Tag Archives: 19th century cityscapes

#FineArtFriday: A second look at “The Plaza After the Rain” by Paul Cornoyer

Paul_Cornoyer_-_The_Plaza_After_RainArtist: Paul Cornoyer  (1864–1923)

Title: The Plaza After Rain

Date: Before 1910

Medium: oil on canvas

Dimensions: 59 1/4 x 59 1/4 in. (150.5 x 150.5 cm)

Collection: Saint Louis Art Museum, Saint Louis, Missouri, United States

What I love about this painting:

This painting appeared here in January of 2024. Paul Cornoyer was a master at painting the way wet pavement looks, the reflections and the sheen. Rain is a near-constant companion during a Pacific Northwest winter and while it is now May, today is no exception.

Paul Cornoyer’s The Plaza After Rain depicts New York City, which is on the other side of the continent from me, and it takes place in a different era. But he shows the way rain is in early spring no matter where in the northern US you reside.

The sky is dark, but the trees are just beginning to leaf out. The rain is passing, and the streets are wet, but a hint of blue is showing through the dark sky. When you see this painting, you see the story of a cold spring day. Yet, one has the feeling that sunshine could happen any minute.

Impressionism is flash fiction on a canvas. All the important things are there, everything the eye needs to have a perfect vision of the mood, the setting, and characters at that moment in time. The important things at that moment are depicted within the piece, but with economy.

The St. Louis Art Museum says this about The Plaza After the Rain:

A drizzling rain creates watery reflections on the streets and sidewalks along the Grand Army Plaza in Manhattan. The rain hampers our view down the vista, though the moody tones of pinks, grays, and blues make up for this loss. The light in the distance offers a hazy glimpse of the southeast corner of Central Park, with its beloved bronze statue of Civil War general William Tecumseh Sherman. [2]

About the Author, via Wikipedia:

Paul Cornoyer (1864–1923) was an American painter, currently best known for his popularly reproduced painting in an Impressionisttonalist, and sometimes pointillist style.

Born in St. Louis, Missouri, Cornoyer began painting in Barbizon style and first exhibited in 1887. In 1889, He moved to Paris, where he studied at the Académie Julian alongside Jules Lefebvre and Jean-Joseph Benjamin-Constant. After returning from his studies in Paris in 1894, Cornoyer was heavily influenced by the American tonalists. At the urging of William Merritt Chase, he moved to New York City in 1899. In 1908, the Albright–Knox Art Gallery (formerly the Albright Gallery) hosted a show of his work. In 1909, he was elected into the National Academy of Design as an Associate Academician. He taught at Mechanics Institute of New York and in 1917, he moved to Massachusetts, where he continued to teach and paint.

Cornoyer received a retrospective exhibition entitled Paul Cornoyer: American Impressionist at the Lakeview Center for the Arts and Sciences in Peoria, Illinois in 1973. The exhibit drew heavily from the collection of Dr. and Mrs. Lawrence Ashby, who loaned multiple paintings to the exhibit, as well as over 20 works on paper. [1]


Credits and Attributions:

IMAGE: The Plaza After the Rain by Paul Cornoyer PD|100, Wikimedia Commons contributors, “File:Paul Cornoyer – The Plaza After Rain.jpg,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Paul_Cornoyer_-_The_Plaza_After_Rain.jpg&oldid=345336218 (accessed January 18, 2024).

[1] Wikipedia contributors, “Paul Cornoyer,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Paul_Cornoyer&oldid=1118249028 (accessed January 18, 2024).

[2] St. Louis Art Museum contributors, the Plaza After the Rain by Paul Cornoyer, The Plaza after the Rain – Saint Louis Art Museum (slam.org) (accessed January 18, 2024).

