Eugene de Blaas
Austrian Painter
1843 - 1931
Eugene de Blaas was born July 24, 1843 at Albano, near Rome, to Austrian parents. His career was enriched by a talented and artistic family. His father, Karl (1815-1894), was one of the most notable portrait painters of Roman society, a successful history, portrait and fresco painter of the late Biedermeier period. He became teacher to Eugene and his brother Julius (b.1845), an artist in his own right who specialized in animal and military scenes. Karl eventually took a position as a professor at the Academies in Vienna and Venice, then part of the Austro-Hungarian Empire. It was in Venice that Eugene de Blaas established himself as the leading painter of Venetian genre. Venice had been an essential stop on the Grand Tour since the early eighteenth century. Past visitors had returned home with views and portraits and the late-nineteenth century visitor wanted more. The affluent Venetian visitor wanted human interest, a sense of life by the canals and campos of the city, and as a result a school of artists developed to supply this market. Native Italian artists like Antonio Paolettu, Antonio Rotta and de Blaas, as well as Englishmen such as Luke Fildes and William Logsdail depicted the lives of Venetian fisher folk, gondoliers and Venetian beauties.
Between 1875 and 1891 de Blaas exhibited twelve works at the Royal Academy in London. By 1885 the London art dealer Arthur Tooth and Son represented de Blaas for a short time before he moved to the rival dealer T. MacLean in 1886.
Works by Eugene de Blaas can be found in many public and private collections throughout the world, most notably in institutions in Melbourne, Sydney, Vienna, Leicester, Nottingham, Sheffield, and the Art Gallery of New South Wales.
Selected Works of Eugene de Blaas
A Helping Hand: 1884
A Pensive Moment: 1896
A Portrait of a Young Lady: Date Unknown
Eugene Von Blaas specialized in figure paintings. His favorite motif was the daily life of the Venetian folk. He rendered the details of their picturesque costumes and dwellings with tremendous sympathy. His precise technique and vibrant colors were greatly admired.
A Viennese Beauty: 1899
A Young Beauty: 1882
A Young Beauty: Date Unknown
An Affectionate Glance: 1909
An Elegant: Lady Date Unknown
An Interesting Story: Date Unknown
At the Well: 1872
Balcony: Date Unknown
Baroness von Scholl: Date Unknown
Catch of the Day: Date Unknown
Daydreaming: 1890
Daydreaming: Date Unknown
Far Away Thoughts: Date Unknown
Flirtation at the Well: 1902
Fruit Vendor: Date Unknown
Gathering Shells: Date Unknown
Girl with Pomegranates: 1912
God's Creatures: 1877
Good News: 1877
Head of a Young Boy: Date Unknown
In the Water: 1914
Lisa: 1889
Madchenbildnis: 1850
Meeting in the Square
Musette: 1900
On the Balcony: 1877
On the Balcony: 1889
On the Beach: 1908
Pleasure: 1900
Portrait of a Boy: 1884
Portrait of a Lady: Date Unknown
Portrait of a Venetian Lady: Date Unknown
Portrait of a Woman: 1900
Shared Correspondance: 1899
The Day's Catch
The Eavesdropper: 1906
The Farewell: 1906
The Flirtation: 1889
The Flirtation: 1904
The Flower Seller: Date Unknown
The Friendly Gossips: 1901
The Fruit Seller: Date Unknown
The Grape Picker: 1902
The Knitting Lesson: Date Unknown
The Love Letter: 1902
The Love Letter: 1904
The Milkmaid: 1880
The New Suitor: Date Unknown
The Pearl Necklace: Date Unknown
The Rose: Date Unknown
The Seamstress: Date Unknown
The Serenade: 1910
The Sweetest Rose
The Watercarrier: 1908
The Yellow Shawl: Date Unknown
Two Children: 1899
Untitled: 1899
Venetian Beauty on Balcony: 1899
Venetian Flower Seller: 1895
Which Came First: 1899
Work: Date Unknown
Young Italian Beauty: Date Unknown
Portrait of a Girl
Die Gartenlaube Illustrirtes Familienblatt (later as "Illustriertes Familienblatt" and from 1938, as "Die neue Gartenlaube"), was a forerunner of modern magazines, and the first major success of the German weekly. The name means "The Garden Arbor (or Gazebo) Family Journal" but the magazine is known worldwide as "Die Gartenlaube". It was released in 1853, and by 1876 the publisher Ernst Keil had reached a circulation of 382,000 copies. One of the founders was Ferdinand Stolle. Since Die Gartenlaube was both in the common family reading, and was in numerous lending libraries and cafes as delivery was available, the estimate of the actual readership amounts to two to five million.
The format of the magazine was as 52 weekly issues, of 16-20 pages each, with some illustrations. The text, printed in a Fraktur (alt Deutsch) font, was typeset with hand-drawn illustrations and, later, with some photographs.
Die Gartenlaube provides a comprehensive and historical analysis for many fields and is an essential source for German cultural history, for example regarding the serial novels published in the magazine. The magazine was well-known in the German-speaking world: famous waltz composer Johann Strauss II even published a waltz in the magazine, during 1895, dedicated to the readers, with English title "Gartenlaube Waltz".
Quoted From: Die Gartenlaube - Wikipedia
Die Gartenlaube: (1879)
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Die Gartenlaube: (1880)
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Die Gartenlaube: (1887)
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The Laundress
Venetian Women
Daydreaming
Gathering Cockles at the Seashore: Date Unknown
The Laundry: 1912
The Suitor: 1887
The Unseen Suitor: 1898
This page of Eugene de Blaas, I do not believe, is one of my better efforts which in no way detracts from the artist himself. As I have previously told you, my visitors, that I am very much an amateur and novice when it comes to any period or expression of art. Yet, I was first struck by the vibrance of the color in this artist's works. Even more importantly than that, I can feel a simplicity in his subjects that awakens a hopefulness which we too often seem to have lost in our cynicism. There is also a certain earthiness in some of his paintings especially in the 'Watercarrier' that brings a deeper sense of reality to what Eugene de Blaas, I believe, is attempting to depict.
Senex Magister
Source: Art by Eugene de Blaas - Museum Syndicate
Source: Eugene de Blaas Online
Source: Art Renewal Center
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