist, “painting is not more than drawing with paint,” Burkhardt created sketches in pencil, pastel, or ink before beginning a canvas.  As a result, his compositions exhibit a strong sense of structure and design, even in their abstraction.

In a 1974 interview for the Archives of American Art, the artist explained that for him paintings evolve out of emotions and ideas—a process not unlike the Surrealist’s conception of the genesis of creative thought. Objects become symbols (for example, two nails transformed into lovers under a moonlit sky.) The symbolic and expressive content of these motifs derives from the artist’s deeply felt humanism and compassion.

Born in 1904, in Basel, Switzerland, Burkhardt grew up in an orphanage. In 1924 he wrote to his father, who had immigrated to the U.S., and that same year joined him, finding work in the furniture factory where his father was employed. During the evenings Burkhardt studied art at Cooper Union. After a year there, in 1928 Burkhardt left to attend the new Grand Central School of Art where he met Arshile Gorky.  Gorky only had four pupils, one of whom was Willem de Kooning.  Burkhardt and his mentor formed a fast friendship; the two shared a studio in the mod 1930s for almost a decade.  To support himself during the lean Depression years, Burkhardt continued to work as a furniture finisher.  Burkhardt finally relocated to Southern California in 1937 where he worked for a defense plant during World War II, and for MGM studios.

Burkhardt focused on the war, creating numerous anti-war paintings dealing with the horror of the concentration camps.  Throughout his career, the artist decried the evils of war with paintings devoted to the Korean War, and the war in Vietnam, even as late as Desert Storm in the 1990s.  Missiles, bombs, bloodied bodies, and ravaged landscapes referenced “collateral damage.”  Burkhardt’s numerous anti-war paintings are among his most critically celebrated works. Eventually the artist’s outlook changed to a new optimism that engendered paintings visualizing the “dream of one world.”

Despite the lack of a cohesive artistic community in Southern California, he became involved with several community arts organizations in the state, also coming into contact with a group of transplanted surrealists that included Man Ray, Knud Merrild, and Eugene Berman who no doubt encouraged Burkhardt’s expressive sensibilities.

He began to gain commercial support with his first one-man exhibition in 1939 at the Stendahl Gallery in Los Angeles, an event followed by yearly solo shows at the Circle Gallery, Los Angeles from 1940-1945.  In 1945, the Los Angeles County Museum of Art gave him a purchase award .

Although Burkhardt never graduated from college, he was asked to teach art classes at California State University at Long Beach in 1958. From then on he had a significant impact on developing California artists, with regular teaching positions at University of Southern California, University of California Los Angeles, Otis College of Art and Design, and California State University at Northridge.

His work is in the collections of the Fine Arts Museum of San Francisco; the British Museum; the Corcoran Gallery of Art and the Hirshhorn Museum, Washington, D.C.; the Guggenheim Museum; the Kunstmuseum, Basel; the Los Angeles County Museum of Art; the Museum of Contemporary Art Los Angeles; and the Portland Museum of Art, Oregon.

Browne was born in Gloucester, Massachusetts 1871–died in Provincetown, 1946.   He studied in Boston at the Cowles Art School and the Museum of Fine Arts before completing his education under Jules Lefebvre and Tony Robert-Fleury in Paris. Browne founded the West End School of Art at his summer home in Provincetown in 1916 at the tip of Cape Cod far away from his studio in New York; it was a successful venture and included frequent tours to Europe.  The group was influenced by the French Impressionists and was among five schools in  Provincetown. Daisy Marguerite Hughes was among Browne’s most talented pupils.

Browne was very well regarded in France and was awarded Chevalier of the Legion of Honor. In 1919, he  was elected io the National Academy of Design as an Associate member, and as a full member in 1928.

