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Artist:     Antoine Ansiaux (French, 1764-1840), attributed to
Title:     ”Love“ and ”Disillusion“, a pair of classicist paintings
Item ID   5122
Price:     12000.00 €
   

   
 

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A pair of classicist-allegorical paintings “Love“ and “ Disillusion“ was executed on the turn from 18th to 19th Century and due to the very close composition, manner and time of creation was attributed to the hand of French mythological, historical and religion painter Antoine ( Jean Joseph Eleonore Anoine) Ansiaux (1764 Lüttich - 1840 Paris). For comparison see additional images of similar paintings by the same artist.

The artist studied: Academy Liege and Antwerp; 1783 Acad. R. Paris and at F. A. Vincent, who promoted him as one of his best students. Stayed in Paris and became the member of the Soc. Populaire et Républicaine des Arts during the revolution. Apparently his paintings were always recognized, he enjoyed special reputation in the time of restoration (1812 great Med. for the pInting L ´Assomption, 1819 Med. for hist. painting).. – Painted mythologous, hist. and relatable themes, espess. large-format paintings . for churches, also portraits (miniatures and full figures) of personalities of Napoleon´s time, such as portrait of . Actress Mlle Mézerray, Interior Minister Champagny. His pleasing, partly eclectic style corresponded to the taste of time. He began as academical classicist. With paintings as like Sappho, Leda (1801), went through a romantic. Phase to then join with paintings for churches in France and Belgium quite the trend of Adaption to French Restoration. L. F. Mariage stabbed, according to his templates, gallant mythologically motives. Works by Ansiaux are in collections of France and Belgium, as well as in the art trade.

WORKS: AMIENS, Cathedral: La résurrection. ANGERS, Cathedral: La mise en croix, 1827. ANNECY, Mus.: Mercure eduquant l ´amour. ARRAS, Cathedral: La resurrection. BORDEAUX, Mus.: Poussin présenta à Louis XIII, 1817. Goya: Mme Bonet. COLUMBIA/Mo., Mus. Art and Archéology: Alexandre, Apelle et Campaspe, 1831. LE MANS, Cathedral: Adoration des mages. LILLE, Mus.: St. Jean devant Hérode, 1822. Conversion de St. Paul, 1814. – Town Hall: Retour de l ´enfant prodigue, 1819. METZ, Cathedral: La flagellation du Christ. PARIS, St. Etienne du Mont: St. Paul préchant à Athènes, 1824. – Mus. Marmottan. VERSAILLES, Mus. Nat. du Château: E. Cretet, Ministre de l ´interieur, Comte de Champmol, 1810; Général J. Kléber, 1799; 6. F. C. Kellerman, Duc de Valmy, 1800; Moise sauvé des eaux. – Trianon: Jesus Christ benissant les enfants.

Exhibitions: 1796, 1801, ´ 12, ´ 17, ´ 33, ´ 35 Paris, Salon/1978 London, Heim-Gall.: Forgotten French art from the first to the second empire (catalogue).

Literature: Thieme/Becker, I, 1907. BNB I, 1866; Meyer, KL II, 1878; 6. Bryan I, 1910; 6. Wilenski I, 1960; 4. W. G. Flippo, Lex. of the Belg. romantic painters, Antwerp 1981; P. & V. Berko, Dict. of Belg. Painters born between 1750 and 1875, Br. 1981; J. Renouvier, Hist. de l ´art pendant la révolution, P. 1863, 1863, 24, 294; J. Bosmant, La peint., valeur de demain, P. 1969, 7; GBA 61:1963 (Jan.) 23, 28, Fig. and 96:1980 (Sept.), 66 s.; M. Vincent, A. A., peintre oublié, Arch. de l ´Art français 25:1978, 291-295.

Inscription: both unsigned, on the back of stretchers - seals of a French noble estate.

Technique: both oil on canvas. Magnificent Classicism gold-plated frames.

Measurements: each unframed w 16 1/8" x h 13" (41 x 33 cm), framed w 19 3/4" x h 16 5/8" (50,3 x 42,3 cm).

Condition: very good, original canvas, no any inpaintings or paintlosses.


   
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