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#FineArtFriday: View of Bruges with City Hall by August Fischer

August_Fischer_Ansicht_von_Brügge_mit_Rathaus_1905Artist: August Fischer  (1854–1921) 

Title: English: View of Bruges with City Hall, Dansk: Udsigt til Brügge

Date: 1905

Medium: oil on canvas

Dimensions: height: 45 cm (17.7 in); width: 59 cm (23.2 in)

Inscriptions: Signed and dated lower right: Aug. Fischer, Bruges 05.

What I love about this painting:

We see history here, the city of Bruges as it was in 1905, before the outbreak of WWI. It was a prosperous town with many churches and a large middle class.

The boatman has a story. How old is he? Does he support his wife and children with what he earns ferrying people to and from? Or is he just starting out in life, working to earn enough to marry a certain girl? This is a fairytale painting, serene and yet concealing many secrets. I think it’s the perfect setting for fantasy romance.

Perhaps the future looks bright to him now, but in less than a decade, our boatman will be thrown in the most horrific war the world had ever seen. If he is young, he will be sent to the front. If he is old, his boat will be conscripted to ferry soldiers and munitions, and he will do what he must to survive.

More than a century has passed since this scene was recorded. Bruges is now the capital and largest city of the province of West Flanders in the Flemish Region of Belgium.

About the Artist: I could find no Wikipedia article about Fischer, but random searches at the websites of several auction houses yielded some information.

Johannes August Fischer (1854–1921) was a Danish landscape and architecture painter and the elder brother of the Danish artist, Paul Fischer. His parents were the master painter and varnish manufacturer Philip August Fischer (1817—1907) and Gustafva Albertina Svedgren (1827—83). The family was well off, upper middle class. While his father had started as a painter, he became financially successful as a manufacturer of paints and lacquers.

August Fischer was first apprenticed to a sculptor, but at the age of nineteen, he applied to the Royal Danish Academy of Fine Arts, making the switch to painting. His work debuted at the Charlottenborg Spring Exhibition in 1874, where he exhibited until his death in 1921.

August Fischer traveled abroad for much of his career. He lived and worked in Spain and Italy from 1883 to 1884. After that, he traveled to southern Germany and Italy. Several of his more well-known paintings were of Nuremberg and Rothenburg on the Tauber, and Venice and Florence.


Credits and Attributions:

Wikimedia Commons contributors, “File:August Fischer Ansicht von Brügge mit Rathaus 1905.jpg,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:August_Fischer_Ansicht_von_Br%C3%BCgge_mit_Rathaus_1905.jpg&oldid=807392532 (accessed June 12, 2024).

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#FineArtFriday: The Plaza After the Rain by Paul Cornoyer

Paul_Cornoyer_-_The_Plaza_After_RainArtist: Paul Cornoyer  (1864–1923)

Title: The Plaza After Rain

Date: Before 1910

Medium: oil on canvas

Dimensions: 59 1/4 x 59 1/4 in. (150.5 x 150.5 cm)

Collection: Saint Louis Art Museum, Saint Louis, Missouri, United States

What I love about this painting:

Rain is a near-constant companion during a Pacific Northwest winter. Paul Cornoyer’s The Plaza After Rain depicts New York City, which is on the other side of the continent from me, and it takes place in a different era. But he shows the way rain is in early spring no matter where in the northern US you reside.

The sky is dark, but the trees are just beginning to leaf out. The rain is passing and the streets are wet, but a hint of blue is showing through the dark sky. When you see this painting, you see the story of a cold spring day. Yet, one has the feeling that sunshine could happen any minute.

Impressionism is flash fiction on a canvas. All the important things are there, everything the eye needs to have a perfect vision of the mood, the setting, and characters at that moment in time. The important things at that moment are depicted within the piece, but with economy.

