Ómós do Van Spaendonck
Ómós do Van Spaendonck c 1780-90 leis an bpéintéir Francach Charlotte Eustace Sophie de Fuligny-Damas (1741 – 1828); Péintéir Bláthanna Francacha
Rinneadh an phéinteáil álainn neamhbheo seo maidir lena meantóir, an Péintéir Bláthanna Neamhbheo Gérard van Spadonck (1746 – 1822) a mhúin ealaín na péintéireachta bláthanna di.
Taispeánann sé tábla marmair chiseled tiubh de dathanna agus gearrthóga álainn, le vása galánta cóbalt gorm le clúdach ar a bhfuil lámha guairneáin óir atá ceangailte le fáinne óir meaitseála díreach faoi bhun an chlúdaigh.
Ina luí ar a thaobh agus ar an mbord tá pailéad donn ealaíontóirí adhmaid le seacht scuab péinte ding sa ghreim ordóg, agus bláthfhleasc de go leor bláthanna éagsúla ag tosú le dhá rósanna móra bándearga a osclaíodh go páirteach agus go leor bláthanna gorma eile, violet, dearg, bán, bándearg agus ór chomh maith le duilleoga glasa; atá soilsithe ó fhoinse solais ón lucht féachana ar chlé.
Atáirgeadh seanmháistrí d'ealaín dhigiteach athmháistrithe d'íomhá fearainn phoiblí is ea Ábhar Neamhbhe A Homage to Van Spaendonck atá ar fáil le ceannach mar priontáil chanbhás ar líne.
Fós beo – Ómós do Van Spaendonck le Charlotte Eustace Sophie de Fuligny-Damas
Eolas Thíos Díorthaithe Ó Wikipedia.org
Ba iníon Charlotte í Henry Anne de Fuligny-Damas (1669 – 1745); Comhaireamh 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, An Iodáil; 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).