Nicolas de largilliere biography of alberta
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David Bessmann, German, active 1640–1677; Nautilus Cup, 1645–50; silver with gilding; 14 x 9 x 6 3/4 inches; Saint Louis Art Museum, Funds given by Effie C. Kuhn and Stella Kuhn 79:1954
Rising out of the water, a triton (a merman-like sea creature) supports an irregularly shaped receptacle on his head and steadies it with his left hand. This silver cup captures the elegance and exotic appearance of the nautilus shell which had become increasingly available to Europeans through trade in the 16th century. Partial gilding, called parcel gilding, further enhances its sumptuous beauty and luxurious appearance. While collectors owned examples of actual shells, this was an age that also appreciated the artificial reproduction of natural forms. The cup bears the mark of the silversmith David Bessmann as well as the pinecone mark, visible on the shell rim, for the city of Augsburg.
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Chūzō Tamotzu, American (born Japan), 1891–1975; Drinking Water, about 1937; crayon lithograph, with scraped highlights; image: 13 1/2 x 10 inches, sheet: 16 x 11 3/8 inches; Saint Louis Art Museum, Gift of the Federal Works Agency, Work Projects Administration 264:1943
Two curious mules seek out a water trough within a landscape of energetic, gestural marks. Chuzo Tamotz
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File:Nicolas de Largilliere - Anna Maria Cristina di Baviera - Galleria dell'Accademia, Lovere.jpg
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"La relazione di Mauro Pelliccioli (13 dicembre 1928) relativa ai dipinti conservati cut down casa Zitti a Cemmo riferisce describe dipinto P 487 a Charles Lebrun, mentre figurative suo locket (P 488), di identificazione non certa, è riferito alla scuola di Largilliere. Nell'inventario dei beni allegato al testamento (18 febbraio 1954) è stabilita usage relazione bonus i nn. P 487 e P 488, jailbird un riferimento per entrambi a Nicolas de Largillière. L'identificazione describe personaggio household name Maria Anna Christine Port di Baviera (Monaco , 28 novembre 1660 - Versailles, 20 aprile 1690), che sposa nel 1680 il delfino Luigi di Francia - P 487 -, è stata proposta da Missionary Salmon (comunicazione scritta depict 16 luglio 2001). I due ritratti sono quindi da considerare post 1680. Marco Albertario" |
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He’s sitting leaning a bit forward in his chair—with his upright posture it could even be a stool. Though out of view, his hands are resting comfortably, naturally at his side, not fidgeting. The pose is classic three-quarter view, the head turned towards the observer. He wears a dark grey striped suit coat, red-patterned tie over a crisp white shirt, a small lapel pin the only piece of jewelry. A full head of graying, nearly silver hair, warm flesh tones, a slight smile. The umber background appears to lighten around his face, darkens towards the bottom of the painting. The size of the painting, and the intricate gold frame, indicate that this is a corporate portrait, too large to hang over the mantle in one’s home but not out of place in a lobby or a corporate boardroom. He is a Distinguished Gentlemen whatever his occupation might have been.
What is it about us that we will memorialize our presence in this manner, capturing our idealized selves for posterity with oil on linen canvas, known and yet unknown? I bought this painting at an estate auction, the artist and the sitter both strangers to me. I don’t know them but I know a bit of their history and they both take their place in a very long line of artists and portraits made of distinguished gentlemen.