|Alice | Tin.it | Foto album | Disco remoto | Community|
ART 4 2-DAY 09 October
Born on 09 October (27 September Julian) 1874:
Nikolai Konstantinovich Roerich (or Rerikh),
Russian artist who died in 13 December 1947.
Nicholas Roerich was a Russian-born artist who became a cultural figure of global significance, a passionate promoter through his art and writings of an increased appreciation of the value to the world of the cultural heritage of all nations, and of the ways in which this appreciation can help to achieve peace in the world.
E A R L Y Y E A R S
Roerich was born in St. Petersburg, the first-born son of lawyer and notary, Konstantin Roerich, and his wife Maria. He was raised in the comfortable environment of an upper middle-class Russian family with its advantages of contact with the writers, artists, and scientists who often came to visits. He developed interests in collecting prehistoric artifacts, coins, and minerals, and built his own arboretum for the study of plants and trees. By the age of sixteen he began to think about pursuing a career as an artist. But his father insisted that he study law. As a compromise, in the fall of 1893 Nicholas enrolled simultaneously in the Academy of Art and at St. Petersburg University.
— In 1895 Roerich met the prominent writer, critic, and historian, Vladimir Stasov. Through him he was introduced to many of the composers and artists of the time Mussorgsky, Rimsky-Korsakov, Stravinsky, and the basso Fyodor Chaliapin. At concerts at the Court Conservatory he heard the works of Glazunov, Liadov, Arensky, Wagner, Scriabin, and Prokofiev for the first time, and developed enthusiasm for music. Wagner in particular appealed to him, and later, during his career as a theater designer, he created designs for most of that composer's operas. Moreover, musical terms and analogies can appropriately be applied to Roerich's painting. He frequently related music to the use of color and color harmonies, and applied this sense to his designs for opera. The original force of Roerich's work consists in a masterly and marked symmetry and a definite rhythm, like the melody of an epic song.
— The late 1890's saw a blossoming in Russian arts, particularly in St. Petersburg, led by the young Sergei Diaghilev, who was a year or two ahead of Roerich at law school and was among the first to appreciate his talents as a painter and student of the Russian past.
— Diaghilev, with Princess Maria Tenisheva and others, founded the short~lived magazine The World of Art, the enemy of the academicians, the sentimentalists, and the realists. It introduced to its readership European post-impressionism and the modernist movement. Roerich contributed to it and sat on its editorial board. Other Russian painters involved were Alexandre Benois and Leon Bakst, who later became Roerich's co-workers in the early days of Diaghilev's Ballets Russes.
— After finishing his university thesis, Roerich set off for a year in Europe to visit the museums, exhibitions, studios, and salons of Paris and Berlin. On his return he married Helena, daughter of the architect Shaposhnikov and niece of the composer Mussorgsky.
— Later, in New York, Nicholas and Helena Roerich founded the Agni Yoga Society, which espoused a living ethic encompassing and synthesizing the philosophies and religious teachings of all ages.
— Roerich obtained the position of Secretary of the School of the Society for the Encouragement of Art, later becoming its head, the first of many positions that Roerich would occupy as a teacher and spokesman for the arts.
— At the Society Roerich instituted a system of training in art that seems revolutionary even by today's standards: to teach all the arts painting, music, singing, dance, theater, and the so-called “industrial arts”, such as ceramics, painting on porcelain, pottery, and mechanical drawing under one roof, and to give his faculty free rein to design their own curriculum.
— In the summers of 1903 and 1904, the Roerichs made an extended tour of forty cities throughout Russia, to contrast the styles and historical context of Russian architecture. Nicholas painted a series of seventy-five works depicting ancient monuments, churches, city walls, and castles.
