Null Circle of Philip Alexius de László, PRBA,
Hungarian/British 1869-1937-

Stu…

Description

Circle of Philip Alexius de László, PRBA, Hungarian/British 1869-1937- Study of a smiling girl, standing half-length; oil on board, 77.5 x 61.4 cm. (unframed).

495

Circle of Philip Alexius de László, PRBA, Hungarian/British 1869-1937- Study of a smiling girl, standing half-length; oil on board, 77.5 x 61.4 cm. (unframed).

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Kohler, Alfred - 1916 Schwabach - 1984, "Landschaft mit Häusern", unsigned, foxing, passepartout, RhG dam, c. 46x60,5cm; Kohler attended the Nuremberg State School of Applied Arts from 1933 to 1935, in 1935 he continued his studies at the Academy of Fine Arts in Munich, where he was the youngest art student at the age of 18, after one semester he became a master student, in 1937 he left the academy, from 1938 he exhibited at the Franke Gallery in Munich, his paintings were soon classified as "degenerate art" by the National Socialists, so that he had difficulties in obtaining painting materials. He returned to Schwabach in 1938, and from 1938 to 1945 he was banned from selling his work. In 1941, his studio was destroyed in an air raid on Schwabach. After the end of the war in 1945, Kohler took part in the founding of Nuremberg art associations such as the "Circle" and the Schutzverband Bildender Künstler, but he soon left the circle again because he did not want to support "the developing uniformity of the young artists, who were often similar in their works for guesswork"; he was one of the last representatives of classical modernism in Germany,

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Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian. Measurements: 25 x 19 cm; 36 x 30,5 cm (frame). This painting belongs to the Tuscan mannerist school and is attributed to the painter Francesco Vanni. An etching of this painter with the same subject and compositional treatment, one of whose copies is preserved in the British Museum, may have served as a preliminary study for the oil painting shown here. The high quality of this painting, in accordance with the mastery of the Sienese master, shows St. Francis of Assisi leaning on a rock, with closed eyelids and half-open lips while listening to the celestial music of the violin played by an angel next to his ear. One of the saint's hands begins to bleed, his wound mimicking the stigmata of Christ's Passion. Each of these narrative details faithfully follows the passages described by St. Bonaventure, biographer of the founder of the Franciscan Order: being gravely ill, St. Francis began to hear music so beautiful that he thought he had already crossed the threshold to the eternal kingdom. Subtle gradations of halftones model the angel's infantile body. The seraphic face contrasts with the wiry, angular features of the ecstatic saint. An amber light emerges from the celestial background and outlines the infant's body against the light, giving it a great beauty, in which we identify Vanni's style. The work clearly belongs to the artistic circle of Francesco Vanni, an Italian painter, draughtsman, engraver, publisher and printer active in Rome and in his hometown of Siena. Vanni was part of a family of painters. When he was 16, Vanni moved to Bologna and then to Rome. He was apprenticed to Giovanni de 'Vecchi during 1579-1580, although he was also greatly influenced artistically by other Tuscan painters of his time. In Rome, he worked with Salimbeni, Bartolomeo Passerotti and Andrea Lilio. Pope Clement VIII commissioned him to paint an altarpiece for St. Peter's, later transferred to mosaic, Simon the Magician rebuked by St. Peter. He painted several other pictures for Roman churches; including St. Michael defeats the rebellious angels for the sacristy of S. Gregorio; a Pieta of St. Mary in Vallicella; and the Assumption of St. Lawrence in Miranda. In Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans. Vanni painted a Baptism of Constantine (1586-1587) for the church of San Agostino in Siena. He was active as an engraver and engraved three devotional engravings after his own designs. In addition, he was the publisher of a large 4-plate map of Siena that he himself had designed and had engraved by the Flemish engraver Pieter the Elder. He asked Lorenzo Usimbardi in 1595 for help in obtaining financial support for the publication of the map.

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Circle of William Lee Hankey (1869-1952) British. "Capo Circeo Lighthouse, Italy", Oil on canvas laid down, 21" x 31" (53.3 x 78.7cm)

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