14 Works, November 26th. is Antonio Carneo's day, his art, illustrated with footnotes #241

Carneo Antonio

Proof of poison, c. 1670-1680

Oil on canvas

175 x 178 cm

Ado Furlan Foundation

Depicting a young man who compresses his bowels in the presence of a group of bystanders who follow his spasms with apprehension or try to help him, it is described ab antiquo with the title with which it is still remembered today. However, since it is difficult to represent a generic poisoning scene (provoked or self-induced), one wonders whether the artist did not want to illustrate a specific character in the episode in question. Among the proposals advanced by scholars, that of the young Mithridates who undergoes the poison test in order to immunize himself remains one of the most plausible. More on this painting

Mithridates VI Eupator of Pontus (b. c. 134 BC) ruled a Black Sea Empire to rival the Roman Republic in a series of wars that lasted decades. As Rome’s most dangerous enemy until his death in 63 BC, Mithridates is recognized as the first experimental toxicologist for his extensive investigations into a vast number of poisons and antidotes. Fearing assassination by poison, he gathered a team of botanists, physicians, and shamans seeking to create a “universal antidote” that would protect him from all poisons. Influenced by traditional theriacs and previous investigators and with access to rich natural resources, Mithridates’ experiments resulted in a formulation of more than 50 ingredients combining animal, plant, and mineral toxins with antidotes. He made himself immune to normally fatal amounts of arsenic and enjoyed robust health until forced to commit suicide in his 70s. Efforts to replicate his famous Mithridatium made his antidote the most popular and long-lived prescription in history. More on Mithridates VI

Antonio Carneo (1637–1692) was an Italian painter, active in Friuli and Venice, and depicting both mythologic, allegoric, and religious canvases, as well as portraits.

Antonio Carneo (1637–1692) (attributed to)

Venus, Vulcan and Cupid

Oil on canvas

H 103.5 x W 139.4 cm

The Bowes Museum

The subject of this painting has not been securely identified. The elderly man could be Vulcan, Venus's husband, to whom she presents her baby son Cupid. The figures of the young woman and the child reveal the influence of Venetian painting. They are represented by means of soft, fluid brushstrokes and a warm, light palette. The naturalism and the contrasting light, which defines the figures of the man and the elderly woman in the background, can be associated with the Caravaggesque tradition, under whose influence Antonio Carneo worked during the years he spent in Udine between 1660 and 1689. More on this painting

He was born in Concordia Sagittaria, and trained under his father as a painter. He was active for many years in Portogruaro. Other sources cite him as a pupil of Giovanni Giuseppe Cosattini (1625-1699) in Udine, but his paintings appear best to model Tintoretto and Paolo Veronese.

Antonio Carneo  (1637–1692)

The Death of Lucretia, c. second half of 17th century

Oil on canvas

Height: 99 cm (38.9 in); Width: 82.5 cm (32.4 in)

National Museum in Warsaw

Lucretia, legendary heroine of ancient Rome. According to tradition, she was the beautiful and virtuous wife of the nobleman Lucius Tarquinius Collatinus. Her tragedy began when she was raped by Sextus Tarquinius, son of Lucius Tarquinius Superbus, the tyrannical Etruscan king of Rome. After exacting an oath of vengeance against the Tarquins from her father and her husband, she stabbed herself to death. Lucius Junius Brutus then led the enraged populace in a rebellion that drove the Tarquins from Rome. The event (traditionally dated 509 BCE) marks the foundation of the Roman Republic. The story is first found in the work of the earliest Roman historian, Fabius Pictor (late 3rd century BCE). Its classic form is Livy’s version (late 1st century BCE). Lucretia’s story is also recounted in Shakespeare’s narrative poem The Rape of Lucrece. More on Lucretia

Antonio Carneo, Concordia Sagittaria, Italy, 1637 - 1692, Portogruaro, Italy

The Death of Rachel

Oil on canvas

81.3 cm x 106.7 cm (32 in. x 42 in.)

