g ale r i e a ry ja n

LOOK AT ME ! paintings & sculptures i n d e x

ALFRED DE DREUX

EUGEN VON BLAAS

ÉTIENNE ADOLPHE PIOT

JEAN-EUGÈNE BULAND

HIPPOLYTE BERTEAUX

JOSEPH COOMANS

ERNEST HÉBERT

EDGARD MAXENCE

JULES ABEL FAIVRE

CHARLES LANDELLE

GUSTAVE BOULANGER

RUDOLF ERNST

EMILE VERNET-LECOMTE

ARTHUR STRASSER

GUSTAV ADOLF MOSSA

RAPHAËL DELORME

PABLO PICASSO

DORA MAAR

PAUL GUILLAUME

VILMOS HUSZÁ R

JEAN DUBUFFET

ADAM STYKA

YAN PEI-MING

RENÉ GRUAU

FRANÇOIS-XAVIER LALANNE ALFRED DE DREUX 1810 - 1860

SUDANE S E g r O O M r i d i ng A W H I T E H ORSE

Oil on canvas signed lower right Dimensions : 18 1/8 x 13 in.

Faithful to the teaching of his master Théodore Géricault, Alfred De Dreux was one of the main representatives of the « animal portrait ». Particularly fascinated with Arabian horses, he made splendid portraits of African riders with richly adorned horses. Alfred De Dreux enjoyed a national and international reputation and was honored by numerous official commissions. His portrait of the Duke of Orleans was awarded in 1844 with a second-class medal at the Salon des Artistes Français. He was appointed Knight of the Legion of Honor in 1857. EUGEN VON BLAAS 1843 - 1931

PORTRAIT OF MADAME LEBRETON

Oil on canvas signed and dated 1908 upper right Dimensions : 88 5/8 x 45 5/8 in.

This full-length portrait made in 1908 presents Mrs Lebreton with an elegant black dress and fine jewelry. Son of the Austrian painter Karl Von Blaas, Eugen Von Blaas specialised in women, bourgeois and aristocrats’ portraits. The painter captured with talent the fresh complexion and the intense emotions of her face. During a Mostra in Venice, the art critic Luigi Chirtani described the paintings of Eugen Von Blaas as « beautiful, flattering, neat, cherished, clean, polished » stating that the artist was then « the favorite portraitist of the Venitian aristocrats ». ETIENNE ADOLPHE PIOT 1850 - 1910

SOAP BUBBLES

Oil on canvas signed lower left Dimensions : 33 1/2 x 25 5/8 in.

Delightful and elegant, this painting presents a young girl playing with a cup of bubbles. The fragility of the bubbles reflects the transience of beauty and childhood. A genre painter and a woman portraitist, Etienne-Adolphe Piot studied with Léon Cogniet who conveyed his taste for « human forms ». With a great technique, Piot developed a glorified and sensitive image of women and young ladies of the 19th century. « Those who read know a lot ; those who look sometimes know more »

Alexandre Dumas fils

JEAN-EUGÈNE BULAND 1852 - 1926

T H E REAd i ng

Oil on canvas signed and dated 1901 lower right Dimensions : 33 1/2 x 39 3/8 in.

Two generations sit side by side. A young girl enthusiastically read to her grandmother. As in many of Buland’s paintings, all of the elements seem to be pushed to the front of the picture, as if in a frieze. His great attention to details and technical wizardry is evident in the spools of thread, patchwork of textiles and lace, the costumes and beautifully modelled faces. The careful arrangement of four hands positioned in the center of the canvas, drawn with photographic conviction and painted with naturalistic coloration, is an arresting display of Buland’s artistic ingenuity. « The gaze is the great weapon of virtuous coquetry. We can say everything with a look, and yet we can always deny a look »

Stendhal

HIPPOLYTE BERTEAUX 1843 - 1928

INCROYABLE IN THE ARTIST’S STUDIO

Oil on canvas heightened with gold signed and dated 1886 lower right Dimensions : 65 3/4 x 38 1/2 in.

This amazing portrait by Hippolyte Berteaux depicts a young man with a pipe posing in the artist’s studio. This full-length portrait, with a slight low-angle, the pose both self-assured and relaxed and the quite provocative look of the model, captivate the attention of the spectator. Student of Hippolyte Flandrin and Léon Cogniet, Hippolyte Berteaux studied history painting and specialised in genre scenes, making portraits and monumental decorations for the city of Nantes. JOSEPH COOMANS 1816 - 1889

SECRE T LOV E

Oil on canvas signed and dated 1857 lower left Dimensions : 49 1/4 x 45 1/2 in.

Joseph Coomans’career is characterized by an amazing diversity of subjects combining military scenes and more intimate genre scenes. Secret Love reveals all the sensuality of his palette, tempered by an academic style becoming more pregnant in 1857. The virtuosity of his technique is at its finest expression by the rendering of the flesh, hairstyles and fabrics. The daring of this subject is perfectly attenuated by the delicacy of the pictorial touch.

