BIOGRAPHY SPOTLIGHT: CECILIA BEAUX WRITTEN BY NANCI FRANCE-VAZ

HISTORICAL WOMEN ARTISTS PROFILED BY CONTEMPORARY WOMEN IN ART

"The Dreamer"by Cecilia Beaux, 1893, Oil, Collection of The Butler Institute of American Art, Youngstown, OH

Eliza Cecilia Beaux was born on May 1, 1855 in Philadelphia, Pennsylvania. She was the youngest daughter of French silk manufacturer Jean Adolphe Beaux and teacher Cecilia Kent Leavitt.  Beaux began attending the Pennsylvania Academy of the Fine Arts in 1876, which was then under Thomas Eakins(American 1844-1916). She left the Academy to study privately with William Sartain(American 1843-1924), a friend of Eakins because he had a much gentler approach to teaching. At the age of 32, she decided to train in Paris at the Academie Julian because she felt she needed to advance in her skills. She received weekly critiques from masters such as William Adolphe Bougereau(French 1825-1905) and Tony Robert-Fleury(French 1837-1911). Upon her return to Philadelphia, Beaux she was highly productive and painted over 40 portraits in the “grand manner”. She concentrated solely on her art and thought it best not to marry and chose male relationships that would not sidetrack and threaten her career! She was a highly structured professional and was the first woman to teach Portrait drawing/painting at the Pennsylvania Academy of Fine Arts for 20 years. She received many honors, medals and awards and had a major exhibition of 35 paintings at the Corcoran Gallery of Art in Washington, D.C., in 1912. Despite her continuing production and accolades, however, Beaux was working against the current of tastes and trends in art. Cecilia Beaux died at the age of 87 and was quoted as one of the greatest living woman painters and an individualist that flattered but did not falsify her subjects. During her long productive life as an artist, she maintained her personal aesthetic and high standards against all distractions.

CLICK HERE TO GO SEE CECILIA BEAUX'S PAINTING IN THE COLLECTION OF THE SMITHSONIAN COLLECTION OF AMERICAN ART

Nanci france-vaz is a modern imaginative realist that uses classical traditional with modern subject matter. She is well known for her portraits and figures that capture a human presence evoking an emotional response from her viewers.

CLICK HERE TO GO TO NANCI FRANCE-VAZ'S WEBSITE: www.nancifrancevaz.com

Nanci France-Vaz in her New Jersey studio

Reference source https://en.wikipedia.org/wiki/Cecilia_Beaux

BIOGRAPHY SPOTLIGHT: RACHEL RUYSCH WRITTEN BY MITZURA SALGIAN

HISTORICAL WOMEN ARTISTS PROFILED BY WOMEN IN ART

"Bouquet of Flowers"By Rachel Ruysch c1680's, Oil,  Collection of The National Museum of Art, Bucharest, Romania

Born July 3, 1664, in the Hague, to a highly scientific and artistic family, Rachel Ruysch was trained as a botanical artist in her beginnings, then she was apprenticed to Willem van Aelst in Amsterdam, until his death. Ruysch became a successful artist very early and produced a big number of masterpieces in the unique style that she developed, commissioned by international admirers. From 1708 to to 1816, she worked as a court artists in Dusseldorf, to Johann Wilhelm, Elector Palatine. 
Ruysch's flowers are arranged in informal, spontaneous compositions, elaborate beyond what could ever be achieved in nature. Preoccupied with the subtlety of the colors and the extreme realism of the details, exuding a mysterious air of darkness and light, the public instantly identifies with their exquisite freshness and beauty. 
An accomplished artist, Ruysch was also an accomplished mother to her ten children, taking great pride in their upbringing. 
Rachel Ruysch died in 1750, on October 12, in Amsterdam, while her paintings continue to our time to amaze and enchant.

