Later, during World War II, Cortès and his family spent time in Normandy to escape the horrors of the conflict. When he was able to return to his easel, Cortès desired solely to paint peaceful scenes of France’s capital city. The artist spent time sketching enemy positions on the front lines, and this may have deepened his anti-war resolve. Cortès went on to study at École des Beaux-Arts.Īs World War I gained steam, Cortès willingly joined the French military effort even though he was a pacifist. He found success among art critics as well as the public and earned renown in France. The son and pupil of Spanish painter Antonio Cortès, his influences included Barbizon painters Constant Troyon and Henri Harpignies.Įstablishing a name for himself early on in his long career, Cortès first exhibited a painting he called La Labour at the Société des Artistes Français when he was still in his late teens. Édouard Leon Cortès is widely known for his Impressionistic renderings of Parisian promenades and rustic French hamlets. Now found in the most prestigious collections throughout the world, his work continues to awe collectors." The viewer cannot help but marvel at the overall effect of the artist's composition.Īfter a life long dedication to seizing the magic of Paris during its transition from the romantic Belle Epoque to the modern, twentieth century metropolis as we know it, Cortès has left the world a legacy of master paintings. A splash of purple may be a man's tailored dinner jacket or a stroke of blue, a woman's cloak. On any one of Cortès' canvases, one can find an array of tones ranging from soft gray hues and ambers to vivid reds, yellows and oranges. His works display the profound knowledge he held of perspective and composition and, the viewer's eye is most often caught by fascinating details - the play of lights on wet pavement, shadows on streets and glowing windows and street lamps. His paintings express the romance, energy and charm of old Paris through his masterly application of bold brush strokes and intriguing colors. In 1888 the Figaro Illustré devoted a special issue to this "spectacle de la rue", calling the boulevards "the true theatre of Paris". Parisians thronged the new boulevards, parks and theatres to see and to be seen. The campaign of rebuilding undertaken by Napoleon III and Baron Haussmann in the 1850's, 60's, 70's yielded wide tree-lined avenues, extensive parks, and elegant golden-gray stone buildings. The city itself was in a state of dramatic change. Paris was the cosmopolitan, fashionable stage on which the drama of the Belle Epoque was enacted. Many revolutionary ideas in politics, technology, science, poetry, music, literature and the fine arts emerged in Paris during this vibrant time. The period we know today as La Belle Époque lasted from about 1880 to 1914. His paintings are often filled with nostalgia for the period. But despite two world wars and the introduction of the machine age, the Paris of Cortès remains primarily the city of the Belle Epoque. Horses and carriages disappear in favor of cars and trams women's hourglass silhouettes and picture hats give way to boyish figures in short skirts and little furs, gas streetlights turn into neon signs and glaring headlights. On the topic of Cortès and his relationship to Paris, biographer David Klein writes: "Paris changed during the years that Cortès painted it, and the changes appear in his paintings. Later, as an active member of the prestigious Société des Artistes Français, Cortès exhibited his works yearly at the Société Nationale and the Salon des Independants in Paris. In 1901 he contributed a dramatic Parisian street scene at dusk to the Salon des Artistes Français, which brought him immediate fame. As an adolescent, he became fascinated with the arts and at seventeen began his studies at the École des Beaux-Arts in Paris. Édouard Leon Cortès, of French and Spanish ancestry, was born in 1882. Provenance: The Artist to International Galleries, Chicago 1967 **This painting will be included in the upcoming Catalogue Raisonne Vol III by Nicole Verdier
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