Jean Dupas (French, 1882-1964) – Bordeaux, 1937 (Poster) – – An alluring, Art Deco, allegorical beauty representing the wonderment of all that Bordeaux has to offer is actually showing off those very same attributes in the form of ships from the city’s famous harbor, monuments and the wine for which the region is so renowned.
O’Kley was a pseudonym for Nantes-born Pierre Gilardeau, the man behind some of the most collectable Folies Bergère posters. Here, Can Can dancers in black stockings, white feathers and sparkling jewelry are dancing against a red and yellow background.
Carlos Ewerbeck (German, active early 20th century) – Ophelia at the River’s Edge, c.1900 (Oil on canvas)
“There is a willow grows aslant a brook
That shows his hoar leaves in the glassy stream.
There with fantastic garlands did she come
Of crowflowers, nettles, daisies, and long purples,
That liberal shepherds give a grosser name,
But our cold maids do “dead men’s fingers” call them.”
Alice Bailly (Swiss, 1872-1938) – Self-Portrait, 1917 (Oil on canvas. National Museum of Women in the Arts, Washington, DC) – The red, orange, and blue hues echo the palette of Fauve paintings. The arching lines forming her hands and arms echo Italian Futurist art. Bailly embraced the insouciance of Dada by carefully delineating her breasts, the buttons of her jacket, and her signature bob haircut while painting out the entire right side of her face. Bailly painted intuitively and additively.
Josephine Margaret Muntz-Adams (Australian, 1862-1949) – Woman Reading, a Book in the Hand (Oil on canvas) – Muntz-Adams, residing in Melbourne, diverged from standard patterns of taste in her use of a somber palette and free, expressive brushwork. She exhibited internationally, being consistently acclaimed since 1896, but ended her career in relative obscurity…
Henri Charles Manguin (French, 1874–1949) – The Nap (The Rocking Chair, Jeanne), c. 1905 (Oil on canvas, Villa Flora, Winterthur, Switzerland) – Manguin, along with Henri Matisse, André Derain, Maurice de Vlaminck, Albert Marquet and Charles Camoin, was a founder and early exponent of the Fauve movement. He had been close friends with Camoin, Matisse, and Marquet since 1895 when they were students of Gustave Moreau at the Ecole des Beaux-Arts. Their camaraderie and shared theoretical philosophy contributed to the momentous joint impact of their pioneering canvases when they were first shown to the public… In 1905, Manguin, Marquet and Camoin took up residence in Saint-Tropez while Matisse traveled east along the coast to Collioure, where they all experimented with brilliantly colored canvases. In the fall of 1905, Manguin exhibited five of these paintings alongside works by his friends in the notorious Room VII–the cage aux fauves–at the Paris Salon d’Automne…
John Everett Millais (English, 1829-1896) – Ophelia, 1851-52 (Oil on canvas. Tate Britain, London)
“There, on the pendant boughs her coronet weeds
Clambering to hang, an envious sliver broke,
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide,
And mermaid-like a while they bore her up,
Which time she chanted snatches of old lauds
As one incapable of her own distress,
Or like a creature native and indued
Unto that element. But long it could not be
Till that her garments, heavy with their drink,
Pulled the poor wretch from her melodious lay
To muddy death.”