Mar 5, 2019
Artworks in Arcadja382
Some works of William Adolphe BouguereauExtracted between 382 works in the catalog of Arcadja
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WILLIAM-ADOLPHE BOUGUEREAU Diana. Pencil and white chalk on tan wove paper. 324x203 mm; 12 3/4x8 inches. Signed in ink, lower right right recto. Acquired Sotheby's, New York, July 16, 1992, sale 1403, lot 323, by the current owner. Bouguereau (1825-1905) was a French academic artist known for his his realistic genre and nude paintings. He showed artistic talent from a young age, and attended the École des Beaux-Arts in Paris, where he excelled at the Neo-classical, academic style that the Academy promoted. Bouguereu won the coveted Prix de Rome in 1850 at the age of 26; during his 3 year stay at the Villa Medici in Rome, where he studied Renaissance artists firsthand. He continued to gain honors at the Academy throughout his lifetime, achieving Life Member in 1876, and Commander Legion of Honor and Grand Medal of Honor in 1885. During an era where modernity was shifting artistic norms, Bouguereau was a staunch traditionalist whose realistic genre paintings and mythological scenes were modern interpretations of Classical subjects. He depicted a wide range of female figures throughout his career, including nymphs, goddesses, madonnas, shepherdesses, and bathers, in a manner that was very appealing to his upper class male patrons. Bouguereau typically executed detailed pencil studies and oil sketches in order to perfect his accurate renderings of the human figure.
Auction: Sotheby's -Feb 1, 2019 - New YorkLot number: 422
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PROPERTY FROM A PRIVATE NORTHEASTERN COLLECTION William Bouguereau FRENCH FILLETTE ET ENFANT William Bouguereau signedWm Bouguereau (lower right) pencil on paper 13 3/8 by 10 3/4 in. 34 by 27.3 cm Provenance Provenance Sale: Salle Rossini, Paris, November 14, 2013, lot 38, illustrated Acquired at the above sale Catalogue Note This drawing is a rarity in William Bouguereau\’s oeuvre, as it appears to be independent and unrelated to any of the artist's known paintings. Just as with his oils, Bouguereau's academic techniquehighlights the faces and hands of the two young siblings and is enhanced by the differentiation between their smooth skin and the thick cotton of their chemises.
Auction: Christie's -Oct 31, 2018 - New YorkLot number: 20
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William Adolphe Bouguereau (French, 1825-1905) Récolte de noisettes signed 'W-BOVGVEREAV' (lower right) oil on canvas 63 5/8 x 44 ¾ in. (161.6 x 113.7 cm.) Painted in 1883. Provenance The artist. Goupil et Cie., Paris, acquired directly from the above, 12 December 1883. with Letts, Sons, and Co., London, 9 January 1884, transferred from the above. with Goupil et Cie., Paris, 17 April 1884, returned from the above. Clara Jessup Bloomfield-Moore (1824-1899), London, acquired directly from the above, 30 April 1884. Her sale; Christie's, London, 5 May 1900, lot 8, as The Nut-Gatherers. with Arthur Tooth & Sons, London, acquired at the above sale. Half share of the painting sold to Boussod, Valadon & Cie., Paris, 15 May 1900. with Edward Brandus, New York and Paris, acquired directly from the above, 17 May 1900. William Keeney Bixby (1857-1931), St. Louis, likely acquired directly from the above. with M. Knoedler & Co., New York, acquired directly from the above, 13 December 1905. Judge Samuel Lathrop Bronson (1834-1917), New Haven, CT, acquired directly from the above, 16 February 1906. His sale, American Art Association, New York, 15 March 1907, lot 35, as The Nut Gatherers. with Holland Galleries, New York, acquired at the above sale. James 'Diamond Jim' Buchanan Brady (1856-1917), acquired directly from the above. His sale; American Art Association, New York, 14 January 1918, lot 73, as The Nut Gatherers. Miss E. Fitzgibbon, acquired at the above sale. Anonymous sale; American Art Association, New York, 16 February 1922, lot 64, as The Nut Gatherers. William Randolph Hearst, Sr. (1863-1951), New York and San Simeon, CA, acquired at the above sale. His sale; Parke-Bernet Galleries, New York, 5 January 1939, lot 37, as The Nut Gatherers. Andrew Stone, Brentwood, California. Allan Levinson, United States. with Borghi & Co., New York, 1984. Acquired from the above by the present owner.
