19th Century Art (1800-1899)

Enlightenment, Industrialization, the French Revolution, Neoclassicism, Romanticism. Sister site to 18th Century Art.

[life-imitates-art-far-more]

William Sidney Mount (1807-1868) “The Bone Player” (1856) Oil on canvas Located in the Museum of Fine Arts, Boston, Massatchuestts, United States

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Charles Rennie Mackintosh, Rose and Teardrop, Fabric design, 1923

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CHARLES RENNIE MACINTOSH, Hill House Musicroom, Helensbourgh, Scotland, 1904

[19thcenturyartwork]

I love Mackintosh’s work so much.

[nobrashfestivity]

Aubrey Beardsley, Border Design, 1890′s

[alpacasherd-blog]

Art by Aubrey Beardsley

[19thcenturyartwork]

Mmmmmm not quite... this is John Austen’s Hamlet. Inspired by Beardsley, yes, but not Beardsley.

Hamlet: Prince of Denmark (The Met)

[kitfoxart]

I’ve just discovered my new favorite painter, Vittorio Reggianini - those smarter than myself probably already know of him as an Italian painter from the 1800s who made satin look even satiny-er than satin. I just cannot get over how much he loved painting women who were NOT. HAVING. A. MAN’S. SHIT. 

But there was one hottie that everyone seemed to like, and I can’t blame them…

Vittorio knows what the ladies like. 

[19thcenturyartwork]

Vittorio Reggianini was a 19th-century Italian genre painter specializing in scenes of bourgeois life. Born in Modena, Italy in 1858, Reggianini was part of a group of artists called the “Costume Painters,” who sought to revive the sophistication of the past by painting a romanticized version of the culture during a time of great military conflict. He skillfully painted contemporary fashion and opulence, especially focused on painting the silks and satins of dresses and floor and wall coverings. He studied and later taught at the Accademia di Belle Arti in Modena, Italy. The artist died in 1938.

—http://www.artnet.com/artists/vittorio-reggianini/

[19thcenturyartwork]

Title: Lady Maria Conyngham (died 1843) Creator: Sir Thomas Lawrence Date Created: ca. 1824–25 Physical Dimensions: 36 1/4 x 28 1/4 in. (92.1 x 71.8 cm) Type: Painting External Link: http://www.metmuseum.org/art/collection/search/436853 Medium: Oil on canvas Repository: Metropolitan Museum of Art, New York, NY

[heavenpoison]

Louis-Charles Verwée (1832–1882), A Narrative Study Showing a Lady in Contemplation Whilst Squeezing a Lemon into a Glass, Circa 1850, Oil on panel.

[gorgeousgeorgians]

Blind Mans Buff by Eugene Pierre Francois Giraud

[19thcenturyartwork]

The Love Letter, Edmund Blair Leighton, 1919

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Off, Edmund Blair Leighton, 1899 

[classic-art]

New Governess

Edmund Blair Leighton, 1894

[artfortheages]

Where there’s a will - Edmund Blair Leighton - 1892

[just-art5]

Edmund Blair Leighton - The Elopement, 1893

[life-imitates-art-far-more]

Theodor Hildebrandt (1804-1874) “The Murder of the Children of King Edward” (1835) Oil on canvas Located in the Museum Kunstpalast, Düsseldorf, Germany

The sons of Edward IV, King of England, Edward V of England and Richard of Shrewsbury, Duke of York, were 12 and 9 years old when they were lodged in the Tower of London by their uncle, the Lord Protector: Richard, Duke of Gloucester. This was supposedly in preparation for Edward V’s forthcoming coronation as king. However, before he could be crowned, he and his brother were declared illegitimate, and their uncle Richard ascended to the throne.

It is unclear what happened to the boys after, as the last recorded sighting of them was in the Tower; though it is generally assumed that they were murdered.

[19thcenturyartwork]

Theodor Hildebrandt (2 July 1804, Stettin - 29 September 1874, Düsseldorf) was a German artist of the Düsseldorf school of painting who specialized in literary and historical subjects. He was also a noted entomologist.

He was a disciple of the painter Schadow, and, on Schadow's appointment to the presidency of a new academy in the Rhenish provinces in 1828, followed that master to Düsseldorf. Hildebrandt began by painting pictures illustrative of Goethe and Shakespeare; but in this form he followed the traditions of the stage rather than the laws of nature. He produced rapidly "Faust and Mephistopheles" (1824), "Faust and Margaret" (1825), and "Lear and Cordelia" (1828). He is associated with the Düsseldorf school of painting.

Comparatively late in life Hildebrandt tried his powers as an historical painter in pictures representing Wolsey and Henry VIII, but he lapsed again into the romantic in "Othello and Desdemona." After 1847 Hildebrandt gave himself up to portrait-painting, and in that branch succeeded in obtaining a large practice. Hildebrandt was also an entomologist specialising in Coleoptera and a Member of the Entomological Society of Stettin. He died at Düsseldorf in 1874.

— Theodor HIldebrandt, Wikipedia

[life-imitates-art-far-more]

Elizabeth Jane Gardner (1837-1922) “La Confidence” (1880) Oil on canvas mounted on aluminium Located in the Georgia Art Museum, Athens, United States

[19thcenturyartwork]

Elizabeth Jane Gardner Bouguereau was among the first wave of Americans who sought art training in Paris after the Civil War.

Bouguereau arrived in Paris in 1864 and began studying contemporary and old-master paintings. While Paris beckoned all artists, women were still barred from studying at the prestigious École des Beaux-Arts. Undaunted by these discriminatory practices, Bouguereau enrolled in private classes. In 1868, she was one of the first American women to exhibit at the Paris Salon, along with Mary Cassatt. Bouguereau’s paintings were accepted into 25 Paris Salons; she also won a bronze medal at the 1889 Exposition Universelle. By the late 1870s, she was studying with William-Adolphe Bouguereau, whose use of rich color and portrayals of children and domestic scenes were widely acclaimed.

Religious, historical, and mythological subject matter dominated Bouguereau’s early art production. She acknowledged that her work was strongly influenced by William-Adolphe (to whom she became engaged in 1879 but did not marry until 1896). She made her own way by producing works in a monumental style most often associated with male artists.

— National Museum of Women in the Arts

[life-imitates-art-far-more]

Louis Gallait (1810-1887) “The Power of Music” (1852) Oil on panel Located in the Walters Art Museum, Baltimore, Maryland, United States

A letter written by Gallait to William Walters describes the subject of the painting. It is of a brother and sister resting before a tomb. The brother is attempting to comfort his sibling by playing the violin, and she has fallen into a deep sleep, “oblivious of all grief, mental and physical.”