L a - b e a u t é - s a u v e r a - l e - m o n d e ~ D o s t o ï e v s k i

L a - b e a u t é - s a u v e r a - l e - m o n d e  ~  D o s t o ï e v s k i

Friday, February 3, 2023

Toda la pintura rosa y azul - Flores Mexicanas, by Alfredo Ramos Martínez, 1915-29


Kept in the artist's studio and worked on sporadically for fourteen years, this very large - nine by twelve feet - and odd painting - both frilly and crude - was, in 1929, a wedding present from the president of Mexico to Charles and Anne Lindbergh; her father was then the United States ambassador to Mexico. The gift was probably not to the Lindberghs' taste, as they never hung it and only three years later presented it to the Missouri Historical Society in St. Louis, where it languished, forgotten, in a store room until 2014. With its display at the Dallas Art Museum in 2020, it had its first public showing in almost a century.


Three other "pink and blue" paintings by Ramos Martínez.

Damas en un paisaje, circa 1905.
La Fête champêtre, circa 1905.
Manolas en un paisaje, 1921.


Alfredo Ramos Martínez (12 November 1871, Monterrey - 8 November 1946, Los Angeles), Mexican painter, muralist, and educator, best known for his paintings of Mexican peasants and genre scenes; as the Nicaraguan poet Rubén Darío - a close friend of the artist - wrote, "Ramos Martínez is one of those who paints poems; he does not copy, he interprets; he understands how to express the sorrow of the fisherman and the melancholy of the village." The son of a successful merchant, from an early age he was recognized as having artistic talent. Visiting Mexico, the American philanthropist Phoebe Hearst became his first great patron, buying up his existing work and funding his travel to Paris for further study. He arrived in the French capital in 1900 and, aided by his fluent French, quickly became acquainted with the leading artistic and literary figures of the day. He went on to win a gold medal at the Salon d'Automne in 1906, but he returned to Mexico in 1910. In the midst of the Mexican Revolution, in 1913 he was named director of the National Academy; the next year he stepped down to devote his energies to his "Open Air Schools", but in 1920 was reinstated. He married in 1928. The couple's daughter, born the following year, suffered from a bone disease, and they first sought treatment for her at the Mayo Clinic, eventually settling in the milder climate of Los Angeles. There, his work proved very popular with collectors in the film industry. He also completed several important murals in the area - some of which have survived - before his unexpected death at the age of seventy-four.

Sunday, January 29, 2023

In the precision of light - selected paintings by Wilhelm Leibl

Dachauerin (girl from Dachau, 1879.
Kopf eines Bauernmädchens (head of a peasant girl), 1880.
Kopf eines Blinden (head of a blind man), circa 1866-67.
Kopf des Mädchens (head of a girl), 1897
Tierarzt Reindl in der Laube (the veterinarian Reindl in the arbor), circa 1890.
In Erwartung (in anticipation), 1898.
Zwei Köpfe - Die Wilderer (two heads - the poachers), circa 1882-86. Cropped by the artist himself from a much larger composition.
Kopf eines Bauernmädchens (head of a peasant girl), 1879.
Portrait of the doctor Friedrich Rauert, 1877.
Bauernjunge auf einem Stuhl sitzend (peasant boy sitting on a chair), circa 1864-65.
Portrait of the painter Carl Schuch, 1876.
Mädchen mit weißem Kopftuch (girl with white headscarf), circa 1876-77.
Bildnis einer alten Frau (portrait of an old woman), circa 1875.
Kleinkind mit weißem Kopftuch (toddler with a white headscarf), circa 1876.

Wilhelm Maria Hubertus Leibl (23 October 1844, Cologne - 4 December 1900, Würzburg), German realist painter of portraits and scenes of peasant life. The son of the director of the Cathedral choir, he was apprenticed to a locksmith before beginning his artistic training with a local painter; he entered the Munich Academy in 1864. In 1869, Gustave Courbet visited Munich to exhibit his work, making a considerable impression on the younger artist. Courbet suggested he visit Paris, where he was introduced to Édouard Manet, but was forced to return to Germany the following year, due to the outbreak of the Franco-Prussian War. In 1873 he left Munich for the Bavarian countryside, where he depicted the local peasants in unsentimental portraits and genre scenes. These are the paintings he is best remembered for, the work displaying a clarity of light and precision of drawing that draws comparisons with that of Hans Holbein the Younger and other of the Northern Renaissance painters.


