1869 -1937 · Budapest, Munich, Paris and London

Direct gaze, brilliant touch and international distinction make Philip de Laszló one of the great portraitists of worldly Europe.

Fülöp Elek Laub, who became Philip Alexius de Laszló, was born in Budapest in 1869 and died in London in 1937. Coming from a modest family, he worked as a child for a set painter then studied at the School of Applied Arts and the Academy of Budapest, before continuing his training in Munich and at the Académie Julian in Paris. From the 1890s, his portraits of Hungarian officials and members of the imperial court launched an exceptional European career. From the 1890s, his portraits of Hungarian officials and members of the imperial court launched an exceptional European career. He painted Franz Joseph, Pope Leo XIII, sovereigns, aristocrats, diplomats, academics and great figures of society. Installed in London in 1907 and naturalized British, he traveled constantly to respond to orders. De Laszló looks for resemblance in a quick session, often on canvas prepared in a warm tone. The face and gaze are pushed with precision while clothing and background can remain freer. Bildt's Portrait of Alice Blanceflor combines elegance, light and spontaneity. Christopher Maude Chavasse appears with the dignity of his academic function. His self-portraits, at different ages, show an artist aware of his status but attentive to the energy of the moment. His self-portraits, at different ages, show an artist aware of his status but attentive to the energy of the moment. His self-portraits, at different ages, show an artist aware of his status but attentive to the energy of the moment. His art extends the tradition of Velázquez, Van Dyck and Sargent in cosmopolitan language adapted to the 20th century. His art extends the tradition of Velázquez, Van Dyck and Sargent in cosmopolitan language adapted to the 20th century. His art extends the tradition of Velázquez, Van Dyck and Sargent in cosmopolitan language adapted to the 20th century. His art extends the tradition of Velázquez, Van Dyck and Sargent in cosmopolitan language adapted to the de Bildt and Self-portrait. His reading favors composition.

De Laszló first catches the eye: around this point of presence, the touch is released and transforms the costume, the background and the light into signs of distinction.