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FRANCISCO MASRIERA MANOVENS (Barcelona, 1841 - 1912)."Portrait of a woman.Oil on canvas.Signed in
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Description
FRANCISCO MASRIERA MANOVENS (Barcelona, 1841 - 1912).
"Portrait of a woman.
Oil on canvas.
Signed in the lower right-hand corner.
Measurements. 102 x 72 cm; 114 x 86 cm (frame).
In this work the artist offers a delicate and courteous image, dominated by the prominence of a young woman. In spite of her facial features, the voluptuousness of her clothes both in form and colour, the lady's gesture is serious and expectant, as if she was trying to read the spectator. This idea is heightened by the slight smile on the young woman's face ... . It is worth noting that the lady is set against an ochre-coloured background with a pattern that is largely reminiscent of the screen in the work the artist dedicated to his wife, which is now in the collection of the Museu Nacional d'Art de Catalunya. In this painting Masriera manages to capture a fleeting snapshot of the everyday life of the bourgeoisie of the time, an image full of charm and delicacy that captures the viewer's gaze. To do so, he used a realist aesthetic based on the plastic values of neoclassicism; in fact, the work shows a certain influence of the portrait Ingres painted of Mademoiselle Caroline Rivière, in which the sitter wears an ermine fur on her arms, in a manner very similar in composition to the present work.
A painter and silversmith, he began his artistic training in the workshop of his father, Josep Masriera Vidal. He then entered the La Lonja School of Fine Arts in Barcelona, where he was influenced by the landscape painter Luis Rigalt, and finally completed his studies in Paris. As a painter he devoted himself to detailed landscapes, usually inspired by the surroundings of San Andrés de Llavaneras, in the province of Barcelona. He took part in exhibitions in Barcelona, Madrid, Saragossa, Munich, Berlin and many other cities. His successive trips to Paris brought him into contact with the different trends in French landscape painting, and he soon achieved success thanks to the works he presented at both the International Exhibition in Paris (third medal) and the National Fine Arts Exhibitions in Madrid (third medal in 1878 and 1897) and Barcelona (first medal in 1909). He was an academician of Sciences and Arts (1873) and of the Fine Arts of Sant Jordi, and presided over the Artistic Circle. He published biographies of Catalan artists of the generation before his own, such as Luis Rigalt, Claudio Lorenzale and Francisco Miquel, as well as works on aesthetics such as "Influencia del estilo japonés en las artes europeas" (1885). He is represented in the Museo Nacional de Arte de Cataluña and the Museo del Prado among others, as well as in important international private collections.
"Portrait of a woman.
Oil on canvas.
Signed in the lower right-hand corner.
Measurements. 102 x 72 cm; 114 x 86 cm (frame).
In this work the artist offers a delicate and courteous image, dominated by the prominence of a young woman. In spite of her facial features, the voluptuousness of her clothes both in form and colour, the lady's gesture is serious and expectant, as if she was trying to read the spectator. This idea is heightened by the slight smile on the young woman's face ... . It is worth noting that the lady is set against an ochre-coloured background with a pattern that is largely reminiscent of the screen in the work the artist dedicated to his wife, which is now in the collection of the Museu Nacional d'Art de Catalunya. In this painting Masriera manages to capture a fleeting snapshot of the everyday life of the bourgeoisie of the time, an image full of charm and delicacy that captures the viewer's gaze. To do so, he used a realist aesthetic based on the plastic values of neoclassicism; in fact, the work shows a certain influence of the portrait Ingres painted of Mademoiselle Caroline Rivière, in which the sitter wears an ermine fur on her arms, in a manner very similar in composition to the present work.
A painter and silversmith, he began his artistic training in the workshop of his father, Josep Masriera Vidal. He then entered the La Lonja School of Fine Arts in Barcelona, where he was influenced by the landscape painter Luis Rigalt, and finally completed his studies in Paris. As a painter he devoted himself to detailed landscapes, usually inspired by the surroundings of San Andrés de Llavaneras, in the province of Barcelona. He took part in exhibitions in Barcelona, Madrid, Saragossa, Munich, Berlin and many other cities. His successive trips to Paris brought him into contact with the different trends in French landscape painting, and he soon achieved success thanks to the works he presented at both the International Exhibition in Paris (third medal) and the National Fine Arts Exhibitions in Madrid (third medal in 1878 and 1897) and Barcelona (first medal in 1909). He was an academician of Sciences and Arts (1873) and of the Fine Arts of Sant Jordi, and presided over the Artistic Circle. He published biographies of Catalan artists of the generation before his own, such as Luis Rigalt, Claudio Lorenzale and Francisco Miquel, as well as works on aesthetics such as "Influencia del estilo japonés en las artes europeas" (1885). He is represented in the Museo Nacional de Arte de Cataluña and the Museo del Prado among others, as well as in important international private collections.