Auction: Sotheby's -May 22, 2018 - New YorkLot number: 6
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FRENCH LES QUATRE SAISONS: LE PRINTEMPS, L'ÉTÉ, L'AUTOMNE, L'HIVER William Bouguereau 1825-1905 oil on canvas each, 72 7/8 by 35 3/8 in. 185 by 90 cm Provenance Monlun Family Collection, Angoulins, France (commissioned directly from the artist, 1854) Élisa Monlun, Ain, France(by descent from the above, her parents) Thence by descent Literature Charles Vendryès,Dictionnaire illustré des Beaux-Arts, Paris, 1885, p. 9 Marius Vachon,W. Bouguereau, Paris, 1900, p. 146 Mark Steven Walker, \“William-Adolphe Bouguereau: A Summary Catalogue of the Paintings,\”William-Adolphe Bouguereau, L\’Art Pompier,exh. cat., Borghi & Co., New York, 1991, p. 64 Fronia Wissman,Bouguereau, San Francisco, 1996, p. 23 Damien Bartoli and Frederick C. Ross,William Bouguereau, his life and works,New York, 2010, p. 115-6, illustrated pls. 27-30; and in the revised 2014 edition, p. 115-6, illustrated pls. 27-30 Damien Bartoli and Frederick C.Ross,William Bouguereau, Catalogue Raisonné of his Painted Work,New York, 2010, p. 34-5, no. 1854/12 A-D, illustrated; and in the revised 2014 edition, p. 34-5, no. 1854/12 A-D, illustrated Catalogue Note Before asserting himself as the most influential champion of French Academic painting, William Bouguereau demonstrated a deep reverence for Classicism and the Antique, drawing inspiration from the frescoes of Pompeii and the Herculaneum as much as he had from Jacques-Louis David and Jean-Auguste-Dominique Ingres. His monumental suite of paintings,Lesquatresaisons, is evidence of this, and among the very few of his early commissions to remain in private hands, having been passed down through generations of the same family for more than 150 years. Bouguereau was a precocious talent and showed enormous promisefrom his early childhood in La Rochelle. At the age of twelve he was sent to live with his uncle Eugènefrom whom he earned an appreciation of art and religion. He moved to Pons in 1839 tostudy the priesthood at a Catholic college, where he also had the chance totrain inpainting and drawing under Louis Sage, who had studied under Ingres. Young Bouguereau returned to his family in 1841, who were now living in Bordeaux, and after registering in the local art school was quickly recognized as a star pupil among his fellow aspiring artists. Enterprising and ambitious, heresolved toattendthe Académie Julienandat the age of twenty he sold portraits, thirty three in all,to fund his moveto Paris where joined the studio of François-Édouard Picot andhoned hisskills of Academic painting. 1850 marked a dramatic turning point for the intrepid artist, when he was awarded the coveted Prix de Rome, affording him three years at the Villa Medici. There he continued formal lessonsand, perhapsmore importantly, was granted first hand access to the works of the Renaissance masters, as well as Classical antiquities from the Greek and Etruscan eras. Bouguereau also took an interest in Classical literature, and this exposure would influence his artistic production, both technically and conceptually, for the rest of his career. After three years in Italy, Bouguereau returned to France eager to find work to pay his debts and help his family. Before his departure he had firmly established his reputationby exhibitingEgalité devant la mort(1848, Musée d\’Orsay, Paris) and his Neo-Classical masterpiece,Dante et Virgile(1850, Musée d\’Orsay, Paris) at the ParisSalon. This success was followed by one of his first major commissions which came from his cousin, Jeanne Louise Seignette, who had married the wealthy banker and arts patron, Paul Monlun, in La Rochelle. Les quatresaisonswas produced for their music pavilion, a freestanding octagon-shaped beaux-arts gazebo attheir summer residence in nearby Angoulins (fig. 1).They also commissioned a series of four large encaustic murals, representing the times of day (Private Collection, France) and