Oil — Commandant Paul-Louis Weiller, Capitaine d'industrie, protecteur des arts
Pierre Mignard, called "Mignard le Romain" to distinguish him from his brother Nicolas Mignard, was a French painter known for his religious and mythological scenes and portraits. He was a near-contemporary of the Premier Peintre du Roi Charles Le Brun with whom he engaged in a bitter, life-long rivalry.
Francesco Lazzaro Guardi was an Italian painter, nobleman, and a member of the Venetian School. He is considered to be among the last practitioners, along with his brothers, of the classic Venetian school of painting.
In the early part of his career he collaborated with his older brother Gian Antonio in the production of religious paintings. After Gian Antonio's death in 1760, Francesco concentrated on vedute. The earliest of these show the influence of Canaletto, but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture.
 Пьер Боннар. «Автопортрет», 1889.jpg)
Pierre Bonnard was a distinguished French painter and printmaker, recognized as one of the foremost colorists of modern art. Born on October 3, 1867, in Fontenay-aux-Roses, France, Bonnard initially pursued law studies before embracing his true calling in art. He attended the École des Beaux-Arts and the Académie Julian, where his journey as an artist began in earnest.
Bonnard's art is characterized by its vibrant use of color and the portrayal of intimate, sunlit domestic interiors and gardens. His works often include scenes populated with friends and family, creating a narrative that is both personal and relatable. His distinctive style was influenced by Japanese prints, evident in his use of bold patterns and flat color planes. This influence earned him the nickname "Le Nabi très japonard" among his peers in the Les Nabis group, an avant-garde artists' group he joined in his twenties.
His early work, such as "Woman in Checkered Dress" (1890), showcases the influence of Japanese prints. Bonnard's talent was evident from the beginning of his career, with Claude Roger-Marx noting in 1893 his ability to capture fleeting poses and expressions. His work evolved over time, moving towards a style that resonated with the Intimists' focus on personal and intimate spaces.
Bonnard's wife, Marthe, was a recurring subject in his paintings, often depicted in everyday scenarios. Their relationship, spanning several decades, was a significant influence on his work. His paintings, such as "Dining Room on the Garden" and "Landscape at Le Cannet," demonstrate his mastery in capturing light and color, creating a sense of warmth and intimacy.
Bonnard's work remains influential and celebrated, with his paintings held in esteemed collections worldwide. His ability to transform everyday scenes into vibrant, color-filled canvases has made him a beloved figure in the world of modern art.
Art collectors and experts in the field will find Bonnard's work a study in the transformative power of color and composition. For those interested in staying updated on sales and auction events related to Pierre Bonnard's works, signing up for updates would provide valuable insights into this remarkable artist's enduring legacy.
Jean-Baptiste Pillement was a French painter and designer, known for his exquisite and delicate landscapes, but whose importance lies primarily in the engravings done after his drawings, and their influence in spreading the Rococo style and particularly the taste for chinoiserie throughout Europe.
Serge Férat, born Count Sergei Nikolaevich Iastrebtsov (Russian: Сергей Николаевич Ястребцов), was a Russian and French avant-garde artist, painter, graphic artist and scenographer.
Sergei Iastrebtsov was born into a Moscow noble family, studied at the Kiev Art School, and in 1902 moved to Paris and entered the Académie Julian in Paris. In France, he first took the pseudonym Alexander Rudnev, and then began to sign his works with the name Serge Ferat. In the magazine Les Soirées de Paris he signed his publications with the pseudonym Jean Cérusse.
In 1910, Ferat began working on still lifes, combining the techniques of cubism with the warm colors of Russian folklore. Until the 1920s, Serge Fera painted in the style of Picasso's cubism, and on glass. Serge Ferat knew and was friends with many contemporary European artists, including Guillaume Apollinaire and Amedeo Modigliani. In the surrealist production of Apollinaire's play Mamelles de Tirésias (Théâtre René Mobel, Montmartre), he contributed to the set and costume design.
Ferat was engaged in book graphics and scenography, was a member of the group "Golden Section", and collaborated with the Russian magazine "Blow". In 1949 he took part in the design of the anthology Poetry of the Unrecognized, and in 1953 his works were exhibited at the Great Exhibition of Cubism at the Museum of Modern Art in Paris.