Blanton Museum of Art

Genesis 35: The Death of Rachel: Despite God’s admonition to remain at Bethel, a few verses later, Jacob and his entourage are on the move. While still some distance from Ephrath, Rachel goes into labor. This is the first indication that she is pregnant. The text states that the labor is hard; the birth is difficult. The midwife comforts and encourages her by saying she is having a son. The child is born, and with her dying breath, Rachel names him Benoni, which means “son of my misfortune” or “son of my sorrow.” This is the woman who once had said she would die if she didn’t have sons. Now she is dying because she is giving birth to a son. The irony hurts. She lives only long enough to give him a name. More on The Death of Rachel

Antonio Carneo, Concordia Sagittaria, Italy, 1637 - 1692, Portogruaro, Italy

Cleopatra

Oil on canvas

112 × 92 cm

Szépművészeti Múzeum

Cleopatra VII Philopator (69 – August 12, 30 BC), was the last active pharaoh of Ptolemaic Egypt, briefly survived as pharaoh by her son Caesarion. After her reign, Egypt became a province of the recently established Roman Empire.

Cleopatra was a member of the Ptolemaic dynasty, a family of Macedonian Greek origin that ruled Egypt after Alexander the Great's death. The Ptolemies spoke Greek throughout their dynasty, and refused to speak Egyptian, which is the reason that Greek as well as Egyptian languages were used on official court documents such as the Rosetta Stone. By contrast, Cleopatra did learn to speak Egyptian and represented herself as the reincarnation of the Egyptian goddess Isis.

Cleopatra originally ruled jointly with her father Ptolemy XII Auletes, and later with her brothers Ptolemy XIII and Ptolemy XIV, whom she married as per Egyptian custom, but eventually she became sole ruler. As pharaoh, she consummated a liaison with Julius Caesar that solidified her grip on the throne.

After Caesar's assassination in 44 BC, she aligned with Mark Antony in opposition to Caesar's legal heir Gaius Julius Caesar Octavianus (later known as Augustus). With Antony, she bore the twins Cleopatra Selene II and Alexander Helio. Antony committed suicide after losing the Battle of Actium to Octavian's forces, and Cleopatra followed suit. According to tradition, she killed herself by means of an asp bite on August 12, 30 BC. More on Cleopatra

Circle of Antonio Carneo Concordia Sagittaria 1637-1692 Portogruaro

Rebecca at the Well

Oil on canvas

29¼ x 41¾ in. 74.3 x 108.6 cm.

Private collection

Abraham went about finding a wife for his son Isaac. He commanded his servant to journey to his birthplace of Aram Naharaim to select a bride from his own family, rather than engage Isaac to a local Canaanite girl. Abraham sent along expensive jewelry, clothing and dainties as gifts to the bride and her family. 

The servant devised a test in order to find the right wife for Isaac. As he stood at the central well in Abraham's birthplace with his men and ten camels laden with goods, he prayed to God: "And let it come to pass, that the damsel to whom I shall say, Let down thy pitcher, I pray thee, that I may drink; and she shall say, Drink, and I will give thy camels drink also" — Genesis 24:14

To his surprise, a young girl immediately came out and offered to draw water for him to drink, as well as water to fill the troughs for all his camels. Rebecca continued to draw water until all the camels were sated, proving her kind and generous nature and her suitability for entering Abraham's household. The servant immediately gave her a golden nose ring and two golden bracelets. After hosting the party overnight, however, the family tried to keep Rebecca with them longer. The servant insisted that they ask the girl herself, and she agreed to go immediately.

As Rebecca and her entourage approached Abraham's home, they spied Isaac from a distance in the fields praying. Seeing such a spiritually exalted man, Rebecca immediately dismounted from her camel and asked the accompanying servant who he was. When she heard that this was her future husband, she modestly covered herself with a veil. Isaac brought her into the tent of his mother Sarah, married her, and loved her. More on Rebecca

Attributed to Antonio Carneo (1637 Concordia Sagittaria - 1692 Portogruaro)

Rebecca and Eliezer at the Well

Oil on canvas

75 x 95 cm

Private collection

Circle of Antonio Carneo Concordia Sagittaria 1637-1692 Portogruaro

Samson and Delilah

Oil on canvas

120.5 by 93.5 cm.; 47 1/2 by 36 3/4 in.

Private collection

Samson  is one of the last of the judges of the ancient Israelites mentioned in the Hebrew Bible. According to the biblical account, Samson was given supernatural strength by God in order to combat his enemies and perform heroic feats. Samson had two vulnerabilities—his attraction to untrustworthy women and his hair, without which he was powerless. These vulnerabilities ultimately proved fatal for him.

 

Samson eventually fell in love with a woman named Delilah. The Philistines bribed Delilah with 1,100 silver pieces from each of the Philistine leaders, to get her to figure out the secret of Samson's strength and tell them. 

