Joseph Bail (french, 1862 - 1921) ''in The Kitchen, Polishing The Cooper''

Joseph, son of Jean-Antoine Bail, an intimate painter, feeds on tradition. Even though he studied art in the workshops of Gérôme and Carolus-Duran, he remained drawn to the Dutch masters of genre scenes and to the subtle atmosphere of Chardin's painting. From his first salons, he received awards, until the Gold Medal at the Universal Exhibition of 1900 and a medal of honor for ''Les Dentellières'' in 1902

Joseph Bail is one of the best painters of this traditionalist vein which continues in the midst of the debates on colors, the painting of modern life and, soon, the distortion of perspective and the abandonment of the subject. He pursues, so to speak, like Monet the changing effects of light, but on the copper cauldrons whose polished surface reflects it, in offices and kitchens, in still lifes. His painting refers to the intimate scenes of the Dutch School.

The scenes in which his subjects evolve are enhanced by the sunlight that shines on the figures and the gleaming copper utensils. These ubiquitous objects in the kitchens of yesteryear are very represented in his work, as many supports to bring out the luminous contrasts that this artist likes to produce.