Paul Cézanne’s lithograph Les Baigneurs

by 19th century ArtArtFrench ArtPost-ImpressionismPowerpointsUncategorized
Paul Cézanne, French Artist, 1839-1906
Les Baigneurs (Large Plate), 1896-1897, lithograph in colors, 419 x 521 mm, Private Collection https://www.christies.com/en/lot/lot-6528944

Paul Cézanne’s lithograph Les Baigneurs is a masterful meditation on the relationship between figure, form, and landscape. Unlike the more polished bathers of classical tradition, Cézanne’s nude figures appear elemental, emerging from and dissolving into the terrain around them. In this image, boundaries blur… bodies echo trees, limbs mirror rocks, and space folds in on itself with quiet intensity. The muted tones and broad color planes evoke both physical solidity and ephemeral motion, inviting a deeper contemplation of perception and structure. As one haiku inspired by the work reflects: Colors breathe in stone / lines dissolve, rebuild the world, / depth through fractured light. This interplay of solidity and ambiguity is where Cézanne’s genius resides, offering not just a scene, but a new way of seeing.

Paul Cézanne (1839–1906) was a French Post-Impressionist painter whose work laid the foundation for the transition from 19th-century Impressionism to 20th-century modernism. Born in Aix-en-Provence to a wealthy banking family, Cézanne initially studied law before turning fully to art, despite his father’s objections. He moved between Paris and Provence throughout his life, forming a friendship with Émile Zola in his youth and later connecting with key Impressionists like Camille Pissarro. Though his early work was dark and expressive, Cézanne gradually developed a more structured, analytical approach to painting. His work was largely misunderstood during his lifetime, but he gained recognition late in his career, ultimately influencing generations of modern artists including Picasso, Matisse, and Braque.

Cézanne’s style is marked by a deep concern for form, structure, and the underlying geometry of nature. Rather than capturing fleeting light as the Impressionists did, he sought to depict the enduring essence of what he saw. He used repetitive, deliberate brushstrokes and patches of modulated color, what would later be termed “constructive strokes”, to build volume and depth. Cézanne broke traditional perspective, often presenting multiple viewpoints within a single composition, which gave his work a dynamic tension and spatial ambiguity. His landscapes, still lifes, and figure paintings are all composed of an architectonic sensibility, where every object, no matter how ordinary, is given weight and presence. This analytical approach, especially his reduction of natural forms into geometric shapes, cylinders, spheres, and cones, was a major steppingstone toward Cubism and modern abstraction.

The artist’s forays into lithography were limited, but they reflect his lasting interest in reworking earlier motifs through printmaking. According to MoMA experts, he produced a lithograph of Les Baigneurs as part of a small edition. It was one of just three lithographs he ever contributed to commercial portfolios, including an early series proposed by Ambroise Vollard. The famous Les Baigneurs (Large Plate) lithograph was created in 1896–97 and printed in colours on Ingres d’Arches paper, before an edition of one hundred. This work reinterprets his earlier oil paintings. It emphasizes bold contours, solid forms, and a strong pictorial structure of male figures immersed in swirling vegetation. The lithograph heightens Cézanne’s sculptural approach to composition. The figures lack modeled volume, seem suspended in the landscape, and show a deliberate disregard for traditional perspective. This spatial tension mirrors Cézanne’s experimental treatment of form and depth throughout his work.

Les Baigneurs (Large Plate) stands as a rare and refined expression of Cézanne’s artistic vision, rendered through the unconventional and demanding medium of color lithography. Its carefully balanced composition, where figures, trees, and terrain cohere into a unified, sculptural rhythm, demonstrates Cézanne’s ability to impose structure without sacrificing the organic vitality of nature. The lithograph’s planar brushwork and spatial ambiguity echo the artist’s mature style, inviting viewers into a world that feels both timeless and constructed. Given that Cézanne created only a handful of lithographs in his lifetime, this work is not only a masterclass in formal innovation but also a rare glimpse into how he adapted his painterly concerns to print. It is a composition that distills his lifelong pursuit: to capture the permanence of form within the fleetingness of vision.

For a PowerPoint Presentation on Paul Cézanne’s paintings of ‘Bathers, please… check HERE!

Bibliography: https://www.christies.com/en/lot/lot-6528944 and https://www.moma.org/collection/works/59624 and https://www.artgallery.nsw.gov.au/collection/works/170.2006/#about

Gabriel Argy- Rousseau’s Poissons Dans Les Vagues

by 20th century ArtArtArt DecoFrench ArtPowerpointsUncategorized
Gabriel Argy-Rousseau, French artist, 1885-1953
Poissons Dans Les Vagues, 1925, Pâte de Verre Glass Vase, Height: 152.4 millimeters, Macklowe Gallery, NY, USA
https://www.macklowegallery.com/products/gabriel-argy-rousseau-poissons-dans-les-vagues-pate-de-verre-glass-vase?srsltid=AfmBOoovAA26CWovwdBaAjyXP-8bW_rwkBfZTu_V4XvvOPyQAMLEyb-2

When I first encountered Gabriel Argy-Rousseau’s Poissons Dans Les Vagues, I was reminded of Moniza Alvi’s poem Fish Swimming, especially those opening lines about fish drifting in “deep-water coves.” The vase seems to hold a similar mystery: fish suspended in waves, forever moving yet forever still. Like Alvi’s poem, it made me think about the strange distance between ourselves and these creatures, how we can watch them, dream of them, even try to imagine their world, but never truly enter it. There’s poignancy in both the glass and the words, a reminder that, like the fish, we too are bound by time and mortality, always caught between movement and stillness, freedom and fragility. chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://www.teachingenglish.org.uk/sites/teacheng/files/fish_activities.pdf

Argy-Rousseau’s Poissons Dans Les Vagues is a small but captivating pâte de verre vase, standing just a hundred and fifty two millimeters in height. What draws me in immediately is the way the surface comes alive with movement: stylized fish, shaded in tones of green, slip in and out of curling waves that sweep around the form. The glass itself shifts in tone from a light, watery azure at the top to a deeper violet near the bottom, echoing the play of depth and light in the sea. I find the balance of detail and abstraction fascinating, the fish are recognizable, their elongated fins blending seamlessly into the scrolls of the waves, yet they feel part of the rhythm of the whole rather than separate figures. It is a vase that seems to hold both water and motion within its glass, a compact study in fluidity and design.