— In 1904 Roerich painted the first of his paintings on religious themes. These mostly dealt with Russian saints and legends, and included Message to Tiron, Fiery Furnace, and The Last Angel, subjects that he returned to with numerous variants in later years. InThe Treasure of the Angels a host of angels in white garments stand silently row after row guarding a mysterious treasure with which are bound up the destinies of the world. It is a blue black stone with an image of the crucifix cut into it, glowing with emerald hues. The angels are an early depiction of the hierarchical Masters that peopled the heart of Roerich's belief in a Great Brotherhood, watching over and guiding humanity in its eternal journey of evolution. The “stone” pictured by Roerich is the representation of an image that recurs in different forms in his paintings and throughout his writings. The word “treasure” figures prominently in the titles of many of Roerich's paintings, as, for instance, in The Treasure of the Mountain and Hidden Treasure. It is not material wealth that he refers to, but rather the hidden spiritual treasures.
— Meanwhile Roerich's search for archeological treasures continued. The Stone Age particularly intrigued him. His paintings frequently reflected this interest, as in Three Glaives in which the subject matter is archeological in nature, and relates to an ancient legend. Roerich wrote about the unusual similarity of Stone Age techniques and methods of ornamentation in far-separated regions of the globe.
T H E T H E A T R I C A L Y E A R S
In 1906, Sergei Diaghilev arranged an exhibition of Russian paintings in Paris. These included sixteen works by Nicholas Roerich. In 1909 he presented Fyodor Chaliapin in Rimsky~Korsakov's Ivan the Terrible, with costumes and sets designed by Roerich. In the Polovtsian Dances from Borodin's Prince Igor, also designed by Roerich, and in other ballets, Diaghilev introduced a corps of Russian dancers that later became famous as the Ballets Russes. Roerich's designs furthered his reputation for the telling depiction of ancient cultures and their practices.
— Diaghilev pioneered an art form that involved the collaboration of the designer as auteur. Thus Alexandre Benois influenced the creation of the ballet Petrouchka, and Nicholas Roerich was the prime mover and, with Igor Stravinsky, the co-creator of the ballet Le Sacre du Printemps, or, The Rite of Spring.
— At first entitled The Great Sacrifice: a Tableau of Pagan Russia, the motif for the ballet grew out of Roerich's absorption with antiquity and, as he wrote in a letter to Diaghilev, the beautiful cosmogony of earth and sky. In the ballet Roerich sought to express the primitive rites of ancient man as he welcomed spring, the life-giver, and made sacrifice to Yarilo, the Sun God. It was a story unlike that of any ballet before it. Stravinsky's score and Nijinsky's choreography were equally unusual.
— At the opening in Paris on 29 May 1913, people shouted insults, howled and whistled, drowning out the music.
— Sacre represented the culmination of Roerich's collaboration with Diaghilev.
T H E C L O U D S O F W A R
In the years immediately preceding World War I, Roerich's paintings symbolically depicted the awful scale of the conflict he sensed descending upon the world. These works marked the birth of Roerich the prophet.
— In Battle in the Heavens Roerich used the violent contrast of light and darkness to suggest the terrible events that would soon overtake Russia and all Europe.
— By this time, in his depiction of both historical and natural themes, symbolism and the use of allegory had become essential ingredients in his work. He populated his world not with participants in transitory dramas and comedies, but with spokesmen for the most steadfast ideas about the truth of life, the millennial struggle of good and evil, the triumphal procession of a bright future for all.
T R A V E L T O O T H E R S H O R E S
In 1915 Roerich became ill with pneumonia, and was sent by his doctor to recuperate with his family in Sortavala, Finland. This was a period of great unrest the world over, and no less so in the lives of the Roerich family. In Roerich's paintings of the period, such as Karelia Eternal Expectation and The Waiting Woman the cold, austere countryside of rocks and uninhabited shores of the north seems to express a sense of poignant longing. In The Waiting Woman, her gaze is fixed on the horizon as if she awaits some sign of the return of long-gone voyagers.
— By 1917 the revolution was raging in Russia and returning there would have been dangerous. A Swedish entrepreneur invited Reorich to exhibit his paintings in Stockholm. From there the family proceeded to London, where Sir Thomas Beecham had invited Roerich to design a new production of Prince Igor for the Covent Garden Opera.
