The Blonde Bavarian (c.1905). Franz von Defregger (Austrian, 1835-1921). Oil on panel. Frye Art Museum.Beside the academic genre and history painting, which was regularly shown at exhibitions, he later painted portraits, landscapes and images from his private life. He was skilled in the use of colour and displayed a keen power of observation in portrait arts.
Mrs Patrick Campbell (1912). Sir John Lavery (Irish, 1856-1941). Oil on canvas.Mrs Patrick Campbell, otherwise known as Mrs Pat, was a succesful English stage actress. Mrs Pat played such famous roles as Hedda in Hedda Gabler, Ophelia in Hamlet, Lady Macbeth and Juliet in Romeo and Juliet. Two years after this portrait was painted, Mrs Pat played Eliza Doolittle in the original West End Production of Pygmalion, specifically written for her by George Bernard Shaw.
Evening, also The Ball (c.1885). James Tissot (French, 1836-1902). Oil on canvas. Musée d'Orsay. Tissot depicts a young woman wearing a luxuriant yellow dress, arriving at a society event. The extreme femininity of the main character is emphasised through a skilful interplay of curves. Her wide fan, placed virtually in the centre of the painting, continues the curve of her shoulders. In the bottom left hand corner, her long train forms an impressive rising arabesque.
The Present or Temptation (c.1865). Alfred Stevens (Belgian, 1823-1906). Oil on canvas. The National Gallery, London.The pansy (pensée in French) held by the woman (which had apparently fallen from the note she is holding in her left hand) is probably a symbol of faithfulness conveyed by the sender. Letters, in combination with the pose and expression of the woman, are often telling in Stevens’ work.
La lecture (1905). Henri Ottmann (French, 1877-1927). Oil on canvas.Ottmann made his debut at the Salon La Libre Esthétique in Brussels in 1904 and took part in the Salon des Indépendants in Paris from 1905, the Salon d'Automne, the Salon Société Nationale des Beaux-Arts and the Salon des Tuileries.