User:Mistico Dois/sandbox

Category:Paintings by Jean-Hippolyte Flandrin

 * Propose renaming Category:Paintings by Jean-Hippolyte Flandrin to Category:Paintings by Hippolyte Flandrin
 * Nominator's rationale: This French painter is universally known mostly by this shorter form of his name, like can be seen in other languages Wikipedias, most museum websites and art history books. So I think the category should move back to the original form, which was correct.Mistico Dois (talk) 21:54, 18 January 2023 (UTC)

The Smith Family, Fife, Scotland 1989 is a color photograph taken by the German photographer Thomas Struth, in 1989. It depicts a Scottish family, comprised of eight members, in what appears to be their living room. It is part of a series that Struth dedicated to the depiction of families all over the world. It has a 10 prints edition.

History and description
Struth, after creating a large photographic series dedicated to the representation of city streets, across different countries and continents, decided to start a new series where he would portray groups of several family members. He usually would present them in their home environments.

In this case, he took aim to a Scottish family, who lived in Fife, Scotland, called the Smiths. The surname isn's of Scottish but of English origin and seems to indicate a conection to England. The family depicted has 8 members, of which six are seated and two are standing. The older couple seated at the left and center is, most likely, the parents, and the six youngsters, their children. The scene takes place in the corner of what it seems to be a living room. The elder couple is seated, and also one of the young men, to their right. One of the women sits behind and between her parents, another one is also seated, behind her father, while a man, with a moustache, sits at the third maple, at the right of his possible brother. One of the siblings stands, with his hands on his pockets, behind his mother, while his sister also stands, framed by the rooms door, with her hands behind her back. Her skirts tartan demonstrates her Scottish origin.

The scene was carefully staged by Struth, all the family members look directly to the camera, with serene, emotionless expressions.

Henri Fantin-Latour (14 January 1836 – 25 August 1904) was a French painter and lithographer best known for his flower paintings and group portraits of Parisian artists and writers.

Biography
Born in Grenoble, Isère, Ignace Henri Jean Théodore Fantin-Latour first had drawing lessons with his father Théodore Fantin-Latour (1805-1875), who was a painter. In 1850 he moved to Paris where he enrolled in the small Paris School of Drawing, where he studied with Louis-Alexandre Péron and Horace Lecoq de Boisbaudran, an innovative and non-traditional instructor who developed his own teaching method based on painting and drawing from memory.École des Beaux-Arts

He entered the École des Beaux-Arts, in Paris, in 1854, where he had for classmates, Edgar Degas, Alphonse Legros and Jean-Charles Cazin. After studying there, he spent long time copying the works of the old masters in the Musée du Louvre. Although Fantin-Latour befriended several of the young artists who would later be associated with Impressionism, including Whistler and Manet, his own work remained conservative in style.

In 1861, he briefly frequented the studio of Gustave Courbet. A painting from this period represents him with the painter and caricaturist Oulevay.

At the start of his career, between 1854 and 1861, he produced a large number of self-portraits in chalk, charcoal and oil. He had one of them refused at the Salon of 1859. He participated again with La Liseuse in 1861.

Whistler brought attention to Fantin in England, where his still-lifes sold so well that they were "practically unknown in France during his lifetime". In addition to his realistic paintings, Fantin-Latour created imaginative lithographs inspired by the music of some of the great classical composers. In 1876, Fantin-Latour attended a performance of the Ring cycle at Bayreuth, which he found particularly moving. He would later publish lithographs inspired by Richard Wagner in La revue wagnérienne, which helped solidify his reputation among Paris' avant-garde as an anti-naturalist painter.

In 1875, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife's family at Buré, Orne in Lower Normandy, where he died on 25 August 1904.

He was interred in the Cimetière du Montparnasse, Paris, France.