ERNEST HÉBERT 1817 - 1908

MADONNA WITH CHILD

Oil on canvas heightened with gold signed «EH» lower left Dimensions : 24 1/4 x 15 1/2 in.

In front of a damask fabric, a Madonna with Child stares us intensely. The golden halos accentuate their impenetrable and captivating faces, highlighting the religious mystery. After a brilliant career and the obtention of the Prix de Rome in 1839, Ernest Hébert was appointed director of the Villa Medici. For the Universal Exhibition of 1839, the artist exhibited another religious painting named La Vierge de la Délivrance. « The eyes do not seize images, images are the ones who take hold of the eyes. They flood the conscience »

Franz Kafka

EDGARD MAXENCE 1871 - 1954

THE SOUL OF THE SP r i ng

Tempera on panel heightened with gold signed and dated 1899 lower right Dimensions : 31 3/4 x 39 3/4 in.

In a mysterious space, swirling with moss and crystals, a young woman with a diaphanous skin and half-closed eyes plays a lyre from which a stream seems to spring. Behind her, two women appear suddenly, appealed by the music. Lost since its presentation at the Salon des Artistes Français in 1899, this masterpiece entitled The Soul of the Spring shows the bright palette of the painter and the encaustic technique characteristic of Edgard Maxence. A similar work, The Soul of the Forest, conserved at the Fine Arts Museum of Nantes, shares the same Celtic and mystical influence.

« Fleeting beauty by whose glance I was suddenly reborn, Will I see you no more before eternity ? »

Charles Baudelaire

JULES ABEL FAIVRE 1867 - 1945

SAPPHO

Oil on canvas signed upper left Dimensions : 27 1/2 x 21 5/8 in.

Her white skin shines under the light of the day. Opening her dark blue veil, the young woman offers to the spectator a mysterious and sensual view. The delicacy of her features and her long wavy hair look like those of Sappho, the Greek poetess. In the darkness, her half-closed eyes seem to ignore the spectator, reinforcing our fascination. Studying at the Académie Julian alongside Benjamin-Constant and Jules Lefebvre, Jules-Abel Faivre made numerous portraits of the bourgeoisie before becoming famous for his posters and caricatures during the Great War. Atypical in his production, this masterpiece reveals his exceptional painting skills through the amazing transparency of the veil and the subtle contrasts of light on the flesh. CHARLES LANDELLE 1821 - 1908

YOUNG J EW I S H W O M A N F R O M A Lg i E RS

Oil on canvas signed lower right Dimensions : 53 1/8 x 38 1/4 in.

The pose of the model, her sensual look towards the spectator, the warm and vivid palette: everything in this picture is about seduction. Charles-Zacharie Landelle started making orientalist paintings after his official mission to Morocco in 1866. Fascinated by the new landscapes, the artist travelled across Egypt and the Nile in 1875 with the Egyptologist Auguste Mariette. For more than ten years, he used to stay every winter in Algeria, sharing his love for the country with the painters Auguste Renoir and Paul Leroy. His female portraits embody the grace and the beauty of oriental women. « The eyes have one language everywhere »

George Herbert

GUSTAVE BOULANGER 1824 - 1888

T H E P R AY E R

Oil on canvas signed and dated 1871 lower left Dimensions : 13 x 9 3/4 in.

In the mosque, these three men are depicted by Gustave Boulanger at different moments of the prayer. The intensity of their devotion fills the space that one can guess by the columns and the colored carpets. Student of Paul Delaroche and Pierre Jollivet, Gustave Boulanger brilliantly won the Prix de Rome in 1849. His long stay in Algeria influenced his subjects for the Salon and his creative work throughout his career. His neoclassic style and the choices of his orientalist subjects aroused numerous official commissions for the decoration of public buildings such as the Foyer de la danse of the Paris Opera. RUDOLF ERNST 1854 - 1932

T H E FAVO r iTE

Oil on panel signed lower left Dimensions : 18 1/4 x 14 1/2 in.

From 1885 and his numerous trips to Orient, Rudolf Ernst completely dedicated himself to Orientalist painting, with scenes of everyday life and portraits of the Ottoman court. By a subtle depiction of the diversity of the materials and objects, Rudolf Ernst appears as a key figure of the Austrian orientalist school, which aimed to transcribe the exotic atmosphere of the Orient. RUDOLF ERNST 1854 - 1932

T H E M US I C I A N W O M A N

Oil on panel signed and dated lower left Dimensions : 31 3/4 x 25 in.

