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Georges de Feure Oil Painting Reproductions

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Georges de  Feure Swan Lake (mk19) oil


Georges de Feure
Swan Lake (mk19)
Painting ID::  22309
new7/Georges de Feure-974336.jpg
Swan Lake (mk19)
1897 Water-colour,32.1 x 51.5 cm Private collection
   
   
     

Georges de  Feure The Voice of Evil (mk19) oil


Georges de Feure
The Voice of Evil (mk19)
Painting ID::  22307
new7/Georges de Feure-333428.jpg
The Voice of Evil (mk19)
1895 Oil on wood,65 x 59 cm Private collection
   
   
     

Georges de  Feure Polychrome Leaded Glass Panel oil


Georges de Feure
Polychrome Leaded Glass Panel
Painting ID::  53328
new19/Georges de Feure-554874.jpg
Polychrome Leaded Glass Panel
mk229 Glass
   
   
     

Georges de  Feure The Voice of Evil oil


Georges de Feure
The Voice of Evil
Painting ID::  53340
new19/Georges de Feure-557792.jpg
The Voice of Evil
mk229 1895 Oil on canvas 65x59cm
   
   
     

Georges de  Feure The Gate to Dreams ii oil


Georges de Feure
The Gate to Dreams ii
Painting ID::  53343
new19/Georges de Feure-959434.jpg
The Gate to Dreams ii
mk229 1898 Hand Coloured Etching
   
   
     

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     Georges de Feure
     1868-1928 French designer and painter. Son of a Dutch architect and a Belgian mother, he started out as an actor, costumier and then interior decorator in Paris. In 1894 at the Galerie des Artistes Modernes he exhibited watercolours and paintings of a moderate Symbolist style, typically depicting women in a manner reminiscent of Aubrey Beardsley work. Capturing the essence of the feminine spirit became his trademark. With Eugene Gaillard and Edouard Colonna he was selected by Siegfried Bing, founder of the Galeries de l Art Nouveau, to design rooms for his Pavilion Bing at the Exposition Universelle, Paris (1900). De Feure carpets, glassware and furniture designs for the boudoir and toilette were based on the theme of woman, emphasizing delicate lines and elegant sensuality. He later left Bing gallery and, as an independent designer, created vide-poche furniture, which contained hidden marquetry compartments. This furniture suggested notions of secrecy and coquetry, themes that de Feure pursued throughout his career.

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