‘The Artist in Art’: the depiction of the Artist in Art from the sixteenth to the early twentieth centuries - Colnaghi, London Monday 26th November 2007 – Friday 1st February 2008 Friday 10 August 2007 PDF Print The Colnaghi Winter Exhibition will explore representations of artists and their studios and will also include academy views, museum interiors and portraits of dealers. The exhibition takes a tour through the ages, beginning in the sixteenth and ending at the early twentieth century, featuring works by male and female artists such as Gerard Van Spaendonck, Jean Alphonse Roehn, Johann Hendrich Tischbein and Toulouse Lautrec in a variety of media including paintings, drawings, and prints. There will be a number of self-portraits on display, such as Self portrait seated at a table, a black and white chalk drawing by Gerard van Spaendonck (Tilburg 1746 – 1822 Paris). Van Spaendonck was one of the most gifted still-life painters of the eighteenth century and a master of flower painting in various media. The Portrait of an artist painting her self-portrait by Jean Alphonse Roehn (Paris 1799 – 1864 Paris), is a very rare self portrait from this period depicting a vignette of an educated and talented woman in her salon. Further examples of artists’ self-portraits include Johann Heinrich Tischbein’s Self-Portrait in Venetian Masquerade Costume (Haina 1722 – 1789 Kasel) painted the year after his appointment as Court Painter to Landgraf Wilhelm VIII von Hessen, a wonderfully theatrical portrait showing the impact of Italy on the way in which eighteenth century artists portrayed themselves. By contrast L’Artiste Peintre by Henri de Toulouse-Lautrec (Albi 1864 – 1901 Paris) is a self-portrait of the artist at a young age. This pencil drawing is a very spirited representation, and almost a caricature of the young Henri: the contouring lines are hastily drawn, the easel to the left, half hidden, with a hat on top, is merely sketched, as are the paintings on the wall on the right and in the background. Other portraits include the Portrait of Giovanni Paolo Panini, by Louis-Gabriel Blanchet (Paris 1705-1772 Rome), in which Blanchet portrays the artist/architect Panini before his easel, leaning on a portfolio with his brush in his hand, conveying the subject as a relaxed and elegant gentleman-painter amidst the tools of his trade. Paul Claude Michel Le Carpentier’s (Rouen 1787 – 1877 Paris) Portrait of Antoine-François Gelée, on the other hand, is a powerfully realistic portrayal of an engraver with all the tools of his trade. Here the crisp, linear and angular outlines of the composition mirror the hard-edged technique employed by the engraver himself. Representations of artists at work will include historicising as well as contemporary views, such as Tessaert’s romanticised eighteenth century depiction of a class of art students drawing the Borghese Gladiator in the time of Rembrandt. Also included will be works of the artist’s studio in which the artist is not present, such as still-life studies of easels, palettes and artist’s materials. Nineteenth century French artist Charles Arnoud’s Subjects for a still life allows the viewer a glimpse into the eclectic mix of objects found in an artist’s studio which formed the basis of various still life studies. The Neo-impressionist artist Maximilan Luce (1858-Paris-1941) is present with an interior scene, rather unusual for an artist who experimented with the use of light and analysed the prismatic effect of colours mainly in exterior settings. This painting, Atelier of the Artist, rather an insight into Luce’s private world, can be seen as an inspiration for Bonnard, Gwen John and, to some extent, Van Gogh. Armand Laureys’s (1867 – 1925) Atelier with a red cloth on a chair is another vibrant interior scene which captures the artist’s spirit: his utensils are on top of a cupboard on the left, and are visually counterbalanced by the many canvases stacked on the floor and hanging on the walls on the right. The red cloth, casually laid on the chair, its shiny texture very skilfully reproduced, attracts the beholder’s attention and is the primary focus of the composition. Among the gallery views are Charles Vetter’s nineteenth century Interior of the Alte Pinakothek, while art dealers and collectors will be represented in this exhibition with two portraits of Paul Colnaghi - an engraving after Charles Turner’s of Paul Colnaghi holding a portfolio of prints and a bust by John Adams Acton. Gilray’s savage caricature of ‘Italian Picture Dealers Humbugging Milord Anglais’ contrasts with the more positive image of collectors in The Interior of an Artist’s Studio with a Couple examining