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Made in France in the early 1910s, this portrait turns a society commission into a study of velocity with glamour as momentum. Italian artist Giovanni Boldini’s signature “swish” (those long, skating strokes and dissolving contours) gives Mrs. Peter Cooper Hewitt (New York–born heiress and social figure Lucy Bond Work) a kind of modern autonomy: she isn’t contained by the frame so much as she seems to pass through it. She is woman with light skin pictured full-length, standing and stepping forward as if caught in a gust of wind. Her short, softly waved brown hair frames a calm, direct gaze. Her cheeks are flushed warm pink. Lucy wears a pale, off-the-shoulder white and silvery gown painted in loose, flickering strokes that make the fabric look weightless and in motion. A long strand of pearls drops in looping arcs down her torso, and a cluster of pink roses is pinned near her waist, the petals rendered with quick, juicy touches of red and blush. Her right arm lifts a sheer wrap or scarf, which blurs into the sky like a ribbon of mist. Her left arm relaxes down, and a ring flashes green on her finger. The background is an airy landscape of mauve, gray, and peach with sweeping diagonals of ground beneath her feet. To the right, a vivid patch of green and scattered coral-pink flowers echoes the roses on her dress. Boldini’s brushwork softens edges and elongates lines so Lucy feels elegant, poised, and actively moving through space rather than posed in stillness. The pearls and roses signal wealth and cultivated femininity, yet they’re treated as lively marks like ornament becoming energy, not restraint. Lucy appears less as a fixed emblem of status than as a presence in motion. She is confident, lightly smiling, and centered as the force that sets the whole painted world of sky, fabric, and flowers into radiant drift.
"Portrait of Mrs. Peter Cooper Hewitt" by Giovanni Boldini (Italian) - Oil on canvas / c. 1911–1913 - RISD Museum (Providence, Rhode Island) #WomenInArt #GiovanniBoldini #Boldini #RISDMuseum #PortraitPainting #BelleEpoque #GildedAge #SocietyPortrait #art #artText #artwork #RhodeIslandSchoolofDesign
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🎨 #GiovanniBoldini, Italian painter who lived and worked in Paris, was #BOTD 31 December 1842. #Art #Painting
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Italian artist Giovanni Boldini painted this work in 1872, shortly after moving to Paris, at a time when the city was undergoing rapid transformation and the era known as the Belle Époque was beginning to take shape. A young white woman sits slightly turned on a green slatted park bench, framed tightly in a vertical view. Her brown hair is swept into a soft chignon, topped with a small hat trimmed with feathers or flowers. She wears a lustrous dark dress that pools into heavy folds, its sheen catching the light against frothy white cuffs and a pale blue ruffle at her throat. Her right hand rises to her lips in a half-thoughtful gesture, while her left arm wraps around a pink bundle like a shawl or bouquet resting in her lap. Beside her, a large straw basket tilts on the bench, its woven ribs echoing the bench’s rhythm. Behind her, dense shrubs, climbing greenery, and a scattering of red blossoms dissolve into quick strokes, while a pale sky glows above, turning the chic Bois de Boulogne into a softly blurred, rustling backdrop for this moment of pause. Boldini paints this woman at rest yet mentally in motion, catching her in that suspended instant when the mind wanders and the body forgets to pose. Her hand at her mouth, the turned-away gaze and slightly tense shoulders hint at shyness or worry, even as her fashionable dress and carefully arranged hair mark her as a participant in modern urban leisure. The public park evoked by the title “Bois” becomes a stage where middle-class women can stroll, sit and be seen. Brushwork quickens in the foliage and gravel path, echoing Impressionist experiments around him, while the figure remains sharply defined, a living portrait anchored in the middle of the scene. The panel fuses genre scene and society portrait, turning this unidentified sitter into one of the many anonymous, stylish women who animated the new Belle Époque city and claimed space and visibility within the rapidly changing city around them.
