Henri Biva (1848-1929) - still Life With A Chinese Vase

Henri Biva (1848-1929) "Still Life with a Chinese Vase", large watercolor on paper, signed lower right.

Henri Biva (Paris, January 23, 1848 – Paris, February 2, 1929) was a French landscape painter, a member of the Barbizon School. Henri Biva was born and raised in Paris's Montmartre district at 18 rue du Vieux Chemin, into a family of artists. It was therefore natural for him and his brother Paul (1851–1900), as well as his son Lucien (1878–1965), to pursue painting. Henri studied at the École des Beaux-Arts, in the studios of Leon Tanzi (1846-1913) and Alexandre Nozal (1852-1929), while also attending the courses of William Bouguereau, Jean-Joseph Benjamin-Constant, and Jules Joseph Lefebvre at the Académie Julian. His debut came at the 1879 Salon with two paintings: "The Roses of the Park" and "The Summer Pavilion of the Chateau de Villeneuve-l'Étang." Due to their distinctly naturalistic style—easily discernible in paintings such as "Villeneuve-l'Étang (Evening)" and "After the Sun"—Henri Biva's paintings quickly gained fame and entered both private and public collections. In 1886, Biva exhibited three works at the "International White and Black Exhibition" (Louvre, Teaching Pavilion, Rue des Tuileries, Paris, March 20-April 20, 1886). He was then a member of the "Société des Artistes Français," where he was awarded twice. In 1900, he also received a bronze medal at the Universal Exhibition and, in the same year, at the recommendation of the Minister of Education and Fine Arts, was awarded the Order of Chevalier de la Légion d'honneur. By the turn of the century, Biva had achieved considerable fame and had become a respected teacher in his own right. Describing himself as a naturalist painter, the influence of his teachers can be seen in the meticulous attention he paid to his work, both in his handling of light effects and in his depiction of the smallest details. This vision and technique place him squarely in the Barbizon School. Biva's style oscillates between Post-Impressionism and Realism, with a notable naturalistic element. Thus, his painting is characterized by complex lines and a pure palette, imbued with natural light—the light of the very moment he captures the image that inspires him. It is clear that Biva devoted the utmost attention to the effects of light and atmosphere. This predilection draws him toward landscapes and floral still lifes, subjects in which he excels, using both oil paints and the challenging techniques of watercolor and pastel. This large watercolor still retains the freshness of its colors intact under its original glass: a Japanese porcelain vase filled with a bouquet of flowers, carnations and chrysanthemums, next to which rests an oriental fan—a subject imbued with the Japonism so popular between the late 19th and early 20th centuries. His skill as an academic and naturalist painter is evident in the precision of his drawing and his study of light, from the golden hues of the sunset that, entering through a window, illuminated the subject.

The watercolor, on paper mounted on wood, shows no tears or traces of humidity. It is framed in a contemporary wooden frame with gold pastiglia.

Dimensions Frame 80 x 67 cm Watercolor 63 x 52 cm