Archive for the ‘l’Artiste Inconnu’ Category

Karl Mueller - Im Wald - 1897

Im Wald (1897)


Carl Mueller - River Trees - 1897

River Trees (1897)


Carl Mueller - Cypresses - 1897

Cypresses (1897)


Maximilian PirnerDSCF9501

Finis, 1893


Maximilian Pirner

Hekate, 1893


Maximilian Pirner

Girl in Her Nightie Walks on the Window-Ledge


Maximilian Pirner

Tentazione di San Gerolamo, 1889


Maximilian Pirner

Medusa, 1891


Maximilian Pirner

Daemon Love (1893)


Maximilian PirnerMaximilian PirnerMaximilian PirnerMaximilian Pirner

Drawings and sketches


Maximilian PirnerMaximilian PirnerMaximilian Pirner

Series Mythological Misalliances, 1890

Maximilian Pirner

Homo Homini Lupus, 1901

Maximilián Pirner Allegory of Death

Allegory of death, 1895


BAW_1905_10-28 BAW_1905_10-29

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Painter. He studied at the College of Applied Arts, master Újvári Ignatius and Henry had Pap. Between 1933-46 he was professor in the School of Applied Arts in Budapest. 1912 issued continuously at the Art Gallery. Founded in 1924, the Association of Spiritual Artists member.

Dante’s Dream

Szecesszio composition





Symbolical Composition

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Aladar Kacziany Symbolical composition





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There are very limited biographical information on this artist of Italian origin, which already between 1883 c 1884 is notable for the covers of sheet music editions designed Ricordi Editions. His work as a newspaper illustrator was widely-held in France.

Job Sigarette poster

Poster for La Maison Moderne (S. Bing)

Manuel Orazi

Manuel Orazi

In 1896 participates in the second exhibition held in The Gallery Art Nouveau ‘of S.Bing, presenting a lithograph and a ‘calendrier magique’. Delia has been a member since 1897Société Nationale des Beaux Arts. Jewelry Design for the Maison Moderne were appreciated also as author of opera posters. His involvement as an illustrator of books initially shows the influence of E. Grasset, but ends up revealing a personality of great originality, whose contribution to the book Art Nouveau in France is still awaiting a proper critical assessment.


Illustration for the Opera “l’Atlantide”

Manuel Orazi

Manuel Orazi

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Bat Woman

Le nu d’or


penot - le nu dor

Pénot, a painter of the French school, painted genre scenes and interiors featuring nudes and church officials. He studied under the noted artist Gabriel Ferrier, who is represented in museums throughout France. A member of the Societaire des Artistes Francais from 1909 on, Penot exhibited successfully in the Paris Salons. There he was awarded an honorable mention in 1903 and a third place medal in 1908.

Salon de Paris postcard

the Snake, 1905

Albert-Joseph Pénot Salon de Paris postcard


Morbid female bodies, which recalls Bourgerois, charged with a delicate sensuality. Penot’s female figures are morbid femme fatale, with a taste of gothic and bizarre, as in the paintings “Bat-woman” and “Depart pur le Sabbat”, thus recalling the work and the style of Falero (here)

femme nue alongèe

Départ pour le Sabbat (Aufbruch zum Hexensabbat)

Femem nue allonge

Albert-Joseph Pénot Départ pour le Sabbat (Aufbruch zum Hexensabbat)

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Our Lady of the Cow Parsley

Autumn and Winter

Elizabeth Sonrel Our Lady of the Cow Parsley

Elizabeth Sonrel (French, 1874-1953,autumnElizabeth Sonrel (French, 1874-1953,winter 


Untitled (Barbara with eyes closed), c.1925-30

Untitled (Gunda, nude), 1922



Margaret Loke, The New York Times, 22 Febryary 2002:

The Austrian artist Artur Nikodem created personal work radically different from his public art. Publicly, Nikodem, who was born in 1870, produced color-drenched paintings that reflected the influence of Monet and Cézanne. Privately, he took strikingly modernist, spare photographs, possibly beginning during World War I when he became a telegraph officer and for a time was stationed in Turkey.
Nikodem the photographer kept that part of his creativity to himself, and it remained a secret for years after he died in 1940. His great-grandson, Martin Krulis, came across a cache of his photographs, most of them contacts printed from glass-plate negatives, and brought them to Robert Mann.
In the exhibition catalog, Monika Faber, a photography curator in Vienna, noted that Nikodem tested cameras and film for a friend, a photographic supplies dealer. His prints here are small, many 2 1/2 by 2 1/2 inches, with a few about 3 by 5 inches. Hung in a dim gallery, each image spotlighted, the 34 pictures raise the expectation that they are all of superb quality.
Many are exquisite, especially those of Barbara, a model who became his wife. Clothed or unclothed, she exudes a smoky sensuality all the more potent because Nikodem doesn’t distract with stylized poses or superfluous props. As if taking cues from Stieglitz vis-à-vis the majestic O’Keeffe, Nikodem made love to Barbara with his camera, taking marvelously casual pictures of her feet, her hands, her naked back, as she ate fruit or sat in a chair. But Nikodem’s sea and landscape shots of Turkey and rural Austria are nothing to write home about. The show would be stronger without them. Peering at Nikodem’s small prints, particularly his inspired portraits of people familiar to him, even his austere self-portrait, you might also wish the gallery had larger prints made. They wouldn’t be vintage, but they could be extraordinary.

Untitled (Barbara, feet and teddy), c.1925-30

Untitled (sitting nude), c.1920s



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IT was about eight or nine years ago that the name of Lévy-Dhurmer began to make a stir in the art world. An exhibition which he held at the Georges Petit Galleries, comprising a collection of the work he had done during a period of ten years, attracted the attention of connoisseurs and since then every canvas he has produced has been welcomed as an interesting achievement. M. Lévy-Dhurmer has undoubtedly studied the methods of Leonardo, whose influence is especially noticeable in his early manner, and has sought the same forms of expression as the great Florentine. As remarked in an article on his work as a painter which appeared in THE STUDIO for February, 1897, it was from the. great Italian masters of the fourteenth and fifteenth centuries
that he acquired his love of the imaginative and the ideal.

The two women had fused into one

Lucien Levy-Dhurmer The two women had fused into one




Nevertheless modern art has had an unmistakable influence on the smile of the Circes and Naiades of his fantastic symbolisms, and the meaning is decidedly more degenerate. His paintings and pastels are generally one-figure studies; but the significance of each picture is conveyed as much by the background and surroundings as by the figure itself.



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