 

After asking him several times what the secret to his strength is: "Finally he disclosed to her all his heart and said to her: 'A razor has never come upon my head, because I am a Naz′i·rite of God from my mother’s belly. If I did get shaved, my power also would certainly depart from me, and I should indeed grow weak and become like all other men.'" 

 

She relayed this to the Philistine axis lords, got Samson to fall asleep, and while he was sleeping, had his head shaved. The Philistines then took him captive, put out both his eyes, and made him their slave. 

 

One day as they are having a great party to worship their false god Dagon, the Philistines bring Samson out so they can make fun of him. By that time, Samson's hair has grown out again. Samson has a young boy lead him to the pillars that hold the building up, prays to Jehovah for strength, takes hold of the pillars, and cries out: "Let my soul die with the Philistines."

 

There are 3,000 Philistines on the roof of the building alone, and many more inside (the axis lords are all there as well), and when Samson pushes against the pillars, the building falls down and kills all of them, including Samson. More Samson

Antonio Carneo, Concordia Sagittaria, Italy, 1637 - 1692, Portogruaro, Italy

The Holy Family

Oil on canvas

79 x 75 cm

Private collection

The Holy Family consists of the Child Jesus, the Virgin Mary, and Saint Joseph. Veneration of the Holy Family was formally begun in the 17th century by Saint François de Laval, the first bishop of New France, who founded a Confraternity.

Matthew and Luke narrate the episodes from this period of Christ's life, namely his Circumcision and later Presentation, the Flight to Egypt, the return to Nazareth, and the Finding in the Temple.[Joseph and Mary were apparently observant Jews, as Luke narrates that they brought Jesus with them on the annual pilgrimage to Jerusalem with other Jewish families. More on The Holy Family

Antonio Carneo, Concordia Sagittaria, Italy, 1637 - 1692, Portogruaro, Italy

Christ and the Adulteress

oil on canvas

115.5 x 147.5 cm

Private collection

In the passage, Jesus was teaching in the Second Temple after coming from the Mount of Olives. A group of scribes and Pharisees confronts Jesus, interrupting his teaching. They bring in a woman, accusing her of committing adultery, claiming she was caught in the very act. They tell Jesus that the punishment for someone like her should be stoning, as prescribed by Mosaic Law.[1] Jesus begins to write something on the ground using his finger. But when the woman's accusers continue their challenge, he states that the one who is without sin is the one who should cast the first stone at her. The accusers and congregants depart, realizing not one of them is without sin either, leaving Jesus alone with the woman. Jesus asks the woman if anyone has condemned her and she answers no. Jesus says that he, too, does not condemn her, and tells her to go and sin no more. More on Christ and the Adulteress

Antonio Carneo, Concordia Sagittaria, Italy, 1637 - 1692, Portogruaro, Italy

Dead Christ held by two angels

Oil on canvas

110 x 94 cm. (43¼ x 37 in.)

Private collection

Antonio Carneo, Concordia Sagittaria, Italy, 1637 - 1692, Portogruaro, Italy

The Martyrdom of Saint Sebastian

With Saint Roch and an Angel in the background,

Oil on canvas

171.5 x 114.5 cm, 

Private collection

Saint Sebastian (died c. 288 AD) was an early Christian saint and martyr. Sebastian had prudently concealed his faith, but in 286 was detected. Diocletian reproached him for his betrayal, and he commanded him to be led to a field and there to be bound to a stake so that archers from Mauritania would shoot arrows at him. "And the archers shot at him till he was as full of arrows as an urchin is full of pricks, and thus left him there for dead." Miraculously, the arrows did not kill him.

Sebastian later stood by a staircase where the emperor was to pass and harangued Diocletian for his cruelties against Christians. This freedom of speech, and from a person whom he supposed to have been dead, greatly astonished the emperor; but, recovering from his surprise, he gave orders for his being seized and beat to death with cudgels, and his body thrown into the common sewer. A pious lady, called Lucina, admonished by the martyr in a vision, got it privately removed, and buried it in the catacombs at the entrance of the cemetery of Calixtus, where now stands the Basilica of St. Sebastian. More St. Sebastian

The present painting relates to a panel of the Averoldi Altarpiece by Titian from the 1520s in the Collegiata dei Santi Nazaro e Celso in Brescia. The figure of Saint Sebastian is reproduced fairly accurately, but in the rendering of the landscape there are differences from Titian’s original. More on this painting

Antonio Carneo

Episode from the life of Sant Antonio Abate

Oil on canvas, unframed

202 x 221 cm.

