Brave Fine Art has dated this piece to the 19th Century.
A provocative rose draws one’s eye to the ‘décolletage’. Was it her idea or the bold suggestion of a young Discart, just 21, and bursting with energy? The style of dress came to the fore during the late 19th century and was regarded as somewhat improper by a stoic older generation.
Little is known about the sitter, but it’s conceivable that she’s either Austrian or French, given Discart’s known locations in 1879. It was completed during his training. It bears all the hallmarks of a young and confident painter looking to establish himself.
Born in Modena, Italy, Discart’s father, Francesco Ferdinando, moved in particularly distinguished circles and worked for the Duke of Modena. Indeed, the Duke became young Jean’s godfather, so the pair were well-connected. One can only imagine the ostentatious interiors that he witnessed during childhood, and it’s conceivable that these experiences inspired his appreciation for the finer things in life.
At 14, he was enrolled at the Academy of Fine Arts in Vienna, where he trained under the German painter, Anselm Feuerbach (1829-1880). It seems that he stayed here until Feuerbach’s retirement in 1877 when the course was handed over to Leopold Carl Müller (1834-1892). His short time under Müller, known for his exquisite ‘orientalist’ work, would be transformative.
From here, he left Vienna to immerse himself in the cosmopolitan environs of the French Capital and exhibited at the Paris Salon in 1884. At that point in time, Paris was an exciting place for an emerging artist. In 1884, the Société des Artistes Indépendants held their first show, which included works by Paul Cézanne, Paul Gauguin, Henri de Toulouse-Lautrec, Vincent van Gogh, and Georges Seurat.
However, rather than adopt the tastes of the modernists, Discart continued to refine his draughtsmanship and began to specialise in North African street scenes, imbued with vivacity, spirit, and detail. He’s known to have undertaken sketching trips to the Moroccan City of Tangiers.
His remarkable talent for capturing every minutiae helped to establish him as one of the more important ‘orientalist’ painters of the early 20th century.
In 1895, presumably in pursuit of patrons, he began a series of visits to the Netherlands, followed by Belgium, where he produced numerous portraits. Gaining a fair degree of critical acclaim, this culminated in a commission for King Albert I, following his ascension. Portraits appear to have been the mainstay of his output during his later years.
He died in Paris in 1940, a bustling city, which remained close to his heart.
For further examples of his work, visit Sotheby's, Christie's or Bonhams.
Signed in the lower right and held in a later frame.
Learn more about Jean Baptiste Discart in our directory.
Medium: Oil on canvas
Overall size: 26½” x 33½” / 67cm x 85cm
Year of creation: 1879
Provenance: Private collection, UK.
Condition: Cleaned. Revarnished. Canvas relined. Areas of fine and settled craquelure, as you would expect. The paint layer is stable. Later stretcher. Frame in good condition with minor age-related wear.
Artist’s auction maximum: £270,000 for ‘L'Atelier De Poterie, Tanger’, Oil on panel, Sotheby's, The Orientalist Sale, London, 24 April 2012 (lot 11).
Our reference: BRV2179
Brave Fine Art has dated this piece to the 19th Century.
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Jean Baptiste Discart, Portrait of a Lady with a Yellow Rose, 19th-century Oil Painting