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FRANCISCO MASRIERA MANOVENS (Barcelona, 1841 - 1912).
"Portrait of a woman.
Oil on canvas.
Signed in the lower right-hand corner.
Measurements. 102 x 72 cm; 114 x 86 cm (frame).
In this work the artist offers a delicate and courteous image, dominated by the prominence of a young woman. In spite of her facial features, the voluptuousness of her clothes both in form and colour, the lady's gesture is serious and expectant, as if she was trying to read the spectator. This idea is heightened by the slight smile on the young woman's face ... . It is worth noting that the lady is set against an ochre-coloured background with a pattern that is largely reminiscent of the screen in the work the artist dedicated to his wife, which is now in the collection of the Museu Nacional d'Art de Catalunya. In this painting Masriera manages to capture a fleeting snapshot of the everyday life of the bourgeoisie of the time, an image full of charm and delicacy that captures the viewer's gaze. To do so, he used a realist aesthetic based on the plastic values of neoclassicism; in fact, the work shows a certain influence of the portrait Ingres painted of Mademoiselle Caroline Rivière, in which the sitter wears an ermine fur on her arms, in a manner very similar in composition to the present work.
A painter and silversmith, he began his artistic training in the workshop of his father, Josep Masriera Vidal. He then entered the La Lonja School of Fine Arts in Barcelona, where he was influenced by the landscape painter Luis Rigalt, and finally completed his studies in Paris. As a painter he devoted himself to detailed landscapes, usually inspired by the surroundings of San Andrés de Llavaneras, in the province of Barcelona. He took part in exhibitions in Barcelona, Madrid, Saragossa, Munich, Berlin and many other cities. His successive trips to Paris brought him into contact with the different trends in French landscape painting, and he soon achieved success thanks to the works he presented at both the International Exhibition in Paris (third medal) and the National Fine Arts Exhibitions in Madrid (third medal in 1878 and 1897) and Barcelona (first medal in 1909). He was an academician of Sciences and Arts (1873) and of the Fine Arts of Sant Jordi, and presided over the Artistic Circle. He published biographies of Catalan artists of the generation before his own, such as Luis Rigalt, Claudio Lorenzale and Francisco Miquel, as well as works on aesthetics such as "Influencia del estilo japonés en las artes europeas" (1885). He is represented in the Museo Nacional de Arte de Cataluña and the Museo del Prado among others, as well as in important international private collections.
"Portrait of a woman.
Oil on canvas.
Signed in the lower right-hand corner.
Measurements. 102 x 72 cm; 114 x 86 cm (frame).
In this work the artist offers a delicate and courteous image, dominated by the prominence of a young woman. In spite of her facial features, the voluptuousness of her clothes both in form and colour, the lady's gesture is serious and expectant, as if she was trying to read the spectator. This idea is heightened by the slight smile on the young woman's face ... . It is worth noting that the lady is set against an ochre-coloured background with a pattern that is largely reminiscent of the screen in the work the artist dedicated to his wife, which is now in the collection of the Museu Nacional d'Art de Catalunya. In this painting Masriera manages to capture a fleeting snapshot of the everyday life of the bourgeoisie of the time, an image full of charm and delicacy that captures the viewer's gaze. To do so, he used a realist aesthetic based on the plastic values of neoclassicism; in fact, the work shows a certain influence of the portrait Ingres painted of Mademoiselle Caroline Rivière, in which the sitter wears an ermine fur on her arms, in a manner very similar in composition to the present work.
A painter and silversmith, he began his artistic training in the workshop of his father, Josep Masriera Vidal. He then entered the La Lonja School of Fine Arts in Barcelona, where he was influenced by the landscape painter Luis Rigalt, and finally completed his studies in Paris. As a painter he devoted himself to detailed landscapes, usually inspired by the surroundings of San Andrés de Llavaneras, in the province of Barcelona. He took part in exhibitions in Barcelona, Madrid, Saragossa, Munich, Berlin and many other cities. His successive trips to Paris brought him into contact with the different trends in French landscape painting, and he soon achieved success thanks to the works he presented at both the International Exhibition in Paris (third medal) and the National Fine Arts Exhibitions in Madrid (third medal in 1878 and 1897) and Barcelona (first medal in 1909). He was an academician of Sciences and Arts (1873) and of the Fine Arts of Sant Jordi, and presided over the Artistic Circle. He published biographies of Catalan artists of the generation before his own, such as Luis Rigalt, Claudio Lorenzale and Francisco Miquel, as well as works on aesthetics such as "Influencia del estilo japonés en las artes europeas" (1885). He is represented in the Museo Nacional de Arte de Cataluña and the Museo del Prado among others, as well as in important international private collections.
19th October - 19th & 20th Century Art
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