A M E R I C A
Meanwhile, an invitation to come to America was extended by the Chicago Art Institute. The tour opened successfully at the Kingore Gallery in New York in 1920. In addition to exhibiting over 400 paintings there and in many cities throughout the United States, Roerich designed the scenery and costumes for productions of The Snow Maiden, and Tristan and Isolde for the Chicago Opera Company.
During his travels in the US, Roerich painted a series in New Mexico, and the Ocean Series in Monhegan, Maine, where the family spent a summer.
— In 1921, in New York, Roerich founded the Master Institute of United Arts, in which he planned to realize the educational concepts he had incorporated into the curriculum in St. Petersburg. He attracted a talented group of instructors. They included Deems Taylor, teaching musical theory and composition, Robert Edmund Jones and Lee Simonson, teaching theater design, and top quality instructors in courses that included all musical instruments, aspects of painting and drawing, design and illustration, sculpture, architecture, ballet, drama, journalism, and languages and lectures were presented by noted individuals such as George Bellows, Claude Bragdon, Norman Bel Geddes, and Stark Young.
— The Master Institute flourished, but it did not survive beyond 1937 during the Great Depression.
— It was not until 1949 that the institution was reborn as Nicholas Roerich Museum.
— An orientation toward Eastern spiritual values is reflected in much of Roerich's creative work of the time. This is seen in his Ocean Series the three paintings, Himself Came, The Bridge of Glory, and Miracle demonstrate the spiritual power that was beginning to characterize his work. In The Bridge of Glory, Saint Sergius of Radonezh walks in contemplation before a blue bridge formed by the aurora borealis, Roerich's metaphor for the future spiritual bridge that will connect heaven and earth.
— Between 1916 and 1919 Roerich had written a collection of sixty-four blank verse poems that were published in Berlin, in Russian, under the title Flowers of Morya, and subsequently published in English as Flame in Chalice. These poems evoke some of the images that Roerich later used in his paintings.
— At the core of Roerich's belief system is the Hindu concept of a beginningless and endless universe which manifests itself in recurring cycles of creation and dissolution of material forms caused by the pulsation of divine energy. On the human plane, this means the rise and fall of civilizations and, in terms of individual life, the reincarnation of a soul... As Roerich, the poet, writes, in the poem About the Eternal:
Brother, let us abandonIn May, 1923, the Roerichs were on their way to India.
I N D I A
— The Roerichs landed in Bombay in December 1923, and began a tour of cultural centers and historic sites, meeting Indian scientists, scholars, artists, and writers along the way. By the end of December they were in Sikkim on the southern slopes of the Himalayas.
— They initiated a journey of exploration that would take them into Chinese Turkestan, Altai, Mongolia and Tibet, where they planned to study the religions, languages, customs, and culture of the inhabitants.
— Roerich wrote about this first Central Asiatic Expedition in his book Heart of Asia, and he creates for the reader a vivid account of the wonder of the land and its people. However, the images are nowhere as vivid as in the five hundred or so paintings that resulted from the trek. In Kanchenjunga, Sikkim Pass, His Country, The Great Spirit of the Himalayas, and the Banners of the East series, we can see philosophical concepts and ideas giving birth to visual images, and the splendor of Northern India providing the physical setting.
— In The Path, the figure of Christ leads the way along a tortuous path through crags and peaks of the Himalayas, a metaphor for the hazardous obstacles confronting the spiritual journeyer. Eastern religious figures and concepts appear in the paintings, important among these being the images of the Lord Maitreya the Buddhist Messiah, the Kalki-Avatar of the Puranas, Rigden Jyepo of Mongolia, or the White Burkhan of Altai all of whom are described in legends that link them with the Ruler of Shambhala, who is destined to appear on earth for the final destruction of the wicked, the renovation of creation and the restoration of purity.
— Roerich's Banners of the East series of nineteen paintings depicting the world's religious teachers, Mohammed, Jesus, Moses, Confucius, and Buddha, and the Indian and Christian saints and sages, was a testimonial to the unity of religious striving and the common roots of man's faith.
— At counterpoint to these themes in Roerich's painting is the image of Woman and her destined role in the coming era.
— Nicholas Roerich depicted the great female deities in such paintings as She Who Leads, Madonna Laboris, and The Mother of the World. This latter conception, equivalent to the Lakshmi and Kali of India, is one of Roerich's most inspiring images, rendered with majesty in deep tones of blue and violet.
— At the end of their major expedition, in 1928, the family settled in the Kullu Valley at an elevation of 2000 meters in the Himalayan foothills, with a magnificent view of the valley and the surrounding mountains. Under the direction of their father the two Roerich sons, George and Svetoslav, established a collection of medicinal herbs, and made extensive studies in botany and ancient medical lore, as well as in Tibetan and Chinese pharmacopoeia.
— In the following year, on a trip back to New York for the opening of the Roerich Museum's new premises, Roerich, using the Red Cross as an example, proposed a treaty for the protection of cultural treasures during times of both war and peace. He drafted a Pact, and designed a flag which he called the Banner of Peace: three spheres surrounded by a circle, in magenta color on a white background. Of the many national and individual interpretations of this symbol, the most usual are perhaps those of Religion, Art and Science as aspects of Culture, which is the surrounding circle; or of past, present, and future achievements of humanity guarded within the circle of Eternity. The symbol can be seen in the seal of Tamerlane, in Tibetan, Caucasian, and Scandinavian jewelry, and on Byzantine and Roman artifacts. The image of the Strasbourg Madonna is adorned with it. It can be seen in many of Roerich's paintings, most notably Madonna Oriflamma, in which Woman is depicted as the carrier and defender of the Banner. In this sign and the motto, Pax Cultura, that accompanies it, is symbolized Roerich's vision for humanity. On 15 April 1935, the nations of the Americas, members of the Pan American Union, signed The Roerich Pact, in the White House in Washington.
— In Roerich's Himalayan paintings can be seen the sense of drama, the urgency of a message to send or receive, a traveler to greet, a mission to perform, a path to travel. The towering mountains stand for the spiritual goals that humanity must set for itself. Roerich urges people on to their spiritual destiny and reminds them of their duty to prepare for the New Era in which Rigden Jyepo will gather his army and under the Banner of Light defeat the host of darkness.
— Nicholas Roerich died in Kullu on 13 December 1947. He had painted nearly seven thousand works.
Message to Tiron (1940, 76x122cm) Helena Roerich Fiery Furnace
The Treasure of the Mountain Hidden Treasure Three Glaives
Le Sacre du Printemps Cry of the Serpent Battle in the Heavens
Snow Slopes The Great Spirit of the Himalayas The Path
Command of Rigden Djapo Mohammed She Who Leads
Madonna Oriflamma — The Battle (grayscale lithograph with some red, 13x30cm; full size)
Died on 09 October 1907: William
Lindsay Windus, English painter born on 08 July 1822.
Windus worked in Liverpool, where he was elected a member of the Liverpool Academy in 1848. In 1850 he saw a painting by Millais at the Royal Academy in London and joined the cause of the Pre-Raphaelite Brotherhood. His first important work was Burd Helen, exhibited at the Royal Academy in 1856. The harsh criticism of John Ruskin so discouraged Windus that he stopped painting in 1859 and no longer exhibited his work.
— Windus was trained in his native Liverpool, chiefly under a local portrait painter, William Daniels [1813–1880], and at the Liverpool Academy, where he exhibited from 1845 and was an active member from 1848. He first painted figure compositions of historical themes and subjects taken from Shakespeare and Scott, modeled stylistically on William Etty and using bitumen for romantic light effects. An example is the compelling Anne Askew in Prison (1849). At the suggestion of his patron John Miller, in 1850 Windus visited London, where, at the Royal Academy he the controversial Christ in the Carpenter’s Shop (593x942pix, 112kb) by Millais. Windus became the leader of a small group of sympathetic artists at the Liverpool Academy, including William Davis, who emulated the style of the Pre-Raphaelites. During the 1850s they awarded a £50 prize almost annually to Pre-Raphaelite painters, including Holman Hunt, Millais, and Madox Brown, and associated and exhibited with them at the Hogarth Club, London, between 1858 and 1861. Added to his concern for moral seriousness of subject, this Pre-Raphaelite influence led Windus to an exploration of natural lighting in outdoor settings and to fine brushwork, but in a tentative, muted color range. These characteristics first appeared in Burd Helen, an illustration of a Scottish ballad and his first work to be exhibited at the Royal Academy in 1856. There Rossetti brought it to the attention of Ruskin, whose enthusiastic review appeared in his Academy Notes. Ruskin called it the second picture of the year after Millais’s and ‘thoughtful and intense in the highest degree’, although this appraisal was totally reversed in his later dismissal of the modern subject of Too Late, which Windus nevertheless considered his best work. Apart from these works, only two later small landscapes can be called Pre-Raphaelite: The Outlaw (1862) and The Stray Lamb.