The St. Louis Art Museum says this about The Plaza After the Rain:

A drizzling rain creates watery reflections on the streets and sidewalks along the Grand Army Plaza in Manhattan. The rain hampers our view down the vista, though the moody tones of pinks, grays, and blues make up for this loss. The light in the distance offers a hazy glimpse of the southeast corner of Central Park, with its beloved bronze statue of Civil War general William Tecumseh Sherman. [2]

About the Author, via Wikipedia:

Paul Cornoyer (1864–1923) was an American painter, currently best known for his popularly reproduced painting in an Impressionisttonalist, and sometimes pointillist style.

Born in St. Louis, Missouri, Cornoyer began painting in Barbizon style and first exhibited in 1887. In 1889, He moved to Paris, where he studied at the Académie Julian alongside Jules Lefebvre and Jean-Joseph Benjamin-Constant. After returning from his studies in Paris in 1894, Cornoyer was heavily influenced by the American tonalists. At the urging of William Merritt Chase, he moved to New York City in 1899. In 1908, the Albright–Knox Art Gallery (formerly the Albright Gallery) hosted a show of his work. In 1909, he was elected into the National Academy of Design as an Associate Academician. He taught at Mechanics Institute of New York and in 1917, he moved to Massachusetts, where he continued to teach and paint.

Cornoyer received a retrospective exhibition entitled Paul Cornoyer: American Impressionist at the Lakeview Center for the Arts and Sciences in Peoria, Illinois in 1973. The exhibit drew heavily from the collection of Dr. and Mrs. Lawrence Ashby, who loaned multiple paintings to the exhibit, as well as over 20 works on paper. [1]


Credits and Attributions:

IMAGE: The Plaza After the Rain by Paul Cornoyer PD|100, Wikimedia Commons contributors, “File:Paul Cornoyer – The Plaza After Rain.jpg,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Paul_Cornoyer_-_The_Plaza_After_Rain.jpg&oldid=345336218 (accessed January 18, 2024).

[1] Wikipedia contributors, “Paul Cornoyer,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Paul_Cornoyer&oldid=1118249028 (accessed January 18, 2024).

[2] St. Louis Art Museum contributors, the Plaza After the Rain by Paul Cornoyer, The Plaza after the Rain – Saint Louis Art Museum (slam.org) (accessed January 18, 2024).

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#FineArtFriday: Boulevard de la Madeleine in Paris by Frits Thaulow ca 1897 (revisited)

Frits_Thaulow_-_Boulevard_de_la_Madeleine_à_Paris_(1890s)Title: Boulevard de la Madeleine in Paris by Frits Thaulow

Date: circa 1896-1897

Medium: oil on canvas

Dimensions: Height: 88.2 cm (34.7 in); Width: 66.3 cm (26.1 in)

Collection: Pushkin Museum of Fine Arts

Inscriptions: Signature and date bottom right: Frits Thaulow (date is unclear)

What I like about this painting:

This is a street scene viewed from an angle we rarely see in paintings. The people and vehicles are small, insignificant in comparison with the size and grandeur of the buildings.

While Thaulow didn’t enjoy painting cityscapes, I think Boulevard de la Madeleine in Paris is one of the best of that era.

The soot from the chimneys in the distance, the wet street, the muted, watery colors of a rainy spring day, and the God’s-eye view of the busy street—it all comes together to present a powerful statement.

About the Artist, Via Wikipedia:

Thaulow was one of the earliest artists to paint in Skagen in the north of Jutland, soon to become famous for its Skagen Painters. He arrived there in 1879 with his friend Christian Krohg, who persuaded him to spend the summer and autumn there. They arrived from Norway in Thaulow’s little boat. Thaulow, who had specialized in marine painting, turned to Skagen’s favourite subjects, the fishermen and the boats on the shore.

Thaulow moved to France in 1892, living there until his death in 1906. He soon discovered that the cityscapes of Paris did not suit him. His best paintings were made in small towns such as Montreuil-sur-Mer (1892–94), Dieppe and surrounding villages (1894–98), Quimperle in Brittany (1901) and Beaulieu-sur-Dordogne in the Corrèze département (1903). One of his most famous works once he moved to france was A village street in France. In Dieppe Thaulow and his wife Alexandra made themselves popular: they were friends with artist Charles Conder, and they met Aubrey Beardsley. [1]


Credits and Attributions:

[1] Wikipedia contributors, “Frits Thaulow,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Frits_Thaulow&oldid=1026282924 (accessed June 10, 2021).

