Friday, January 24, 2014

Who painted this? #58

A little bit different this week - it's a picture of people looking at paintings.....

Plus - a clue - there's another difference too.

Who painted this? #58

How to participate in "Who painted this? #58"

PLEASE make sure you read the rules before posting a comment - and ONLY POST ON THIS BLOG what you think is the answer.

Click this link to read THE RULES for participating in this challenge (this saves having to copy them out for each post!).

In short:
  • use your brains not software to find the answer - search using words only on a database of images 
  • leave your answer as a comment on this blog - do not leave the answer on Facebook! 
  • if correct it will not be published until the next post - which provides the answer 
  • if wrong it will be published 
  • the winner - who gets a mention and a link on/from this blog - is NOT THIS WEEK the first person to give me a completely correct answer for ALL the things I want to know. It's the person who does all this AND provides the BEST answer (see above)

Who Painted This #57 - The Answer

Who painted this? #57
Wild Strawberries in a Wan Li Bowl
Adriaen Coorte 
Title of the artwork: Wild Strawberries in a Wan Li Bowl
Name of the artist who created this artwork: Adriaen Coorte (1665-1707/10) Exact Places and dates of birth and death unknown. Working in Middleburg c. 1685 - c.1707
Date it was created: 1704
Media used:

  • Oil on paper, mounted on wood 
  • Panel: 11 5/8 x 8 7/8 in. (29.53 x 22.54 cm); 
  • Framed: 18 3/4 x 16 x 2 in. (47.63 x 40.64 x 5.08 cm)

Where it lives now: Los Angeles County Museum of Art. It's currently on public view in the Ahmanson Building, floor 3

Here are some websites which provide further information about and images by Adriaen Coorte

Who guessed correct?

Who painted this #57? - a number of people got this - although I actually thought it was far from easy.
Bernadette excelled at finding information about an artist about which relatively little is known and consequently wins "Best Answer of the Week.


Marie said...

Challenge 58

Title: Christie's Auction House. ( Plate 6 in The Microcosm of London ) 1808
Medium: Hand- coloured aquatint on paper ( bound in a book )
Size: 10 x12 centimeters
Artist: Thomas Rowlandson and Augustus Charles Pugin ( drawn and engraved)
Aquatint: John Bluck
Place: From the Collection Yale Center for British Art, Paul Mellon Collection

A few months ago I attended a lecture about the satirical arts of the 18 th Century given by Mike Rendell for the Art History Group of U3a in Moraira, Spain. He didn't focus on Hogarth but the lesser known artists such as Thelwall , Gilray and Rowlandson etc. I have a good memory for images so I recognized the style of Image 58 as possibly being Thewall's. Rowlandson usually did more erotic images, so I didn't consider him at first. After Googling 18th Century Prints ( it didn't look like a painting ) and many different artists and sites, I found Rowlandson's image in the online British Library.

Rowlandson (1756-1827) did caricatures at school for his friends. He attended the Royal Academy of London and later studied drawing in an Academy in Paris.
He inherited money from an aunt but squandered it. Experiencing poverty, he may have looked at the example of Gilray, a successful caricaturist of that time, as a way of making a living.
Pugin (1762-1827) was born in Paris, had a Swiss father, left in the Revolution and lived in England most of his life. He attended the Royal Academy and became an Architect and artist. He worked with John Nash but later gave up architecture. He worked on 'The Microcosm of London' series of prints with Rowlandson.

In 1733 John Christie turned his auction house into a venue for artists, collectors, dealers and the fashionable society of the day. It was a place to go to be observed and to observe, both people and art.' Rowlandson's depiction of an art sale shows a blurring of spectacle and spectator' ( Romantic Circles Gallery). Christie was friendly with Thomas Gainsborough and Sir Joshua Reynolds and many good business deals were done at his auction house including the 1778 sale of Sir Robert Walpole's collection to Catherine the Great. Ordinary people also had a chance to see art that would have otherwise been in a private collection.

Being an engraving, there must be other 'Christie's Auction House' prints but I do not know where they are or how many were in the edition.
It was unusual to have a print instead of a painting and two artists instead of one so it kept us busy! said...

Artists Thomas Rowlandson and Augustus Charles Pugin, aquatint by John Bluck
Title Christies Auction Room c1808
Medium Hand coloured aquatint on paper, made for the “Microcosm of London”
Where it is… Many public & private collections
How I found it…I thought it was by either Gilray or Rowlandson, so Googled them

There are a number of people involved in the making of this piece, THOMAS ROWLANDSON was born in London in 1756, he showed a talent for drawing at an early age, studied at the Royal Academy Schools from 1772 until 1778 , while still a student exhibited at the RA (in 1775 ) and won a silver medal (in 1777).Satire ,in both words and pictures , has long been used as a way of showing up deficiencies in government…as it still is today . Rowlandson was very good at caricatures . His drawings are mainly done in ink with watercolour , his barbs cloaked in humour .His work was popular and he made a good living. Unfortunately he was an inveterate gambler , when he inherited a large sum of money from an Aunt, he spent most of it in a year, in the gambling dens of Europe; he then had to produce more and more work to pay his creditors. Luckily for his finances he met Rudolph Ackermann.
AUGUSTUS CHARLES PUGIN was born a little later, in 1767/8. Working as a draughtsman for architect John Nash he became interested in Gothic architecture, an influence he passed on to his son, the architect AW Pugin. He enrolled in the Academy Schools in 1792 where he was encouraged by one of his tutors, Thomas Sandby, not to see a building in isolation but to use perspective and scale to give it its place in the world. Like Rowlandson he excelled in ink and watercolour drawing. His wife CATHERINE PUGIN is the next person in the jigsaw. It was her idea to take the next step, to add a human side to the folders of topographical prints that were all the rage. Pugin sent Ackermann the idea in draught form( thought to have been written by his wife,) the scene would show…. “equally the `animate` scenery,` the modes and customs of streets thronged by men and women.. hurrying to and fro in the pursuit of pleasure, the concerns of business or toiling in the meaner occupations of life” RUDOLPH ACKERMANN, was born in Saxony in 1764, his father was an architect but Rudolph trained as a saddler and coach builder. He moved to London in 1795, built up a good business as a coach maker . While still continuing in the `day job`,he established what eventually became the Repository of Arts in 101 The Strand and the magazine of the same name. (The Ackermann company continued trading in one form or another until the 1990s) The `Microcosm of London` was the first major colour plate book Ackermann published. It was printed in monthly parts, each issue cost 7 shillings and included 4 colour plates. The complete edition was a bound folio of 3 volumes including over 30 full page coloured aquatints. This type of book was very popular and would be handed around for viewing at social events, rather like the slide shows of the 1960s and computer images of today….they showed cities and landscapes to those who might never see the real thing and also acted as a kind of superior holiday snap for those who had. The other people involved were John Bluck who did the aquatints and William Henry Pyne , who did the text.
“Christies Auction Room c 1808” shows the “Great Rooms” of the auction house ( founded in 1766). The auctioneer is drumming up business for a painting of a reclining nude displayed on an easel. A group of men, just under the easel, are looking closely up at the picture , others are chatting to each other and a young man is warming himself at the open fire. This aquatint and all the others in the `Microcosm...` are a great record of how people looked and behaved in Early 19th century London.The picture is alive….it could be Christie`s today
There is an exhibition of Thomas Rowlandson`s work on in the Queen`s Gallery, Palace of Holyroodhouse, until March 14th

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