Marshall Crossman

Class Photo Series #101

Jennifer Nehrbass is a painter living and working in Albuquerque, New Mexico. She was born in West Bend, Wisconsin in 1970. She received her B.S. in Art and Textile Design from the U...

“I begin this short essay with my artists’ statement from 1997 because it illustrates my focus on emotion instead of on subject matter starting early on. I approached the idea of wri...

Serene Countryside Scene with Trees, a Tranquil Pond and a Charming Cottage by 20th Century German Artist, Krahn. Art measures 20 x 16 inches Frame measures 24 x 20 inches This pa...

A beautiful oil on original canvas circa 1910 by French post impressionist painter Georges D'Espagnat. The work depicats a nude woman in a yellow shawl standing by a blue vase filled with pink, red and white flowers. Signature: Signed lower right Dimensions: Framed: 28"x20" Unframed: 21"x13" Provenance: Doyle New York - May 2003 From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque...