拍品专文
Julius LeBlanc Stewart arrived in Paris in 1865 and for the following fifty years was known as the ‘Parisian from Philadelphia’ who assured his career and reputation by depicting the grand life in Belle Époque Paris and members of Parisian high society. By the mid-1880s, the only American to receive more critical attention at the Salon exhibitions was John Singer Sargent.
Stewart was influenced by his father, William Hood Stewart, a well-recognized collector and connoisseur on both sides of the Atlantic known for his passion for art. As early as the 1860s, William began collecting pictures, both American and European, and in 1865 moved his family to Paris. It was in the City of Light where William befriended and collected works by many contemporary artists. Among them were Spanish artists such as Eduardo Zamacoïs, Mariano Fortuny, Raimundo de Madrazo, Martín Rico and José Villegas. Stewart's collection of paintings was so well-known that visitors to Paris would ask to visit the collection, including American artists such as Julian Alden Weir.
As a result of his father's connections, Julius became a student of Zamacoïs in his early teens. Upon the artist's death, he entered the atelier of Jean-Léon Gérôme in May 1873 and was one of the master's 'beloved pupils'. By the mid-1870s, around the time the present work was painted, Stewart moved into his own studio next to that of Madrazo and was known to have been greatly influenced by the Spaniard in his use of a rich, vibrant palette, gestural brushwork and scenes featuring society ladies. In the present work, the influence of Madrazo is clearly evident in the careful rendering of fabrics, which appear brilliantly luminous and tactile. Elements of japonisme – including the delicate silk fan and the silk kimono – reflect the style popular in Paris at this time. The same light blue kimono with a red lining is seen in Stewart's Repose from 1888.
Stewart was well-placed within Parisian high society in both artistic and social circles. His familial wealth helped place him there, but it was his charm and artistic abilities that kept him ensconced in this world for the entirety of his career.
Stewart was influenced by his father, William Hood Stewart, a well-recognized collector and connoisseur on both sides of the Atlantic known for his passion for art. As early as the 1860s, William began collecting pictures, both American and European, and in 1865 moved his family to Paris. It was in the City of Light where William befriended and collected works by many contemporary artists. Among them were Spanish artists such as Eduardo Zamacoïs, Mariano Fortuny, Raimundo de Madrazo, Martín Rico and José Villegas. Stewart's collection of paintings was so well-known that visitors to Paris would ask to visit the collection, including American artists such as Julian Alden Weir.
As a result of his father's connections, Julius became a student of Zamacoïs in his early teens. Upon the artist's death, he entered the atelier of Jean-Léon Gérôme in May 1873 and was one of the master's 'beloved pupils'. By the mid-1870s, around the time the present work was painted, Stewart moved into his own studio next to that of Madrazo and was known to have been greatly influenced by the Spaniard in his use of a rich, vibrant palette, gestural brushwork and scenes featuring society ladies. In the present work, the influence of Madrazo is clearly evident in the careful rendering of fabrics, which appear brilliantly luminous and tactile. Elements of japonisme – including the delicate silk fan and the silk kimono – reflect the style popular in Paris at this time. The same light blue kimono with a red lining is seen in Stewart's Repose from 1888.
Stewart was well-placed within Parisian high society in both artistic and social circles. His familial wealth helped place him there, but it was his charm and artistic abilities that kept him ensconced in this world for the entirety of his career.