Eugen von Blaas

Eugen von Blaas made his fortune in Venice, the same city where his father, Carl, the noted history and portrait painter, had thrived before him (see lot 49).  Of course, this magical city of water and light had enchanted countless artists throughout the centuries, but von Blaas’ chosen subjects were not the floating city’s architectural landmarks or sweeping vistas.  Rather, Von Blaas captured the day-to-day lives of some of Venice’s most humble citizens amid the ancient masonry of intimate courtyards and unassuming back streets. These topics held the utmost importance for von Blaas, who had an ability to render all manner of objects and characters with remarkably polished detail.  As explained by the author of the 2005 catalogue raisonné, Thomas Wassibauer, “in the years leading up to 1890, Eugen began to demonstrate the full range of his abilities and took pleasure in adding a wealth of complicated props to his pictures.  These included old copper kettles, an abundance of flowers, and brightly colored fruits.  Particularly important, however, were the old brick and stone walls and paving stones.  He contrasted the decaying grandeur of old Venetian stone with...young people...his young people live their lives within the old walls of a still-important city, and become links in an apparently endless chain of generations who carry on the Venetian traditions and way of life” (Thomas Wassibauer, Eugen von Blass, Das Werk, Hildesheim, Germany, 2005, p. 19).

Catch of the Day shows the artist’s ability to convey enormous affection for his subjects in their natural setting.  Amid a bustling side street full of women at their domestic chores, a tightly knit group of laundresses pauses from their washing and folding.  The water carrier, the most alluring of the ladies, effortlessly balances two shiny copper pails of water, while a male fish monger gazes appreciatively over his shoulder at her.  She in turn catches his eye with a sidelong glance.  The amusement of the other women, the intensity of the man’s longing gaze and the beautiful girl’s insouciant attitude make for a highly interactive composition, brimming with the life of the street and the pleasure of being young, carefree, and at the center of attention.  The extraordinary detail with which the artist depicts the clothing of his figures, the few exposed bricks at lower left, and the diaphanous shawl draped on the chair at lower right, is illustrative of von Blaas’s interest in painting even the smallest details with maximum clarity, elevating the scene beyond the every day.

Photos taken of the artist in his youth suggest that the figure of the fish seller might indeed be a stylized self-portrait.  Von Blaas married Paola Prina in 1870, and likenesses of the two of them immediately enter his oeuvre, not directly as portraits, but instead as characters in views like Catch of the Day. Though the water carrier’s features are also discernible in a number of the artist’s more complex multi-figured works, the woman who most resembles his beloved wife is the woman seated closest to the viewer, who looks with amusement at the fish seller with a kind smile and a more modest pose.  The artist’s obvious affection for this figure infuses the work with added warmth.  In addition, the two seated women beyond her each bear a close resemblance to the artist’s sister-in-law.  Von Blaas marshalled his enormous technical virtuosity to depict still life elements with brilliant detail.  Catch of the Day exemplifies these skills in a composition that comprises the artist's fondest subjects.