Lot 2295 Dα

It would have been unthinkable for even one of the gentlemen present at the masked ball to take a seat on this same sofa. The ladies prefer to remain among themselves. Dressed in their voluminous robes of fine silk, taffeta and feathers, they recover from the dancing and watch, spellbound, as the ball comes to an end. They have already taken off their masks, which is why we now have a clear view of their faces. They presumably owe the rosy colour of their cheeks to the animated dance. The thin, black lace of the fan serves more to enhance than it does to conceal. The fine, porcelain-like skin of the ladies is accentuated by the skilful use of light, so that the shoulders and décolleté of the women radiate a special sensuality. Conrad Kiesel's rendering of his sitters' delicate complexions and the soft, silky fabric of their gowns creates an enchanting impression of the scene. The dainty gold bracelet of the dark-haired beauty caresses her forearm and reflects light back from beneath the shadow of the fan. The painter devotes his realist gaze and magnificent skill to every crease and every nuance of the fabric's surface in order to treat the viewer to as detailed a representation of the moment as possible.
This large format work is a typical example of Salon painting. Anyone who wanted to succeed as a painter in France had to exhibit in the so-called "Salon". These exhibitions were held from 1725 onwards in the Grand Salon Carrée of the Louvre. Salon painting became synonymous with ostentation, excellent academic training, realistic anatomy and the depiction of nudes as well as with well-balanced compositions and effective lighting. Often, the formats chosen were large enough as to overwhelm the viewer. Salon painting in particular opened up opportunities for painters to celebrate the company of young ladies, their grace, their good manners, but also their seductive power, as our work impressively demonstrates. In the 19th century, Salon painting divided society. The Impressionists, who advertised their works as progressive and anti-academic, were the opposite pole. Although Manet exhibited at the Salon fifteen times and Renoir eleven, their paintings were never described as Salon works.
Although Salon painting had its origin in France, it was also a highly popular style among the public in Germany and many other countries throughout Europe in the late 19th and early 20th centuries. The works are characterised by their opulence, but also their dedication to realism and an exacting attention to detail. The depiction of drapery and the accurate rendering of texture was at the forefront of the artists' attention.
While salon painting has long since found a place in collections and museums abroad, especially in its homeland of France, it is still cautiously received in Germany. In recent years, however, a new generation of collectors have rediscovered Salon painting and its potential. This work is one of the most frequently occurring images under the hashtag Conrad Kiesel on Instagram, even though the painting comes to us from an Italian private collection.
Following decades, and even centuries, of entrenched fashion doctrines, we are currently in an age where people wear what they like. Despite this, opulent ball gowns, although now no longer a part of everyday life, are once again being admired all over the world. Formerly, special attire was reserved for special occasions - one recalls the old idea of “Sunday clothes” - but nowadays social constraints have lost most of their influence on our wardrobes, a fact which has gone hand in hand with an increase in economic prosperity. The fashion and lifestyles of our time draw from the luxury of the past times to feed the creativity of artists in the present and future. This is perhaps one of the reasons why salon painting has become more popular today.
Conrad Kiesel was an extremely versatile artist. After studying architecture at the Berlin Bauakademie, he trained as a sculptor with Fritz Schaper. This was followed by a painting apprenticeship under Wilhelm Sohn in Düsseldorf. Kiesel lived and worked in Berlin from 1885 onwards. There he frequently exhibited at the academy, where he became a member and later even received a professorship.
Kiesel was hugely successful with his depictions of graceful young ladies in richly furnished interiors, such as the present work. People appreciated what is beautiful and precious. The skill of the salon painters, including German representatives such as Conrad Kiesel, is remarkable. This exceptional work is characterised by the realistic depiction of the finely draped ball gowns, the academically trained precision of the anatomy and the subtly nuanced depiction of a snapshot in time.