Friday, July 27, 2012

The Poet and the Muse

Inspired By(?) #6 or: Pyle inspired by …Moreau? …Delaunay?  …Chassériau?  …Leighton? …Hokusai

Howard Pyle

A young man (a poet?) embracing his elusive muse (personified by a mermaid) for the final time?

"And when your fingers find her, she drowns you in her body, 
Carving deep blue ripples in the tissues of your mind." ~ Cream, Tales Of Brave Ulysses


Howard Pyle - The Mermaid, 1910

Gustave Moreau

Hesiod (a poet) and the muse, no mermaid but a Phrygian cap!

Gustave Moreau - Hésiode et la Muse, 1857


Phrygian cap

Jules-Elie Delaunay

A poet but no muse.

Sappho Kissing Her Lyre by Jules-Elie Delaunay

Théodore Chassériau

A poet and his muse, but again not a mermaid.

Hero et Leandre, also known as Le Poete et la Sirene, 1841


Théodore Chassériau, Apollo and Daphne

Frederic Leighton

A mermaid and a fisherman, hmm… who is perhaps also a poet?

The Mermaid (The Fisherman and the Syren). (From a ballad by Goethe.) (26½ × 18½ in.) R.A.

Shown in 1858 at the Royal Academy, and again in the 1897 retrospective exhibition, was first entitled The Fisherman and Syren, and afterwards The Mermaid; it is a composition of two small full-length figures, a mermaid clasping a fisherman round the neck. The subject is taken from a ballad by Goethe:

"Half drew she him,
Half sunk he in,
And never more was seen."


Hokusai

WHATEVER.


http://www.delart.org/collections/howard_pyle/pyles_inspiration_mermaid.html
video

Tuesday, July 17, 2012

Master Copy #10

or: d'après l'antique #1

Jules-Elie Delaunay (1828-1891) after Phidias (circa 480 BC – 430 BC)

Jules-Elie Delaunay Parthénon - Frieze E VI 38-40 ; N VI 16 Graphite on tracing paper Inv. 4228

E VI : Poseidon, Apollo, Artemis (38-40)


N VI : four hydriaphoroi (water-carriers)

Saturday, July 14, 2012

Jules-Elie Delaunay (1828-1891)

"Posterity will give their due to his fine portraits, forceful ornamentation and noble drawings, whose gravity did not seek the public eye. It may be that in spurning popularity, Delaunay found true glory."Georges Lafenestre,
Elie Delaunay (Gazette des Beaux-arts, 1891, VI. 3rd period, p. 500)


Self-portrait V.1860 Oil on canvas 64,5 x 24,5 cm


Communion of the Apostles 1861 Oil on canvas 284 x 204 cm

Death of Nessus 1870 Oil on canvas 95 x 125 cm

Nude, Rome c.1858

Portrait of Madame Raoul-Alfred Philippe 1877 Oil on canvas 81 x 65 cm

Capri Graphite and watercolour highlighting 24,2x30 cm

Diane 1872


Decorative works completed in 1874 for the lobby of the Paris Opera, clockwise from top: Immortality (Le Zodiaque) ; Amphion (Amphion Building a City) ; Parnassus (Apollon recevant la lyre) ; Orphée et Eurydice (Orpheus and Eurydice).


Wednesday, July 11, 2012

Master Copy #9

Robert-Fleury (1797–1890) after van Dyck

Joseph-Nicolas Robert-Fleury (1797–1890) ~ pupil of Girodet, Gros and Horace Vernet. Member of the Académie des Beaux-Arts, 1850 ; Professor at l'École des Beaux-Arts in Paris ; Director of l'École des Beaux-Arts in Paris ; Director of the French Academy (Villa Medici) in Rome, 1866. Father of Tony Robert-Fleury.

Copie de la Pietà aux Anges de van Dyck




The Lamentation of Christ
Anthony van Dyck 
(Antwerp 1599 - Blackfriars 1641) 
1635 
oil on canvas 
115 x 208 cm



Sir Anthony Van Dyck (1599–1641)
Study for the Dead Christ
Black chalk, heightened with white chalk, on gray-blue paper
10 7/8 x 15 7/16 inches (276 x 393 mm)
Purchased by Pierpont Morgan, 1910; I, 243