While a student at the Fine art Art Institute of Bucharest, (my native city), Romania, 
we received an extensive assignment about the Old Dutch Masters painting technique. The learning in theory was to be applied in practice by copying a painting of the period, on site at the National Museum of Art. I went there to choose a painting for my assignment, rather thinking of a village scene by one of the Bruegels as a good possibility. But when I entered that room at the museum, my eye was immediately caught by a big floral painting at the other end. I rushed to it, as I had never before seen such a wonderful painting! Flowers hidden in the darkness of a niche, winding dynamically, a mysterious light hitting a few of them at center stage - and everything painted with a breath-taking realist smoothness allowing the eye to glide freely in any direction on the surface of that wonder! And then,...the name of the artist: Rachel Ruysch, a WOMAN! My admiration ran instantly even deeper, making the Ruysch phenomenon a milestone in my life as a young artist.

PLEASE CLICK HERE TO GO SEE RACHEL RUYSCH'S WORK IN THE NATIONAL MUSEUM OF WOMEN IN THE ARTS


Mitzura states " I define my art as Poetic Realism. While fascinated with a multitude of aspects of our lives, from the human figure to the bare abstraction of a mineral formation, I combine my subjects in a new, unique, poetic conjecture. I identified with the Surrealist movement since my early teens and to the present time, with its philosophy, its ludic and oneiric tools of aesthetic exploration, and the assiduous search for the marvelous."

PLEASE CLICK HERE TO GO TO MITZURA SALGIAN'S WEBSITE: www.mitzura.com

"Flora Lineata Atalaria" by Mitzura Salgian 30 x 36 in, Oil

BIOGRAPHY SPOTLIGHT: ELISABETH VIGEE LEBRUN WRIITEN BY NANETTE FLUHR

HISTORICAL WOMEN ARTISTS PROFILED BY WOMEN IN ART

"Madame Grand" by Elisabeth Vigee Le Brun, 1783, Oil, Collection of the Metropolitan Museum of Art, NYC

Élisabeth Louise Vigée-Le Brun (1755-1842)  one of the most important artists of her day, created over 600 works of art in a time when it was not common to be a female artist. She was born in Paris, France on April 16, 1755 and due to her remarkable skills, achieved early success as an artist. Her ability was so impressive that she became the official painter to Queen Marie Antoinette and painted her more than thirty times. In 1783, at the age of 28, she gained admittance into the prestigious and almost entirely all male Academie Royale. In 1789 because of her associations with the queen she had to flee the country for twelve years and traveled throughout Europe painting portraits of aristocrats. She was elected to membership of the academies of Rome and other European countries during this time. Vigee Le Brun continued to support her family and returned home and painted there until her death. 

I admire her strength, persistence and of course her incredible talent that gained her admittance to academies that were closed to most women. She overcame many obstacles and was able create exceptional art and support herself and her family throughout her lifetime. 

I first saw her work at the Metropolitan Museum of Art and was moved by her ability to sensitively capture beautiful skin tones and expressions, luminous textures and innovative poses. I had the privilege of painting a replica of her portrait of Madame Grand. This was especially meaningful because she taught herself to paint by copying the paintings of masters especially Peter Paul Rubens. Last year the MET had a major Vigee Le Brun Exhibit. 

CLICK HERE TO GO TO THE METROPOLITAN MUSEUM'S OF ART'S PAGE ON ELISABETH VIGEE LE BRUN


Nanette Fluhr is an award winning classical realist artist who specializes in creating custom portraits. Her work is held in public and private collections worldwide and has been featured in numerous exhibitions.

CLICK HERE TO GO TO NANETTE FLUHR'S WEBSITE www.nanettefluhr.com

"Serinna" by Nanette Fluhr, 20 x16, Oil 

BIOGRAPHY SPOTLIGHT: LEONORA CARRINGTON WRITTEN BY CHANTELL VAN ÉRBE

HISTORICAL WOMEN ARTISTS PROFILED BY CONTEMPORARY WOMEN IN ART

Self-Portrait by Leonora Carrington, ca 1937, oil on canvas, collection of the Metropolitan Museum of Art, NYC

Leonora Carrington  (6 April 1917 – 25 May 2011) was an English artist, surrealist painter, and novelist. She lived most of her adult life in Mexico City, and was one of the last surviving participants in the Surrealist movement of the 1930s. Carrington was also a founding member of the Women's Liberation Movement in Mexico during the 1970s. 
Carrington stated that: "I painted for myself...I never believed anyone would exhibit or buy my work." She was not interested in the writings of Sigmund Freud, as were other Surrealists in the movement. She instead focused on magical realism and alchemy and used autobiographical detail and symbolism as the subjects of her paintings. Carrington was interested in presenting female sexuality as she experienced it, rather than as that of male surrealists’ characterization of female sexuality. Carrington's work of the 1940s is focused on the underlying theme of women's role in the creative process.

