Carl Holsøe | Copenhagen Interior School

Danish painter Carl Vilhelm Holsoe (1863-1935), a leading member of the Danish school of painting in the second half of the nineteenth and early twentieth century, was highly regarded by colleagues and collectors alike.

Holsoe trained at the Royal Academy of Copenhagen with Vilhelm Hammershoi, a very close friend and mentor, from 1882-1884.

Holsoe continued his instruction at the Peder Severin Kroyer's Artists' Study School.

Victor Crisostomo Gomez | Indians Native Art

Completely self-taught, Peruvian painter Victor Crisostomo Gomez’s approach to art is to portray emotion through intense color and to render the men, women and children in his portraits with a soft, almost dream-like quality.

The result is that each painting becomes a beautiful exploration into symbolism, cultural heritage and identity, drawing on a sense of harmony that he tries to instill in each canvas. Victor’s work has been likened to a treasure chest full of mysteries and surprises. Each gem will be revealed the longer you look.

Ultimately, Victor seeks to combine the strength and richness of the heritage of the Native Indians of Peru with the rewards and challenges of the urban world.

In this way, Victor has become one of today’s most relevant South American portrait artists. He continues to create beautiful paintings in Peru.

Henri Lehmann | Neoclassical painter

Henri Lehmann (14 April 1814 - 30 March 1882) was a German🎨-born French🎨 historical painter and portraitist.

Born Heinrich Salem Lehmann in Kiel, in the Duchy of Holstein, he received his first art tuition from his father Leo Lehmann (1782-1859) and from other painters in Hamburg.

In 1831, at the age of 17, he travelled to Paris to study art under Jean Auguste Dominique Ingres🎨, becoming one of his most accomplished pupils and a close associate for many years.

Théo van Rysselberghe (Belgian, 1862-1926)

Théo Van Rysselberghe, in full Théophile Van Rysselberghe, (born Nov. 23, 1862, Ghent, Belg. - died Dec. 13, 1926, Saint-Clair, Manche, France), Belgian painter, sculptor, and designer who, together with Henry van de Velde, headed the large rank of Belgian artists that adhered to Neo-Impressionism.

Van Rysselberghe studied in Ghent and Brussels, and he was among the founders of both the Twenty (Les XX) and the Free Aesthetics (La Libre Esthétique), the two major associations of Belgian artists at the turn of the 20th century.

He was influenced by the work of Georges Seurat - particularly his Sunday Afternoon on the Island of La Grand Jatte (1884–86), which he saw in 1886.

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Pierre-Auguste Renoir | Peonies, 1880 | The Clark

Moïse Kisling | Post-Impressionist / Modern painter

Moïse Kisling (January 22, 1891 - April 29, 1953) was a Polish🎨-born French painter🎨, best known for his highly stylized, unsettling portraits, still lifes ecc.

Born in Kraków, Austria-Hungary, he studied at the School of Fine Arts in Kraków.

For biographical notes -in english and italian- and other works by Kisling see:

• Moïse Kisling | Paris school of artists🎨

Renoir | Jeune paysanne mangeant une pomme

Renoir and Berthe Morisot became close friends in 1885 - when both artists were forty-four years old - and continued to be until Morisot's death a decade later.

Morisot invited Renoir to her weekly dinner parties and during this period he frequently visited Morisot at her summer home in Mézy.

While their subjects and ultimately their styles differ, the similarity of palette and brushwork in each artist's work of the mid-1880s to the mid-1890s is notable.

William-Adolphe Bouguereau | Italien à la mandoline

A consummate example of Bouguereau's🎨 ability to render tender portraits of children, Italien à la mandoline depicts a young peasant boy holding his elegant instrument.

Although images of boys are rare in Bouguereau's oeuvre, perhaps, as Damien Bartoli suggests, because of the artist's difficult relationship with his own father, this youth appears in three other works which date to this same period - Pifferaro (1870)🎨, Pifferaro (1874)🎨 and Enfant Italien tenant une croûte de pain (1874).

William-Adolphe Bouguereau🎨 | Italien a la mandoline

With his flushed plump pink cheeks and sparkling eyes, this lad appears as the very embodiment of youth. As he stares languidly off into the distance, there is a sweet innocence about him that reminds one of the halcyon days of childhood.

By the time Bouguereau painted Italien à la mandoline, he had already gained considerable recognition in Paris where he regularly exhibited at the Salon.

But Bouguereau was born in the countryside and his heart remained there, leading him to spend long stretches outside of Paris painting the monde paysan; the subject for which he is most remembered today.

Italien à la mandoline thus represents Bouguereau doing what he loved most, painting the French peasantry, whom he perceived as embodying beauty, purity and hope, the central principles of his artistic philosophy. | Christie's

William-Adolphe Bouguereau🎨 | Pifferaro, 1870 | Christie's

Esemplare esempio della capacità di Bouguereau di rendere teneri ritratti di bambini, Italien à la mandoline raffigura un giovane contadino che regge il suo elegante strumento.

Sebbene le immagini di ragazzi siano rare nell'opera di Bouguereau, forse, come suggerisce Damien Bartoli, a causa della difficile relazione dell'artista con il proprio padre, questa giovinezza appare in altre tre opere che risalgono a questo stesso periodo:

• Pifferaro (1870)🎨,
• Pifferaro (1874)🎨,
• Enfant Italien tenant une croûte de pain (1874).

Con le sue guance paffute paffute e gli occhi scintillanti, questo ragazzo appare come l'incarnazione stessa della giovinezza. Mentre fissa languidamente in lontananza, c'è una dolce innocenza su di lui che ricorda uno dei giorni felici dell'infanzia.

Quando Bouguereau dipinse Italien à la mandoline, aveva già ottenuto notevoli riconoscimenti a Parigi, dove esponeva regolarmente al Salon.

Ma Bouguereau nacque in campagna ed il suo cuore rimase lì, portandolo a trascorrere lunghi tratti fuori Parigi dipingendo il monde paysan; il soggetto per il quale è più ricordato oggi.

Italien à la mandoline rappresenta così Bouguereau facendo ciò che amava di più, dipingendo i contadini francesi, che considerava incarnanti bellezza, purezza e speranza, i principi centrali della sua filosofia artistica. | Christie's

William-Adolphe Bouguereau | Pifferaro, 1870 | Christie's (detail)

William-Adolphe Bouguereau | Pifferaro, 1874