— Photo of Windus
— Self-portrait — Burd Helen (1856, 84x67cm)
— Too Late (1858, 95x76cm) _ The subject is taken from Tennyson's poem Come not, when I am dead [see below], and represents the belated return of a lover to a woman dying of consumption. The agitated and haunted expression of the central figure tells the story of her ruined health and broken heart. Exhibited at the Royal Academy in 1859, it was demolished by Windus's former admirer, the art critic Ruskin, who claimed that Windus had 'sickened his temper and dimmed his sight by reading melancholy ballads'.
Come not, when I am dead,
To drop thy foolish tears upon my grave,
To trample round my fallen head,
And vex the unhappy dust thou wouldst not save.
There let the wind sweep and the plover cry;
But thou, go by.
Child, if it were thine error or thy crime
I care no longer, being all unblest:
Wed whom thou wilt, but I am sick of Time,
And I desire to rest.
Pass on, weak heart, and leave to where I lie:
Go by, go by.
Born on 09 October 1840: Simeon
Solomon, British painter who died on 14 August 1905.
— Two of his seven siblings became painters too: Abraham Solomon [14 May 1823 – 19 Dec 1863] and Rebecca Solomon [26 Sep 1832 – 20 Nov 1886]. Simeon Solomon possessed by far the greatest artistic talent of the family. Having lost his father in early childhood, he looked to his brother Abraham both as substitute father and artistic mentor. He attended F. S. Cary’s Academy in 1852 and followed his brother into the Royal Academy Schools in 1856. However, he preferred the increasingly fashionable Pre-Raphaelite style to the manner of Abraham’s genre subjects. Through Dante Gabriel Rossetti’s influence, he soon mastered the delicacy of Pre-Raphaelite draftsmanship, a talent that is abundantly evident in the pen-and-ink drawing Dante’s First Meeting with Beatrice (1863). Rebecca’s deep Jewish spirituality influenced Simeon’s choice of subjects from the Old Testament and contemporary Jewish life, and he never fully abandoned religious themes. Such biblical oil paintings as The Mother of Moses (1860) and The Child Jeremiah (1861), both exhibited at the Royal Academy, where he showed regularly from 1858 to 1872, reveal his profound spiritual grasp of Hebraic mysticism.
Simeon Solomon, an orthodox Jew, was an admirer of Rossetti's late aesthetic period. He entered the Royal Academy School in 1855 and exhibited his first picture there in 1860. He was quickly befriended by Rossetti, Burne-Jones and the poet, Algernon Swinburne, along with other members of the Pre-Raphaelite circle. During the 1860s he produced a number of fine drawings, gouaches and oil paintings, mainly of religious subjects, especially depicting Jewish ritual, but also classical and allegorical subjects which combine Pre-Raphaelite and aesthetic ideas in a highly individual way. Although Solomon's pictures owe much to Rossetti and Burne-Jones, especially his allegorical female figures, they have a strong individuality which makes them instantly recognizable. Solomon's career disintegrated when, in February 1873, he was arrested for homosexual offences, after which he was completely shunned by all his former friends, including Swinburne. The remainder of Solomon's career is one of the minor tragedies of the Pre-Raphaelite story. Made a complete social leper by the strength of the Victorian moral code, he steadily gave way to drink and dissipation, ending his days an alcoholic in the St. Giles Workhouse in 1905. During his last years he supported himself by making drawings and pastels.
