{"title":"Ernest-Ange DUEZ","description":"Ernest-Ange Duez (1843-1896) was a painter and printmaker of flowers, landscapes, and figure studies – particularly allegorical and historical scenes. He served his apprenticeship with the painter Isidore-Alexandre-Augustin Pils, taking part in the conservative Paris Salon for the first time in 1868. Although he was an admirer of Édouard Manet and owned paintings by Manet, Claude Monet, Edgar Degas, and Berthe Morisot, his own style has been described as juste milieu (happy medium), and is defined by an academic approach, a more controlled technique and a palette based in natural light. For this, he was rewarded with financial success, medals from the Salon, critical accolades, and prestigious public commissions.\u003cbr data-mce-fragment=\"1\"\u003eIn 1879, Duez used his influence to help the Impressionists he admired by signing a petition requesting a reorganization of the Salon. His involvement and support of rival societies and salons helped hasten the demise of the once all-powerful Académie des Beaux-Arts Salon.\u003cbr data-mce-fragment=\"1\"\u003eIn the early 1880s, in his studio on the Boulevard Berthier in Paris, Duez formed a lasting friendship with his next-door neighbor John Singer Sargent. Sargent’s impressionistic portrait of Duez, in a mood of deep concentration, set against a background of blue hydrangeas, was a gift to the artist. In return, Sargent owned a study of blue hydrangeas painted by Duez. The burgeoning field of plant science and the many public greenhouses in 19th century Paris allowed the study of exotic blooms all year long. The allure of Asian flora, art, and literature that compelled many 19th century European artists also united these two powerfully talented friends.\u003cbr data-mce-fragment=\"1\"\u003eErnest-Ange Duez passed very suddenly in 1896, after suffering a brain hemorrhage while cycling in the Woods of Saint Germain.","products":[{"product_id":"flowers","title":"Flowers","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003eFleurs\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003e (original French title)\u003c\/span\u003e\u003cspan data-ccp-props='{\"335559740\":257}' data-mce-fragment=\"1\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003eDrypoint on laid paper.\u003c\/span\u003e\u003cspan data-ccp-props='{\"335559740\":257}' data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003eReference : Stein \u0026amp; Karshan 21.\u003c\/span\u003e\u003cspan data-ccp-props='{\"335559740\":257}' data-mce-fragment=\"1\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003eFrom the only edition of 100, published by \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003eL’Estampe Originale\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003e, bearing their blindstamp in the lower right corner.\u003c\/span\u003e\u003cspan data-ccp-props='{\"335559740\":257}' data-mce-fragment=\"1\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003eSigned and numbered “N\u003c\/span\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003eo\u003c\/span\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003e 8” in pencil.\u003c\/span\u003e\u003cspan data-ccp-props='{\"335559740\":257}' data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003eVery fine impression in nearly perfect condition, aside from a few fox mark in the bottom sheet edge, well away from the image.  Wide margins, as is usual for this print.\u003c\/span\u003e\u003cspan data-ccp-props='{\"335559740\":257}' data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-contrast=\"auto\" data-mce-fragment=\"1\"\u003eMorphine started to become a more commonly used drug, at first to treat newly discovered and named mental diseases.  The drug became increasingly used for recreational purposes as well, and like absinth, a bit of a societal phenomenon.  Some artists reflected on this with image of drug addiction, recreational use, or in the case of Duez, of making a depiction of heroin poppies, simply titled “flowers”; as if naming them by their real name somehow made them more dangerous or illicit.\u003c\/span\u003e\u003cspan data-ccp-props='{\"335559740\":257}' data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"DUEZ, Ernest-Ange","offers":[{"title":"Default Title","offer_id":40140178620615,"sku":"","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2654\/1544\/products\/Ernest-AngeDuezFleursFlowersdetail.jpg?v=1622755514"}],"url":"https:\/\/armstrongfineart.com\/collections\/ernest-ange-duez\/year_1895-1900.oembed","provider":"Armstrong Fine Art","version":"1.0","type":"link"}