A question from a reader prompted me to revisit my 2006 post on Marie-Denise Villers, a talented but little known French portrait painter whose “one-hit-wonder” claim to fame was that her painting, now called Young Woman Drawing (detail, above), was for some time attributed to Neo-classical master Jaques-Louis David (also here).

The painting, which I believe is a self-portrait, shows a beautiful and intensely focused young woman staring directly at the viewer and drawing in a portfolio sheaf in her lap. Through an enigmatically cracked window pane behind her, what may be a pair of lovers confers on a railed walkway atop a wall. The painting is beautiful and striking when you see it in person, and it seemed unfortunate that there was little information on the artist or her other works at the time I was writing.

As the art resources on the Web are constantly being added to, I went looking to see if more information on Villers had cropped up in the three years since my post. The bad news is that there isn’t much more available on her. Apparently there just isn’t much information about her in general; though I did manage to find some links that I’ve added to the original post and listed below.

The good news is that the Metropolitan Museum of Art, which has the painting in its collection, has added a larger, more color-accurate image to their listing, as well as a zoomable version of the image, which makes is possible to see the painting in more detail if you can’t make it to the Met to see it in person. I’ve used it to show the detail image above; for a view of the entire painting, and more of my comments on it, see my previous post on Marie-Denise Villers.

The Met has also added the painting to their Heilbrunn Timeline of Art History and makes mention of Villers and her sister, Marie-Victoire Lemoine, who was also a painter, in their related article on Eighteenth-Century Women Painters in France.

I also found a few other tidbits, including a painting in a past auction from Sotheby’s, A Young Woman Seated by a Window, which also has a zoomable image; though this work seems less accomplished than the piece in the Met. (I don’t know how long this auction image will remain available.)

Giovanni Boldini was an Italian painter and printmaker, renowned for his fluid, sweeping portraits of society women. He is frequently associated with John Singer Sargent, sharing some of his dramatic, facile brushwork as well as his international lifestyle, living and working in Paris and London for much of his career.

Sargent and Boldini knew one another and moved in the same circles. Boldini took over a studio on Boulevard Berthier in Paris from Sargent when he moved to another. Boldini was also friends with Courbet, Manet and Degas, and apparently knew Whistler, at least well enough to paint his portrait.

Boldini encountered the Italian painters known as the Macchiaoli (also here), who were Italian precursors to Impressionism, in his early years in Florence. He infused their revolutionary ideas, along with those of the French Impressionists, into his academically strong portrait style and became, along with Sargent, one of the premiere portrait painters of his age.

Though most well known for his portraits, Boldini first came to my attention with a quietly striking landscape in the Philadelphia Museum of Art titled Highway of Combes-la-Ville (image above, center, with detail below, zoomable version here), which I think is absolutely beautiful.

The painting is an example of the kind of painterly realism that I particularly love, appearing almost photographic from a few feet away, but showing itself to be a gem of loose, painterly notation on close inspection. (Note: the close-up shown here is not available from any of the sources I list below, it’s from my own photo of the painting. See my post On taking photographs in museums.)

Boldini’s portrait style, in which the fluid lines of the sitters and their flowing garments are frequently cast against boldly unfinished (and strikingly modern) swaths of brushstrokes, earned him the nickname “Master of Swish”.

If you take the time to dig deeper into the online resources like Giovanni Boldini: The Complete Works (an inaccurate title, but still a useful resource), and Ciudad de la pintura, you will find a few examples of his refined and painterly landscapes as well.

There is a museum devoted to Boldini in his birthplace of Ferrara, Italy. It has co-organized an exhibit of the artist’s work, Giovanni Boldini in Impressionist Paris, that is at the Palazzo dei Diamanti in Ferrera until January 10, 2010 (which also currently has an exhibit on Chardin, see my post on Chardin), and then travels to The Clark Art Institute in Williamstown, Massachusetts, from February 14 to April 25, 2010.

[Exhibit listing via Art Knowledge News]