Julius LeBlanc Stewart, 1892 - Baptizim - mbipụta nka mara mma

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Ihe osise The Baptism nke nwoke mere American onye na-ese ihe Julius LeBlanc Stewart n’afọ 1892. Ihe gafere 120 Original dị afọ nwere nha: 79 1/4 x 117 1/4 na (201,30 x 297,50 cm). Mmanụ na kwaaji was applied by the painter as the medium of the piece of art. Besides, the artwork belongs to the art collection of Ebe ngosi nka nke Los Angeles County, nke dị na Los Angeles, California, United States of America. Site n'ikike nke: Ụlọ ihe ngosi nka nke Los Angeles County (www.lacma.org) (license - public domain).Creditline of the artwork: . What is more, the alignment is landscape and has a side ratio of 3 : 2, meaning that ogologo bụ 50% ogologo karịa obosara. The painter Julius LeBlanc Stewart was a North American artist from United States, whose art style can be attributed mainly to Realism. The painter lived for 64 years and was born in the year 1855 in Philadelphia, Philadelphia county, Pennsylvania, United States and died in the year 1919 in Paris, Ile-de-France, France.

Supplemental information by Los Angeles County Museum of Art (© Copyright - Los Angeles County Museum of Art - Ebe ngosi nka nke Los Angeles County)

Stewart’s paintings of the elegant and fashionable world in which he lived were sometimes inspired by specific events and often included his friends. In The Baptism he depicted with a studied realism an elaborate interior and the costume of members of high society gathered to witness the baptism of one of their own. The realistic details suggest that the figures were portraits of specific persons. In Stewart’s earlier painting The Hunt Ball, a key was provided to identify many of the figures. No key is known to exist for The Baptism. The painting has been traditionally considered to be of the Vanderbilts, but all attempts to substantiate this have proved fruitless. Although most of the male figures have distinctive physiognomies, Stewart’s social world was so large encompassing not only Americans but those of many nationalities-that identification is difficult. The art historian Sue Carson Joyner has suggested that the male standing on the far right is a self-portrait. Stewart usually idealized his female figures, giving them handsome, aristocratic profiles, so the similarities among female figures in his paintings can be misleading. The painting was probably not a specific commission, for Stewart was too wealthy to need such work, nor would he have offered it for sale if it were. The painting probably records the baptism of a friend’s child, indicated by the faint inscription of a day and time on the back of the painting, but was not intended to record the event for the public. The Baptism was the culmination of Stewart’s development of elaborate multifigured scenes; thereafter he limited his compositions to smaller groupings. Although the identities of the people remain an enigma, the painting can be appreciated on its own terms. It is a tour de force of technical skill and a prime example of late nineteenth-century academic aesthetics. The persuasiveness of Stewart’s depiction of natural light suggests the fascination with outdoor effects that were just emerging in his art. The picture met with great acclaim at an international exposition held in Berlin in 1895. The realistic illusion of the rich damask wall coverings, the silk, satin, and lace trim of the figures’ attire, and the soft, delicately rendered skin of the women and children captivate viewers even today.

Notes from the Contributor: Purchased with funds provided by the Museum Acquisition Fund, Mr. and Mrs. William Preston Harrison Collection, Mr. and Mrs. J. Douglas Pardee, Jo Ann and Julian Ganz, Jr., Mr. and Mrs. Charles C. Shoemaker, Mr. and Mrs. William D. Witherspoon, Mr. and Mrs. Thomas H. Crawford, and other donors

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