a portrait of Jeanne Louiseand her6-year-olddaughter, Elisa (fig. 2, Private Collection, France). Her daughterwould eventually inheritLes quatre saisonsas a part of her dowry when she married alieutenantdragoon returning from the war in Prussia, and moved to Ain, far from La Rochelle on the Swiss border, in1871. Les quatre saisonsareBouguereau\’searliest recorded gold ground decorations. Typically reserved for sacred subjects and devotional pieces, Bouguereauwasconscious of the warm glittering effect that gold leaf would have amidst residential gas lighting (it is worth noting that the artist would continue to adapt sacred motifs to elevate secular subjects for the next fifty years, see lot 25).Bouguereau prepared his canvases with a thick coat of gesso, made up of gypsum and glue, in order to prepare a smooth surface. Onto this he would applyan earth toned medium called "bol"lending thegildedsurfacea warm glow. Once the gold was smoothly applied, he stenciled an elaborate geometric pattern across all of the canvases\’ backgrounds, emulating a richly embroidered textile or tile mosaic. Les quatre saisons' radiance must have prompted other grand commissions, including decorations for the home of Anatole Bartholini, Rue de Verneuil, Paris (1855-56, three of which are now displayed in theresidence of the American Ambassador in Paris) and the extensive murals in the Émile Pereire house,35 rue du Faubourg Saint Honoré, Paris(1857-58, now the British Embassy, the decorations having joined various private collections). Bouguereau decorated two rooms for Pereire (and Alexandre Cabanel a third), repeating the convention of the four seasons on gold grounds seen in the present work. Upon seeing these, the contemporary critic, Clément de Ris, observed: Bouguereau has a natural instinct and knowledge of contour. The eurythmie of the human body preoccupies him, and in recalling the happy results which, in this genre, the ancients and artists of the sixteenth century arrived at, one can only congratulate M. Bouguereau in attempting to follow in their footsteps… Raphael was inspired by the ancients when he drew the design in his room [reference to the Stanze in the Vatican], and no one accused him of not being original. In the same way, in taking Raphael as a point of departure, M. Bouguereau shows that modern sentiment could accommodate itself to an ancient form (as quoted in Wissman, p. 24-25). De Ris could easily have been describing the Monlun\’s Quatre saisons, for while their individual arrangement is wholly original, Bouguereau draws inspiration from the Antique. He was eager to employ the education and exposure that he had received abroad, and hovering figures, scantily clad in flowing robes, were a consistent element in Roman wall painting. However, it is the drawings he made while traveling throughout Italy that would have inspired the symbolism and specific configurations of each figure. The allegory ofL'été (Summer), carrying the bountiful harvest of golden wheat, is likely derived from the comparable Roman sculpture in the Uffizi (fig. 3); the riotous maenad of L'automne (Autumn), seen in profile wielding a thyrsus, refer to ancient classical reliefs (fig. 4), with fluttering legs and leopard skin lifted from ancient representations of dancing satyrs; the tightly wrapped face of L'hiver (Winter) might have been borrowed from the mosaic tile pavements in the Bignor Roman Villa (fig. 5, now in West Sussex, United Kingdom), showing the four seasons personified as female busts; and with one arm dramatically raised and other holding her robe,Le printemps (Spring)combines two ancient Greek statue types, the Aphrodite Pontia-Euploia and Aphrodite Fréjus (fig. 6) Bouguereau continued to win important public and private commissions throughout his long career, and Lesquatresaisons, the earliest examples, provide rare insight into the foundation of his artistic vision and ongoing quest to create extraordinary objects of beauty.
