19th Century

19th Century

“Journey to the Crucifixion”

Oil on Canvas 60in X 36in

A. Bancroft (19th/20th Century)

A. Bancroft (19th/20th Century) “New Birth”

Oil on Canvas 51in x 37in

August Rieper (German, 1865 – 1940)

August Rieper (German, 1865-1940) “Woman Reading a Book”

Oil on Board 36in x 31.75in


Italian Old Master (17th Century)

Italian Old Master (17th Century) “The Last Communion of Saint Jerome”

Oil on Canvas 34in x 25in

Otto Eichinger (Austrian, 1922 – 2004)

Otto Eichinger (Austrian, 1922 – 2004) “The Card Players”

Oil on Canvas 38in x 32in

Otto Eichinger was born in 1922 in Vienna, Austria. He died in 2004. Otto was the third generation of artists in the Eichinger family painting in this realistic style. His father, also a portrait painter, was Erwin Eichinger. Otto Eichinger said he painted with a horse hair, which although was an exaggeration, his point was that each small wrinkle line of the faces in his portraits were painted with extreme precision and care. He used a magnifying glass to assist in creating the smallest details in his paintings. This was the last in the line of Eichinger artists who painted. Otto’s son became a musician instead of a painter ending the line of painter artists of portraits in the Eichinger family lineage. Otto Eichinger attended the art academies of Vienna Austria and Munich Germany. Afterwards he went on to study Lithography but decided to pursue painting as a career like his father. Otto continued the tradition and specialized in finely detailed portraits of Bavarian men, Cardinals and Rabbis.

Jean Raymond Hippolyte Lazerges (French, 1817 – 1887)

Jean Raymond Hippolyte Lazerges (French, 1817 – 1887) “Lady Liberty”

Oil On Canvas 30in x 24in

Jean Raymond Hippolyte Lazerges (1817–1887) was a French painter, and composer of melodies and songs.

Lazerges was born in Narbonne, France, where his father was a baker. He studied in Paris under the sculptor David d’Angers and the painter François Bouchot.

He traveled to Algeria with his father in 1830.  His paintings often depicted Oriental women engaged in every-day activities such as preparing fleece and working at their primitive looms.

Among his light songs Éloge du tabac has been recorded by Paul Van Nevel ‘s Huelgas Ensemble.

His son Jean-Baptiste Paul Lazerges (1845–1902) was also a painter.

He died in Si-Mustapha, a suburb of Algiers , Algeria .

He obtained two medals in 1843 and 1848 and was awarded the Legion of Honor in 1867.

Edwin Alfred Pettit (British, 1834 – 1924)

Edwin Alfred Pettit (British, 1834 – 1924) “Harlech Morning”

Oil on Canvas 30in x 50in

Edwin was orphaned at the age of eight while his parents were living in Nauvoo. He plotted an escape from his guardian so he could join his sister and her husband who were headed west. He was 13 when he made the journey. As an adult Pettit was heavily involved in freighting and in helping immigrants coming to Utah from California, where he had settled in 1851. While assisting others, he crossed the Nevada desert seventeen times by team and three times by rail. He married Maria Pettit Bush, a widow with two sons, and they had one daughter. After her death, he married Rebecca Hood Hill, and they became the parents of fourteen children. Edwin died April 17, 1924, in Salt Lake City, Utah.

Jehan-Georges Vibert (French, 1840 – 1902 )

Jehan-Georges Vibert (French, 1840 – 1902 ) “Confession to a Priest “

Oil on Canvas 21in x 25in

Biography of Jean Georges Vibert, source: Art Renewal Center http://www.artrenewal.org

In describing Jehan Georges Vibert, an admirer of his wrote this: “One of the most original artists that Le Roux introduced to me is Vibert . He is middle-sized, stout for his age, — for he seems only thirty-five, — has a full, merry, happy, but very shrewd, sensible face; he loves work, and is, as are all these men, an indefatigable, untiring worker, but he loves also to take his play-hours. In the evening he goes to the, theater, and among his friends and himself removes his thoughts from his work and his studio.” The cheerfulness, playfulness, and hint of shrewdness she describes in Vibert’s character are traits that would also distinguish his works and make his reputation.He was born on September 30th , 1840 in France. In his early years he was trained under Barrias and on April 4th, 1857, entered the Ecole des Beaux Arts. During the early part of his career he painted rather serious and dramatic subjects, such as “The Death of Narcissus” and “Christian Martyrs in the Lion pit.” He entered the Salon in 1863; found his first success with a medal at the 1864 salon, and won a financial prize at the universal exposition of 1867.Around 1867, however, his style changed and instead of the dramatic and serious, he started painting “small things and niggling.” Instead of heroic Christians and tragic mythology, he turned to more homey subjects such as The Barber of Ambulart.In 1870, while Paris was under siege to the Prussians, Vibert fought and was wounded at the battle of Malmaison. His courage, though, earned him the honor of being made a Knight of the Legion of Honor.Though he was himself a hero, his growing attraction to the less serious subjects of genre did not ebb. Instead, it was stimulated by his interests in comedy and satire. Not only did he enjoy taking a break from work to go out to plays, but he also wrote several comedies, many of which were successfully produced at Paris theaters such as the Vaudeville. As well as from his own comedies, he gathered subject matter from the French fabulist Lafontaine (of whom he had a bust in his house)[1], and the satirist Jonathan Swift.In 1878 he achieved his first popular success with a huge history painting. “The Apotheosis of Mr. Thiers” was the talk of Paris even before it was completed. However, in spite of the success of this painting, he would spend most of his creative time on the humorous scenes that he enjoyed.During the later part of his life, his interest turned to the clergy. Paintings such as The Fortune TellerThe Diet, and Monk picking radishes satirized the clergy’s irreligious indulgences or depicted them in homey situations to an audience used to seeing the church ennobled in traditional religious and historic works. These would be the paintings that would make his reputation.In 1882, he was promoted to Officer of the Legion of Honor, for his painting this time. This growing reputation would make him one the the most sought after atelier masters at the Ecole des Beaux Arts. This would lead him to being one of the seven most influential artists of his time, along with Bouguereau, Cabanel, Meissonnier, Gérôme, Bonnat, and Lefebvre.[3]He died suddenly of heart disease on July 28th 1902.Looking at his satiric work of the clergy in a broader historical context, one can detect that they are “representative of the liberties emmanating from Enlightenment thinking that led to the world and culture shifting events of the American and French Revolutions. To spoof the clergy,” as ARC Board Chairman, Fred Ross, explains “would have been to risk your life or imprisonment a century earlier, or even currently in Rome where Papal power was still at great strength.””Thus Vibert was part of the growing democratization of Europe in which the artists and writers of the time were exposing the fraud and pomposity of big government and a hypocritical clergy that talked about walking in the shoes of the fisherman, and giving for god all worldly goods, while they themselves lived in the height of oppulance and luxury in great mansions with servants waiting on their every whim.”