Born Joseph-Gabriel Rousseau in 1885 in a modest village Meslay-le-Vidame near Chartres, he trained as an “engineer-ceramist” at the École Nationale de Céramique de Sèvres, where an early fascination with chemistry and glass artistry, particularly the pâte de verre technique, took root. In 1913, he married Marianne Perrine Hipathie Argyriadès, a cultured Greek woman whose heritage deeply influenced him: as a tribute, he added the first four letters of her surname to his own and henceforth signed his work ‘Argy-Rousseau’. Her intellectual and cultural background sparked his enduring interest in Greek and Classical art, an influence that would subtly infuse his decorative motifs and lend a timeless, balanced lyricism to his designs.

Argy-Rousseau’s work strikes a compelling blend of scientific precision and poetic artistry. He mastered pâte de verre, a complex, intimate method of glass casting, developing his own streamlined, semi-industrial process that included proprietary coloring techniques such as oxide powder shading before final firing. His early pieces reflect Art Nouveau with their floral, insect, and animal themes, gradually evolving, especially after 1917, into the sharper contours and stylization of Art Déco, while never losing that lyrical touch. His palette ranged from deep ruby reds and amethyst to soft pastels, often in marbled or lustrous gradients, giving his glass a luminous, richly textured surface that seems to glow from within.

Pâte de verre, literally ‘paste of glass,’ is a demanding technique in which finely ground glass powders are mixed with binders, packed into a mold, and then carefully fired so the particles fuse together without fully melting. This process allows for subtle control of color, tone, and translucency, as artists can layer or blend different shades within the mold before firing. In Gabriel Argy-Rousseau’s Poissons Dans Les Vagues, the method is used to striking effect: gradients of pale azure shifting into violet create the impression of depth and water, while tones of green highlight the stylized fish as they weave through curling waves. The surface texture and nuanced shading possible with pâte de verre give the vase a luminous, almost painterly quality, making the fish appear suspended mid-motion within a fluid, glassy sea.

For a PowerPoint Presentation of Gabriel Argy-Rousseau’s oeuvre, please… Check HERE!

Bibliography: https://www.macklowegallery.com/products/gabriel-argy-rousseau-poissons-dans-les-vagues-pate-de-verre-glass-vase?srsltid=AfmBOoovAA26CWovwdBaAjyXP-8bW_rwkBfZTu_V4XvvOPyQAMLEyb-2 and https://www.diamantiques.com/gabriel-argy-rousseau-artiste-technicien-de-la-pate-de-verre/

The enduring legacy of ancient civilizations

by 18th century ArtArtFrench ArtPowerpoints
Hubert Robert, French Artist, 1733–1808
The Ruins of Nîmes, Orange and Saint-Rémy-de-Provence, c. 1789, Oil on Canvas, 56.3 x 78.8 cm, Private Collection https://www.christies.com/en/lot/lot-6520247?ldp_breadcrumb=back

Hubert Robert’s 1789 painting, The Ruins of Nîmes, Orange and Saint-Rémy-de-Provence, masterfully intertwines the grandeur of classical antiquity with the evocative beauty of decay. By amalgamating iconic Roman structures from southern French locales, Robert crafts an imaginative landscape that transcends geographical boundaries. This composition not only showcases his artistic ingenuity but also reflects the 18th-century fascination with ruins as symbols of the passage of time and the enduring legacy of ancient civilizations.

Hubert Robert (1733–1808) was a prominent French painter, draftsman, and printmaker known for his romanticized depictions of architectural ruins. Born in Paris, he studied at the prestigious Collège de Navarre before traveling to Italy in 1754. There, he spent over a decade absorbing the grandeur of classical antiquity, training at the French Academy in Rome and studying under Giovanni Paolo Panini, a master of capriccio landscapes. Robert’s fascination with ancient architecture flourished in Italy, where he meticulously sketched the ruins of Rome, Pompeii, and Tivoli, developing a lifelong artistic theme. Upon his return to France in 1765, he was admitted to the Royal Academy of Painting and Sculpture and quickly became a favorite of aristocratic patrons, including King Louis XVI, who appointed him designer of the royal gardens. Despite the turbulence of the French Revolution—during which he was imprisoned—Robert continued to produce evocative landscapes, blending reality and imagination in his visions of the past.

Robert’s paintings epitomize the 18th-century fascination with ruins as poetic symbols of time’s passage, human ambition, and nature’s reclamation. His works frequently depict grand yet decaying architectural settings, often populated with small, contemplative figures that emphasize the vastness of history. Unlike the precise architectural renderings of his contemporaries, Robert infused his compositions with a dreamy, almost theatrical quality, using warm golden light, soft atmospheric perspective, and dynamic compositions to enhance their emotional resonance. His capriccio technique—blending real and imaginary elements—allowed him to create idealized visions of antiquity, such as The Ruins of Nîmes, Orange, and Saint-Rémy-de-Provence, in which he combined multiple historical sites into a single, dramatic scene. His aesthetic influence extended beyond painting into garden design, where he applied his picturesque sensibilities to landscape planning. Ultimately, Robert’s work captures the grandeur of the past and its inevitable decline, making him one of the most poetic interpreters of ruins in European art.

