Lita Besnard, a forgotten painter between the two centuries
DOI:
https://doi.org/10.7203/HYBRIDA.8.28519Keywords:
Lita Besnard, painter, life, work, gender studies
Abstract
Lita Besnard (1879-1949), a forgotten painter today and the daughter-in-law of the painter Albert Besnard, specialized in pastel portraits. Her originality lay in painting faces with pastels. The strength of her art is appreciated in the gaze; a gaze that makes visible the soul of her subjects. In the press of the time, critics praised her work with great interest. Her subjects? Trendy personalities from the worlds of culture, politics, and high society. Her faces or «Masks,» as the critics called them, enjoyed unprecedented success. So much so that some authors immortalized her studio in novels, which was in the Cour de Rohan in Paris, where young writers and artists would gather on Sundays
It is both our desire to resurrect from its ashes a talented painter, and to highlight her conception of painting; a conception that was «evolutionary» rather than «revolutionary»[1] although evolution often implies a certain degree of revolution.
[1] Two characteristics advocated by Lita Besnard herself, explained in our article.
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Author Biography
María Soledad Soria Berrocosa, Universidad de Alicante
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