Born to actress Fannie Brice and professional gambler Nick Arnstein, April 23, 1921, he spent his early years living with his mother and his sister Frances (later the wife of producer Ray Stark), while their father was in prison on a variety of charges stemming from a history of thefts, swindles and confidence schemes. Artists such as Clifford Odets and the Gershwin brothers were frequent visitors. His talent was recognized early, and even in childhood, he had the services of a private art tutor. Important influences included then-active artists Henri Matisse and Pablo Picasso, (one of whose works Brice acquired at the age of fourteen).

Their mother, pursuing a career in radio, moved them to Beverly Hills. There he attended the Chouinard Art Institute in Los Angeles (1937–39, 1940–42), as well as the Art Students League of New York in New York City (1939–40). His first solo show of paintings and drawings was presented at the Santa Barbara Museum of Art in 1947. The early work was figural and representational. A 1950 L.A. Times review of his solo exhibition at the Frank Perls Gallery (Beverly Hills) praises the still lifes “that stress the geometrical aspects of common objects.” Over time, he moved in the direction of greater abstraction, but rejected more progressive movements such as Abstract Expressionism and Action Painting. His work was characterized by expert draughtsmanship. He is particularly remembered for the “classic modernism” of his late work, in which masses reminiscent of ancient ruins figure prominently, inspired in part by an important trip to Greece in 1970.

From 1948 until 1952, he taught at the Jepson Art Institute in Los Angeles, and the following year began his long tenure at UCLA, continuing until his retirement in 1991, where he was a beloved teacher, and mentored generations of artists, for whom he “offered a connection to European Modernism.”

Brice’s work is part of the permanent collections of such major museums as the Los Angeles County Museum of Art, the Los Angeles Museum of Contemporary Art, the Art Institute of Chicago and the Whitney Museum of American Art in New York City.

Henner was from Alsace and received a solid academic training first at Altkirk, and then in Strasbourg before moving to Paris in 1846. There he studied with Drolling and later with Picot. He won the Prix de Rome in 1858, which allowed him to spend six years in Italy, where he perfected his painting of the nude and studied the Italian Masters who would most greatly influence his work: the Venetian painters Giorgione and Titian and, most particularly, the Paduan painter Correggio. From these Italian masters, Henner developed his approach to the nude, which figured so prominently in his oeuvre, and the strong chiaroscuro and the sfumato, or soft, misty effects that made his figures seem to approach from a mythical haze.

Henner made his debut at the Salon of 1863, where he won a third class medal. In 1864 he returned to Paris from Italy and moved into a house at 43, rue de Villiers, which, after his death, became the Musée Henner. He continued to exhibit at the Salon after his return and won medals In 1865 and 66, and was made a member of the Academy in 1889.

Henner’s work occupies a position that is both traditional and modern. He looked to the Venetian Old Masters, but equally admired Corot—indeed certain contemporaries called him “the Corot of the human figure.”[1] He was also on intimate terms with Gérôme, as well as Moreau, Manet and Degas. His female sitters and nudes can equally be compared to Prud’hon’s chaste figures and the erotic femme fatales of Moreau, Levy Dhurmer and the Symbolist Painters.

 

Bibliography:

D’Argencourt, Louise and Douglas Druick, eds. The Other Nineteenth Century: Paintings and Sculpture in the Collection of Mr. and Mrs. Joseph M. Tanenbaum, 1978, The National Gallery of Canada, Ottawa.

Zafran, Eric, French Salon Paintings from Southern Collections, exh. cat. 21 Jan – 3 Mar 1983, High Museum of Art, Atlanta, GA.

The Second Empire, Art in France under Napoleon III, exh. cat. 1 Oct – 26 Nov 1978, Philadelphia Museum of Art, Philadelphia, PA.

[1] D’Argencourt, Louise and Douglas Druick, eds., The Other Nineteenth Century: Paintings and Sculpture in the Collection of Mr. and Mrs. Joseph Tanenbaum, exh. cat. (Ottawa, National Gallery of Canada, 1978): p. 123.