Christ Leaving the Praetorium is an oil on canvas painting by French artist Gustave Doré, created between 1867 and 1872. It was the largest of his religious paintings, with 609 by 914 cm, and the painting that he considered to be "the work of his life". The painting was a great success, since it was reproduced in engraving in 1877. Doré himself created other replicas. There are currently two other versions: one, significantly smaller, is on display in the Bob Jones University Picture Gallery in Greenville, the other, almost as large as the original, is kept in the Museum of Fine Arts from Nantes.

The original was acquired in 1988 by the Museum of Modern and Contemporary Art in Strasbourg, the painter's birthplace. It required a long restoration, carried out in public from 1998 to 2003, in the museum's huge Gustave Doré Room, where it is exposed.

The original painting and its replicas
The original painting, the most monumental of Doré's paintings, was created in the largest of his Parisian studios, a former gymnasium of 400 m2, located at 3 Rue Bayard, and rented since 1865. After its completion in April 1872, it was first exhibited at the Doré Gallery, in London, starting in May.

In 1873, the owners of his London gallery, James Fairless and George Lord Beeforth, commissioned him a replica. Not having obtaining a satisfaction, they reiterated their request two years later. Doré created a replica, of large but slightly smaller dimensions (482 by 722 cm), painted between 1876 and 1883. It is owned by the Nantes Museum of Fine Arts, which bought it in the United States, in 1984.

Doré informed by letter Fairless and Beeforth, on February 24, 1882, by letter, that six replicas were in the making. Of this, a third extant version, kept at Bob Jones University in Greenville, is significantly smaller than the previous two (148 by 223 cm).

History
Doré was disappointed to be seen mostly as an illustrator by the French critics, who often disregarded his painting. However they were appreciated abroad, particularly in England, where he successfully exhibited in 1867. The following year, he accepted the proposal of two London publishers, the art dealers James Fairless and George Lord Beeforth, to open a gallery at 35 New Bond Street in London, entirely dedicated to the permanent display of his paintings: the Doré Gallery.

The illustrations of his monumental Bible, published on December 1, 1865, to take advantage of Christmas sales, in all the capitals of Europe, gave him a reputation as religious painter. He created several more or less spectacular religious paintings that were intended for the Doré Gallery, which included this monumental Christ Leaving the Praetorium. He started working on it in 1867, and it would take him five years to complete it. The work was frequently interrupted by the making of several illustration works, and mostly by the siege of Paris at the French-Prussian War, and then the insurrection of the Paris Commune, during which he rolled up and buried his canvas. He only resumed his work on the painting in the beginning of 1872 and finished it in April.

The painting was finally sent to London in May 1872. After Doré's death, in 1883, the painting was part of a long traveling exhibition of the Doré Gallery in the United States, starting in 1892. It begun in the Carnegie Hall, in New York, and finished triumphantly in Chicago, in 1896. When the painting returned to London in 1898, after the death of the owners of the Doré Gallery, it was stored and forgotten.

Rediscovered in the 1960s, it was acquired by Oscar Kline, owner of the Central Picture Gallery in New York, before entering the collection of George Encil in 1984, who placed it on deposit in Vienna in the Votivkirche. In 1988, it was bought by the Museum of Modern and Contemporary Art, in Strasbourg, thanks to the Regional Fund for the Acquisition of Museums, and finally returned to France. Since its restoration, this masterpiece by Gustave Doré is exhibited in a room to its measure, vast and very high, with some of the painter works.

Self-Portrait with Skeleton is an oil on canvas painting by the German painter Lovis Corinth, from 1896. It is held in the Lenbachhaus, in Munich.

Description
The painting shows Corinth an the skeleton as the two protagonists, near each other, with the panorama of the city of Munich in the background, which can be seen through the wide studio window. The picture cuts off the bodies at chest height and therefore only shows upper bodies and heads. According to Charlotte Berend-Corinth 's catalog raisonné, the picture shows “Corinth in front of a large studio window, in a pale blue checked shirt. View of Munich in pink and purple.” [1]