I discovered Leonora Carrington at a later age, via her progressive, surrealist book entitled The Hearing Trumpet. Her reflection of memory and proclivity towards symbolism are what magnetically drew me to her work. Leonora handled each piece of art as if it were a high ritual, rife with cloaked meaningful metaphors. She nurtured her creativity not unlike a child. Her artistic sorcery continues to move me and never falls short on reexamination.

Click HERE TO GO TO THE METROPOLITAN MUSEUM OF ART'S PAGE ON LEONORA CARRINGTON


Chantell Van Erbé, is a contemporary mixed media artist, working in the genre of intuitive realism. Her method is instinctual with themes that are highly imaginative. She often employs bold colors and emotive themes in a passionate manner.

CLICK HERE TO GO TO CHANTELL VAN ERBE'S INSTAGRAM PAGE

"A Homecoming" by Chantell Van Erbe, 24 x 19, colored pencil on paper

Reference source https://en.wikipedia.org/wiki/Leonora_Carrington

BIOGRAPHY SPOTLIGHT: JUDITH LEYSTER WRITTEN BY ALEXANDRA TYNG

HISTORICAL WOMEN ARTISTS PROFILED BY CONTEMPORARY WOMEN IN ART

"The Young Flute Player" by Judith Leyster, 1635, Nationalmuseum (National Gallery of Sweden)

Judith Leyster (1609-1660) was born in Haarlem to parents in the textile industry. Her father later owned a brewery and the family name, which means “lodestar,” came from the name of their business. The first apparent reference to Leyster appears in Ampzing’s 1628 edition of Description and Praise of the City of Haarlem in Holland: “*see here another who paints with a good, keen sense.” This would indeed have been a compliment to a 19-year-old Leyster. Her early paintings closely resembled those of Frans Hals, but there is no documented evidence that she studied with Hals. In 1634 Leyster was admitted to the Haarlem’s Guild of St. Luke, a necessary step for establishing herself as a professional painter in her own right. She married another painter, Jan Molenaer, and they had four children, two whom survived them. Although we know little of Leyster’s work after her marriage, her reputation remained excellent, so it is possible that she continued to produce a considerable number of paintings, and that most of her later work has yet to be rediscovered through reattribution. For example, her painting The Jolly Toper was first assumed to be by Frans Hals and was purchased as such by the Rijksmuseum in 1897; in 1927 it was reattributed to Leyster and its value dropped. 

My favorite painting by Leyster is The Young Flute Player (1635 ). When I first saw it I was smitten with the luminosity on the figure and wall, the boy’s expression, and the arrangement of elements in the composition. Leyster’s genre paintings contain quiet passages of color alongside areas of more energetic brushwork, her colors are subtle, the light glows. Leyster stands out as one of my favorites of the 17th Century Dutch painters.

Reference sources: 

Well, James and Pieter Biesboer, eds.
Judith Leyster: A Dutch Master and Her World

https://en.wikipedia.org/wiki/Judith_Leyster

CLICK HERE TO SEE JUDITH LEYSTER'S PAINTING IN THE NATIONAL GALLERY OF ART IN WASHINGTON, DC

Alexandra Tyng is a realist painter whose method combines traditional methods with a contemporary viewpoint. Her website is:
www.alexandratyng.com

CLICK HERE TO VISIT ALEXANDRA TYNG'S WEBSITE

"Scavengers" by Alexandra Tyng, 60 x 60 in

BIOGRAPHY SPOTLIGHT: ROSALBA CARRIERA WRITTEN BY JANET COOK

HISTORICAL WOMEN ARTISTS PROFILED BY CONTEMPORARY WOMEN IN ART 

"Self-portrait Holding A Portrait Of Her Sister", Rosalba Carriera, c1715, pastel, Uffizi Gallery, Florence Italy

Rosalba Carriera (roh-ZAHL-bah kah-ree-AY-rah Italian, 1673 –1757)

