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Marianne Preindlsberger Stokes (Austrian-English 1855 - 1927) Cows at River’s Edge

Oil on canvas, 24.5 x 16 inches/Signed lower right

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sold Marianne Preindlsberger Stokes (Austrian-English 1855 - 1927)

Jerry & Joan - Thanks for your hospitality and helping us find this beautiful new piece for our home. Until next time...

Adrienne & Jon W.

Marianne Stokes (née Preindlsberger) was born in Graz, in the Austrian state of Styria. She took her first study at Graz, the capital of Styria and in 1874 she moved to Munich to study. As the Munich Academy of Fine Arts did not accept women at the time, she studied with Wilhelm von Lindenschmit the Younger. Her art education was supplemented when she was awarded a prize set up by an impoverished 18th-century Styrian drawing-master who, upon his death, left his savings to accumulate for a period of 100 years at which time it was to be awarded to the most promising Styrian art student. Marianne won the prize with her first painting “Muttergluck” (“Mother’s Chuckle”). Stokes remained in Munich until circa 1880, when she enrolled in the Académie Trélat de Vigny and the Académie Colarossi, in Paris. There she studied with Pascal Adolphe Jean Dagnan-Bouveret, Colin and Gustave Courtois; it was Jules Bastien-Lapage who appears to have had the greatest influence on her work, even after her medium, method and subjects evolved in the 1890s. While in Paris, she met Finnish artist Helene Schjerfbeck with whom she maintained a life-long friendship. In 1881 the two friends traveled to Brittany, possibly Pont Aven, an artist colony in northwestern France to paint. It was at Pont-Aven in 1883 that she met her future husband, British landscape artist Adrian Scott Stokes. After their marriage in 1884 they lived at Edward Square Studios, Kensington. She and her husband spent the summers of 1885 and 1886 at the artists’ colony in the fishing village of Skagen, Denmark to paint en plein air. In 1886 the couple were invited to visit Cornwall by Stanhope Forbes, founder of the Newlyn School, on the south coast of Cornwall. They remained in Cornwall into the 1890s, residing at the artists community in St. Ives, where she joined the Newlyn artists. Primarily a painter in oils, a trip to Italy in the early 1890s prompted a change to gesso grosso and tempera and her art turned from scenes of mothers and children and more toward religious, symbolic and decorative works. Also, circa 1895, Stokes began signing her paintings with a monogram. In an article in a publication of the Musée d’Orsay, Estelle Voisin Dower states that “whatever the subject matter, religious, peasant, anecdotal or symbolist, [her subject matter] was imbued with an element of silence, an aura of piety that became the guideline of her entire oeuvre.” Dower also says that “her oeuvre represented a synthesis of art movements – naturalism, impressionism, decorative art and symbolism – and through the themes she explored, such as motherhood, work, solitude, devotion and piety, she was able to express her personal spirituality.” The couple traveled frequently visiting the Tyrol in Austria, the High Tatras mountains on the border of Hungary and Poland. In early part of the 20th century, they were living in Chelsea, but moved to Grantham Place in 1921. Stokes was a member of the Royal Society of Painters in Water Colours (elected 1923); Society of Painters in Tempera (1905). She exhibited at to the Société des amis des arts de Seine-et-Oise (Versailles, 1883); Paris Salon (1883, honorable mention); Royal Academy (1885); Worlds Columbian Exposition (Chicago, USA,1983); Glaspalast (Munich 1891, gold medal); Fine Art Society (London, 1900, joint exhibition with her husband); Society of British Artists; Grosvenor Gallery (London) and New Gallery (London).

High auction record for this artist is $173,695.

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