"Sulla panchina al Bois (On the Bench at the Bois)" by Giovanni Boldini (Italian) – Oil on panel / 1872 – Palazzo Blu (Pisa, Italy) #WomenInArt #GiovanniBoldini #Boldini #PalazzoBlu #BelleEpoque #art #artText #artwork #BlueskyArt #PortraitofaWoman #arte #ItalianArtist #GenrePainting #BelleÉpoque
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A young woman with light, peach-toned skin stands in three-quarter profile, torso angled toward us while her face turns beyond the right edge, as if listening offstage. Her dark hair is swept into an updo; a beaded golden hoop earring catches the light. Over a pink dress that clings at the bodice and loosens into rippling folds at her waist, she wears a short, elaborately embroidered bolero lined in red satin, its matador-like cut evoking Spanish performance dress. She rests the guitar’s body on her thigh and lightly grips the headstock with elongated fingers; a gemstone ring flashes on her left hand. Brushstrokes churn around her in ochres, warm grays, and rose, while a bubble-like “LV” monogram hovers at the upper right. Boldini painted this intimate figure soon after settling in Paris, when he was exploring how meticulous detail could dance with sweeping brushwork. In 1876, critic Diego Martelli called Boldini “a mass of looseness and finish, of false and of true,” urging viewers to take the painter on his own terms. Boldini’s ability with microscopic qualities and agile brushwork are seen in the jeweled ring, earring, and crisp jacket seams that punctuate a field of vibrating paint. The chaquetilla-style jacket and guitar nod to the 19th-century European fascination with Spain (especially flamenco’s singing and dance). Yet the props likely came from Boldini’s own studio wardrobe, part of the staged theatricality he, Meissonier, and Fortuny cultivated with models and costumes. The floating “LV” monogram functions like the stamps and cartouches of ukiyo-e prints then flooding Paris, a device Boldini adopts to keep one element consciously “above” the image. Though the figure’s décolleté signals the era’s taste for erotically charged studio subjects, her turned head also resists capture, suspending her between performance and private focus. Boldini presents music imagined through paint, presence built from gesture, and identity staged, but never fully fixed.
“Lady with a Guitar” by Giovanni Boldini (Italian) - Oil on panel / c. 1873 - The Walters Art Museum (Baltimore, Maryland) #WomenInArt #art #artText #artwork #GiovanniBoldini #Boldini #WaltersArtMuseum #TheWalters #pink #portraitofawoman #BlueskyArt #OilPainting #ItalianArtist #1870s #MuseumArt
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Italian artist Giovanni Boldini represents the beautiful and renowned society singer Jeanne Max, wife of Jules Charles Max. Around the turn of the 20th century, she famously … and frequently … received “all the Parisian elite” in her salon. This life-size, full-length portrait, executed in white and gray tones, was exhibited at the Salon of the Société nationale des beaux-arts. Critic François Thiébault-Sisson praised it: “In the scabrous art of accentuating, by the unexpectedness of movement, through the unexpected, often risky, pose, the grace and piquancy of his models, Boldini knows no rival." Jeanne walks slightly towards us, and shows an uninhibited, smiling and relaxed gaze. Madame Max wears an silvery-white dress, supported at the waist by a gold sash and at the shoulders by a single, thin gold stripe (the other appears to have provocatively slipped over her right shoulder) and with a generous neckline. Boldini highlights the oval of her face, where the pink cheeks stand out from her short, tousled hairstyle. The brushstrokes that draw her face are descriptive and attentive to detail. In his depiction of the gorgeous dress, Boldini resorts to his famous "saber cuts" for her regal almost ethereal evening gown. This use of long and delicate brushstrokes, allows Jeanne to seemingly acquire an unprecedented lightness. In the background, Boldini depicts a simple molded doorframe. Boldini carefully details the anatomy of Madame Max, as observed by art critics Giorgio Cricco and Francesco Di Teodoro, "the left leg is slightly raised, with the knee consequently advanced and the corresponding arm slenderly backwards, to balance the step, while the right hand skilfully gathers the long dress to further facilitate the gait." This unstable and dynamic pose lifts her sensuality … and our appreciation for the legendary socialite, Madame Max.