Was the first internationally known pastel artist and is credited with elevating pastel in to an acceptable medium for professional portraiture during early to mid 18th century. Born in Venice, she established a reputation for excellence in pastel portraiture and was aided in her business by her two sisters.  
She spent much of her life fulfilling commissions for patrons at the courts in Europe and while working in France was commissioned to paint all the royalty and nobility from the King and Regent down.  In 1720/1 she was elected to the French Academy by acclamation.  Today, she is regarded by historians to have had a significant influence for many women artists that came after her including Catherine Read (Scottish 1723-1778), Adélaïde Labille-Guiard(French 1749-1803) and Élisabeth Vigée Le Brun (French 1755-1842)

I am inspired by Rosalba primarily because her artistic and financial success was something of an anomaly in the 18th Century; she ran her own business, employed her family, and distinguished herself as a portrait  painter using a medium which up until then was not particularly popular. Quite an accomplishment even by today's standards.

I saw her work in the Uffizi Gallery in 2007.  Here is a link:

CLICK HERE TO VISIT ROSALBA CARRIERA IN THE COLLECTION OF THE UFFIZI

Janet A Cook is contemporary figurative artist working in a variety of mediums.  She exhibits her work thru Dacia Gallery in NYC and shows all over the world. 
Here is a link to her website www.janetAcook.com:
CLICK HERE TO GO TO JANET A. COOK'S WEBSITE

"Post Op" by Janet A Cook, Pastel on paper, 26 x19 in

Sophonisba Anguissola And The Tale Of The Old Masters

Self-Portrait, 1558, by Sofonisba Anguissola, Institut Neerlandais, Paris

Sofonisba Anguissola  (c. 1532-1625) was a Renaissance painter born in  the northern town of Cremona, Italy. She was the daughter of Amilcare and Bianca Anguissola.    Amilcare was a businessman who invested wisely in land and various businesses, so he was well off financially.  Amilcare and Bianca had 7 children, Sofonisba was the oldest.  Sofonisba, was named after a Queen who was an important political pawn in Carthaginian history who the Anguissola family believed they had a connection to.  According to the historical tales, Queen Sophonisba was beautiful and well educated in music and literature. Like the Queen,  Sofonisba Anguissola was educated in the arts from an early age.  Although women were not allowed to study in the art schools of the day, her father arranged for Sofonisba to study with Bernardino Campi, a prolific Cremonese painter.  He agreed to privately tutor Sofonisba and her sister Elena in art.  The two sisters stayed with Bernardino and his wife as "Paying guests".  They always were chaperoned by Bernardino's wife Anna. Sofonisba learned about how to prepare canvas (which had only been in use at that point for 35 years) and make oil paints.  She learned to draw by sketching and making copies of Campi's work and other masters of the time.  This taught her the principles of shading, proportions and spatial relationships

She painted Bernardino Campi in a very original and innovative way.  Rather than the typical portrait, she chose to do a portrait of her mentor painting a portrait of herself.  She elected to depict him in action.  It also depicted a teacher-student theme which was rare for the time period.

Bernardino Campi Painting Sofonisba Anguissola, by Sofonisba Anguissola, 1550,
 collection of the Pinacoteca Nazionale, Siena, Italy

Michelangelo  and Caravaggio

By 1550 Sofonisba wanted expand her artistic training and knowledge beyond Cremona, so she left for Rome.   Rome was the center of  Renaissance creativity, innovation and Michelangelo Buonarotti(Italian 1475-1564) was living there at the time.  

While Sofonisba Anguissola stayed in Rome, it is known that she crossed paths with Michelangelo.
Here is a excerpt of a wonderful letter that Sofonisba's father, Amilcare, wrote to Michelangelo:

"My Most Honorable Sir,
Your most excellent, virtuous and good natured soul (all that is given by God) made me keep the memory of you which duly has to given to such an important and extraordinary gentleman.  And what makes me and my whole family obliged to you is having understood the honorable and thoughtful affection you have shown to Sofonisba, my daughter, to whom you introduced the practice of the  most honorable art of painting.....
Your most obedient servant,
Amilcare Anguissola"



The drawing shown below was done as an assignment requested by Michelangelo of Sofonisba.  She initially had done a drawing of a smiling girl, when Michelangelo saw the drawing, he said he wanted her to do a drawing of a weeping boy, a subject he said would be much more difficult to draw.    Sofonisba was inventive and imaginative, she created this lifelike drawing showing her brother being bitten by a crab.  She used her young brother Asdrubale as the model.  Judging from Asdrubale's age, this sketch is dated to have been drawn around 1554 by Sofonisba.

