Good morning

Henri Biva painting (1848-1928)
Summer



Henri Biva was born in Paris, and was a pupil of A Nozal, and Leon Tanzi. His work was shown at an exhibition entitled 'Black and White' in 1886. He exhibited at the Salon des Artistes Francais, notably during the years of 1900, 1903, 1904, 1905. He was awarded an Honourable Mention for his landscapes in 1892, a Third Class medal in 1895, a Second Class Medal in 1896 and a Bronze Medal in 1900 - the same year he was made Chevalier de la Legion d'Honneur.

Antonio Vidal Rolland (Spanish, 1889-1970)
La lectura

Giovanni Segantini (1858 - 1899)
A Summer Day 1903

Florence Fuller (1867-1946)
A Golden Hour 1905

Harald Slott-Moller (1864-1937)
Moonlight

John William Godward (1861-1922)
Summer flowers 1903



John William Godward (9 August 1861 - 13 December 1922) was an English painter from the end of the Pre-Raphaelite / Neo-Classicist era.

He was a protege of Sir Lawrence Alma-Tadema but his style of painting fell out of favour with the arrival of painters like Picasso. He committed suicide at the age of 61 and is said to have written in his suicide note that "the world was not big enough" for him and a Picasso.

His already estranged family, who had disapproved of him becoming an artist, were ashamed of his suicide and burned his papers. No photographs of Godward are known to survive.

Emile Claus (1849-1924)
Soiree D'ete 1895



Emile Claus was born on 27 September 1849, in Sint-Eloois-Vijve, a village in West-Flanders (Belgium), at the banks of the river Lys. Emile was the twelfth child in a family of thirteen. Father Alexander was a grocer-publican and for some time town councillor. Mother Celestine Verbauwhede came from a Brabant skipper’s family and had her hands full with her offspring.

Julio Romero de Torres (1874–1930)
Un patio andaluz (Pereza andaluza) c.1900

Ernest Bieler (Swiss, 1863-1948)
Goatherd with Her Flock



At the turn of the century, Ernest Biéler was practising two styles of painting at once and, consequently, pursuing virtually two careers: one closer to his heart, tending toward Realism, and the other based on status-seeking within the Symbolist movement. Ernest Biéler's Realism was based on love for his country... In the 1890s, Modernism meant rejecting Realism in favour of a more spiritual art which, at its most colourful and decorative, became Art Nouveau. Ernest Biéler resisted Internationalism and Symbolism, which gradually disappeared from his painting. But he remained ambivalent about them for years. Torn between the two painting styles ... he ended up practising both. His contemporaries .. asked him whether he was an idealist or a realist. "An artist can aspire to be both," Ernest Biéler replied. "One does not exclude the other. ..National sentiment is not irrelevant to art."
It is worth noting that Ernest Biéler's idealism was profoundly influenced by what he called "decoration", the term used by Mauris Denis in 1890 in his Theories.

Konstantin Razumov, 1974 ~ Impressionist painter