Boulevard de la Madeleine in Paris, ca 1896-97 by  Frits Thaulow, Public domain, via Wikimedia Commons. Wikimedia Commons contributors, “File:Frits Thaulow – Boulevard de la Madeleine à Paris (1890s).jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Frits_Thaulow_-_Boulevard_de_la_Madeleine_%C3%A0_Paris_(1890s).jpg&oldid=566337323 (accessed June 10, 2021).

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#FineArtFriday: Boston Common at Twilight by Childe Hassam ca. 1885

Childe_Hassam,_'Boston_Common_at_Twilight',_1885–86

Title: At Dusk (Boston Common at Twilight) by Childe Hassam

Date: between 1885 and 1886

Medium: oil on canvas

Dimensions: height: 42 in (106.6 cm); width: 60 in (152.4 cm)

Collection: Museum of Fine Arts, Boston Massachusetts

What I love about this painting:

Childe Hassam was known for his bold landscapes but by the mid-1880s, Hassam began painting cityscapes. This painting, Boston Common at Twilight was of his first cityscapes.

I particularly like the way he used a dark palette of blacks and browns, colors rarely used with such abandon by strict Impressionists (such as his contemporary, Claude Monet). The dark of the buildings and the clothes of the people are contrasted with many shades of white. The dirty snow trodden on the sidewalk shows us the truth of winter in an urban setting.

The contrasting of darkness against lightness on the land below forces the viewer’s eye upward to the dusky-blue sky and the rosy glow of sunset peeking from behind the trees, to the twilight mist forming in the chill evening air.

Two small girls use these last moments of light to play, perhaps to make snowballs under the eye of their mother or governess.

About the Artist, via Wikipedia:

Frederick Childe Hassam was known to all as “Childe” (pronounced like child), a name taken from an uncle. Hassam was born in the family home on Olney Street on Meeting House Hill in the Dorchester neighborhood of Boston, on October 17, 1859. His father, Frederick Fitch Hassam (1825–1880), was a moderately successful cutlery businessman with a large collection of art and antiques. He descended from a long line of New Englanders. His mother, Rosa Delia Hawthorne (1832–1880), a native of Maine, shared an ancestor with American novelist Nathaniel Hawthorne.

His father claimed descent from a seventeenth-century English immigrant whose name, Horsham, had been corrupted over time to Hassam. With his dark complexion and heavily lidded eyes, many took Childe Hassam to be of Middle Eastern descent—speculation which he enjoyed stoking. In the mid-1880s, he took to painting an Islamic-appearing crescent moon (which eventually degenerated into only a slash) next to his signature, and he adopted the nickname “Muley” (from the Arabic “Mawla”, Lord or Master), invoking Muley Abul Hassan, a fifteenth-century ruler of Granada whose life was fictionalized in Washington Irving‘s novel Tales of the Alhambra.

In 1882, Hassam became a free-lance illustrator (known as a “black-and-white man” in the trade) and established his first studio. He specialized in illustrating children’s stories for magazines such as Harper’s WeeklyScribner’s Monthly, and The Century. He continued to develop his technique while attending drawing classes at the Lowell Institute and at the Boston Art Club, where he took life painting classes.