Auction: Christie's -Apr 18, 2018 - New YorkLot number: 23
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William Adolphe Bouguereau (French, 1825-1905) Admiration maternelle - le bain signed and dated 'W-BOVGVEREAV-1869' (upper center, below the molding on the hearth) oil on canvas 51 1/8 x 39 ¼ in. (129.9 x 99.7 cm.) Provenance J. Wolfe (probably John Wolfe (1821-1894), New York). M. Knoedler & Co., New York, acquired directly from the above, 29 May 1877, as Maternal Affection. George Small (1825-1891), Baltimore, acquired directly from the above, 29 May 1879. Mary Jackson Small, his wife, by descent. Samuel Small, York, PA, her brother-in-law, by descent, by 1903. George Small Schmidt, Sr., York, PA, by descent, by 1928. George Small Schmidt, Jr., York, PA, by descent, by 1940. Josephine F. Schmidt, York, PA, by descent from the above. Her estate sale; Sotheby's, New York, 29 February 1984, lot 70. with Borghi & Co., New York. Acquired directly from the above by the present owner. Literature E. Strahan, The art treasures of America being the choicest works of art in the public and private collections of North America, vol. III, Philadelphia, 1880, p. 78, as Maternal Admiration. (possibly) M. Vachon, W. Bouguereau, Paris, 1900, p. 149 (Bouguereau painted another work also entitled Admiration maternelle in 1869 and it is unclear to which of these two works Vachon refers). D. Bartoli and F. Ross, William Bouguereau: Catalogue Raisonné of his Painted Work, New York, 2010, pp. 124-125, no. 1869/23, illustrated. 'M. Bouguereau is a true artist, one of the most accomplished in Paris.' -Edmond About, 1866 Beginning in 1865, Bouguereau became interested in themes of mothers and children and he began a series of paintings devoted to this subject matter. These classically-informed images were greatly influenced by his travels throughout Italy in the 1850s. Trekking from Naples all the way to Venice over a two year period, Bouguereau was frequently confronted by religious imagery, and he was particularly impressed with the works of Raphael. These images of mothers and children may have been further reinforced by the birth of the artist\’s fourth child in 1868, a son named Adolphe Paul. It was also in this year that the artist moved his family into the house on rue Notre-Dame-des-Champs, with its large studio on the top floor of the house. Admiration maternelle – le bain, most likely painted in the artist\’s studio in 1869, depicts a young Roman mother holding her naked baby on her lap. The baby clasps an orange before him, while his older sister looks on adoringly, her hands folded together as if in prayer. These three figures, clearly a secularized interpretation of a Holy Family or Madonna and Child with St. John, are bathed in a clear warm light which illuminates the freshly washed hair of the baby, creating a halo around his head and enhancing the association with the Christ Child. The bowl and washcloth occupy the immediate center of the composition, bringing to mind the chalice and cloth of the Liturgy of the Eucharist. The room behind the figural group is softened by the shadows of the recesses of the interior, thereby heightening the importance of the figural group. There is a photograph in the Goupil Museum in Bordeaux and in Bouguereau\’s own collection of what appears to be this work (Ross and Bartoli, 1869/02) without the linen towel and basin, a different bench and a slightly different background. It is possible that the initial purchaser of the painting asked for the changes to be made, as was the case with La Bohémienne, which also had two different backgrounds. Admiration maternelle was in the collection of George Small of Baltimore by 1879, and remained in the Small family until 1984. George Small was the President of the Ashland Iron Company and a director of the Northern Central Railroad and the Baltimore and Potomac Railroad. He amassed a fortune, but he and his wife had no children, so the painting passed to his brother\’s family upon his death in 1891.