Friday, January 27, 2023

Joe Santoro by George Platt Lynes, circa 1940s

This image courtesy of William O'Connor / Wessel + O'Connor Fine Art.

These photographs appear online with various attributed dates as far apart as 1938 and 1959, but it's safe to assume they were all taken at the same time; according to the records of the Kinsey Institute, 1949. I haven't been able to gather any information on the model, but he may have become a professional photographer himself.


A rather less discrete variation on the first image exists, but I was unable to find a larger image of it online.

Sunday, January 22, 2023

Randomly XXV

Red Hollyhocks, by John La Farge, 1863.
Unknown, from an album belonging to Mary Adelaide of Cambridge, Duchess of Teck, circa 1860.
The Ghost of a Flea, by William Blake, circa 1819-20.
Jeune femme lisant une lettre près du groupe de putti « lutte pour un coeur » de Falconet,  circle of Marguerite Gérard, circa 1790.
The artist Giovanni Boldini, by Federico Andreotti, circa 1870.
Jeune footballeur, by Ángel Zarraga, 1927.
Après la faute, by Jean Béraud, circa 1885-90.
Meiji period photograph of a man in a sedan chair with two attendants on their way to Nikkō in Tochigi Prefecture.
Selection of shells arranged on shelves, by Alexandre Isidore Leroy de Barde, 1810.
Sketch of a man in profile, by Rudolph Friedrich Wasmann, circa 1830.
Allegory of Sacred and Profane Love, by Michele Desubleo, circa 1665-75.
Nude study, by Valdemar Andersen, circa first quarter of the twentieth century.
Alexina Nesbit Sandford née Lindsay and Catherine Hepburne Lindsay, by Andrew Geddes, circa 1838.
L'Admiration !, by comte Olympe Aguado, circa 1860.
Pot de violettes et panier de fraises, by Léon Marie Benoît, 1910.
Jeune femme endormie (inscribed upper left: "Á Jacques et Valentine, paternellement..."), by André Devambez, ND.
Tsuguharu Foujita, by madame d’Ora, 1926.
 Enfant emmaillotté dans un berceau en forme de conque, French School, follower of Jean Nocret, circa 1700.
Golden Fish, by Henri Matisse, 1912.
Carte de visite of a Black Union soldier.
Mrs. Charles Hatchett, by Thomas Gainsborough, circa 1786.
Miss Catherine Tatton, by Thomas Gainsborough, 1786.
Stream behind the Barn - On the Stream Bank, by Ladislav Mednyánszky, circa 1873-1875.
French Market, New Orleans, by Pierre Fatumbi Verger, 1934.
A Banquet in the Ruins of a Temple, by Hubert Robert, 1795.
Tekemessa and Eurysakes, by John Henry Fuseli, circa 1800-10.
Saturday Evening Post cover, Halloween, by Frederic Stanley, 1921.
Two sisters, by Cornelis de Vos, circa 1610-15.
Crescentia, Countess Széchenyi, by Ferdinand Georg Waldmüller, 1828.
Apollo and Marsyas, by Hans Thoma, 1888.
Combat of Love and Chastity, by Gherardo del Fora, circa 1480-1500.
From the series “Jardines interiores", by Yuris Nórido Ruiz Cabrera, contemporary.
Nature morte aux bouteilles et aux livres, anonymous, circa 1530.
Ensemble by Maggy Rouff worn by Ann-Emily Lacey, by Egidio Scaioni, 1934.
Resting Acrobats, by Glyn Philpot, 1924.
Bouquet de pensées, Léon Bonvin, 1863.
The Cotillion, by Howard Chandler Christy, circa 1901.
In Brooklyn Navy Yard, by William Merritt Chase, 1887.
  Gerberas at Monbulk, by Jesse Dayan, contemporary.
Bildnis eines Malers in einem Pariser Atelier, by Ottilie Roederstein, 1887. 
Le Parc à Versailles, by Henri Martin, circa 1910-20.
I fidanzi - promessi (the engaged couple - vows), by Giuseppe Tominz, 1832.
Pins au clair de lune, by Thorolf Holmboe, 1902.
National Academy, Amsterdam, by Maria Austria, 1962.
A young Lady at her Toilet, by Willem van Mieris, circa 1681.
Self-portrait, by Bruno Schulz, 1933.