The intimacy of this harem scene is accentuated by the look of the musician towards the spectator, as well as by the soft, pale light passing through the window and touching the old man’s silver beard. Rudolf Ernst is also known for his depictions of sumptuous fabrics and musical instruments that punctuate most of his works. ÉMILE VERNET-LECOMTE 1821 - 1900

YOUNG A M A Zi gH W O M A N, A LGE r i A

Oil on canvas signed and dated 1869 lower left Dimensions : 46 x 30 1/2 in.

Born in a family of famous painters, Emile Vernet-Lecomte quickly showed a pronounced taste for Orientalism. Based on his travel observations, his portraits document various traditional clothes and Berber costumes. The artist scrupulously depicts the skirt and blouse of this young Amazigh woman with vivid colors and rich embroideries. The precision given to the details of the garment gives to this work an ethnographic dimension. ARTHUR STRASSER 1854 - 1927

SNA K E C H ARMER

Bronze, signed A. Strasser, stamped A.BASSET / BRONZIER / PARIS, plaque inscribed A.Strayser and numbered 6788 Dimensions : 28 3/8 in.

Holding his flute in one hand, the snake charmer is guiding the reptile with his other hand. The loose folds of his clothing and the brown reflections of the sculpture reflect the charm of the melody. After his trip to Egypt with Charles Wilda in 1892, the sculptures of Arthur Strasser were inspired by Orientalist subjects. His fame extended up to the Austrian imperial family who appreciated his Egyptian figures in their daily tasks. Arthur Strasser was appointed professor of sculpture at the Fine Arts School of Vienna and created for the 1900’s Universal Exhibition a large bronze sculpture of Marc-Antoine. GUSTAV ADOLF MOSSA 1883 - 1971

LUCIFER

Oil on canvas heightened with gold Dimensions : 15 3/4 x 15 3/8 in.

Prolific and scandalous, Gustav Adolf Mossa’s works are a collection of references to mythology, Bible and legends. Lucifer was originally part of an altarpiece of nine panels forming a vast and ambitious composition. The religiosity of the subject is enriched with symbolist content. Symbols of envy, the poppies adorn the head of Lucifer and highlight his greedy eyes. This composition was made in 1906, after Mossa discovered the symbolist and the Art nouveau movements. GUSTAV ADOLF MOSSA 1883 - 1971

T H E K I S S O F HE L E N

Oil on canvas and pearl signed and dated «GVSTAV ADOLF. MOSSA/NICIENSIS PINXIT MCMV» lower right, 1905 Dimensions : 36 1/4 x 28 7/8 in.

Inspired by mythological stories, Adolf Mossa reinterprets the story of Helen and Pâris in a modern composition where the elements are multiplied. A proliferation of details - plants, soldiers and animals - surrounds the kiss of the two lovers. It was probably for his exhibition in Nice in 1906 that Mossa wrote a short prose poem to describe his work:

« An all-white horse, with a huge stomach, shaped with an unknown matter, slips, carried in a fantastic current ; and the strident buccinas always resound… And then the funeral and dull drum roll… Everything disappeared … Helen then bends her head in a mad expectation… and her lips give a fatal kiss to the shepherd Pâris ». RAPHAËL DELORME 1885 - 1962

VESTAL OF THE TEMPLE

Oil on canvas signed lower right Dimensions : 51 1/8 x 38 1/4 in.

A painter and theatre decorator, Raphaël Delorme was a leading figure of the Art déco movement. The influence of the stage sets is visible in all his works through a staging of the human figures in a monumental decor in perspective. His meticulous drawing explored numerous architectural styles, from Antiquity to the Renaissance, combining mythological figures and historical references. As a great admirer of Ingres, Raphaël Delorme depicts in his paintings female nudes with outsized proportions and postures of women bathing. PABLO PICASSO 1881 - 1973

MASK

Cut sheet metal band, curved and painted, 1961 Dimensions : 7 1/2 x 5 1/4 in. Collection Yves Saint Laurent - Pierre Bergé

Pablo Picasso reinvented the 20th century sculpture, using a wide variety of materials and techniques. The sculptures made at the end of his career use sheet and painted metal cuts as in The Chair, The Opened arms woman or the large sculpture offered to the city of Chicago in 1967. These works question the creative process and the transition between paper models and metal sheets. Like a drawing cut with scissors, this Mask is a synthesis between drawing, painting and sculpture. « A painting lives only by the one who looks at it »

Pablo Picasso

DORA MAAR 1907 - 1997

YOU A n d M E

Oil on canvas signed in the back and studio stamp lower left Dimensions : 8 3/4 x 6 3/8 in.

Close to André Lhote, Henri Cartier-Bresson and Man Ray, Dora Maar quickly became an important figure in surrealist photography. From 1936 and her meeting with Pablo Picasso, she devoted herself to painting. The two faces of this cubist portrait, one female with a light face, the other male with a purple one, are united into a heart. They seem to represent Dora Maar’s love for Pablo Picasso during this period. PAUL GUILLAUME 1891 - 1934

H I L DA

Oil on cardboard signed lower right Dimensions : 7 7/8 x 6 in.