Private collection

Antonio abate is one of the most illustrious hermits in the history of the Church. Born in Coma, in the heart of Egypt, around 250, at the age of twenty he abandoned everything to live first in a deserted land and then on the shores of the Red Sea, where he led an anacoretic life for more than 80 years: he died, in fact, over a hundred years old in 356. Already in his life, pilgrims and needy people from all over the East flocked to him, attracted by the fame of holiness. Constantine and his sons also sought his advice. His story is told by a disciple, Saint Athanasius, who helped to make his example known throughout the Church. More on Antonio abate

He worked in eastern Veneto and Friuli , especially in Udine , where he was hosted for more than twenty years by Count Leonardo and Giovanni Battista Caiselli and for which he created numerous paintings. According to Guarienti's testimony, though his father was his first teacher, he would  later perfected himself in the diligent study of Venetian masters in the sixteenth century. An admirer of Flemish models, their "darkness" and their naturalistic accents, and the works of Bernardo Strozzi and Luca Giordano , he was appreciated for the natural chromaticism of the paintings. Its for the mix of realistic figurative patterns and rustic tastes, for the swirling and imaginative butterfly penetration.

Antonio Carneo

The Temperance

Oil on canvas

cm 73x61

Private collection

Temperance (XIV) is the fourteenth trump or Major Arcana card in most traditional Tarot decks. It is used in game playing as well as in divination.

Temperance (Italian: La Temperanza) appears in the oldest Italian decks where it is numbered VI or VII. In the Tarot de Marseille and in most contemporary decks the card is numbered XIV. In the Thoth Tarot and decks influenced by it, this card is called Art rather than Temperance.

A woman mixing water into wine was a standard allegory of Temperance in European iconography. 

Temperance is almost invariably depicted as a person pouring liquid from one receptacle into another. Historically, this was a standard symbol of the virtue temperance, one of the cardinal virtues, representing the dilution of wine with water. In many decks, the person is a winged angel, usually female or androgynous, and stands with one foot on water and one foot on land. More on The Temperance 

In Portogruaro, he painted an altarpiece depicting the Charity of St Thomas of Villanova for the church of Santa Lucia. In the town castle chapel, he painted a Christ and saints. For the other rooms he painted the Redeemer with St Marck and donors and a St Peter Martyr. He painted a Last Supper for the town convent. For the church of San Rocco, he painted the main altarpiece depicting St Francis and companions. In 1604, he painted four altarpieces for the church of San Francesco.

There was another painter Giacomo Carneo subsequently active in Friuli. More on Antonio Carneo

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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14 Works, September 16th. is Solomon Joseph Solomon's day, his story, illustrated with footnotes #203

Solomon Joseph Solomon, R.A., P.R.B.A. (1860-1927)

The life class

Oil on canvas

25 ¼ x 31 ½ in. (64.2 x 80 cm.)

Private collection

Alife classes is an art class in which students draw or paint a live model, typically one who is nude.

Solomon Joseph Solomon RA RBA (16 September 1860 – 27 July 1927) was a British painter, a founding member of the New English Art Club and member of the Royal Academy.

Solomon Joseph Solomon, 1860-1927

The Bathers Alarmed

Oil on canvas

54.6 x 80 cms | 21 1/4 x 31 1/4 ins

Russell-Cotes Art Gallery and Museum, Bournemouth

Solomon made an important contribution to the development of camouflage in the First World War, working in particular on tree observation posts and arguing tirelessly for camouflage netting.




Born in London in 1860, Solomon studied at various art schools, sequentially, Heatherley School of Fine Art, the Royal Academy Schools, the Munich Academy, and École des Beaux-Arts (under Alexandre Cabanel). Solomon also studied separately under Rev. S. Singer. He exhibited his first works as early as 1881, and showed at the Royal Academy, the New Gallery, and the Society of British Artists. In 1886, he became one of the founding members of the New English Art Club. In 1896, he became an associate of the Royal Academy, with full membership following in 1906. He joined, and became president of, the Royal Society of British Artists in 1919. In 1921 "Col. S.J. Solomon, R.A., P.R.B.A." was listed as one of the early members of the newly formed Society of Graphic Art.

