Pesquisando por: "EUGEN VON BLAAS" - Fotoarena - Agência de fotojornalismo

akg8555241 BLAAS, EUGEN VON1843 Albano Laziale - 1931 VeniceTwo Venetian Women. The ring. Oil on canvas. 107 x 66cm. Notation: Signed and datedEugen von Blaas; 1896. Frame/Pedestal: Framed. Provenance:Private collection, Europe.For artists it has always been a primary concern to capture human moods, moods and experiences in their images and to make them recognisable and re-experienceable for the viewer. Paintings with motifs from everyday life offered inexhaustible themes and these genre images are still fascinating today, as they open a window to the past and allow the art lover to take a direct share in the historical atmosphere.The viewers of the paintings can be ""addressed"" in various ways by the people depicted. They can be neutral spectators of a scene, take on the role of a voyeur or even enter into a special kind of communication with a model. The decisive factor here is the gaze with which the persons in the painting suggest a contact out of the painting - or not.The great appeal of such representations can be felt in three paintings by two main masters of salon painting of the second half of the 19th century, which are offered in this auction:Eugen von Blaas' painting ""Zwei Venezianerinnen"" (The Ring), dated 1896, shows two pretty young women who - against the background of the Venetian city scenery - seem to have had to take a break to fetch water, because there is a novelty: the right ring finger of the standing woman is decorated with an apparently new ring which she presents to her friend who has sat down on a wall which borders the front image space. The painter masterfully characterises the newly engaged woman: the contrapuntal shifting of weight, the left supported on the hip with the elbow bent, the arm and hand posture of the demonstrated right make pride and also a little complacency of the sitter clear. A detail such as the bright red stockings and also the facial expressions of the young woman reinforce her perky impression.The friend sitting on the wall, on the other hand, seems much more reserved in her nature. She looks down on the new piece of jewellery from her raised seat, holding the ringed hand of her friend. Her face is in shadow, giving the impression that she is slightly blushing. Her left hand rests on her friend's shoulder, her legs have been crossed chastely. She is happy about the big news and enjoys the intensely friendly moment in which the viewer of the painting can also participate.The background and surroundings of the scene are strongly reduced in colour. Beige and ochre coloured townhouses, trees in a tender pink spring pile, a dilapidated, partly plastered wall and the grey stone floor in the foreground contrast not only in colour but also with the two young, neat and brightly dressed signorinas. The painter Eugen von Blaas has also repeatedly addressed the contrast of youth in front of the old city silhouette in his work. The two young women almost embody spring, the engagement marks the beginning of a new phase of life, but the venerable city has seen many such springs.Born in 1843, Eugen von Blaas (also Eugenio de Blaas) was the son of the highly successful and popular Austrian painter Carl von Blaas, who was awarded the hereditary title of nobility for his services to art. Eugen von Blaas, like his brother Julius, was encouraged and taught by his father at an early age and was sent to the best painter colleagues at the academies in Rome and Venice.Eugen von Blaas, who later taught as a professor himself at these academies, mastered the painterly craft and amazed his contemporaries especially with his ability to create all the details of his paintings with the same meticulous care, creating an almost photo-realistic plasticity.In the painting offered here von Blaas applied another trick: The details in the foreground are meticulously executed with technical perfection. The painter paid as much attention to the incarnate parts of the young ladies as to the various fabric textures, the jagged brickwork or the metal and earthenware vessels in the foreground. The world beyond the wall, however, lies in a light haze, the Venetian sfumato. Through this sophistication, Eugen de Blaas focuses the viewer's gaze on the foreground and emphasizes its plasticity even more..

akg8555245 CZACHÓRSKI, LADISLAUS VON1850 Grabowczyk/Lublin - 1911 MunichDreaming Girl. Oil on canvas. 36 x 57cm. Notation: Signed and dated lower right: Czachorski 1896. Frame/Pedestal: Framed. Provenance:Private collection, Europe.The gaze of the ""dreaming girl"", who seems to look through the viewer, captivates in a completely different way than the both paintings by Eugen von Blaas (Lot 1195, Lot 1196). One can observe her ""unnoticed"", as it were, and enjoy every detail of this fascinatingly haptically painted painting - the image in front of her inner eye, however, remains the secret of the dreamer.The young lady had certainly sat upright on the upholstery with a sloping backrest at first to complete the rich embroidery with needle and thread, which she holds in her lap. Now the young body has slid forward on the seat, her head rests on the edge of the backrest and she dreams with her eyes open, the needle still in her hand. The result is a charming, light, diagonal arch in various shades of pink, cream and white against the dark green of the tapestry in the background and the seat cushion. This light play of colours is taken up by the lush bouquet of flowers in the upper right-hand corner of the image and by a white flowering houseplant in the lower left-hand corner.The painter of this painting, the Polish-born Ladislaw Czachorski, is convincing in composition and content with his fascinating technique, which proves him to be a grandmaster of history painting of his time. In this small painting he shows that he is not inferior in quality to his teacher, the great Carl von Piloty. Czachorsky, who was born in Poland, came to Munich after his first training in Warsaw with a stopover at the Dresden Academy. Here he became a student of Piloty, who influenced the Munich art scene and especially history painting. Besides genre paintings and portraits Czachorski also specialised in Shakespearean scene motifs. Already at a young age Czachorski was celebrated by the public and critics, e.g. in 1879 he received a gold medal for a Hamlet painting at the 2nd International Art Exhibition in Munich's Glass Palace. His portraits of young ladies, often in historical costumes and in richly decorated boudoirs, were so popular with buyers that they had to wait up to two years to receive a work by the artist.Even today's viewer of the ""dreaming girl"", ""saturated"" with completely different viewing habits, can experience this fascination when the eye revels in the tactile promise the artist makes with the delicate execution of the most varied materials presented side by side. Czachorski devotes the same attention to the surface design of all the details in the image and is closely related to Eugen de Blaas in this respect.The gaze of the young dreamer leaves the viewer alone with all the splendour, but is able to make him feel the all too human feeling of daydreaming, removed from time..

