Lady In Blue
Lady In Blue by French Painter Maxime Dastugue (1851 – 1909); a portrait, figure and genre painter and student of French Academic Painter and Sculptor Jean Léon Gérome (1824 – 1904)
A beautiful and graceful figure portrait of a young lady wearing a full length blue hooded “puff” nó “leg o’ mutton” sleeve coat with black opera length leather gloves, holding a possible parasol with both hands; just below her waist.
Lady In Blue is a retouched digital art old masters reproduction of a public domain image.
Below Info Derived From Wikipedia.org
Jean-Leon Gerome (11 Bealtaine 1824 - 10 Eanáir 1904) péintéir agus dealbhóir Francach a bhí ann sa stíl ar a dtugtar an t-acadamhlacht anois. Bhí a chuid saothar péintéireachta chomh forleathan is a bhí sé “d’fhéadfaí a mhaíomh gurb é an t-ealaíontóir beo is cáiliúla ar domhan faoi 1880.”[1] Áiríodh péintéireacht stairiúil i raon a chuid oeuvre, miotaseolaíocht na Gréige, Orientalism, portráidí, agus ábhair eile, ag tabhairt an traidisiúin phéinteála acadúil go barr ealaíonta. Meastar go bhfuil sé ar cheann de na péintéirí is tábhachtaí ón tréimhse acadúil seo.
I 1840 chuaigh sé go Páras, áit a ndearna sé staidéar faoi Paul Delaroche, a raibh sé in éineacht leis go dtí an Iodáil i 1843. Thug sé cuairt ar Fhlórans, An Róimh, na Vatacáine agus Pompeii. Ar fhilleadh dó go Páras i 1844, like many students of Delaroche, he joined the atelier of Charles Gleyre and studied there for a brief time. He then attended the École des Beaux-Arts. I 1846 he tried to enter the prestigious Prix de Rome, but failed in the final stage because his figure drawing was inadequate.
His painting The Cock Fight (1846) is an academic exercise depicting a nude young man and a very thinly draped young woman with two fighting cocks, with the Bay of Naples in the background. He sent this painting to the Paris Salon of 1847, where it gained him a third-class medal. This work was seen as the epitome of the Neo-Grec movement that had formed out of Gleyre’s studio (including Henri-Pierre Picou and Jean-Louis Hamon), and was championed by the influential French critic Théophile Gautier, whose review made Gérôme famous and effectively launched his career.
Gérôme abandoned his dream of winning the Prix de Rome and took advantage of his sudden success. His paintings The Virgin, the Infant Jesus and Saint John and Anacreon, Bacchus and Eros took a second-class medal at the Paris Salon in 1848. I 1849, he produced the paintings Michelangelo (also called In his Studio) and A Portrait of a Lady.
I 1851, he decorated a vase later offered by Emperor Napoleon III of France to Prince Albert, now part of the Royal Collection at St. James’s Palace, Londain. He exhibited Greek Interior, Souvenir d’Italie, Bacchus and Love, Drunk in 1851; Paestum in 1852; and An Idyll in 1853
I 1852, Fuair Gérôme coimisiún chun múrmhaisiú mór a phéinteáil d’ábhar ailgéarach dá rogha féin. Aois Augustus, Breith Chríost, rud a chomhcheangail breith Chríost le náisiúin chonctha ag tabhairt ómóis do Ágastas, b'fhéidir go raibh sé i gceist go ndéanfadh sé magadh ar Napoleon III, ar choimisiúnaigh a rialtas an múrmhaisiú agus cé a aithníodh mar a “Augustus nua.
Chuir íocaíocht shuntasach síos ar Gérôme taisteal agus taighde a dhéanamh, den chéad uair i 1853 go Constantinople, mar aon leis an aisteoir Edmond Got, agus i 1854 go dtí an Ghréig agus an Tuirc agus cladach na Danóibe, áit a raibh sé i láthair ag ceolchoirm coinscríobacha Rúiseacha ag déanamh ceoil faoi bhagairt ainnise.
I 1853, Bhog Gérôme go dtí an Boîte à Thé, grúpa stiúideonna sa Rue Notre-Dame-des-Champs, Páras. Bheadh sé seo ina ionad cruinnithe d’ealaíontóirí, writers and actors, where George Sand entertained the composers Hector Berlioz, Johannes Brahms and Gioachino Rossini and the novelists Théophile Gautier and Ivan Turgenev.
I 1854, he completed another important commission, decorating the Chapel of St. Jerome in the church of St. Séverin in Paris. His Last Communion of St. Jerome in this chapel reflects the influence of the school of Ingres on his religious works.
To the Universal Exhibition of 1855 he contributed Pifferaro, Shepherd, and The Age of Augustus, Breith Chríost, but it was the modest painting Recreation in a Russian Camp that garnered the most attention…