Portraits " à la fenêtre "

C'est bien joli ce petit dessin de Rosine du XIXème siècle

Présentées prochainement en vente aux enchères...

Deux scènes de balcons : La joyeuse troupe au théâtre et Les trois lanceuses de bouquets
Edouard PINGRET Saint-Quentin,1785 - Paris,1869
Paire d'huiles sur toiles (Toiles d'origine)
Signées 'Pingret' en bas à droite pour l'une et en bas à gauche pour la seconde
Une ancienne étiquette numérotée '22300' au verso Toile de la maison 'Au Génie des arts, Regnier' pour l'une






* Source et infos complémentaires : Artcurial - Vente Maîtres anciens & du XIXe  siècle, 9 juin 2021

Ces deux petits tableaux sont magnifiques

... merveilleux !

Mme de Sabran a écrit:.

A Anonnay, Ardèche,  les frères Montgolfier sont chacun à une fenêtre :  trompe-l'oeil  du XXème siècle !  :
...   mais je ne résiste pas au plaisir ...    

Je viens de voir ce mur peint. C'est magnifique
C'est mille fois mieux que les graffiti !

Nous avons connu plus gai, mais bon, voici un très beau portrait de...mariage (oui, oui ! ) :

Ferdinand Bol (Dordrecht 1616 - 1680 Amsterdam)
Portrait of a lady at a casement
signed and dated 'F Bol 1652.' (upper right)
oil on canvas
43 1/8 x 35 in. (109.6 x 88.9 cm.)


Lot Essay :

Renowned as one of Rembrandt’s most talented protégés, Ferdinand Bol transformed the landscape of portrait painting in Amsterdam in the mid-seventeenth century, emerging as one of the leading portraitists of the Dutch Golden Age.


By the date of this picture in 1652, Bol was at his peak and in great demand with Amsterdam’s wealthy clientele. Portraits of figures behind trompe l’oeil windowsills became one of his specialities, defying the obsequiousness demanded of traditional portraiture to represent his patrons with greater artistic freedom. He developed a style that was both meticulous and at ease, breaking away from the Rembrandtesque manner that dominated his early work.

Bol left Rembrandt’s studio in around 1640 to begin his independent career in Amsterdam, but not before sharing in his master’s newly found fascination with trompe l’oeil devices. Rembrandt’s early trompe l’oeils clearly had a long-lasting impact on Bol, such as his Portraits of Agatha Bas and Nicolaes van Bambeeck of 1641 (London, Royal Collection; and Brussels, Koninklijk Musea voor Schone Künsten, respectively), and Girl in a Picture Frame of the same year (Warsaw, Royal Castle).

Girl in a Picture Frame
Rembrandt
Oil on panel, 1641
Height: 105.5 cm (41.5 in) - Width: 76 cm (29.9 in)
Image :  Warsaw, Royal Castle / Commons Wikimedia

Painted over a decade later, the present painting still shows echoes of their influence in the illusory wooden frame over which the windowsill and pillow extend; in the gesture of the sitter’s fan as it projects beyond the pictorial plane; and in her direct gaze as she looks out towards an implied beholder. Each element is illuminated with a radiant light from the upper left, casting shadows to suggest the behaviour of light. The large stone niche in which the sitter is staged both extends and recedes outside of the picture plane, crossing the boundary between representation and reality to create a glimpse of the original setting in which the picture may have once hung.

Painted as a marriage portrait, this picture became separated from its pendant, now the Museum of Fine Arts in Leipzig, before 1836, at which time their relationship fell into obscurity, only to be re-established by Albert Blankert in his 1982 catalogue raisonné on the artist’s works.


Portrait of a man
Ferdinand Bol
Leipzig, Museum of Fine Arts
Image : Pinterest

While the identities of the sitters are not known, their lavish attire and marked self-assurance suggest that they were of high social standing, whose manners evidently veered towards the unconventional.
With a frontal pose, this sitter does not dutifully turn towards the pendant of her husband, as one would expect from marital portraits of the period. Yet through their complementing projections beyond the illusionary frames that surround them, husband and wife are connected in a dialogue, evoking the domestic setting that they would have once shared.

* Source et infos complémentaires : Christie's Londres - Vente du 8 juillet 2021

La nuit, la neige a écrit:
Nous avons connu plus gai, mais bon, voici un très beau portrait de...mariage (oui, oui ! ) :

En effet , glups !  Voilà qui n'encourage pas à convoler...
Et puis, quelle austérité dans le costume, la coiffure :  toilette quasi-monacale peu faite pour émoustiller le jeune époux !