The Fortune Teller (Tireuse des Cartes) is a particularly powerful example. What could be a greater spoof on holier-than-thou clerics, than to have two Cardinals soliciting the services of a prognosticator.” In a late ninteenth century society that was still bearing the fruit of the Enlightenment, it is no wonder that Vibert’s wit and satire could flourish and be valued.

In 1902 an important technical book was published by Vibert call La Science de la Peinture. Very hard to find, this book is one of several from the period that is widely sought by contemporary realists who are trying to resuscitate the techniques and accomplishments of the past, so that future creativity and experimentation can be built on the solid foundation of the masters.

“His works are in the collections of many major and minor museums including: Bordeaux, Brooklyn, Buffalo, Chicago, Cincinnati, Glasgow, Melbourne, New York, Rochefort, Saint Louis, Troyes, Versailles and Washington D.C. He was recently one of several featured artists (including 30 of is works) in a traveling exhibition called Cavaliers and Cardinals: Nineteenth Century French Anecdotal Paintings that was curated by Eric M.Zafran along with a full color catalog published by the Taft Museum in Cincinnati. It went to 3 museums, including the Corcoran Gallery of Art in Washington and the Arnot Art Museum in Elmira New York between June 25, 1992 and January 17, 1993. His paintings can be found in many important private collections, including three works in that of the [ARC] Board Chairman and his wife, Fred and Sherry Ross.” (FR)

Footnote 1: Letter from Mrs. Brewster of Rome.  Artists of the Nineteenth Century and Their Works. Clara Erskine Clement and Lawrence Hutton. 1969 (originally 1877), North Point Inc., St. Louis.
Footnote 2: Bryan’s Dictionary of Painters and Engravers. M. Bryan. 1910, George Bell and Sons, London.
Footnote 3: Published speech by Fred Ross. Originally given at the University of Memphis, December 1st, 1998. Source: Biography of Jean Georges Vibert, Art Renewal Center http://www.artrenewal.org/museum/v/Vibert_Jean_Georges/page2.html

Marguerita Pillini (Italian, 19th/20th Century)

Marguerita Pillini (Italian, 19th/20th Century) “On the Veranda”

Oil on Canvas 41in x 29 1/2in

Margherita Pillini was an Italian painter, active mainly in the late 19th century in Turin and Paris.
Pillini was born in Lombardy and married painter Marco Pillini. For many years, she was a resident of Paris. She exhibited in 1883 at Rome: Stracciaiolo di Quimper or Stracciajuolo di Quinper (“Silk-cocoon Carder of Quimper”) and Charity; in 1884 at Turin, in 1884: Three ages; Blind Poorman; Portrait del Prince of Naples; and another del vero genre painting.

Raymond Whyte (American/Canadian, 1923 – 2002)

Raymond Whyte ((American/Canadian, 1923 – 2002) “Check Mate”

Oil on Board 20in x 24in

Known for his trompe l’oeil, still life and portrait paintings, Whyte uses his technique, craftsmanship and color choices to create a mixture of realism and mysticism giving many of his works a dimension of eternity.

Public & High School in New York City; Awarded citywide scholarship to Art Students League, New York City.
Served in US Army Signal Corp and the Royal Canadian Air Force as Navigator.
University of Toronto, 7 years, studying with Kunyoshi, Bouche, Brackman, Dumond, Vytlacil, Barnet. and Edwin Dickinson. at the Students Art League in NYC.
Continued studies in France, England, Italy, Spain, Japan, China, Egypt, Netherlands, etc.

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About The Curator

Carol Seelig Eastman is the Executive Director and Chief Curator of The Knohl Collection. In this role, she passionately explores the artist’s personal, social, and political world and places their art in a meaningful historical context. Her thematic exhibitions provide visual and educational stimulation that attract and engage a diverse museum audience.