Asdrubale Being Bitten By A Crab, by Sofonisba Anguissola,
collection of Gabinetto dei Disegni, Museo Nazionale di Capodimonte, Naples, Italy

It is very interesting to compare this drawing to Caravaggio's "Boy Bitten by Lizard" which is dated around 1597,more than 40 years later than Anguissola's drawing.  Caravaggio scholar, Roberto Longhi (1890-1970)suggested that the artist borrowed the motif from Sofonisba.

Boy Being Bitten By A  Lizard by Caravaggio, 1597
 Collection of Fondazione Roberto Longhi, Florence

By 1555 Sofonisba left Rome and returned to her hometown Cremona, forever changed by her interaction with Michelangelo Buonarotti.  During this time she did many self-portraits and painted her family.  Here are some examples.

Self-Portrait By Sofonisba Anguissola, 1556
Collection of the Lancet Museum, Poland

The Chess Game by Sofonisba Anguissola, 1555
Collection of National Museum Poznan, Poland

In 1558 Anguissola went to Milan and while she was there she was commissioned to paint a portrait of the Duke of Alba, who was there visiting from Spain.  He was so impressed with Sofonisba that he recommended her to King Philip II of Spain as a court portraitist and lady in waiting for his new young bride and Queen, Elisabeth of Valois.  This resulted in King Philip II summoning Sofonisba to his court.  Sofonisba wound up staying in the Spanish court for 14 years.  She had much in common with Queen Elisabeth, they both loved music and art.  She painted many court portraits  including those of Elisabeth.  It is now recognized that she also painted King Philip II, which is historically outstanding, since it was very uncommon for a King to be painted by a woman.

Queen Elisabeth of Valois, 1561,by Sofonisba Anguissola,
Collection of the Kunthistorisches Museum, Vienna, Austria

King Philip II, 1565, by Sofonisba Anguissola, Collection of the Prado Museum, Madrid, Spain

King Philip II took a special interest in Sofonisba's personal life.  In 1571 (Sofonisba was almost 40 years old), the king arranged for her to marry a Sicilian nobleman, Fabrizio Moncada Pignatelli.  She moved with Don Fabrizio to Paterno (near Catania, Italy) with permission from king Philip II.  Here she lived from 1573-1579, on a pension from the king, which enabled her to keep painting and tutor artists.  In 1579 the plague claimed Don Fabrizio's life.  She decided that she wanted to return home to Cremona to her family and two years later on a sea voyage, she fell in love with a dashing sea captain,  Orazio Lomellino. Romance blossomed at sea.  I love this story :) Sofonisba and Orazio lived the rest of their years in prosperity and harmony.  Her artistic career flourished with her adoring husband, who called Sofonisba "great among mortals".   

Peter Paul Rubens

Sofonisba's work influenced many painters of the day and was widely copied, including  Peter Paul Rubens.  He made a copy of Sofonisba's painting "Portrait of Queen Isabella with Zibellino".

Portrait of Queen Isabel De Valois by Sofonisba Anguissola,
Collection of the Prado Museum Madrid

Portrait of Queen Isabel de Valois by Peter Paul Rubens
(after Sofonisba Anguissola)

Anthony Van Dyke

A twenty five year old Anthony Van Dyke met a ninety two year old Sofonisba Anguissola around 1624.  She had been the leading portraitist in Genoa, prior to her move to Palermo, which was her last residence.  Here Anthony Van Dyke sketched Sofonisba in his sketchbook.  It is said she captured Anthony Van Dyke's  undivided attention with all her stories about Philip II and his court.  

Portrait of Sofonisba Anguissola at age  92, 1624 by Anthony Van Dyke

**A great resource and monograph :  Sofonisba Angiussola: The First Great Woman Artist Of The Renaissance by Ilya Sandra Perlingieri. Published by Rizzoli International Publications 1992