Solomon Joseph Solomon  (1860–1927)

The Judgment of Paris, c. 1891

Oil on canvas

Height: 93 in (236.2 cm); Width: 65.2 in (165.7 cm)

Private collection

The Judgement of Paris is a well-known tale from Greek mythology in which Paris, a Trojan goat-herder, is asked by Zeus, the king of the gods, to choose the fairest goddess between Hera, the queen of the gods, Athena, the goddess of wisdom and war, and Aphrodite, the goddess of love, and award a golden apple to his chosen victor. Each goddess promises him a prize, with Aphrodite offering him the most beautiful woman in the world, Helen of Sparta, married to the Greek king Menelaus. In awarding Aphrodite the apple, Paris receives Helen but also gains the wrath of the Greeks, and thus sparks the Trojan War.

In Solomon’s composition the viewer assume's Paris's role of judge. We are faced by the three goddesses, the apple and one of Paris's goats. Aphrodite stands as the proud victor in the centre, with Athena seated to the left, and Hera hidden under the blossom to the right. Whilst Athena and Hera hold their gaze jealously towards Aphrodite, she stands unashamedly proud looking directly at the viewer. More on this painting

Solomon's painting was grounded in his influence from his teacher Alexandre Cabanel, but was also influenced by Frederic Leighton and Lawrence Alma-Tadema. Solomon painted mainly portraits to earn a living, but also painted dramatic, theatrical scenes from mythology and the bible on large canvasses. These scenes include some of his more popular paintings. In 1897 he painted a mural for the Royal Exchange, London Charles I demanding the Five Members at the Guildhall, 1641–42. 

Solomon Joseph Solomon  (1860–1927)

Samson and Delilah, c. 1887

Oil on canvas

Walker Art Gallery  

Samson  is one of the last of the judges of the ancient Israelites mentioned in the Hebrew Bible. According to the biblical account, Samson was given supernatural strength by God in order to combat his enemies and perform heroic feats. Samson had two vulnerabilities—his attraction to untrustworthy women and his hair, without which he was powerless. These vulnerabilities ultimately proved fatal for him.

 

Samson eventually fell in love with a woman named Delilah. The Philistines bribed Delilah with 1,100 silver pieces from each of the Philistine leaders, to get her to figure out the secret of Samson's strength and tell them. 

 

After asking him several times what the secret to his strength is: "Finally he disclosed to her all his heart and said to her: 'A razor has never come upon my head, because I am a Naz′i·rite of God from my mother’s belly. If I did get shaved, my power also would certainly depart from me, and I should indeed grow weak and become like all other men.'" 

 

She relayed this to the Philistine axis lords, got Samson to fall asleep, and while he was sleeping, had his head shaved. The Philistines then took him captive, put out both his eyes, and made him their slave. More Samson

Solomon Joseph Solomon (1860–1927)

An Allegory of the Dead Christ, c. 1904

Oil on canvas

H 269 x W 150 cm

Harris Museum & Art Gallery

Solomon Joseph Solomon (1860–1927)

An Allegory of the Dead Christ (study)

Oil on canvas

H 45.5 x W 51 cm

Usher Gallery

Solomon J. Solomon RA (1860 - 1927)

St George, ca. 1906

Oil on canvas

2130 mm x 1062 mm

Royal Academy of Arts

Some biographers have suggested that by selecting the subject of 'St. George' for his Diploma work, Solomon was self-consciously asserting his English patriotism. The subject however was a popular one particularly after the Boer War (1899-1902) when images of chivalric gallantry were well received by the English public.

Solomon's painting depicts St. George slaying the dragon and carrying a maiden out of its claws to safety. The model for the saint was Solomon's younger brother Albert. Solomon creates a swirling composition with the maiden's dress and the dragon both encircling the figure of St. George. The artist's interest in the work of Rubens and Velasquez is demonstrated through the broad brushwork and brown-grey colouring with its red and gold accents. More on this painting

Solomon Joseph Solomon, 1860-1927

St. George (study)

Oil on paper on board

68.6 x 33.6 cms | 27 x 13 ins

Private collection

After Solomon J. Solomon RA (1860 - 1927)

Sanctus Georgius

Oil on canvas

cm. 213 x 106

chenheheheyuan

Solomon Joseph Solomon, 1860-1927

Job

Oil on canvas

127.5 x 101.5 cms | 50 x 39 3/4 ins

Walker Art Gallery, Liverpool | United Kingdom

Job is the central figure of the Book of Job in the Bible. In rabbinical literature, Job is called one of the prophets of the Gentiles. In Islam, Job is also considered a prophet.

