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Périclès Pantazis

Greece (1849 -  1884 ) Wikipedia® : Périclès Pantazis
PANTAZIS Périclès L'enfant Au Chemin De Fer

Bonhams
Nov 15, 2017
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Variants on Artist's name :

Pantazis Periclès

 

Along with Périclès Pantazis, our clients also searched for the following authors:
Théodore Scaramanga Ralli, Nikoforos Lytras, Vassilios Chatzis, Vassilis Magiassis, Constantinos Volanakis, Michalis Economou, Angelos Panayotou
Artworks in Arcadja
110

Some works of Périclès Pantazis

Extracted between 110 works in the catalog of Arcadja
Périclès Pantazis - L'enfant Au Chemin De Fer

Périclès Pantazis - L'enfant Au Chemin De Fer

Original
Estimate:

Price:

Lot number: 9
Other WORKS AT AUCTION
Description:
Périclès Pantazis (Greek, 1849-1884) L'enfant au chemin de fer signed 'Pantazis' (lower right) oil on canvas 71 x 101 cm. Footnotes Provenance 12 May, 1885, Auction of the P. Pantazis Atelier, Salle Sainte-Gudule, 9 rue du Gentilhomme à Bruxelles (under the title L'enfant jouant). 1885, Léon Gauchez (1825-1907) collection. 3 May, 1924, Galerie Georges Giroux, n. 61 (under the title L'enfant au chemin de fer). 7 December, 1925, Galerie Georges Giroux, Auction of The Jean Renard collection, n.83, illustrated p.22 (under the title L'enfant au train). Private collection, Belgium, since 1925. Exhibited Literary and Artistic Circle of Brussels, 1879. Literature P. Colin, La peinture en Belgique depuis 1830, p.314, n. 302 (illustrated). (mentioned as L'enfant au chemin de fer, private collection) The sketch of this painting, belonging to the old collection P. Colin, is kept at the Sint-Niklaas Stedelijk Museum in Belgium. This pantings is also knows under the title Enfant jouant. It was in 1871, at the beginning of his career as a painter, that Pantazis executed his first painting with a child as subject. Since then he has continued to exploit this theme, endlessly varying the poses, the layouts and, above all, the lighting games, so that the motif of childhood and that of landscape represent the two major themes of his oeuvre. In a letter, dated 1874, from the artist to his friend and patron, the Greek merchant Economos, Pantazis expresses his interest in the mischievousness, intelligence and gentleness of children: "a fascinating subject," he writes, "which will never weary me never as a painter ". Pantazis attached great importance to L'enfant au chemin de fer. It is not a coincidence that in 1879, during his second solo exhibition at the "Cercle Artistique et Littéraire" in Brussels, he chose this work in the prime place of the seven paintings he exhibited. A solo exhibition at the Artistic Circle, during the lifetime of the artist, was a rare and prestigious honour. Pantazis' first solo show took place in 1878 and the second one in 1879. Aside from this Greek artist, only Courbet and Rodin, had the priviledge of exhibiting individually and on several occasions at the ceremonies of this Circle. It is following these solo exhibitions that Pantazis' oeuvre is first noticed by the most notorious art critics and his fame goes beyond the limited framework of Belgium. Paul Lefor, of the Gazette des Beaux-Arts, edited in Paris, for example, pronounced himself in favour of Pantazis by situating him in the tradition of Impressionist painters: "Mr Pantazis, who lives in Belgium, writes, and sometimes exhibits in Paris, follows the traditions dear to the Impressionists. "This is the first time that a Greek painter linked to Impressionism. J-K Huysmans, art critic, renowned for the accuracy of his remarks and the sharpness of his judgment and defender with Zola of the impressionist painters also makes the comparison on the occasion of the same exhibition. He writes: "Mr Pantazis should be among the French Impressionists. This one is a painter, audacious, sincere, a researcher ... .. ". L'enfant au chemin de fer was painted in 1879, when impressionism in France reached its maturity. Pantazis took a close interest in this: he liked Boudin, Manet and Monet, but did not forget Corot, Courbet and Artan. However, decomposing and flickering Impressionism was hardly tempting to him. He remains faithful to the coherence of natural structures and the continuity of forms and plans. In this painting, the plunging view notably strengthens and extends the pictorial space. The blows of the quivering brushes delineate the forms well and render with an expressiveness underlined by the face of the child, at once radiant and mischievous; absorbed by the game.This work exposes the true pleasure of a portrait artist, and never had he felt it more intensely or expressed it with more happiness than in this scene in which all of his most rare qualities are observed. Pantazis liked to take, according to contemporary sources, both quick sketches and more accomplished drawings. The museum of the city of Sint-Niklaas in Belgium has a beautiful sketch of L'enfant au chemin de fer in its collection. But definitely, this definitive painting is more advanced. He combined the inimitable care and freshness of the sketch with the care and attention of a painting executed calmly and methodically. It is the combination of these two strengths that the artist has been able to harmonize and in such a way to obtain small masterpieces. It is certainly for this same reason that in 1930 Paul Colin, in his major book Belgian Painting Since 1830, considers L'enfant au chemin de fer among the masterpieces of this period and confers on Pantazis, the same place as James Ensor, Theo Van Rysselberghe, or Félicien Rops. This piece was written in French by the art historian C. Economides.
Périclès Pantazis - Les Briseurs De Glace

Périclès Pantazis - Les Briseurs De Glace

Original
Estimate:

Price:

Gross Price
Lot number: 73
Other WORKS AT AUCTION
Description:
We are grateful to Stephanos Samaras for his assistance in the cataloguing of this work.

