Pierrot and Columbine

Jules Chéret (French, 1836-1932) – Pierrot and Columbine, c.1890 (Pastel on canvas) – – In 1892, rich banker baron Jonas Vitta commissions Jean-Camille Forgé to build his residence. Baron Joseph Vitta takes over the project and oversees the décor of the spectacular villa. Many artists work on the residence: Rodin, Albert Besnard, Félix Bracquemond, and Jules Chéret, dear friend of the baron’s, paints murals with such colors and lyrism that they will be moved to the Hôtel de Ville, Paris.

Jules Chéret - Pierrot and Columbine

La Lettre

François Flameng (French, 1856-1923) – La Lettre (Oil on panel) – – Beautiful places, beautiful people, beautiful clothes—Francois Flameng loved to paint them all. Born in an art studio in Paris in 1856, Flameng may have known from an early age that he was destined to be an artist. Paris was the center of the art world and his father was a celebrated engraver who had once wished to be a painter.

François Flameng - La Lettre

Nurture of Jupiter

Jeffrey Mims (American, born 1954) – Nurture of Jupiter, 1995 (Oil on canvas. Oglethorpe University Museum) – Mims is founder and director of the Academy of Classical Design, a school of fine art with an emphasis on traditional mural painting and architectural decoration. The Academy serves as the educational branch of The Classical Design Foundation, a US based non-profit which was established for the preservation and practice of classical design in the public realm.

D. Jeffrey Mims - Nurture of Jupiter

Georges de Feure (1868-1943)

Of Belgian and Dutch origins, Georges de Feure was largely self-taught as an artist. He was born Georges Joseph van Sluijters in Paris, where his father worked as an architect. Returning with his family to the Netherlands with the outbreak of the Franco-Prussian war in 1870, De Feure did not come back to Paris until 1889. Settling in Montmartre, he may have trained with Jules Chéret and began working as an artist and illustrator. De Feure soon allied himself with the Symbolist movement, taking part in the Exposition des Peintres Impressionistes et Symbolistes at the Galerie Le Barc de Boutteville, alongside Gauguin and the Nabis artists, as well as showing his work at the Salons de la Rose + Croix of 1893 and 1894, where his watercolours garnered some critical praise. De Feure exhibited at the Societé Nationale in 1894, and the same year an exhibition of his watercolours was held at the Galerie des Artistes modernes in Paris, leading one critic to describe him as ‘an artist whose work is never banal, but whose symbolism is not always accessible.’ By this time De Feure was also designing posters, many seemingly influenced by Japanese prints, as well as producing colour lithographs…

Georges de Feure (1868-1943)

An Interior with Two Women

Arthur Trevor Haddon (British, 1864-1941) – An Interior with Two Women, c.1886 (Oil on canvas. Geffrye Museum, London) – Haddon was both an oil painter and watercolorist who specialized in landscapes, seascapes and the country genre. He was also a skilled portraitist and painter of figures. In 1883, at the age of 19, he won a 3 year art scholarship to the Slade schools in England and later studied painting in Rome and Madrid…

Arthur Trevor Haddon - An Interior with Two Women

Hermia and Lysander

John Simmons (British, 1823-1876) – Hermia and Lysander, A Midsummer Night’s Dream, 1870 (Watercolor heightened with gouache on paper laid down on canvas) – Shakespeare’s forbidden lovers Lysander and Hermia travel through the enchanted wood to find safe haven. They find themselves lost and decide to sleep, oblivious to the surrounding multitude of fairies and woodland creatures. Lysander holds Hermia’s ringed finger while touching the loamy moss of the forest floor explaining “One turf shall serve as pillow for us both;/One heart, one bed, two bosoms, and one troth.”

John Simmons  - Hermia and Lysander, A Midsummer Night’s Dream

Woman Reading

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…

Josephine Margaret Muntz-Adams - Woman Reading