![]() ![]() In the 1860s, the neighborhood was home to a lively arts community including the so-called Batignolles group that gathered around Edouard Manet.Īntonio’s stay in Paris lasted only until 1866 when he married Angélique Berger, a young widow, on September 13. He returned briefly to Seville when his father died in 1861, but by 1863, he was living in the Batignolles quarter of Paris at 4 rue des Dames with a studio a few blocks away at 90 rue de Clichy. At the age of thirty-two, Antonio set his sights on Paris where he began to exhibit his work at the Salon of 1859. Andrés’ son Antonio (1827-1908) likewise became a painter, initially at the royal court of Spain, and then in France. His grandfather, Andrés Cortès (1800-1861) was an “academician of the Holy Isabel of Sevilla (sic), dignified with several crosses of distinction, founding member of the Diputacion archaeological of Sevilla.” His paintings were shown at the annual Exhibition of Arts in Seville where he won a silver medal in 1858. He successfully merges these fascinating Parisians with well-known buildings, arrondissements, and places, thereby guiding us through Paris in a series of intimate glimpses.Edouard Cortès was born into a family of painters. In his works, Cortes also captures the theatre of Parisian streets with their vendors, gentlemen, children with nannies, and grandes duchesses, amongst other characters. Here are brilliant dashes of color set against the mellow grays of foggy streets, or highlighted by shafts of sunlight which contrast the shadows of alleys and corners. ![]() His paintings of Paris depict colorful, shadowy shapes, dimly seen through rain, mist, and the softened glow of streetlights. Like a lover who wants to know every aspect of his beloved, Cortes portrayed the City of Light in all its moods. The window Cortes provides into this earlier period of Parisian life offers the viewer a visual history of France and a personal connection to this provocative time. Even into the 1950’s Cortes often painted horse drawn omnibuses and fashions preceding 1920, commenting that, at least in his paintings, he wished to stop history in 1939 before the second World War. Because of his pacifist beliefs stemming from his direct involvement with WWI, he refused the Legion of Honor offered by the French government for his artistic success and contributions.Ĭortes’ poetic Parisian scenes are imbued with nostalgia for a belle-epoque France. He also received numerous awards at the Salon d’Hiver during his artistic career. In 1915, he was awarded the Silver Medal at the Salon des Artistes Francais and the Gold Medal at the Salon des Independents. ![]() He also painted familial interiors, landscapes, and seascapes but achieved his greatest fame through these masterly and expressive Parisian scenes. In 1901 Cortes began his long tradition of painting different vignettes of Paris. His large painting, Le Labour, was a great success and the French press lauded the young phenomenon of the French art scene.Įdouard eventually became a member of the French Artists’ Society, exhibiting his works every year as his reputation began to grow. Surprisingly, before undergoing his formal education at the National French Art School in Paris, a sixteen-year old Cortes first exhibited his work at the national exhibition of the Societe des Artistes Francais in Paris, 1899. In his youth, Cortes trained at his father’s studio and was also given advice and encouragement from his brother (also a painter) and other local artists. He once said, “I was born from and for painting.” In this artistically conducive atmosphere, Edouard showed exceptional talent early and decided at a young age that he was destined to be a painter. His grandfather, Andre Cortes, was famous for his work on the stained glass windows of the Cathedral of Seville and his father, Antonio Cortes, was a painter at the royal court of Spain. ![]() Édouard Léon Cortès was born into a family of artists and artisans in Paris, 1882. ![]()
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