Rather than depicting a single, accurate location, Robert’s painting The Ruins of Nîmes, Orange, and Saint-Rémy-de-Provence is a masterful Capriccio Painting that merges architectural grandeur with an evocative sense of decay. It creatively combines elements from major Roman sites in southern France: the Maison Carrée and Amphitheater of Nîmes, the ruins of the Pont du Gard Aqueduct, the Mausoleum of the Julii and Triumphal Arch at Glanum, located south of Saint-Rémy-de-Provence; the Triumphal Arch in Orange, and the Temple of Diana at Nîmes. The composition is carefully orchestrated to showcase these monumental structures in a dramatic interplay of light and shadow, heightening their romantic allure.

The painting exudes a melancholic yet sublime atmosphere, characteristic of Robert’s fascination with ruins as symbols of the passage of time. In the foreground, small human figures wander among the towering remnants, emphasizing the contrast between human transience and the enduring presence of antiquity. The soft, golden light filtering through broken arches and overgrown columns enhances the picturesque quality of the scene, inviting the viewer to reflect on the fragility of civilizations. Through this fusion of reality and imagination, The Ruins of Nîmes, Orange, and Saint-Rémy-de-Provence encapsulates the 18th-century admiration for antiquity and the romanticized vision of the past that defined much of Robert’s work.

For a PowerPoint Presentation of Hubert Robert’s Oeuvre, please… Check HERE!

Bibliography: https://www.christies.com/en/lot/lot-6520247?ldp_breadcrumb=back and https://www.artnet.com/artists/hubert-robert/

Daisies by Henri Matisse

by 20th century ArtArtFrench ArtStudent ActivitiesWorksheets
Henri Emile Benoît Matisse, French Artist, 1869-1954
Daisies, 1939, Oil on Canvas, 92 × 65 cm, The Art Institute of Chicago, USA https://www.artic.edu/artworks/100226/daisies

The painting Daisies by Henri Matisse, housed in The Art Institute of Chicago, captures the quiet radiance of nature with his signature bold colours and fluid brushwork. The daisy, the flower of April, symbolizes purity, resilience, and new beginnings—qualities that resonate deeply in Matisse’s luminous arrangement of white blossoms against a vibrant backdrop. His depiction calls to mind Emily Dickinson’s tender lines: “The daisy follows soft the sun, / And when his golden walk is done, / Sits shyly at his feet. / He, waking, finds the flower near. / ‘Wherefore, marauder, art thou here?’ / ‘Because, sir, love is sweet!’” Like Dickinson’s poetic daisy, Matisse’s flowers seem to bask in an unseen glow, embodying an intimate conversation between light and form, simplicity and devotion. https://discoverpoetry.com/poems/daisy-poems/

Matisse’s Daisies, is a joyful still-life that captures his fascination with colour, light, and organic forms. The painting presents a bouquet of white daisies arranged in a transparent glass vase, set against a stark black background and ‘accompanied’ by the artist’s model, seated on a bright red chair, outlined with thick, fluid, black lines, as well as a pink-and-blue drawing of another woman on the upper left side of the painting. The vase of Daisies is part of a Still Life arrangement organized on the right side of the painting. It consists of a green amphora, a vase of flowers, and lemons atop a tall light-blue table. Matisse employs bold brushstrokes, layering warm yellows, deep reds, and rich greens that contrast with the crisp white petals of the daisies. Though simply rendered, the flowers exude an unmistakable vibrancy, as if swaying gently in an unseen breeze. The composition balances structure and fluidity—while the vase anchors the scene, the blossoms extend outward, softly blending into the surrounding space.

Aesthetically, Daisies exemplifies what Matisse called “ballast,” a technique of adding and removing paint to achieve the desired effect of light. Rather than aiming for photographic realism, he distills the essence of the subject through bold contours and a dynamic interplay of warm and cool hues. The daisy—a flower often associated with innocence and renewal—becomes a vehicle for Matisse’s exploration of harmony, light, and movement. The painting’s flattened perspective and luminous palette reflect his belief in art’s ability to evoke joy and emotional depth rather than mere representation. The background, composed of dappled brushstrokes in yellow and red, creates a sense of warmth and intimacy, drawing the viewer into a world where nature and art converge in pure, expressive beauty.

Paris, 2nd December 1942
At the Jeu de Paume Museum, Reichsmarschall Hermann Göring, painting in his left hand and cigar in his right, sits gazing at two works by Henri Matisse being supported by Bruno Lohse. Standing to Göring’s left is his art advisor, Walter Andreas Hofer. Note the bottle of champagne on the table. Both paintings were stolen from the Paul Rosenberg collection by the Nazis and were recovered and returned after the war. The painting on the left, ‘Marguerites’, today hangs in the Art Institute of Chicago. The other, ‘Danseuse au Tambourin’, is at the Norton Simon Museum in Pasadena, California. mage credit: Archives des Musées Nationaux https://artuk.org/discover/stories/art-matters-podcast-the-monuments-men-and-preserving-art-during-war

Created during a pivotal period in Matisse’s career, Daisies was painted in 1939, just as the world teetered on the brink of World War II. Despite the looming global turmoil, Matisse continued to explore the themes of serenity and vitality that defined much of his work. Daisies was initially acquired by the renowned modern art dealer Paul Rosenberg (1881–1959). However, with the Nazi occupation of France, Rosenberg, like many other Jewish dealers, was forced to flee, and his extensive collection, including Daisies, was seized. After World War II, the painting was among the works recovered by the U.S. Army’s efforts to restitute looted art. Rosenberg reclaimed Daisies and brought it to his newly established gallery in New York. Eventually the painting became part of The Art Institute of Chicago’s collection, where it remains a cherished example of Matisse’s lifelong pursuit of beauty through simplified, evocative forms.

Henri Matisse (1869–1954) was a pioneering French artist whose bold use of color and fluid forms reshaped modern art. Initially trained in law, he discovered painting in his early twenties and soon became a leading figure in Fauvism, a movement defined by vibrant, expressive color. Throughout his career, Matisse continuously experimented with composition, perspective, and light, moving from the vivid hues of his Fauvist period to the refined, decorative harmony of his later works. Even as he faced illness in his later years, he adapted his creative process, embracing cut-outs and paper collages as a new medium for artistic expression. His 1939 painting Daisies reflects this lifelong pursuit of joy and balance, distilling nature into a symphony of colour and form. Like much of his work, it transcends simple representation, instead capturing the emotional essence of its subject—transforming an ordinary bouquet into an emblem of vitality and renewal.