Madame Charles Max (Jeanne Max) by Giovanni Boldini (Italian) - Oil on canvas / 1896 - Musée d’Orsay (Paris, France) #WomenInArt #art #ArtText #artwork #JeanneMax #GiovanniBoldini #Boldini #Muséed’Orsay #womensart #oilpainting #portraitofawoman #portraitofalady #socialite #FemmeFatale #BelleÉpoque
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Giovanni Boldini
Portrait of Giuseppe Verdi
1886
#GiovanniBoldini #Portrait #GiuseppeVerdi #artaddictgalleria
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'Muller espida reclinada' (1910-1912)
de Giovanni Boldini
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#giovanniboldini
#femmenueallongée
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Art after the word "homosexual" was coined-- READ THE PREVIEW
#Wrightwood659 #art #Chicago #ChicagoArt #PictureThisPostArt #LGBTQA #GayRights #HumanRights #JeanCocteau #ToulouseLautrec #ChicagoGalleries #JohnSingerSargent #GustaveMoreau #EgonSchiele #PavelTchelitchew #GeorgeBellows #GiovanniBoldini
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Based on its messy and impulsive pictorial style, "Treccia bionda" is generally dated to the beginning of the 1890s, by which point Italian artist Giovanni Boldini had already moved to Paris, France. In addition to serving as an example of Impressionist painting at the end of the 1800s, the faintness of the strokes showcases an in-depth knowledge of Dutch painter Frans Hals' chiaroscuro technique; it seems that Boldini may have become close with him during a trip to Amsterdam in 1876. Unlike many of the artist's famous female portraits, in which the entire figure functions as a means of showcasing all the details of the protagonists' elegant and elaborate dresses, this painting limits the appearance of the figure to the upper body and face. The oval face of the young woman -- whose identity is not known -- stands out thanks to the pink hues of her full-bodied complexion, while the background and clothes (including a sleeveless cream-colored dress and long black gloves) flake apart, the former into earthy shades and a pasty depiction of long strokes of color, the latter into semi-transparent, pearl-toned brushstrokes. Other notable chromatic features include the woman's reddish-blond hair, from which the painting takes its name, and the bouquet of small white flowers that appears behind her. The aristocratic and precious feminine elegance with which the artist portrays his subject drew parallels with the most renowned high-society European and American portrait artists of the era. He painted all the grand dames of Paris, and at a certain period to have a portrait painted by Boldini was a crowning event of social season. His style was racy and advanced for his time, and he believed that his décolleté paintings touched the extreme limit of convention for the time period.
Treccia bionda (Blond Braid) by Giovanni Boldini (Italian) - Oil on canvas / c. 1891 - Galleria d'Arte Moderna - Milano (Italy) #womeninart #art #hair #oilpainting #GiovanniBoldini #Boldini #fineart #womensart #portraitofawoman #ItalianArt #chiaroscuro #Galleriad'ArteModerna #artwork #1890s #beauty
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Among Italian painter Giovanni Boldini’s glittering muses was the New York philanthropist Florence Blumenthal (born Florence Meyer). The second, full-size portrait of Florence by Boldini was painted in Paris in 1912 and portrays her dressed in the height of French fashion in a black-and-white satin gown, revealing her décolletage and shoulders, with bustling train and rhinestone-encrusted buckles on her black satin pumps. As a married woman who suffered the loss of a child four years earlier, the image conveyed in this portrait is one of optimism, energy, and strength. Florence is depicted standing with the half step of her right foot, as if in motion, perhaps just about to perch on the recumbent chaise longue beside her. Boldini's characteristic swirling brushwork, first employed around this time, rendered an abstract pattern of movement. It has been noted that Boldini completed the portrait of Florence quickly due to the traction cracks around her hair, left arm, feet, and bottom of her gown, where the artist must have made compositional changes while the underlying layers of paint were still wet. The urgency to complete the portrait may have been due to the fact that it was exhibited at the Paris Salon of 1912. The date of this portrait suggests that the Blumenthals were already immersed in sophisticated Parisian society before George's transfer to France by Lazard Frères in 1914 and prior to the purchase of their home on the boulevard de Montmorency. In 1941, just weeks prior to his death, George Blumenthal donated the Boldini portrait of Florence to the Brooklyn Museum of Art as an anonymous gift. In correspondence with the then Brooklyn Museum director, Lawrence Roberts, Blumenthal requested that the work be titled “Portrait of a Lady” and made no other stipulations except that it be exhibited whenever deemed appropriate.
