Null UNKNOWN ARTIST

Compositions

5 graphics, unsigned

…

Description

UNKNOWN ARTIST Compositions 5 graphics, unsigned Paper size: 72.5 x 50.8 cm each

542

UNKNOWN ARTIST Compositions 5 graphics, unsigned Paper size: 72.5 x 50.8 cm each

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Estim. 40 - 60 CHF

Tomanova, Emilie

Estim. 6 000 - 8 000 CHF

Anne-Louis Girodet de Roussy-Trioson Montargis 1767 - 1824 Paris Study sheet for the important painting: Révolte du Caire, 21 Octobre 1798 (1810) Charcoal and chalk on paper, mounted 43 x 50 cm, with cardboard 57 x 63.8 cm Signed & dated 1809 lower left Château du Versailles, MV 1497 Anne-Louis Girodet de Roussy-Trioson was an important Neoclassical painter known for his meticulous attention to detail and his ability to convey dramatic emotion. He trained under the famous artist Jacques-Louis David and quickly gained recognition for his distinctive style, which combined classical ideals with a romantic flair. Girodet's works often included historical and mythological themes, and he was celebrated for his technical skill and innovative compositions. One of Girodet's most important works is ‘Révolte du Caire, 21 October 1798’, an epic painting commemorating the French suppression of an uprising in Cairo during Napoleon's Egyptian campaign (Château du Versailles, MV 1497). More than ten years after this uprising, Girodet was commissioned by Napoleon to depict this episode. Bonaparte wanted to organise the country and, among other things, set up a council of local people to better distribute the land tax. However, this led to an uprising by the inhabitants of Cairo a few months later. The French therefore armed themselves and marched against the rebels. Shown here is the moment in the midst of the tumultuous battle when the French, who had entered the Al-Azhar Mosque, clashed with the rebels. Several hundred French soldiers and several thousand Egyptians lost their lives in this battle. A preparatory study for this monumental work, executed in charcoal and chalk on paper and signed and dated 1809 (one year before the completion of the larger work in 1810), focuses on two of the central figures of this larger composition and captures a moment of intense drama and action. It shows the Moorish slave-servant, a dark-skinned, naked male figure, in a dynamic, diagonal pose, his right hand raised and brandishing a curved sabre in a defensive gesture. The man appears powerful and determined, his muscular body exposed as another figure grabs his coat. His wide eyes and focussed expression convey a sense of urgency and alertness as he looks to his left, where an unknown figure poses a threat. With his left arm, the man holds the unconscious figure of the wounded Mamluk-Bey, an elite member of the Egyptian military class, dressed in luxurious clothes with fur, turban and dagger. The posture and clothing of the unconscious man stand in stark contrast to the attentive and defensive stance of his rescuer and emphasise the tension and chaos of the moment, accentuated by the pyramidal staging of the group of figures. In the original painting, this central group of figures is positioned on the far right, with a French hussar rushing towards them with a sword, further emphasising the scene's overall impression of conflict and urgency. Girodet's preparatory study not only demonstrates his ability to capture human anatomy and emotion, but also provides captivating insights into his meticulous process of planning and composing his larger works. It is known that Girodet was fascinated by costume studies and made numerous studies for this commission, for which he had no documentary materials available, more than for any other commission in his career. This bozzetto is a testament to Girodet's talent for conveying narrative intensity and physical dynamism through his masterful use of charcoal and chalk. The carefully hatched surfaces of the garments are comparable to the charging hussar in another study of the same painting (MET 2011.86). What is remarkable about this study, however, are the white accents that Girodet uses to lend texture and depth to the depiction. It is reported by contemporaries that he painted the painting at night by the light of lamps. The dramatic chiaroscuro effects are expressed in highlights that emphasise the muscles of the struggling figure and add a touch of realism and extravagance to the fabrics of the fainting man's clothing.

Estim. 3 500 - 4 000 CHF

JUAN PABLO SALINAS TERUEL (Madrid, 1871 - Rome, 1946). "Orientalist scene". Watercolor on paper. Presents label on the back of the D'Arte Gallery, Italy. Signed and located (Rome) in the lower left corner. Measurements. 68 x 39 cm; 93 x 65 cm (frame). In this work realized in Rome, the author presents a scene of great crudeness when portraying a man restrained by chains. Both his turban and his clothes take us to the oriental world. A trend that was born in the 19th century as a consequence of the romantic spirit of escape in time and space. The first orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the beginning to failure. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimeter, but ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new orientalist school leaves behind the beautiful odalisques, the harems and the slave markets to paint nothing but what they see, the real Orient in all its daily dimension. Juan Pablo Salinas began his artistic training at the Academy of Fine Arts of San Fernando, in Madrid, although his time in the classrooms was probably ephemeral. He began to make himself known in 1885, the year in which he participated in the exhibition organized by the Association of Writers and Artists and in the Aragonese Exhibition, being awarded a third class medal in both. Around 1886 he moved to Rome to further his studies thanks to a scholarship granted by the Diputación Provincial de Zaragoza. There he attended the International Circle of Fine Arts, as well as the evening classes of the Chigi Academy. He also joined the Spanish artistic colony residing in the city, and worked with his brother, the painter Agustín Salinas, who had been living in Rome since 1883. Both brothers submitted works to the National Exhibition of Fine Arts in Madrid in 1887; Juan Pablo sent "Mark Antony and Cleopatra", a classical theme. Like his brother, his true master, Salinas also recreated medieval themes of notable Tuscan influence, with works such as "Romeo and Juliet" or "Scene from the Decameron". His style evolved towards costumbrismo, with special attention to popular Spanish and Italian scenes, such as "Una boda en Aragón" (A Wedding in Aragón), "Regreso de los vendimiadores" (Return of the Grape Harvesters) and other works. His career remained closely linked to that of his brother until he met, on a trip to Paris, the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great sales success in France, Italy, Central Europe, Russia and America. During these years he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which characters dressed in the fashion of the time appear in the context of luxurious interiors, meticulously detailed through a precious technique, which is recreated in the colorful description of clothes and lace, but, above all, in the masterful treatment of female flesh tones, deliberately sensual. Also at this stage Salinas made several series for the decoration of large salons. In addition to these themes, he also painted orientalist scenes and church interiors. In the last stage of his career there is a decrease in detail, a looser and less descriptive character. Juan Pablo Salinas is currently represented in the Prado Museum (his work is on deposit at the Asturias Fine Arts Museum in Oviedo), the Bellver Collection in Seville and other public and private collections.

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