Daisies are often associated with April because they symbolize purity, new beginnings, and resilience—qualities that align with the themes of springtime renewal. As one of the first flowers to bloom widely across fields and gardens when winter recedes, daisies represent the fresh start that April brings. Their name comes from the Old English “dæges ēage” (day’s eye), referring to their habit of opening with the sun and closing at night, further reinforcing their connection to the longer, sunlit days of early spring. In floral traditions, the daisy is often linked to innocence, love, and transformation, making it a fitting emblem for a month that bridges the transition from the softer, budding days of March to the full bloom of late spring.

For a Student Activity, inspired by Matisse’s Daisies, please… Check HERE!

Bibliography: https://publications.artic.edu/matisse/reader/works/section/87 and https://www.artic.edu/artworks/100226/daisies

Moissac Vase by René Lalique

by 20th century ArtArtArt DecoFrench ArtPowerpoints
René Lalique, French Artist, 1860-1945
Moissac Vase, c. 1930, Opalescent Glass, Height: 13 cm, Private Collection https://hickmet.com/products/rene-lalique-moissac-vase?srsltid=AfmBOopKGBdoz2qgOWYJy5s3FAq5xmPJq2A1jCN-QQW4gMqEHjEXwrhK

Glass is a marvellous material, capable of transforming light, texture, and form into extraordinary works of art. Few creators have harnessed its potential as masterfully as René Lalique, a visionary whose work epitomizes the elegance and innovation of the Art Deco era. Renowned for his ability to merge artistic vision with technical precision, Lalique redefined glassmaking in the early 20th century, crafting pieces that are as functional as they are breathtaking. Moissac Vase by René Lalique stands as a testament to his unparalleled creativity and craftsmanship, embodying the timeless beauty and sophistication that have cemented his legacy as one of history’s most important glassmakers.

The artist’s profound appreciation for glass is evident throughout his career. Originally a master jeweler, Lalique began experimenting with glass in the 1890s, incorporating it into his jewelry designs. By 1910, he had established a glass factory at Combs-la-Ville, France, and in 1918, he acquired a larger factory at Wingen-sur-Moder, France. His innovative use of glass in various forms, from jewelry to architectural elements, underscores his belief in its versatility and beauty.

René Lalique’s foray into glassmaking in the early 20th century marked a transformative and defining moment in his career, elevating him from master jeweler to an iconic and groundbreaking glassmaker. This transition started around 1907 when Lalique began collaborating with perfumer François Coty, designing ornate glass perfume bottles that combined elegance with practicality. Recognizing the artistic and commercial potential of glass, Lalique expanded his focus to creating a wide range of glass objects, including vases, bowls, lighting fixtures, and decorative panels.

The turning point came in 1910 when Lalique established his first glass workshop in Combs-la-Ville, France. By 1918, he had acquired a larger glass factory in Wingen-sur-Moder, Alsace, to meet increasing demand. Lalique’s move to glassmaking was driven by his desire to democratize art, using glass as a medium to create affordable yet exquisitely designed objects accessible to a broader audience. His innovative techniques, such as combining frosted and polished surfaces and using molds for intricate designs, allowed him to produce stunning pieces that were both artistic and functional. This shift cemented his legacy as one of the most influential creators of Art Deco glass.

René Lalique, French Artist, 1860-1945
Moissac Vase, c. 1930, Opalescent Glass, Height: 13 cm, Private Collection https://hickmet.com/products/rene-lalique-moissac-vase?srsltid=AfmBOopKGBdoz2qgOWYJy5s3FAq5xmPJq2A1jCN-QQW4gMqEHjEXwrhK

The Moissac Vase by René Lalique is a stunning example of early 20th-century French decorative art. Crafted in 1927, this glass masterpiece exemplifies Lalique’s ability to seamlessly blend functionality with artistic sophistication. The vase is a cylindrical form with a wider rim, tapered at the bottom, designed to evoke the grandeur and symmetry of Romanesque architectural capitals. Its surface is adorned with a repeating relief pattern of stylized leaves, meticulously rendered to create a sense of organic rhythm. Its opalescent finish, emphasizing the intricate details of the design, enhances its ethereal quality, casting a soft, radiant glow that transforms it into a luminous celebration of nature and form.

From an aesthetic perspective, the Moissac Vase embodies the essence of Art Deco elegance, characterized by its streamlined forms and geometric ornamentation. The motif of ‘leaves’, a timeless symbol of abundance and vitality, is depicted with a balance of naturalism and abstraction, reflecting Lalique’s mastery in synthesizing artistic traditions and modernist trends. The vase’s play of light, achieved through its frosted texture and the sculptural depth of its relief, lends it a dynamic, almost otherworldly glow. This interplay of texture and translucence transforms the vase into not just a decorative object but a celebration of light, form, and nature, showcasing Lalique’s unparalleled ability to harmonize artistry and craftsmanship.

For a PowerPoint Presentation, titled 10 Glass Masterpieces by René Lalique, please… Check HERE!

