SEPTIMUS EDWIN SCOTT (British, 1879-1979)
"He Opened it in the Light.", A Tale of Two Cities book illustration
(Signing himself Sep. E. Scott, this painter, illustrator and comics artist illustrated for periodicals such as The Graphic. He painted color plates for Dickens as well as R.M. Ballantyne’s The Coral Island. Scott also worked in watercolors. — athousandwinds.)
The Large Piece of Turf, 1503, watercolor and body color heightened with white by Albrecht Durer, German, 1471-1528. Albertina Museum, Vienna, Austria.
Durer’s watercolors mark him as Europe’s first landscape artist, and he holds a place as one of the most important figures of the Northern Renaissance. His treatise on art theory emphasizes the importance of mathematics, perspective and ideal proportions.
The plants in this painting can be identified.
Owls Skating. Engraving by Adriaen van de Venne, Dutch Golden Age painter, 1589-1662. Rijksmuseum, Amsterdam.
These skating owls are ready for anything with their mice at the ready in case of a snack attack.
Van de Venne painted allegories, genre, portraits, miniatures and illustrations for books. He also produced political satires and was a poet.
Still Life in the Tromp-l’oeil style by Samuel van Hoogstraten, Dutch specialist in perspectives, 1627-1678.
A student of Rembrandt’s, Hoogstraten wrote a contemporary and rare appraisal of the master’s work. He was also an etcher, poet and art theorist as well as a director of the mint in Dordrecht.
This work is one of several and is in the Kunsthalle in Karlsruhe, Germany.
Stag Hunt, 1550, oil on canvas by Niccolò dell’ Abbate, Italian, 1509-1571. Galleria Borghese, Rome.
Abbate introduced the Mannerism style of painting to France after being called to the Court of Henry III at Fontainebleau in 1552. He is also recognized as the principal contributor to the first significant secular movement in France called the Fontainebleau style.
His trees are interesting in that they seem to be influenced by Dutch artists and two have been conveniently cut down to allow us to see the city beyond.
Dune Landscape by Moonlight,1635, oil on oak by Adriaen Brouwer, Flemish, 1605-1638. Staatliche Museen, Berlin, Germany.
Active in Flanders in the 17th century, Brouwer concentrated on expressing human emotions of pain and fear. He works carry themes of debauchery, drunkenness and foolishness.
A prolific painter, many of Brouwer’s works were among those destroyed or listed as missing after World War II. If a painting was not in its original location, it was listed as missing even though it might have been in another gallery.
Study for Invention of the Combing Machine, 1862, oil on board by Alfred Elmore, 1815-1881. Tate Gallery, London, England.
Elmore was an Irish-born Victorian history and genre painter who moved from Ireland to England to establish his career.
The Gift, 1788, oil on canvas by Marguerite Gérard, French, 1761-1837. The Hermitage. St. Petersburg, Russia.
A protégé of Jean-Honoré Fragonard, who was also her brother-in-law, Marguerite began her career in Paris in 1775 while living in the Louvre. In 1785, she was recognized as the first French woman to be a gifted genre artist.
Lady Reading in an Interior, oil on canvas by Marguerite Gérard, French, 1795-1837. Private Collection.
After the death of her mother in 1775, Gérard went to Paris to live with her sister and became the protégé of her brother-in-law, Jean-Honoré Fragonard. They lived for nearly 30 years in the Louvre.
By 1785, she was the first French woman to be recognized as a gifted genre painter. Gérard specialized in oil, portraits, miniatures and etchings. Her interiors with rich detail proved to be extremely popular.
Gorge, 1876, oil on copper by Gustave Doré, French illustrator and painter, 1832-1883. Private Collection.
Doré prolifically completed woodcuts, engravings, sculptures and illustrations for some of the most famous literary men such as Cervantes, Hugo, Milton and Balzac. His darkest work is found in Dante’s Divine Comedy and in Samuel Taylor Coleridge’s The Rime of the Ancient Mariner.