Portrait of a Lady (Florence Blumenthal née Meyer) by Giovanni Boldini (Italian) - Oil on canvas / 1912 - Brooklyn Museum (New York) #womeninart #art #oilpainting #GiovanniBoldini #Boldini #artwork #portraitofalady #womensart #BrooklynMuseum #style #fashion #portraitofawoman #fineart #italianartist
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An intriguing painting by Giovanni Boldini (1843-1931) for today's writing prompt. How is your story going to deal with the child peeping over the woman's shoulder? #writingprompts #writinglife #writingtips #giovanniboldini #artworks
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Portrait of John Singer Sargent. Giovanni Boldini (Italian; 1842 –1931). Oil on panel, ca. 1890s. Private Collection.
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A young woman in a white satin dress that seems to be composed of bolts of lightening expanding into a vaporous halo created by Boldini’s rapid, slashing brushstrokes gives this painting its name: Fireworks. The imposing canvas represents, in life size, an unidentified beautiful woman with large dark eyes and black hair worn in a bun. Barely smiling, her face enlivened by thick scarlet lips and rosy cheeks, the female figure stands out against a dark background; she is wearing a very elegant white silk evening dress whose shimmering tones change from pink to purple, and her arms are held between long gloves and puffed sleeves. She acquires the consistency of an apparition that is both ethereal and real. This unknown lady of high society, framed by a shimmer of white satin, is striking in its expressive softness; an image constructed through free brushstrokes that resemble flowing ribbons and a limited range of colors masterfully harmonized against a dark background.
Fuoco d'artificio (Fireworks) by Giovanni Boldini (Italian) - Oil on canvas / 1892–1895 - Museo Giovanni Boldini (Ferrara, Italy) #womeninart #boldini #italianart #fineart #giovanniboldini #womensart #womanart #artwork #oilpainting #fireworks #art #womanportrait #painting #italianartist #artoftheday
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The work, dated 1916 by Boldini himself always remained in his private collection. The painting may be the granddaughter of Emiliana Concha de Ossa, Boldini's model in 1888 for the famous White Pastel so much so that, since 1931, the work has been exhibited as a portrait of Olivia de Subercaseaux Concha or Olivia Concha de Fontecilla. Regardless of the identity of the model, the artist’s skill combined with a refined and eccentric pose plus a range of chromatic pink chords spread out in large and energetic brushstrokes the beauty of silks and velvets of the elegant dress as well as the freshness of freshly-cut flowers. Boldini’s style to paint casual moments, as if caught by surprise, give the smiling woman with short hair a peculiar note of modernity.
La signora in rosa by Giovanni Boldini (Italian) - Oil on canvas / 1916 - Giovanni Boldini Museum (Ferrara, Italy) #womeninart #portrait #italianart #boldini #art #artwork #womensart #giovanniboldini #fineart #oilpainting #macchiaioli #BelleÉpoque #impressionism #artoftheday #beauty #womanportrait
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🎨 #GiovanniBoldini, Italian painter who lived and worked in Paris, was #BOTD 31 December 1842. #Art #Painting
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Erkenciler, çalışkanlar…
#Guitarplayer
#GiovanniBoldini
1873
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