Bibliography: https://fr.lalique.com/en/pages/story-of-lalique and https://hickmet.com/products/rene-lalique-moissac-vase?srsltid=AfmBOopKGBdoz2qgOWYJy5s3FAq5xmPJq2A1jCN-QQW4gMqEHjEXwrhK

Snow Scene at Argenteuil

by 19th century ArtArtFrench ArtImpressionismStudent ActivitiesWorksheets
Claude Monet, French Artist, 1840 – 1926
Snow Scene at Argenteuil, 1875, Oil on Canvas, 71.1 × 91.4 cm, the National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/claude-monet-snow-scene-at-argenteuil

Thomas Hardy’s poem Snow in the Suburbs and Claude Monet’s painting Snow Scene at Argenteuil share a common theme of how snow transforms and softens everyday environments, imbuing them with a quiet beauty. Both works capture the stillness that snow brings, turning ordinary settings into places of reflection… Every branch big with it, / Bent every twig with it; / Every fork like a white web-foot; / Every street and pavement mute: / Some flakes have lost their way, and grope back upward when / Meeting those meandering down they turn and descend again. / The palings are glued together like a wall, / And there is no waft of wind with the fleecy fall.    /    A sparrow enters the tree, / Whereon immediately / A snow-lump thrice his own slight size / Descends on him and showers his head and eye / And overturns him, And near inurns him, / And lights on a nether twig, when its brush / Starts off a volley of other lodging lumps with a rush.    /    The steps are a blanched slope, / Up which, with feeble hope, / A black cat comes, wide-eyed and thin; / And we take him in. https://poets.org/poem/snow-suburbs

In Hardy’s poem, snow gently covers the suburb, altering the familiar landscape and quieting the usual hustle of the city. He writes about how snow touches everything from roofs to cats, creating a peaceful, almost tender transformation. Similarly, Monet’s painting depicts the serene beauty of snow-covered streets and houses in Argenteuil, where soft light and gentle textures evoke a calm and meditative atmosphere. The quiet streets and the snow-laden environment appear untouched, giving a sense of tranquility. Both works express the delicate, transformative effect of snow. Hardy’s use of precise, quiet imagery mirrors Monet’s soft brushstrokes, each turning a mundane urban scene into something ethereal and profound, highlighting the interplay between nature and human environments during winter.

Claude Monet, French Artist, 1840 – 1926
Snow Scene at Argenteuil (detail), 1875, Oil on Canvas, 71.1 × 91.4 cm, the National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/claude-monet-snow-scene-at-argenteuil

Claude Monet lived in Argenteuil, a suburban town near Paris, from 1871 to 1878, a pivotal period in his artistic career. During these years, he fully embraced the Impressionist style, focusing on capturing the effects of light, colour, and atmosphere in outdoor settings. Argenteuil’s scenic landscapes, including the Seine River and its gardens, provided Monet with abundant inspiration. It was here that he painted some of his most famous works, including Snow Scene at Argenteuil and The Railway Bridge at Argenteuil, often depicting the natural beauty of the town with loose brushstrokes and vibrant colours. His home also became a gathering place for fellow Impressionists like Renoir and Manet, fostering the collaborative spirit that helped define the movement. Monet’s time in Argenteuil solidified his position as a leading figure in the development of Impressionism.

Monet painted several snow scenes during the winter of 1874-75 while living in Argenteuil, capturing the tranquil, muted beauty of the snow-covered suburban landscape. One of these canvases, showing the Boulevard Saint-Denis, depicts a quiet, snow-blanketed street near his home, with figures slowly making their way through the thick snow. The scene captures the foggy atmosphere of winter, where the distant buildings seem to fade into the mist, and the snowy road, marked by cart tracks, leads the viewer’s eye toward the horizon. Despite the serene and picturesque view, Monet subtly conveys the modernity of Argenteuil, a developing suburb of Paris, with newly built houses lining the boulevard, blending the timeless beauty of nature with the progression of urban life. These snow scenes reflect Monet’s mastery in depicting light and atmosphere, transforming a modern setting into a peaceful, almost dreamlike winter landscape.

For a Student Activity inspired by Claude Monet’s painting Snow Scene at Argenteuil, please… Check HERE!

Félix Ziem’s painting of Constantinople

by 19th century ArtArtFrench ArtOrientalismPowerpoints
Félix Ziem, French Artist, 1821-1911
Constantinople, 1857-58, Oil on Canvas, 58 x 93.4 cm, Private Collection
https://www.christies.com/en/private-sales/privateitems/private-item-SN00656940-001

…Once out of nature I shall never take / My bodily form from any natural thing, / But such a form as Grecian goldsmiths make / Of hammered gold and gold enamelling / To keep a drowsy Emperor awake; / Or set upon a golden bough to sing / To lords and ladies of Byzantium / Of what is past, or passing, or to come. The closing lines of W. B. Yeats’s poem Sailing to Byzantium, and Félix Ziem’s painting of Constantinople both engage with the East as an idealized realm of transcendence and beauty, albeit in different artistic forms. Yeats’ Byzantium is a symbolic place of spiritual and artistic immortality, where the soul escapes the physical decay of old age and achieves eternal wisdom. In a parallel way, Ziem’s depiction of Constantinople offers a romanticized vision of the East, reflecting the 19th-century Orientalist fascination with the exotic and timeless aspects of the Orient. Both works use their respective mediums to transport the audience to an imagined, heightened version of the East.

The Orientalist connection between these works lies in their idealization of the East as a space of otherness, mystery, and eternal allure. While Yeats uses Byzantium as a metaphor for personal and artistic transcendence, Ziem’s Constantinople fits into the broader Orientalist tradition of presenting the East as a visually stunning and dreamlike world. Both artists, in their ways, construct the East as a place removed from mundane reality, where beauty and spiritual richness abound. Their works capture the Western artistic fascination with the Orient as a realm of wonder and aesthetic fulfilment.

Félix Ziem (1821–1911) was a French painter known for his vivid, atmospheric landscapes and maritime scenes, often depicting exotic locales. Born in Beaune, France, Ziem initially studied architecture before turning to painting, a transition that shaped his skilful rendering of urban spaces and architectural details in his artwork. He became associated with the Barbizon School, a movement that focused on naturalistic depictions of rural life. Still, Ziem’s works often took a different path, leaning toward the fantastical and picturesque. His fascination with travel and the allure of distant places led him to explore Venice, the Mediterranean, and especially the Ottoman Empire, particularly Constantinople (modern-day Istanbul). These experiences fueled his work, making him a significant figure in the Orientalist movement, which romanticized and idealized the East in Western art.