Having had relatively little formal art training, Hassam was advised by his friend and fellow Boston Art Club member Edmund H. Garrett to join him on a two-month “study trip” to Europe during the summer of 1883. They traveled throughout the United Kingdom, the Netherlands, France, Italy, Switzerland, and Spain, studying the Old Masters together and creating watercolors of the European countryside. Hassam was particularly impressed with the watercolors of J. M. W. Turner. Sixty-seven of the watercolors that Hassam painted on this trip formed the basis of his second exhibition in 1884. During this period, Hassam taught at the Cowles Art School. He also joined the “Paint and Clay Club”, expanding his contacts in the art community, which included prominent critics and “the readiest and smartest of our younger generation of artists, illustrators, sculptors, and decorators—the nearest thing to Bohemia that Boston can boast.” Friends found him to be energetic, robust, outgoing, and unassuming, capable of self-mockery and considerate acts, but he could be argumentative and wickedly witty against those in the art community who opposed him. Hassam was particularly influenced by the circle of William Morris Hunt, who like the great French landscape painter Jean-Baptiste-Camille Corot, emphasized the Barbizon tradition of working directly from nature. He absorbed their credo that “atmosphere and light are the great things to work for in landscape painting.” [1]


Credits and Attributions:

[Image] Wikimedia Commons contributors, “File:Childe Hassam, ‘Boston Common at Twilight’, 1885–86.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Childe_Hassam,_%27Boston_Common_at_Twilight%27,_1885%E2%80%9386.jpg&oldid=618750219 (accessed May 26, 2022).

[1] Wikipedia contributors, “Childe Hassam,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Childe_Hassam&oldid=1087821182 (accessed May 26, 2022).

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#FineArtFriday: Boulevard de la Madeleine in Paris by Frits Thaulow ca 1897

Frits_Thaulow_-_Boulevard_de_la_Madeleine_à_Paris_(1890s)Title: Boulevard de la Madeleine in Paris by Frits Thaulow

Date: circa 1896-1897

Medium: oil on canvas

Dimensions: Height: 88.2 cm (34.7 in); Width: 66.3 cm (26.1 in)

Collection: Pushkin Museum of Fine Arts

Inscriptions: Signature and date bottom right: Frits Thaulow (date is unclear)

What I like about this painting:

This is a street scene viewed from an angle we rarely see in paintings. The people and vehicles are small, insignificant in comparison with the size and grandeur of the buildings.

While Thaulow didn’t enjoy painting cityscapes, I think Boulevard de la Madeleine in Paris is one of the best of that era.

The soot from the chimneys in the distance, the wet street, the muted, watery colors of a rainy spring day, and the God’s-eye view of the busy street—it all comes together to present a powerful statement.

About the Artist, Via Wikipedia:

Thaulow was one of the earliest artists to paint in Skagen in the north of Jutland, soon to become famous for its Skagen Painters. He arrived there in 1879 with his friend Christian Krohg, who persuaded him to spend the summer and autumn there. They arrived from Norway in Thaulow’s little boat. Thaulow, who had specialized in marine painting, turned to Skagen’s favourite subjects, the fishermen and the boats on the shore.

Thaulow moved to France in 1892, living there until his death in 1906. He soon discovered that the cityscapes of Paris did not suit him. His best paintings were made in small towns such as Montreuil-sur-Mer (1892–94), Dieppe and surrounding villages (1894–98), Quimperle in Brittany (1901) and Beaulieu-sur-Dordogne in the Corrèze département (1903). One of his most famous works once he moved to france was A village street in France. In Dieppe Thaulow and his wife Alexandra made themselves popular: they were friends with artist Charles Conder, and they met Aubrey Beardsley. [1]


Credits and Attributions:

[1] Wikipedia contributors, “Frits Thaulow,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Frits_Thaulow&oldid=1026282924 (accessed June 10, 2021).

Boulevard de la Madeleine in Paris, ca 1896-97 by  Frits Thaulow, Public domain, via Wikimedia Commons. Wikimedia Commons contributors, “File:Frits Thaulow – Boulevard de la Madeleine à Paris (1890s).jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Frits_Thaulow_-_Boulevard_de_la_Madeleine_%C3%A0_Paris_(1890s).jpg&oldid=566337323 (accessed June 10, 2021).

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