CHILDHOOD AND EDUCATION



EARLY CAREER

Portrait de Georges Rodenbach (ca. 1895) La Silence (1895)

La Bourrasque (1896)

La Femme à la Médaille or Mystére (1896)





Portrait de Pierre Loti or Fantôme d'Orient (1896)



Beautés de Marrakech (1901)

LATE CAREER

The Wisteria Dining Room

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was aandartist who was born on this day in 1865. In, he is still celebrated in some quarters for his work -- which includes paintings, drawings, ceramics, furniture and interior design -- but he remains obscure, especially outside the. Even though there aren't any films about him that I know of -- or even any books that I've found -- I'm hopefully wrong. In that case, let me know so that I can add them to this entry and tell fans to seek them out. In any case, he's also a great artist to look at because he was born in autumn, died in, and most of his most recognizable work has a great, autumnal, crepuscular quality which is perfect for viewing as the nights grow longer and summer fades.Lévy was born 30 September, 1865 inthen part of occupiedtoand. In 1879, when he was fourteen years old, Lévy began studying drawing and sculpture atin. He first exhibited in 1882 at the, where he showed a ceramic piece,-- a reference to painter).After school Lévy first worked as a lithographer. Then, from 1887 till1895, he worked as a ceramic decorator in the studio of, in. Though, much of Lévy's early ceramic work bore the more obvious influence of Islamic Moorish art that had surrounded him during his childhood inIn 1892 he became the artistic director of Massier’s studio and as such, began signing his pieces "L. Levy." Throughout his stint at the studio he continued using oils and pastels and exhibited some work produced with them at 1894’scollective exhibition alongside artists, andIn 1895 he returned to live in Paris to pursue a career in painting, where he met the poet, whose portrait he painted shortly after in a style that, as with other works from the period, suggests the strong influence of Symbolist painter,After a visit to Italy, Lévy's work revealed an increased interest inandresulting in paintings that fit in well alongside those of the EnglishIn 1896 the artist had his first solo exhibit of his work, billed as “," which added part of his mother's maiden name (Goldhurmer) to his given family name. The exhibit included two sanguines, five paintings, and sixteen pastels and was shown at’s gallery. Success quickly followed and his prominent admirers included occultist writerand artists such asandIn 1897, in the tradition of the, Lévy-Dhurmer began extensively traveling in, andvisiting, andHis work from this period began to increasingly focus on landscapes, albeit subjectively idealized ones, and he also depicted the inhabitants of the places through which he passed in portraits. As the fin-de-siècle transitioned into the début-de-siècle, Levy-Dhurmer continued to focus on landscapes and portraits that syncretized the styles ofandLevy-Dhurmer continued to exhibit his work in group exhibitions, salons, and solo shows. Also, between 1910 and 1914 he designed the Wisteria Dining Room at the home of Auguste Rateau (now preserved in the). In 1914 he married), editor of the feminist newspaperLevy-Dhurmer's wife, whom he nicknamed "Perla," died in 1944. Levy-Dhurmer died close to his 88th birthday, on 24 September, 1953.