Ziem’s mastery of light and colour, combined with his ability to evoke the grandeur and mystique of foreign landscapes, earned him widespread acclaim during his lifetime. He exhibited frequently at the Paris Salon and achieved considerable financial success, an unusual feat for a 19th-century artist. Ziem was admired for his skill in capturing the shimmering waters and golden light of the Mediterranean, particularly in his Venetian and Constantinople scenes, which remain some of his most famous works. His love for travel and exploration is reflected in the dreamlike quality of his paintings, which often blur the line between reality and romantic fantasy. In 1908, he was awarded the prestigious honour of being inducted into the French Academy of Fine Arts.

Félix Ziem’s painting Constantinople captures the vibrancy and grandeur of the Ottoman capital through a masterful blend of light, colour, and architectural detail. The painting offers a panoramic view of the city’s waterfront, where the sparkling waters of the Golden Horn meet the bustling harbour, and boats glide gracefully along. Dominating the skyline is the majestic silhouette of domes and minarets, including the iconic Hagia Sophia, bathed in the warm, golden glow of the setting sun. Ziem’s brushwork evokes the atmosphere of a city alive with activity and culture, yet shrouded in a dreamlike haze that enhances its exotic appeal. The luminous sky and shimmering reflections on the water create a sense of serenity and timelessness, presenting Constantinople not just as a geographical location but as a symbol of the alluring, mystical East. Ziem’s portrayal invites the viewer into a romanticized vision of the city, where everyday life blends with the grandeur of empire and the beauty of the natural world.

For a PowerPoint Presentation of Félix Ziem’s oeuvre, please… Check HERE!

Bibliography: https://www.christies.com/en/private-sales/privateitems/private-item-SN00656940-001

The ‘Council of the Gods’ by Rubens and Renoir

by 17th century Art19th century ArtArtBaroqueFrench ArtImpressionismStudent ActivitiesWorksheets
Peter Paul Rubens, Flemish Baroque Artist, 1622 – 1624
The Council of the Gods, 1621-25, Oil on Canvas, 394×702 cm, Louvre, Paris, France https://www.wikiart.org/en/peter-paul-rubens/the-council-of-the-gods-1624
Pierre-Auguste Renoir, French Impressionist Artist, 1841–1919
Copy after “The Council of the Gods” by Peter Paul Rubens, 1861, Oil on Canvas, 45.8 x 83.5, National Museum of Western Art, Tokyo, Japan https://collection.nmwa.go.jp/artizewebeng/search_7_detail.php  

In the world of art, the interplay between inspiration and imitation often creates fascinating dialogues across time, as seen in the connection between Peter Paul Rubens’s The Council of the Gods and Pierre-Auguste Renoir’s faithful copy of the same masterpiece. Rubens’s original, a vibrant Baroque tableau teeming with mythological deities, showcases his mastery of dynamic composition and rich colouration, celebrating the grandeur of the divine. Centuries later, Renoir, an Impressionist renowned for his luminous and delicate brushwork, meticulously recreated Rubens’s work, demonstrating not only his admiration for the Flemish master but also his own evolving style through this act of homage. While identical in subject, the ‘Council of the Gods’ by Rubens and Renoir reflect the distinct artistic sensibilities and techniques of their respective creators, bridging the Baroque and Impressionist eras in a captivating visual conversation.

Peter Paul Rubens, Flemish Baroque Artist, 1622 – 1624
The Council of the Gods, 1621-25, Oil on Canvas, 394×702 cm, Louvre, Paris, France https://www.wikiart.org/en/peter-paul-rubens/the-council-of-the-gods-1624

Peter Paul Rubens’s Marie de’ Medici Cycle is a monumental series of 24 large-scale paintings commissioned by the Queen of France, to glorify her life and reign. Completed between 1622 and 1625, the cycle is a masterful fusion of Baroque dynamism, allegory, and historical narrative, vividly depicting key events from Marie’s life intertwined with mythological and symbolic figures. Rubens skillfully portrays the queen’s political achievements, personal trials, and divine favour, using his characteristic robust figures, dramatic compositions, and vibrant colours. The Medici Cycle, housed in the Louvre, stands as one of Rubens’s most ambitious works, exemplifying his ability to blend grand historical themes with the opulence and drama of the Baroque style.

The Council of the Gods, part of Rubens’s Medici Cycle, is a complex and allegorical painting that commemorates Marie de’ Medici’s role as regent of France and her efforts to promote peace in Europe through strategic royal marriages. The painting, one of the least understood in the cycle, presents a celestial assembly of mythological figures, including Apollo, Pallas, and Cupid, who symbolize Marie’s commitment to overcoming discord and fostering harmony. Central to the composition are Cupid and Juno binding two doves over a split sphere, symbolizing Marie’s hopes for a peaceful alliance between France and Spain through the marriages of her children, Louis XIII and Elizabeth, to the Spanish royals. The lack of a specific temporal or spatial setting, combined with the rich array of deities, creates a scene that transcends literal interpretation, instead serving as an allegory for Marie’s dedication to peace and continuity of her late husband’s policies during her regency.

Pierre-Auguste Renoir, French Impressionist Artist, 1841–1919
Copy after “The Council of the Gods” by Peter Paul Rubens, 1861, Oil on Canvas, 45.8 x 83.5, National Museum of Western Art, Tokyo, Japan https://collection.nmwa.go.jp/artizewebeng/search_7_detail.php

Pierre-Auguste Renoir, one of the leading figures of the Impressionist movement, was profoundly influenced by the masterpieces housed in the Louvre during his formative years as an artist. Growing up in close proximity to this treasure trove of art, Renoir developed a deep admiration for the works of great colourists in art history, particularly Peter Paul Rubens, François Boucher, and Eugène Delacroix. These artists, known for their mastery of colour, light, and form, became central to Renoir’s own artistic development.