Visionary art dealer and collector of modern art, Paul Guillaume became the art adviser of the rich American doctor Albert Barnes. As an emblematic figure of the « Tout-Paris », he entertained himself drawing and painting his Parisian friends during the twenties. The painting Hilda embodies this facet of Paul Guillaume’s personality, depicting his friends in the manner of the artists he collected. His personal collection, with more than a hundred paintings of Picasso, Derain, Matisse, Soutine or Modigliani is still exhibited at the musée de l’Orangerie in Paris. VILMOS HUZSÁR 1884 - 1960

T H E M AS K

Oil on canvas signed lower right Dimensions : 19 3/4 x 15 3/4 in.

Founding member of the De Stijl movement (1917) with Piet Mondrian and Theo van Doesburg, Vilmos Huszár created a magazine for the movement and developed a taste for graphic design. Moving away from the strict orthodoxy of neoplasticism, he began working in 1923 on a more figurative painting, retaining the tones and the geometry of his previous research. The Mask is part of this movement and embodies these works of rupture for the most part lost, of which only photographs remained. JEAN DUBUFFET 1901 - 1985

T Ê T E R OU G E

Mixed media on paper signed lower center and dated 1951 Dimensions : 10 1/4 x 8 in.

A painter and sculptor known as the founder of the Art brut movement, Jean Dubufffet explored during the 1950s the concept of landscapes and portraits through numerous pictorial research. Faithful to its desire to free himself from the academic art, the work Tête Rouge makes little case of the resemblance and combines an informal texture with a seemingly naive and childish drawing. « We are only in the eyes of others and it is from their eyes that we assume ourselves as ourselves »

Jean-Paul Sartre

ADAM STYKA 1890 - 1959

SUDA NE S E BI SHAr i

Oil on canvas signed lower right Dimensions : 46 x 35 1/2 in.

Sudanese Bishari may be the masterpiece of Adam Styka, revealing the strength of his models through a very structured composition. Born in Poland, Adam Styka began his career in Paris where he studied at the Fine Arts School and exhibited at the Georges Petit Gallery. Travelling in North Africa after the First World War, he met many African tribes and landscapes bathed in light. Structured volumes and a palette based on contrasted warm colors define his luminous style which earned him the title of « Master of Sunlight ». YAN PEI-MING 1960 -

MAO, CHINESE VERMILLON, #4

Oil on canvas signed and dated 2001 on the back Dimensions : 23 5/8 x 19 3/4 in.

Graduated from the Fine Arts School in Dijon in 1986, Yan Pei-Ming was noticed the following year by a first series of portraits of Mao. Winning the Prix de Rome in 1993, he created numerous portraits of anonymous and icons based on models or documents. Painted with expressive brush strokes and a limited palette, this red portrait of Mao combines Chinese cultural references with the aesthetics of the twentieth-century pop portraits. In 2003, Yan Pei-Ming obtained an international recognition at the Venice Biennale, his work based on the Mona Lisa being acquired by the Louvre. RENÉ GRUAU 1909 - 2004

T H E B LU E G LOVES

Oil on canvas signed lower right, c.1945 Dimensions : 36 1/4 x 28 3/8 in.

Fashion designer, illustrator and poster artist, René Gruau spread his drawings all over the world for more than fifty years. His work evokes a sophisticated woman, combining elegance and sensuality. Our painting shows a woman leaning on the Opera’s balcony, in the spirit of the feminine representations made by the artist around 1945. Our eyes are immediately attracted by the sinuosity of the red balcony and the carmine mouth of the model. As part of the collection of Roger Faré, presented by the 1950s publicity as the best glove-maker in the world, this painting deliberately highlights this beautiful pair of blue gloves. FRANÇOIS-XAVIER LALANNE 1927 - 2008

T H E G EESE

Patinated bronzes designed in 1991, hors commerce numbers 4 A, 4 B and 4 C from 4 hors commerce A to C, an edition of 8 A to C and 4 artist’s proofs A to C monogram FXL and impressed bocquel Fd Dimensions : 38 1/2 in.

These three funny geese, with their full and harmonious shapes, are similar to the geese couple created for the Sarlat-la-Canéda market place, a high place of fair until the 20th century. The birds sold on this market until the 1980s inspired this sculpture to François-Xavier Lalanne. Couple of sculptors, François-Xavier and Claude Lalanne successfully declined a whole bestiary of animals, sometimes transformed into furniture design, with a humorous and unique vocabulary. Photographic credits : Thomas Hennocque Texts et translations : Florence Conan, Haude Le Roux

Artworks selected by catherine and mathias ary jan

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