akg8555242 BLAAS, EUGEN VON1843 Albano Laziale - 1931 VeniceTwo Venetian Women. The ring. Oil on canvas. 107 x 66cm. Notation: Signed and datedEugen von Blaas; 1896. Frame/Pedestal: Framed. Provenance:Private collection, Europe.For artists it has always been a primary concern to capture human moods, moods and experiences in their images and to make them recognisable and re-experienceable for the viewer. Paintings with motifs from everyday life offered inexhaustible themes and these genre images are still fascinating today, as they open a window to the past and allow the art lover to take a direct share in the historical atmosphere.The viewers of the paintings can be ""addressed"" in various ways by the people depicted. They can be neutral spectators of a scene, take on the role of a voyeur or even enter into a special kind of communication with a model. The decisive factor here is the gaze with which the persons in the painting suggest a contact out of the painting - or not.The great appeal of such representations can be felt in three paintings by two main masters of salon painting of the second half of the 19th century, which are offered in this auction:Eugen von Blaas' painting ""Zwei Venezianerinnen"" (The Ring), dated 1896, shows two pretty young women who - against the background of the Venetian city scenery - seem to have had to take a break to fetch water, because there is a novelty: the right ring finger of the standing woman is decorated with an apparently new ring which she presents to her friend who has sat down on a wall which borders the front image space. The painter masterfully characterises the newly engaged woman: the contrapuntal shifting of weight, the left supported on the hip with the elbow bent, the arm and hand posture of the demonstrated right make pride and also a little complacency of the sitter clear. A detail such as the bright red stockings and also the facial expressions of the young woman reinforce her perky impression.The friend sitting on the wall, on the other hand, seems much more reserved in her nature. She looks down on the new piece of jewellery from her raised seat, holding the ringed hand of her friend. Her face is in shadow, giving the impression that she is slightly blushing. Her left hand rests on her friend's shoulder, her legs have been crossed chastely. She is happy about the big news and enjoys the intensely friendly moment in which the viewer of the painting can also participate.The background and surroundings of the scene are strongly reduced in colour. Beige and ochre coloured townhouses, trees in a tender pink spring pile, a dilapidated, partly plastered wall and the grey stone floor in the foreground contrast not only in colour but also with the two young, neat and brightly dressed signorinas. The painter Eugen von Blaas has also repeatedly addressed the contrast of youth in front of the old city silhouette in his work. The two young women almost embody spring, the engagement marks the beginning of a new phase of life, but the venerable city has seen many such springs.Born in 1843, Eugen von Blaas (also Eugenio de Blaas) was the son of the highly successful and popular Austrian painter Carl von Blaas, who was awarded the hereditary title of nobility for his services to art. Eugen von Blaas, like his brother Julius, was encouraged and taught by his father at an early age and was sent to the best painter colleagues at the academies in Rome and Venice.Eugen von Blaas, who later taught as a professor himself at these academies, mastered the painterly craft and amazed his contemporaries especially with his ability to create all the details of his paintings with the same meticulous care, creating an almost photo-realistic plasticity.In the painting offered here von Blaas applied another trick: The details in the foreground are meticulously executed with technical perfection. The painter paid as much attention to the incarnate parts of the young ladies as to the various fabric textures, the jagged brickwork or the metal and earthenware vessels in the foreground. The world beyond the wall, however, lies in a light haze, the Venetian sfumato. Through this sophistication, Eugen de Blaas focuses the viewer's gaze on the foreground and emphasizes its plasticity even more..