In 1861, after obtaining permission to copy works from the Louvre’s galleries, Renoir embarked on the meticulous study of Rubens’s monumental 1622–1625 Marie de’ Medici cycle. One of the pieces he replicated during this period was Rubens’s Council of the Gods. This work, originally part of the larger Marie de’ Medici series, portrays a gathering of the classical deities in a vibrant and dynamic composition.

Renoir’s copy of The Council of the Gods (housed at The National Museum of Western Art, Tokyo) reflects his keen observation and skilful replication of Rubens’s use of colour, anatomy, and movement. By engaging with Rubens’s work in such a direct manner, Renoir was able to internalize the poses of the nude deities, which he viewed as epitomes of idealized human form. This exercise was not merely a technical reproduction but a profound learning experience that shaped Renoir’s understanding of figure painting, particularly in how to portray the nude human body with a sense of vitality and grace. The artist’s engagement with Rubens’s work was a crucial step in his artistic journey, providing him with a foundation in classical techniques and an understanding of the expressive potential of colour and form. These elements would later become hallmarks of his own distinctive style.

For Student Activities, please… Check HERE!

Hay Making

by 19th century ArtArtFrench ArtPowerpoints
Jules Bastien-Lepage, French artist, 18480-1884
Hay Making, 1877, Oil on Canvas, 180×195 cm, Musée d’Orsay, Paris, France
http://www.musee-orsay.fr/fr/agenda/expositions/jules-bastien-lepage-1848-1884

I come! I come! and the waving field / its wealth of golden grain shall yield. / In the hush and heat of glowing noon, / The insects’ hum is the only tune; / For the merriest birds forget to sing, / And sit in the shade with drooping wing. The painting Hay Making by Jules Bastien-Lepage presents the hush and heat of glowing noon with a tired but relaxing couple sitting in the shade, exhausted, yet content. There is such dignity in Bastien-Lepage’s presentation of this unassuming composition, I would like to explore it more… https://discoverpoetry.com/poems/august-poems/

Bastien-Lepage produced a collection of deeply personal artworks, firmly establishing his position within the Naturalism movement’s historical timeline. His oeuvre is focused on three main art areas: depicting realistic genre themes, creating rural landscapes, and fashioning truthful portraits. The sincerity portrayed in his paintings gained him a loyal following not only in France but also across Europe. Beauty, I am convinced, Jules Bastien-Lepage once said, is the exact truth: neither to the right nor to the left, but in the middle!  https://www.theartstory.org/artist/bastien-lepage-jules/ and https://www.teachercurator.com/art/october-by-jules-bastien-lepage/

Jules Bastien-Lepage, French artist, 18480-1884
Self-portrait at 32 years old, 1880, oil on canvas, 31×25 cm, Musée Bastien-Lepage, Clos Raymond, France
https://www.vosgesmatin.fr/art-et-culture/2019/05/12/autoportrait

The artist was born on the 1st of November 1848, in Damvillers, France, and showed an early talent for art. He studied at the École des Beaux-Arts in Paris, where he was influenced by the works of the Barbizon School painters, particularly Jean-Baptiste Corot and Gustave Courbet. Bastien-Lepage’s style combined elements of Realism, focusing on capturing the effects of light and atmosphere. His approach to painting often involved working directly from nature, capturing the effects of light and the nuances of everyday life. His subjects included landscapes, portraits, and genre scenes, all characterized by meticulous attention to detail and a sense of honesty and seriousness. https://www.teachercurator.com/art/october-by-jules-bastien-lepage/

Unfortunately, Jules Bastien-Lepage’s career was cut short when he died at the age of thirty-six. His work, however, had a significant impact on the development of Naturalism and influenced many artists who followed. Today, regarded as an important figure in the history of 19th-century French art, Bastien-Lepage is respected for the sincerity, and the dignity with which he depicted the Meuse region in which he grew up, and the workers and peasants who his brush rendered! https://www.theartstory.org/artist/bastien-lepage-jules/ and https://www.teachercurator.com/art/october-by-jules-bastien-lepage/

For the Paris Salon Bastien-Lepage created and exhibited a pair of Harvest Scenes that marked a new direction in his career as a painter. The earlier of the two works, The Haymakers, (today, in the Musée d’Orsay), exhibited at the Salon in 1878, shows two weary haymakers resting in the summer heat. The second painting, exhibited at the Paris Salon of 1879, and titled October or The Potato Harvest, (today, in the National Gallery of Victoria, Melbourne, Australia) is an account of the bleak autumnal potato harvest, set in a bare, featureless landscape. Both paintings, powerfully rendered, and careful studies of life in the fields, had a considerable influence on the art scene of the time. Both paintings created a new trend in art, and, without intention on Bastien-Lepage’s part, the painter of the Meusian peasants became the head of an Art School. https://www.ngv.vic.gov.au/explore/collection/work/3768/ and https://www.teachercurator.com/art/october-by-jules-bastien-lepage/

Jules Bastien-Lepage, French artist, 18480-1884
Hay Making (detail), 1877, Oil on Canvas, 180×195 cm, Musée d’Orsay, Paris, France
http://www.musee-orsay.fr/fr/agenda/expositions/jules-bastien-lepage-1848-1884

Jules Bastien-Lepage’s painting Hay Making, also known as Les Foins, is a significant work in the Realist tradition that captures a poignant scene of rural life. The painting features two peasant workers resting during the hay harvest: a young woman seated in the foreground, depicted in fatigue and contemplation, and a young man lying behind her, seemingly asleep. Set in a sunlit field with the expansive countryside in the background, the scene is bathed in soft, diffused light, highlighting the textures of the hay and the workers’ clothing. The earthy tones of greens, browns, and yellows evoke the warmth of a summer day, while the delicate and precise brushwork adds to the lifelike quality of the figures and their surroundings.

