A Homage to Van Spaendonck
A Homage to Van Spaendonck c1780-90 by French Painter Charlotte Eustace Sophie de Fuligny-Damas (1741 – 1828); a French Flower Painter
This beautiful still life painting was done in respect of her mentor the Still Life Floral Painter Gérard van Spaendonck (1746 – 1822) who taught her the art of flower painting.
It shows a thick chiseled marble table of beautiful hues and cuttings, with an elegant cobalt blue vase with cover that has gold swirling handles that are attached to a matching gold body ring just below the lid section.
Resting by on its side and on the table is a brown wooden artist palette with seven paint brushes wedge in the thumb grip, and a wreath of many different flowers starting with two large partially opened pink roses and many other flowers of blue, violet, red, white, pink and gold along with green leaves; that are illuminated from a light source from the viewers left.
Still Life A Homage to Van Spaendonck is a remastered digital art old masters reproduction of a public domain image that is available for purchase as a canvas print online.
Still life – A Homage to Van Spaendonck by Charlotte Eustace Sophie de Fuligny-Damas
Information Below Derived From Wikipedia.org
Charlotte was the daughter of Henry Anne de Fuligny-Damas (1669 – 1745); Comte de Rochechouart (a commune in the Haute-Vienne department in the Nouvelle-Aquitaine region in west-central France), Baron de Couches ( a commune in the Saône-et-Loire department in the region of Bourgogne-Franche-Comté in eastern France), Marigny-sur-Ouche (a commune in the Côte-d’Or department in eastern France.), Aubigny (a commune of the Allier department in central France), Agey (a commune in the Côte-d’Or department in the Bourgogne-Franche-Comté region of eastern France) and Saint-Péreuse (a commune in the Nièvre department in central France).
Her father died when she was three years of age, and when she was seven years of age she was placed in the care of canonesses at Remiremont Abbey where she received her classical education; and sometime during this period her caregivers took note of her drawing talent and she was then sent to Paris to receive art instruction from French Artist Jean-Baptiste Greuze (1725 – 1805) and Dutch Still Life Floral Painter Gérard van Spaendonck (1746 – 1822).
It wasn’t much later in her life and after she had to flee from france due to the political termoil of the time, when she was in her fifties; that her talent was recognized in Florence, Italy; and it was of such high caliber that she was referred to as the Raphael (Raffaello Sanzio da Urbino (1483 – 1520) – Italian Painter and Architect of the High Renaissance Period) of flowers by the Italian Neoclassical Sculptor Antonio Canova (1757 – 1822).