akg8555243 BLAAS, EUGEN VON1843 Albano Laziale - 1931 VeniceYoung Venetian with Purple Headscarf. Oil on wood. 32,5 x 24,5cm. Notation: Signed upper right: Eug.v. Blaas. Frame/Pedestal: Framed. Provenance:Private collection, Germany.Besides the mostly large-format genre depictions of Eugen von Blaas, his smaller bust images of female models were in great demand by an international audience. These are not portraits in the true sense of the word, but rather the reproduction of a distinctive Italian type of woman in different characterizations. This speciality of de Blaas' earned him the nickname ""painter of the Venetian beauties"". In the series of these works belongs the here offered work ""Girl with Headscarf"". Eugen de Blaas shows here a completely different side of his painting skills. The concentration is entirely directed towards the young woman's facial expressions, full of character; headscarf and hair are fleeting, almost impressionistically painted, the brushstroke may be shown in this light technique, the tip of the dress is built pastos dotted. The lighting in this small image is particularly refined: The strong light coming from above lies glistening on the headscarf, the white lace of the blouse and the décolleté. Against the deep dark background, a strong contrast is created in which the face, slightly shaded by the curly red hair, forms the balancing centre. The view from the almond-shaped eyes, the slightly smiling face and the slanting head, completely surrounded by the light blue headscarf, create a challenging impression that the viewer can hardly escape. In contrast to the image ""Two Venetian Women"", in which the glances of the two beauties are concentrated on the new preciousness and the viewer remains an outside observer of the scene, the eye contact between the red-haired girl with the headscarf and her counterpart is, as it were, the subject of the image itself..

akg8555246 CZACHÓRSKI, LADISLAUS VON1850 Grabowczyk/Lublin - 1911 MunichDreaming Girl. Oil on canvas. 36 x 57cm. Notation: Signed and dated lower right: Czachorski 1896. Frame/Pedestal: Framed. Provenance:Private collection, Europe.The gaze of the ""dreaming girl"", who seems to look through the viewer, captivates in a completely different way than the both paintings by Eugen von Blaas (Lot 1195, Lot 1196). One can observe her ""unnoticed"", as it were, and enjoy every detail of this fascinatingly haptically painted painting - the image in front of her inner eye, however, remains the secret of the dreamer.The young lady had certainly sat upright on the upholstery with a sloping backrest at first to complete the rich embroidery with needle and thread, which she holds in her lap. Now the young body has slid forward on the seat, her head rests on the edge of the backrest and she dreams with her eyes open, the needle still in her hand. The result is a charming, light, diagonal arch in various shades of pink, cream and white against the dark green of the tapestry in the background and the seat cushion. This light play of colours is taken up by the lush bouquet of flowers in the upper right-hand corner of the image and by a white flowering houseplant in the lower left-hand corner.The painter of this painting, the Polish-born Ladislaw Czachorski, is convincing in composition and content with his fascinating technique, which proves him to be a grandmaster of history painting of his time. In this small painting he shows that he is not inferior in quality to his teacher, the great Carl von Piloty. Czachorsky, who was born in Poland, came to Munich after his first training in Warsaw with a stopover at the Dresden Academy. Here he became a student of Piloty, who influenced the Munich art scene and especially history painting. Besides genre paintings and portraits Czachorski also specialised in Shakespearean scene motifs. Already at a young age Czachorski was celebrated by the public and critics, e.g. in 1879 he received a gold medal for a Hamlet painting at the 2nd International Art Exhibition in Munich's Glass Palace. His portraits of young ladies, often in historical costumes and in richly decorated boudoirs, were so popular with buyers that they had to wait up to two years to receive a work by the artist.Even today's viewer of the ""dreaming girl"", ""saturated"" with completely different viewing habits, can experience this fascination when the eye revels in the tactile promise the artist makes with the delicate execution of the most varied materials presented side by side. Czachorski devotes the same attention to the surface design of all the details in the image and is closely related to Eugen de Blaas in this respect.The gaze of the young dreamer leaves the viewer alone with all the splendour, but is able to make him feel the all too human feeling of daydreaming, removed from time..

akg8555244 BLAAS, EUGEN VON1843 Albano Laziale - 1931 VeniceYoung Venetian with Purple Headscarf. Oil on wood. 32,5 x 24,5cm. Notation: Signed upper right: Eug.v. Blaas. Frame/Pedestal: Framed. Provenance:Private collection, Germany.Besides the mostly large-format genre depictions of Eugen von Blaas, his smaller bust images of female models were in great demand by an international audience. These are not portraits in the true sense of the word, but rather the reproduction of a distinctive Italian type of woman in different characterizations. This speciality of de Blaas' earned him the nickname ""painter of the Venetian beauties"". In the series of these works belongs the here offered work ""Girl with Headscarf"". Eugen de Blaas shows here a completely different side of his painting skills. The concentration is entirely directed towards the young woman's facial expressions, full of character; headscarf and hair are fleeting, almost impressionistically painted, the brushstroke may be shown in this light technique, the tip of the dress is built pastos dotted. The lighting in this small image is particularly refined: The strong light coming from above lies glistening on the headscarf, the white lace of the blouse and the décolleté. Against the deep dark background, a strong contrast is created in which the face, slightly shaded by the curly red hair, forms the balancing centre. The view from the almond-shaped eyes, the slightly smiling face and the slanting head, completely surrounded by the light blue headscarf, create a challenging impression that the viewer can hardly escape. In contrast to the image ""Two Venetian Women"", in which the glances of the two beauties are concentrated on the new preciousness and the viewer remains an outside observer of the scene, the eye contact between the red-haired girl with the headscarf and her counterpart is, as it were, the subject of the image itself..