Silvio de Borgges

A Crucificação de São Pedro.
Óleo sobre tela.
1X80

Artist Marie Petit

Homage to Friends from Montparnasse" - Marevna (Marie Vorobieff), 1962 -  (Diego Rivera, Leopold Zborowski, Chaim Soutine, Moise Kisling, Ilya Ehrenburg, Amedeo Clemente Modigliani, Jeanne Hébuterne, Max Jacob,  Marevna)

Marevna, the artist friend of great artists.

Marie Bronislava Vorobieff-Stebelska (February 14, 1892 - May 4, 1984), also known as Marevna, was a Russian-born Cubist painter. She is internationally known for convincingly combining elements of cubism (which she called "dimensionalism") with pointillism and structure. She was supposedly the first female Cubist painter. 

Despite having lived most of her life abroad - her formative years as a Cubist painter in France and her mature years in England - she is often referred to as a "Russian painter". From her relationship with the Mexican Cubist painter and later muralist Diego Rivera in Paris, she had a daughter, Marika Rivera (1919-2010), who became a professional dancer and film actress.
In 1911, she left for Italy. On the island of Capri she was introduced to Maxim Gorki who nicknamed her Marevna (a sea princess from a Russian fairy tale) which she adopted as her signature. The petite, blue-eyed blonde was not a conventional beauty, but her outgoing nature combined with the proverbial depth of the Russian soul seems to have given her a special charm that easily provoked an enthusiastic echo from her contemporaries.

In 1912, at the age of twenty, with a blossoming talent, Marevna moved to Paris, where she continued her art studies and soon began exhibiting her work in exhibitions. She became friends with some of the greatest artists and writers of the early 20th century, then living in Montparnasse and especially in La Ruche, among them Georges Braque, Marc Chagall, Jean Cocteau, Ilya Ehrenburg, Maxim Gorki, Max Jacob, Moise Kisling, Pinchus Krémègne, Fernand Léger, Henri Matisse, Amedeo Modigliani, Pablo Picasso, and Chaim Soutine.Tribute to Friends in Montparnasse" (1962), mural-sized, painted long after she had left Paris.

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silvio de Borgges Gallery In this collection I'm presenting what I see as a new phase in which I work with recyclable materials and use a lot of volume to make cuts to the other side of the canvas to give the viewer a three-dimensional sensation, as if the figure were moving in front of their eyes. The clothes and utensils u...

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Interview — Artistcloseup.com - Your favorite place to discover new artists Silvio de Borgges

Título: Voleyball.
Óleo sobre tela
1X80.
2016

Exposição Silvio de Borgges.
Paris - França 2022

THE INTRIGUE
James ENSOR - 1890
Oiloncanvas
90X150
Belgium

Ensor's father, James Frederic Ensor, born in Brussels to English parents,[2] was a cultivated man who studied engineering in England and Germany.[3] Ensor's mother, Maria Catherina Haegheman, was Belgian. Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters.

During the late 19th century, much of Ensor's work was rejected as scandalous, particularly his painting Christ's Entry Into Brussels in 1889 (1888–89). The Belgium art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics."[citation needed] Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."[7]

Ensor's paintings continued to be exhibited and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels.[8] By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Alfred H. Barr, Jr., the founding director of the Museum of Modern Art in New York, after considering Ensor's 1887 painting Tribulations of Saint Anthony (now in MoMA's collection), declared Ensor the boldest painter working at that time.

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MADAME POUPOULE À PENTEADEIRA.

Toulouse Lautrec
Oil on Canvas
60X49
1898.

TOULOUSE-LAUTREC, Henri de (1864-1901)
Toulouse-Lautrec, born into an aristocratic family in Albi, France, showed a talent for painting from an early age, thus compensating for his physical inadequacy to sporting activities that were part of the Belle Époque lifestyle. He studied at the best painting studios in Paris, settling in Montmartre, the city's bohemian stronghold, where he would live most of his adult life.

His painting style was heavily influenced by the work of Monet, Degas, Van Gogh, and even Beardsley, and by the fluid lines of Japanese prints. Light, color and line were of great importance in his work, which portrayed the daily lives of people who lived and worked at night, in theaters, cabarets, brothels, bars and cafes, and their regulars.

The artist was also dedicated to posters, making the advertising language more concise; he also knew how to take advantage of the lithographic technique, using different textures and pure color in large flat areas, incorporating the words into the drawing and adopting a dynamic composition.

Toulouse-Lautrec's advertising work enjoyed great popularity at the time, but it was not until long after his death that he gained recognition for his contributions in the artistic field, anticipating Fauvism, Cubism and Expressionism.

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SELF PORTRAIT AT 6th WEDDING ANNIVERSARY.
Paula Modersohn-Becker
Tempera on Canvas.
101.6 X 70.2 cm
Alemanha 1906

Self-Portrait on the sixth wedding anniversary (German: Selbstbildnis am 6. Hochzeitstag) is a painting by the German painter Paula Modersohn-Becker, one of the most important early expressionists, from the time of her stay in Paris in 1906.

Self-Portrait on the sixth anniversary of marriage was painted in Paris. She had moved from Worpswede near Bremen in Germany in February 1906. Modersohn-Becker had decided to leave her husband and Worpswede forever, and devote herself entirely to art. This self-portrait was painted in the spring. She is turned to the right in front of the viewer and she watches the viewer with a searching and questioning look. She has a white cloth on her hip. Her upper body is naked and on her neck she wears an amber necklace.

When Paula Modersohn-Becker painted this self-portrait, she was not pregnant, as the picture shows.