Hay Making conveys a sense of exhaustion and tranquillity, capturing a moment of respite in a long day of hard work. The painting serves as a subtle social commentary on the lives of rural workers, depicting them with dignity and realism, and highlighting their often-overlooked hardships and humanity. Celebrated for its technical excellence and emotional depth, the painting influenced the development of Naturalism in art and left a lasting impact on contemporaries and later artists who sought to portray ordinary life with sincerity and precision. Bastien-Lepage’s work remains a testament to the values and aesthetics of the late 19th-century Realist movement, honouring the everyday labour of peasants with empathy and respect.

For a PowerPoint on the artistic oeuvre of Jules Bastien-Lepage, please… Check HERE!

Interesting to read is the book Jules Bastien-Lepage and His Art. A Memoir. Written by the artist’s friend Andre Theuriet, the entire book is free and online at… https://archive.org/details/julesbastienlepa00theu/page/50/mode/2up and https://www.musee-orsay.fr/fr/agenda/expositions/jules-bastien-lepage-1848-1884 and https://www.musee-orsay.fr/fr/oeuvres/les-foins-9174

The Treasure of Childeric I

by ArchaeologyArtEarly Christian ArtFrench ArtJewelryMedieval ArtPowerpointsSocial Studies
Golden Bees, Treasure of Childeric I, 5th century AD, Gold, Garnet, Bibliothèque nationale de France, Paris, France https://www.hhantiquejewelry.com/napoleon-bees-jewelry-tomb-childeric-i-symbols-empire/

. The 14th of July is the anniversary of the Storming of the Bastille, a major event of the French Revolution, and the most important French Fête Nationale! Let’s celebrate this important historical event with a story… that of The Treasure of Childeric I, its beautiful Bee-Shaped Jewels and… Napoleon!

The Treasure of Childeric I, discovered on May 27th, 1653, in Tournai, Belgium, by Adrien Quinquin, a mason working on the reconstruction of the Church of Saint-Brice, is an extraordinary archaeological find that offers a unique glimpse into the early medieval period of European history. Attributed to Childeric I, a prominent king of the Salian Franks and father of Clovis I, the founder of the Merovingian dynasty, the hoard included a remarkable array of artefacts, such as jewelry, coins, and ceremonial weapons, reflecting the wealth and craftsmanship of the time.

Childeric I reigned during a pivotal era marked by the transition from Roman rule to establishing Frankish kingdoms. Therefore, his treasure highlights the personal wealth and power of a Frankish king and serves as a cultural bridge between the late Roman Empire and the early medieval Frankish state. Each item within the treasure provides invaluable insights into the art, culture, and political dynamics of the 5th century.

The discovery of Childeric’s treasure was a landmark event in the field of archaeology and has since played a crucial role in shaping our understanding of Merovingian art and society. The Treasure included a variety of fascinating items: a throwing axe, a spear, a long sword known as a spatha, and a short scramasax, both adorned with gold and garnet cloisonné. There was also a solid gold torc bracelet, part of an iron horseshoe with nails still intact, and belt and shoe buckles as well as horse harness fittings, all elaborately decorated with cloisonné gold and garnets. Additionally, the collection contained a leather purse with over a hundred gold and silver coins, the latest of which featured the Byzantine Emperor Zeno (474-491 A.D.). Among the treasures were also a gold bull’s head with a solar disc on its forehead, a crystal ball, and a gold signet ring.

Among the most notable items were the gold and enamel bees, over 300 of them, which were likely used as decorations for Childeric’s cloak or other regalia. These bees were later adopted by Napoleon Bonaparte, who, preparing for his coronation as Emperor of the French, sought a link to ancient French royalty. He deliberately avoided the still-despised Bourbon fleur-de-lys symbol, espousing Childeric’s heraldic bees as his emblem. Consequently, Napoleon’s coronation robe was embroidered with 300 gold bees, establishing them as the symbol of the new French Empire, and associating himself with the continuity and authority of the ancient Frankish kings. The bees thus became emblematic of the Napoleonic regime, symbolizing immortality and resurrection. In modern times, the bee has also contributed to the commemoration of the 14th of July national holiday, symbolizing the unity and enduring spirit of the French nation.

The Treasure’s discovery

When Childeric’s treasure was discovered in 1653 in Tournai, then part of the Spanish Netherlands, it was sent to Archduke Leopold Wilhelm of Austria. Recognizing its importance, the Archduke commissioned his physician, Jean-Jacques Chifflet, to document the artefacts meticulously. Chifflet’s detailed study, including precise engravings, was published in 1655 as “Anastasis Childerici I,” marking the first scientific archaeological publication. Although Chifflet made some errors in his analysis, his work laid the groundwork for modern archaeological documentation, preserving invaluable information about the Merovingian dynasty. Archduke Leopold brought Childeric’s treasure to Vienna in 1656 and, upon his death in 1662, bequeathed it to his nephew, Holy Roman Emperor Leopold I, who gifted the treasure to King Louis XIV. Louis, unimpressed by the 5th-century artefacts, stored them in the Louvre’s Cabinet of Medals. After the French Revolution, the treasure became part of the Cabinet of Medals at the Imperial Library, later known as the National Library of France.

On the night of November 5th, 1831, thieves broke into the Cabinet of Medals at the Bibliothèque Nationale de France, stealing over 2,000 gold objects, including Childeric’s treasure. The exact sequence of events is unclear due to record losses during the Paris Commune of 1871. The theft was a major scandal, prompting the reappointment of Eugène-François Vidocq, founder of the Sûreté, to lead the investigation and recover the treasure. With Vidocq in charge (Vidoq was a former criminal and convict turned policeman, believed to be Victor Hugo’s inspiration for Javert and Valjean of Les Misérables) a portion of the stolen treasure was retrieved from the Seine River where it was hidden in leather bags. Unfortunately, the treasure’s theft led to a dramatic loss of French cultural heritage, as only a portion of the treasure was recovered with many pieces lost forever. Today, the Treasure of Childeric I remains a testament to the historical significance and enduring legacy of the early Frankish rulers.

For a PowerPoint on The Treasure of Childeric I, please… Check HERE!