— Portrait of Solomon
— Bacchus (1867, 51x38cm; 1614x1220pix, 2028kb) head — a different Bacchus (650x472pix; 75kb) full length
— Babylon hath been a golden cup' (1859, 27x28cm) — A Rabbi Holding The Torah (35x25cm)
—Shadrach, Meschach and Abednego preserved from the Burning Fiery Furnace (32x33cm)
— King Solomon (1854; 700x598pix)
Died on 09 October 1894: Norbert Goeneutte,
French painter and engraver born on 23 July 1854.
— In 1871, after working briefly as a lawyer’s clerk, he entered the studio of Isidore Pils at the École des Beaux-Arts. When Pils died in 1875 Henri Lehmann took over the studio and Goeneutte left, moving to Montmartre. There he met Auguste Renoir, for whom he often modeled, and Marcellin Desboutin, who inspired his interest in engraving, etching and drypoint. Although Goeneutte was associated with Manet, Degas, and Renoir, and his work was influenced by them, for instance in the informality of his compositions, he never exhibited with the Impressionist group, preferring instead the official Salons. Every year from 1876 he exhibited several works in the Paris Salon, such as Boulevard de Clichy sous la Neige (1876). He visited London in 1880, Rotterdam in 1887, and Venice in 1890.
— Photo of Goeneutte
La Première Larme (1884)
— Reine Goeneutte Washing the Young Jean Gérard in the Artist's Studio (1889, 145x115cm)
— Femme sur la Plage (21x32cm) B
Born on 09 October 1848: Francis Decker
whose name would change to Frank Duveneck,
US painter, sculptor, etcher, and teacher, who died on 03 January 1919.
— Husband of Elizabeth
Lyman Boott Duveneck.
Noted member of American Realist group, The Eight, Duveneck studied in Germany and established studios in Cincinnati and later in Italy. He was a much sought after teacher and quickly established a national reputation for his candid portraits and scenes of tenements and city life.
— The eldest son of German immigrants Bernard and Katherine Decker, Duveneck, who assumed his stepfather’s name after his father’s death and his mother’s remarriage in 1850, received his early art training in Cincinnati as an apprentice to Johann Schmitt [1825–1898] and Wilhelm Lamprecht [1838–], decorators of Benedictine churches and monasteries. In 1870 he went to Munich to study at the Königliche Akademie, where he was taught by Wilhelm Diez [1839–1907], among others. The school stressed the study of Old Master painters such as Velázquez and Hals and emphasized bravura brushwork. Duveneck was an adept student. His realistic portraits of the 1870s, such as Professor Ludwig von Löfftz (1873), show the sitter placed against a dark background, the face and hands bathed in an intense light and modeled with thick, broad, fleshy brushstrokes.
— Duveneck's students included Joseph DeCamp, Karl Albert Buehr, Elizabeth Stanhope Forbes, John H. Twachtman.
— Old Lady with Cap (1875, 51x41cm; full-size, or see it the recommended half-size)
— John Pettie (71x91cm; full-size, or see it half-size, or the recommended quarter-size)
Lady with a Red Hat A Child's Portrait Villa Castellani, Bellosguardo
Girl with Orange Shawl (51x41cm) — Madonna and Child (1867; 1135x828pix)
— The Old Philosopher (1878; 46x37cm; 1200x952pix) — F. B. Duveneck as a Child (1890; 1132x849pix)
— 48 images at Webshots
Died on 09 (08?) October 1886: José María Casado del Alisal,
Spanish painter and illustrator born on 24 March 1831.