Paula Modersohn-Becker painted, during the summer of 1906 in Paris, another n**e self-portrait, now in the Kunstmuseum Basel in Switzerland. As far as we know, these n**es were not shown during her lifetime to outsiders, but they became known after her death in November 1907.

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THE CHESS GAME
Sofonisba Anguissola
Oil on Canvas
1555

Admired by Michelangelo, Sofonisba Anguissola was the first artist to gain international fame. Important to the female universe, her learning from local painters set a precedent for women to be accepted as art students. His most appreciated works are the portraits of himself and his family, as well as his paintings of children - which was very innovative for the time.
In a time when women were seen as objects to be represented in art, not as artists themselves, Italian Renaissance painter Sofonisba Anguissola (1532-1625) was the first female artist to achieve international recognition. Throughout her long career, she was respected and appreciated by the likes of artists Michelangelo and Anthony van Dyck, and art historian Giorgio Vasari. She is well-known for her self-portraits and family paintings. She painted at least 12 self-portraits at a time when it was uncommon to do so.

This chapter explores how an aristocratic background and a supportive father shaped Sofonisba’s artistic career, and how combining those privileges with her talent helped her break down barriers and blaze a trail for women to be accepted as students of art.

Sofonisba Anguissola was born in Cremona, Italy in 1532 to Amilcare Anguissola and Bianca Ponzone, both of noble families. She was the eldest of seven children. The family lived near the site of the battle of the Trebia, a famous battle between the Romans and Carthaginians. Sofonisba’s name is derived from the tragic Carthaginian noble figure, Sophonisba.

THE BOATING PARTY
Mary Cassatt
Oil on canvas
1893/1894
National Galery of Art, Chester
Date Collection

An American in Paris
Mary Stevenson Cassatt (1844–1926) is best known for her paintings of mothers and children. She became a successful professional artist at a time when it was very difficult for a woman to do so.
Cassatt was born into an affluent family in Pennsylvania. Her parents believed it was important for women to receive an education, so she attended school and trav- eled in Europe during her childhood. This early expo- sure to the art and culture of Europe greatly influenced the young girl.
After studying art in Philadelphia, Cassatt wanted to return on her own to Paris, then the center of the mod- ern art world. She struggled to convince her parents, since this was a highly unusual undertaking for a young woman. They eventually agreed. Once in Paris, Cassatt studied art on her own, visiting museums across Europe and training in the studios of established artists. (The main art school in Paris, the École des Beaux-Arts, did not accept female students at that time.)

Impressionist Connection
Early in her career, Cassatt experimented with different styles of painting, and she soon began to paint scenes of modern life in Paris—but she was not a bohemian art- ist. Comfortable in her own social milieu, she depicted her family, friends, and their children. Ladies seated
in the theater, women reading or drinking tea in their homes or gardens, mothers giving their babies a bath, and children playing were parts of her everyday world.
Cassatt’s ability to capture a moment in time drew the attention of French artist Edgar Degas, who invited the artist to exhibit her work with the impressionists

MARIE-ANTOINETTE WITH THE ROSE
Madame Le-Brun - 1783
Oil on Canvas
130 X 87

Élisabeth-Louise Vigée-Le Brun (Paris, April 16, 1755 – Paris, March 30, 1842), also known as Madame Lebrun, was Marie Antoinette's official painter and came to paint more than 30 portraits of the queen and her family, French painter, recognized as the most famous painter of the 18th century. Her artistic style is generally considered to be post-Rococo, as she generally adopted the
neoclassical style. It is not possible to consider it totally rococo or totally neoclassical, although its style aligns with the beginning of neoclassicism. She made her fame during the Ancien Régime, when she was the official portraitist of Marie Antoinette.

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SEATED WOMAN
FRANCIS NEWTON SOUZA
Oil on satin laid on canvas
121,3 X 94cm
(1924-2002)

Francis Newton Souza was one of the first painters to achieve international recognition from a newly independent India, as well as a leading figure of its avant-garde movement. As a result of his time spent abroad, Souza’s style drew heavily from Expressionism and Art Brut. Often referred to as the “Indian Picasso”, Souza became known for his aggressive lines and thick application of color. He was fascinated with images of the sacred and the profane, and the boundary that divided them; his favorite subjects included the human figure, frequently depicted engaging in erotic acts and organized rituals of religion. Souza was also responsible for co-founding the Bombay Progressive Artists’ Group in 1947, which sought to encourage artists to depict Indian subject matter with Western Modernist styles.

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LES DEMOISelles d'AVIGNON.
Pablo Picasso.
Tecnique: oi on canvas.
243.9 X 233.7
MUSEUM MODERN ART OF NEW YORK.
Les Demoiselles d'Avignon is a painting by the Spanish painter Pablo Picasso made in 1907. It took nine months to make, becoming one of the works responsible for revolutionizing the history of art, forming the basis for Cubism and abstract painting. It is the landmark, therefore, of the beginning of the experiments with the cubist language. But this revolutionary work was misunderstood even by the painter's friends, as they did not approve of his style, where bodies and backgrounds are transformed into geometric shapes. The first title the painting received was Philosophical Brothel.
Five characters are present in the composition, all naked, with their rudimentary chiseled bodies and their schematic faces. The scene is inspired by the interior of a brothel on Avignon Street, in the city of Barcelona, ​​a well-known place for the painter and his friends. The bodies have irregular and broken lines. They are dissimilar figures, the only thing they have in common is nudity. Its shapes are defined by contours.