Engravings attributed to Joseph-François Ducq (Ledeghem 1762 – 1829 Bruges) which is set in an artist’s studio and depicts two collectors, possibly young lovers, examining a portfolio of engravings. After its London showing, the exhibition will tour to the Bernheimer Fine Old Masters in Munich and the Bernheimer Galerie Schloss Fuschl near Salzburg. -Ends- Notes to Editors: P. & D. COLNAGHI & CO., LTD. Colnaghi was established by Paul Colnaghi and his partner Anthony Torre in Paris in 1760. The original shop in Paris, known as the ‘Cabinet de Physique Experimental’, dealt in scientific instruments imported from England and they quickly branched out into print selling, importing English mezzotints and barometers. After managing a new shop in the Palais Royale, Paul Colnaghi took over the London branch of the business, based in Pall Mall in 1783, and as a result of the French Revolution transferred the business to London becoming print sellers to the Prince Regent (later George IV). Colnaghi established itself initially as the premier dealership for prints. By the end of the 19th century the firm had begun dealing in Old Master paintings and drawings and was instrumental in the formation of some of the most important American collections, including that of Isabella Stewart Gardener, Henry Clay Frick and Andrew Mellon. In 2002, the Old Master paintings dealer Konrad O. Bernheimer, the fourth generation of one of Europe’s major art dealing families, acquired Colnaghi. Under the Colnaghi umbrella, Bernheimer joined forces with the renowned Old Master drawings dealer Katrin Bellinger. In October 2006, Hauser & Wirth moved into 15 Old Bond Street to open their third London gallery – Hauser & Wirth at Colnaghi. Bernheimer and Bellinger continue to maintain a presence in Munich, Bernheimer Fine Old Masters, and Katrin Bellinger Kunsthandel. Colnaghi continues to operate as one of the world’s most important dealerships, specializing in Master paintings and drawings from the fifteenth to the nineteenth century. BERNHEIMER FINE OLD MASTERS Founded by Lehmann Bernheimer in 1864, Bernheimer Fine Old Masters dealt initially in textiles and oriental carpets, before expanding to include Italian Renaissance furniture, French antiques, tapestries, porcelain and objets d’art. By 1900 Bernheimer had become purveyors to the Court of Bavaria and its clientele included members of the European aristocracy and American magnates, such as William Randolph Hearst. Konrad O. Bernheimer, great grandson of Lehmann, is the current owner and chairman of Bernheimer Fine Old Masters. Under his direction, the gallery now specializes in Old Master paintings, although it has recently begun to hold exhibitions of photography. KATRIN BELLINGER AT COLNAGHI In 2002 Katrin Bellinger joined forces with Konrad Bernheimer at Colnaghi, where she runs the Old Master Drawings department, an established area of expertise at Colnaghi, together with Dr Florian Haerb. Old Master Drawings exhibitions are held regularly at the Old Bond Street Galleries as well as other exhibitions of 19th century oil sketches, botanical watercolours and the work of living artists, including John Sergeant. In addition she continues to participate in the Salon du Dessin, Paris and the International Fine Arts Fair, New York. A selection of drawings is always on permanent view at the Old Bond Street premises, and she is regularly available for consultation and appraisals. Katrin Bellinger also maintains a presence in Munich assisted by Marten Grässle. For press enquiries, further information and images: Russell Elliott Cassleton Elliott & Co. United Kingdom T: +44(0)20 7499 1124 F: +44(0)20 8854 2141 Monday – Friday10am – 6pm E: firstname.lastname@example.org Colnaghi, 15 Old Bond Street London W1S 4AX, T: + 44 (0)20 7491 7408 Monday – Friday10am – 6pm www.colnaghi.co.uk Bernheimer Fine Old Masters, Briennerstrasse 7, D80333 Munich, Germany United Kingdom T: +49-89-226672 Opening hours: Monday – Friday 10am – 6pm Saturday 10am - 2pm www.bernheimer.com Katrin Bellinger at Colnaghi 15 Old Bond Street, London W1S 4AX T: + 44 (0)20 7491 7408 Opening hours: Monday – Friday 10am – 6pm www.bellinger-art.com Katrin Bellinger Kunsthandel Brienner Strasse 7, D80333 München Germany T: +49-89-983465 Opening hours: Monday – Friday 10am – 6pm Saturday 10am - 2pm www.bellinger-art.com This press release was distributed by ResponseSource Press Release Wire on behalf of Cassleton Elliott in the following categories: Men's Interest, Entertainment & Arts, Leisure & Hobbies, Home & Garden, Women's Interest & Beauty, Retail & Fashion, for more information visit http://pressreleasewire.responsesource.com/about.