Job is presented as a good and prosperous family man who is beset by Satan with God's permission with horrendous disasters that take away all that he holds dear, including his offspring, his health, and his property. He struggles to understand his situation and begins a search for the answers to his difficulties

 The Book of Job he is described as a blessed man who lives righteously in the Land of Uz. The Lord's praise of Job prompts an angel with the title of "satan" to suggest that Job served God simply because God protected him. God removes Job's protection, and gives permission to the angel to take his wealth, his children, and his physical health (but not his life). Despite his difficult circumstances, he does not curse God. 

God followed by Job being restored to an even better condition than his former wealthy state. More on Job

One of Solomon's most popular works was Samson (1887) (See above), depicting a scene from the biblical story of Samson and Delilah. This painting was praised for its use of multiple male nudes in active poses. Samson is one of few Solomon paintings on regular display, at the Walker Art Gallery in Liverpool. Some other Solomon paintings that have received significant attention include Ajax and Cassandra (See below) and The Birth of Love (1896).

Solomon Joseph Solomon, 1860-1927

Ajax and Cassandra

Oil on canvas

H: 304.5 x W: 152.5 cm

Ballarat Central | Australia

In Greek mythology, Cassandra was one of the princesses of Troy, daughter of Priam and Hecuba. According to the Myth, Cassandra was astonishingly beautiful and blessed with the gift of foreseeing the future. Her curse was that no one believed her, a fact that weighed heavily on the destruction of Troy during the Trojan War.

Cassandra foresaw the destruction of Troy by the Greeks; when the Trojans found the big wooden horse outside the gates of their city Cassandra told them that Greeks will destroy them if they bring the horse in the city. The famous phrase “Beware of Danaos (Greeks) bearing gifts” belongs to he.

At the fall of Troy, Cassandra sought shelter in the temple of Athena. There she embraced the wooden statue of Athena in supplication for her protection, but was abducted and brutally raped by Ajax the Lesser. Cassandra clung so tightly to the statue of the goddess that Ajax knocked it from its stand as he dragged her away. More on Ajax and Cassandra

Solomon Joseph Solomon R.A., P.R.B.A.

Eve

Oil on canvas

309.9 x 142.2 cms | 122 x 56 ins

Private collection

Eve is a figure in the Book of Genesis in the Hebrew Bible. According to the creation myth of the Abrahamic religions, she was the first woman. In Islamic tradition, Eve is known as Adam's wife and the first woman although she is not specifically named in the Quran.

According to the second chapter of Genesis, Eve was created by God by taking her from the rib of Adam, to be Adam's companion. She succumbs to the serpent's temptation to eat the forbidden fruit from the tree of the knowledge of good and evil. She shares the fruit with Adam, and as a result the first humans are expelled from the Garden of Eden. Christian churches differ on how they view both Adam and Eve's disobedience to God, and to the consequences that those actions had on the rest of humanity. Christian and Jewish teachings sometimes hold Adam and Eve to a different level of responsibility for the fall, although Islamic teaching holds both equally responsible. More on Eve

Solomon Joseph Solomon’s Eve was first exhibited at the Royal Academy in 1908, when the artist was at the height of his powers. His subject, the first woman, was a popular source of inspiration for Victorian artists, and gallery walls had displayed countless interpretations of her creation. Yet, when encountering Solomon’s monumental composition with its life-size Eve held aloft by great-winged angels against a sky of swirling clouds, exhibition-goers and critics alike were little prepared for its dynamic impact. More on this painting

Joseph Solomon Solomon (British, 1860–1927)

STUDY FOR 'EVE'

Oil on Canvas

27.5 x 22.3 in. (69.8 x 56.6 cm.)

Private collection

Solomon became well known as an innovative portrait artist by the time he painted Mrs Patrick Campbell as 'Paula Tanqueray' ARA (1894), her role in Arthur Wing Pinero's The Second Mrs Tanqueray, and went on to paint a number of portraits of well-known people, including the architect Sir Aston Webb, and later in life, the royals King George V, Queen Mary, and Prince Edward (later King Edward VIII). Solomon was also in demand as a book illustrator, particularly adventure books. In 1914, Solomon authored The Practice of Oil Painting and Drawing. More on Solomon Joseph Solomon

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.