— He began his studies at the Escuela Municipal de Dibujo in Palencia and continued in 1850 at the Escuela Especial de Pintura in Madrid where he was a student of Federico de Madrazo. In 1855 he was awarded a fellowship by the Real Academia de Bellas Artes de San Fernando in Madrid for his Resurrection of Lazarus. He then spent several years in Rome, where he was impressed by the works of Raphael and Michelangelo and he painted such works as A Prisoner (1856) and Semiramis in Dante’s Inferno (1858), which are notable for their skilful drawing and anatomical correctness. His history paintings of this period include Muerte del Conde de Saldaña, and his treatments of this genre led to numerous other successes, such as the Last Moments of Ferdinand IV, ‘El Emplazado’ exhibited at the Exposición Nacional de Bellas Artes in 1857. When his fellowship was renewed in 1860 he moved to Paris, where he painted Taking the Oath in the Cortes of Cádiz of 1810, for the Congreso de los Diputados in Madrid, a painting clearly reminiscent of David’s work. The composition of his Rendición de Bailén (1863), another painting from his Parisian period, shows the marked influence of Las Lanzas of Velázquez. This and the splendid Portrait of a French Lady were both exhibited at the Exposición Nacional of 1864.
— El Poeta Bécquer (774x511pix, 31kb)
— La Tirana (1875, 83x68cm; 800x602pix, 47kb) _ La Tirana es una de las mejores muestras de las obras de "casacón" pintadas por Casado del Alisal durante su estancia en Roma como director de la Academia Española de Bellas Artes. Nos presenta a una bella mujer sentada en un sillón, vistiendo un escotado traje en tonos azules y una chaquetilla de torero con alamares plateados y fondo azulado en sintonía con la falda. En su dedo meñique de la mano izquierda cuelga un abanico de plumas similar al de la Dama con Abanico que acentúa el aspecto decorativo de la composición. Un cortinaje sirve de cierre a la escena, al igual que observamos en Flora. Una vez más Casado exhibe su pincelada minuciosa y detallista así como sus tonalidades vivas y brillantes, obteniendo un resultado muy preciosista, siguiendo la estela de Raimundo de Madrazo. Las críticas recibidas en el momento fueron favorables a la luz, el color y el estilo pero advirtieron escasez de expresividad en el rostro de la dama, falta de brío. Debemos advertir que Casado sí hace hincapié en el gesto de la dama, resaltando el carácter que hace honor a su apelativo.
— Dama con Abanico (1875, 79x62cm; 800x604pix, 47kb) _ Durante su segunda estancia romana, Casado del Alisal realizó una serie de figuras femeninas de rico colorido y factura preciosista que tiene bastante relación con las obras de Raimundo de Madrazo. Flora, La Tirana o esta Dama con Abanico que contemplamos son excelentes ejemplos de estos retratos con cierto aire costumbrista e incluso goyesco. La mujer aparece recostada sobre unos almohadones de estampado oriental, de más de medio cuerpo, apoyando sus delicadas manos sobre su regazo, portando en la derecha un abanico de plumas. Su vestido con chaleco de alamares al estilo torero permite apreciar el amplio escote de blanca piel. Las mangas ablusadas de color rosa contrastan con el mantón de Manila amarillo, cuyos bordados apenas son visibles. La mirada lánguida y distante se convierte en la protagonista de este retrato que fue adquirido por el Museo del Prado en 1982 a un coleccionista holandés por 8 millones de pesetas.
— Flora (1879, 42x30cm; 800x588pix, 48kb) _ Las escenas más características de Casado del Alisal están relacionadas con la pintura de historia pero también ejecutará retratos anónimos femeninos en sintonía con Raimundo de Madrazo. Así surge esta imagen de Flora donde muestra a una joven sentada en un elegante sillón y portando en su regazo una bandeja llena de flores que hacen referencia a su nombre. Flora viste una elegante falda burdeos mientras que un chal blanco con bordados dorados cubre su torso, dejando el hombro derecho al descubierto para acentuar su sensualidad. Un collar de perlas con varias vueltas y una pulsera similar completan los adornos de la figura. Las tonalidades empleadas por Casado son brillantes, como era habitual en su etapa romana, utilizando una pincelada precisa y minuciosa que detalla a la perfección excepto el cortinaje del fondo, donde la pincelada es más rápida y suelta. Su exquisito dibujo completa una obra de gran calidad y sugerente efecto decorativo.