Antonio de La Gandara
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Antonio de La Gandara
(b Paris, 16 Dec 1862; d Paris, 30 June 1917). French painter, pastellist and draughtsman. He studied with Jean-L?on G?r?me at the Ecole des Beaux-Arts, Paris, from 1876 to 1881 and made his d?but at the Salon of the Soci?t? des Artistes Fran?ais in 1882 with a portrait of Mlle Dufresne. He soon became successful as a portrait painter of the aristocracy and the French ?lite (e.g. Paul Escudier; Paris, Petit Pal.). He was concerned only with the depiction of physical likeness and the rendering of elegant dress and showed little interest in the sitter's psychology or character (e.g. Woman in Pink, Nancy, Mus. B.-A.). He was an acute observer of the fashionable Parisian woman and often included her, along with children, in his many paintings of Paris, especially of the Jardins du Luxembourg (e.g. Le Luxembourg). In addition to painting in oil and pastel, he executed drawings in charcoal and pencil.
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Antonio de La Gandara
Antonio de la Gándara
Antonio de la Gándara (16 December 1861 – 30 June 1917) was a French painter, pastellist and draughtsman. Gándara was born in Paris, France, but his father was of Spanish ancestry, born in San Luis Potosí, Mexico, and his mother was from England. La Gandara's talent was strongly influenced by both cultures. At only 15 years of age, Gandara was admitted as a student of Jean-Léon Gérôme and Cabanel at the École des Beaux-Arts. Soon, he was recognized by the jury of the 1883 Salon des Champs-Élysées, who singled out the first work he ever exhibited: a portrait of Saint Sebastian.
Less than ten years later, young Gandara had become one of the favourite artists of the Paris elite. His models included Countess Greffulhe, the Grand Duchess of Mecklenburg, the Princess of Chimay, the Prince de Polignac, the Prince de Sagan, Charles Leconte de Lisle, Paul Verlaine, Leonor Uriburu de Anchorena, Sarah Bernhardt, Romaine Brooks, Jean Moreas, Winnaretta Singer, and Virginie Amélie Avegno Gautreau (seen below, and more famously portrayed by John Singer Sargent in his painting Madame X). Influenced by Chardin, his unique skill is demonstrated in his portraits, in a simplicity with the finest detail, or in the serenity of his scenes of the bridges, parks, and streets of Paris.
Gandara illustrated a small number of publications, including Les Danaïdes by Camille Mauclair. With James McNeill Whistler, Jean-Louis Forain, and Yamamoto, La Gandara illustrated Les Chauves-Souris ("The Bats") by the French poet Robert de Montesquiou. The book, published in 1893, has become a rare collector's item. The first exhibition of Gandara's work organised in New York by Durand-Ruel in 1898 was a major success and confirmed the painter as one of the masters of his time. Major newspapers and magazines routinely reproduced his portraits, several of which made the front page of publications like the fashionable Le Figaro magazine. Gandara participated in the most important exhibitions in Paris, Brussels, Berlin, Dresden, Barcelona and Saragossa.
One of the most talented artists of the Belle Epoque, La Gandara died on 30 June 1917, and was interred in Père Lachaise, Paris, France. Although his fame faded rapidly after his death, growing interest in the 19th century saw Gandara regain popularity as a key witness to the art of his time, not only through his canvases, but also as the model chosen by the novelists Jean Lorrain and Marcel Proust, and through the anecdotes of his own life narrated by Edmond de Goncourt, Georges-Michel, and Montesquiou.
References
- Xavier Mathieu, "Antonio de La Gandara - Un témoin de la Belle Epoque", 308 pp, Editions Librairie des Musées, 2011
- Gabriel Badea-Päun, « Entre mondanité et mécénat — les avatars d'une relation, Robert de Montesquiou et Antonio de La Gandara », Revue de la Bibliothèque nationale n° 25, 2007, p. 54-62.
- Gabriel Badea-Päun, Antonio de La Gandara (1861-1917), naissance d'un portraitiste mondain. L'exposition chez Durand-Ruel, avril 1893, conférence à la Société de l'histoire de l'art français, présentée à l'Institut national d'histoire de l'art, Paris, le 18 novembre 2006, à paraître.
- Gabriel Badea-Päun, « Un intermezzo lithographique — les estampes d'Antonio de La Gandara », Nouvelles de l'estampe, n° 207, juillet-septembre 2006, pp. 23–36.
- Gabriel Badea-Päun, « De l'atelier de Gérôme au cabaret du Chat noir. Les années de formation d'Antonio de La Gandara (1861-1917) », Le Vieux Montmartre, nouvelle série, fascicule n°75, octobre 2005, pp. 12–36.
- Gabriel Badea-Päun, Antonio de La Gandara, Allgemeines Künstlerlexikon, Leipzig-Munich, K.G.Saur Verlag, vol.49
- Gabriel Badea-Päun, "Antonio de La Gandara", La Tribune de l'art.
- Gabriel Badea-Päun, Portraits de Société, Paris, Citadelles et Mazenod, 2007. Prix du cercle Montherlant de l'Académie des Beaux-Arts, 2008.
- Gabriel Badea-Päun, The Society Portrait, Thames & Hudson, Londres et Vendôme Press, New York, 2007.
- Gabriel Badea-Päun: Antonio de La Gandara, sa vie, son œuvre (1861-1917), catalogue raisonné de l'œuvre peint et dessiné, thèse de doctorat sous la direction du M. le professeur Bruno Foucart, Paris-IV Sorbonne, 2005, 3 volumes, 881 pages.
External links
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Wikimedia Commons has media related to: Antonio de La Gandara |
- Site officiel d'antonio de la gandara at www.lagandara.fr
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