Provenance

François van Haelen; thence by descent to the present owner

Exhibited

Brussels, Cercle artistique et littéraire, 1935

Luxembourg, Tutesall, Le Fauvisme brabançon: la Collection François van Haelen, 1995

73

PROPERTY FROM A BELGIAN PRIVATE COLLECTION

Pericles Pantazis

GREEK

1849-84

LES BRISEURS DE GLACE

signed Pantazis lower left

oil on canvas

75 by 100.5cm., 29½ by 39½in.

GBP

Print

The canvas has been strip-lined along the four tacking edges. Ultraviolet light reveals a few small areas of retouching, notably: one circa 3 by 5cm (patched on the reverse) and another adjacent circa 3 by 4cm area in the lower right quadrant, a circa 2 by 4cm area of retouching in the figures' feet in the lower centre (also patched), and some small spots above the signature. The painting is overall in good condition. Held in a decorative gilt frame.
Périclès Pantazis - La Promenade Dans Les Champs

Périclès Pantazis - La Promenade Dans Les Champs

Original
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Gross Price
Lot number: 152
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Description:
LOT 152
PÉRICLÈS PANTAZIS

ATHÈNES 1849 - 1884 BRUXELLES, ECOLE GRECQUE
LA PROMENADE DANS LES CHAMPS

PERICLES PANTAZIS ; A STROLL IN THE FIELDS ; SIGNED LOWER LEFT ; OIL ON CANVAS

Signé en bas à gauche Pantazis
Huile sur toile
33,2 x 55,4 cm ; 13 x 21 ¾ in.
Périclès Pantazis - Fillette Au Chat

Périclès Pantazis - Fillette Au Chat

Original -
Estimate:

Price:

Lot number: 134
Other WORKS AT AUCTION
Description:
Pericles PANTAZIS

(1849 - 1884)

FILLETTE AU CHAT

Huile sur toile

signée en bas à gauche

"FILLETTE AU CHAT"; OIL ON CANVAS; SIGNED LOWER LEFT

h: 50 w: 40 cm

Provenance : Vente Galerie Georges Giroux, Bruxelles, 9 November 1933, lot 121

A l'actuel propriétaire par cessions successives

Bibliographie : Georgia Dracopoulou, Pericles Pantazis and the Belgian Painting of the 19th Century, Athens, 1982, p. 86, reproduit

Serge Goyens de Heusch, Olga Metzafou-Polyzou & Stephanos Samaras, Pericles Pantazis, Athens, 1994, p. 225, no. 305, reproduit


Périclès Pantazis - Landscape

Périclès Pantazis - Landscape

Original
Estimate:

Price:

Lot number: 20
Other WORKS AT AUCTION
Description:
Périclès Pantazis (Greek, 1849-1884)
Landscape
signed 'Pantazis' (lower right)
oil on canvas
61 x 130 cm.
PROVENANCE: Private collection, Athens. EXHIBITED: Athens, Zappeion Megaron, Panhellenic Art Exhibition 1948 , no 958. Metsovo, The Averoff Museum of Neohellenic Art September 7 - November 19 1996. Athens, National Gallery and A.Soutzos Museum, Pericles Pantazis 1849-1884 , November 25 1996 - January 31 1997, no.71. LITERATURE: S.Gayens de Heusch, O. Mentzafou-Polyzou, S. Samaras, Pericles Pantazis , Evangelos Averof-Tositsa Foundation, Athens 1994, p. 206, no 125 (illustrated). A monumental Pantazis, a tours-de-force of landscape painting and one of the largest pictures by the artist ever to appear in the art market, this exquisite work exemplifies the painter's vision of nature, allowing him to delve into its psyche and discover its deeper meaning without spoiling its virginal beauty.
As noted by art historian G. Drakopoulou, who wrote her doctoral dissertation on Pantazis, "the artist approached the natural environment having in mind the teachings of Corot but he simplified his palette to better capture the sense of fluidity of air that suffused his landscapes." Reviewing the artist's work in 1876, art critic Marc Very noted that "Pantazis is a faithful and sincere lover of nature, following it carefully step by step in all its manifestations, in all its transformations. And his work is never trite or repetitive."
Here, inspired by the breakthroughs of the Barbizon School, Pantazis departs from the sombre palette dictated by the strict tenets of institutionalised realism and ventures into a skilful handling of light contrasts and luminous atmospheric effects, capturing the vibrancy and power of the expansive landscape. (Compare Seine landscape, E. Koutlidis collection, Athens.) With its sensitive colouring, ease of design, dynamic palette-knife brushwork, deep sense for space and large-scale format, which clearly indicates the importance Pantazis attached to Landscape, this striking picture speaks of the promise and bright prospects of a restless and amazing artist, whose untimely death at the age of 35 deprived the younger generations of Greek artists of a chance to get acquainted at an early stage with the innovative trends emerging in Europe. The Belgians, who claim him as one of their own, rightfully consider him one of the founding fathers of the 19th century Flemish school, along such figures as Guillaume Vogels and James Ensor.
. See G. Drakopoulou, Pericles Pantazis in the Context of 19th Century Belgian Painting (doctorate dissertation) [in Greek], Athens 1982, pp. 94-95.
. M. Very, L' Artiste , Brussels, 12.3.1876.
. See F. Maret, Les Peintres Luministes , Cercle d'Art publ., Brussels 1994, p. 9.
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