1.
1824 in art
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Events in the year 1824 in Art. The Vow of Louis XIII, painted by Jean Auguste Dominique Ingres for the cathedral of Montauban, is exhibited at the Paris Salon, the Hay Wain by John Constable is also exhibited at the Paris Salon and wins a gold medal. Caspar David Friedrich enters a depressive episode, edwin Landseer visits Scotland for the first time to paint a portrait of Sir Walter Scott, he will return annually, concentrating on animal portraits. M. W. Turner – The Battle of Trafalgar Grand Prix de Rome, painting, Grand Prix de Rome, sculpture, Charles Seurre, Grand Prix de Rome, architecture, Henri Labrouste. Grand Prix de Rome, engraving, Grand Prix de Rome, music, Auguste Barbereau
2.
1830 in art
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Events from the year 1830 in art. David Wilkie appointed Principal Painter in Ordinary to King William IV of the United Kingdom following the death of Sir Thomas Lawrence, clarkson Stanfields panorama The Military Pass of the Simplon is featured in a Christmas pantomime in London. Edward Lear commences publication of the lithographed Illustrations of the Family of Psittacidae, approximate beginning of the Barbizon school of painters. Agustín Esteve, Spanish portraitist and royal court painter Jean-Baptiste Giraud, French sculptor
3.
1835 in art
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Events from the year 1835 in art. June 6 – Augustus Welby Northmore Pugin is received into the Roman Catholic Church, june – Caspar David Friedrich suffers his first stroke, which restricts his ability to paint in oils. August – H. Fox Talbot exposes the worlds first known photographic negatives at Lacock Abbey in England, victor Cousin introduces the expression Lart pour lart. Marie Tussaud establishes the first permanent Madame Tussauds wax museum in London
4.
1837 in art
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Events from the year 1837 in art. January 20 – Death of the neo-classical architect Sir John Soane gives effect to the creation of his London house as Sir John Soanes Museum, june 1 – The Government-funded Normal School of Design, predecessor of the Royal College of Art, begins classes at Somerset House in London. July – Edward Lear leaves Knowsley Hall in England to travel to Rome, marie Louise Élisabeth Vigée-Lebrun publishes the second volume of her memoirs
5.
1840 in art
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Events from the year 1840 in art. The stamp becomes valid for postage from May 6, september 30 – Foundation of Nelsons Column laid in London, Trafalgar Square being laid out and paved around it during the year
6.
1841 in art
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Events from the year 1841 in art. M. W. Turners painting Peace - Burial at Sea, fourth plinth, Trafalgar Square, London erected to the design of Charles Barry. The planned equestrian statue of King William IV being abandoned due to lack of funds, george Hayter appointed Principal Painter in Ordinary to Queen Victoria. Rand invents the collapsible zinc oil paint tube, marketed by Winsor & Newton of London, edward Lear publishes Views in Rome and its Environs. John Ruskin publishes The King of the Golden River, with illustrations by Richard Doyle
7.
1842 in art
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Events from the year 1842 in art. David Roberts begins publication of Sketches in the Holy Land, richard Dadd becomes mentally ill during a tour of the Middle East and is thought to be suffering from sunstroke. Construction work resumes on Cologne Cathedral, after a gap of three centuries. William Fox Talbot receives the Rumford Medal of the Royal Society, george R. Lewis records the famous carvings at Kilpeck church, Herefordshire. Dordrechts Museum established in the Netherlands
8.
1832 in architecture
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The year 1832 in architecture involved some significant architectural events and new buildings. January - Theatre Royal, Wexford, Ireland Church of Our Saviour, Qaqortoq, cutlers Hall, Sheffield, England, designed by Samuel Worth and Benjamin Broomhead Taylor. Drapers Hall, Coventry, England, designed by Thomas Rickman, surgeons Hall, Edinburgh, Scotland, designed by William Henry Playfair. Replacement Old City Gaol, Bristol, England, designed by Richard Shackleton Pope, osgoode Hall, Toronto for The Law Society of Upper Canada, designed by John Ewart and W. W. Baldwin. Royal City of Dublin Hospital, Ireland, designed by Albert E. Murray, cathedral of the Holy Trinity, Gibraltar. Maderup Mølle, Funen, Denmark Théâtre des Folies-Dramatiques, Paris, the Mount, Sheffield, England, designed by William Flockton. Staines Bridge, designed by George Rennie, marlow Bridge, designed by William Tierney Clark. Bridge Real Ferdinando sul Garigliano, designed by Luigi Giura, George IV Bridge in Edinburgh, designed by Thomas Hamilton. St. Nicholas Greek Orthodox Church, New York City, USA Stirling New Bridge in Scotland, designed by Robert Stevenson, grand Prix de Rome, architecture, Jean-Arnoud Léveil
9.
Royal Institute of Painters in Water Colours
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In 1831 the society was founded as the New Society of Painters in Water Colours, competing with the Royal Watercolour Society, which had been founded in 1804. The founding members were William Cowen, James Fudge, Thomas Maisey, O. F. Phillips, Joseph Powell, W. B. S. Taylor, the New Society differed from the RWS in policy, by exhibiting non-members work also. Both societies challenged the Royal Academys refusal to accept the medium of watercolours as appropriate for serious art, in 1839 Henry Warren became president of the society and was re-elected for many years until he resigned due to failing eyesight. In 1863 there was a change to the Institute of Painters in Water Colours. In 1883 it acquired its own premises at Piccadilly, across the road from the Royal Academy, in 1885 it added Royal to its title by command of Queen Victoria. When the lease to the Piccadilly premises ran out in 1970, it moved to the Mall Galleries, near to Trafalgar Square
10.
Prix de Rome
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The Prix de Rome was a French scholarship for arts students, initially for painters and sculptors, that was established in 1663 during the reign of Louis XIV of France. Winners were awarded a bursary that allowed them to stay in Rome for three to five years at the expense of the state, the prize was extended to architecture in 1720, music in 1803, and engraving in 1804. The prestigious award was abolished in 1968 by André Malraux, the Minister of Culture, the Prix de Rome was initially created for painters and sculptors in 1663 in France during the reign of Louis XIV. It was an annual bursary for promising artists having proved their talents by completing a very difficult elimination contest, the prize, organised by the Académie Royale de Peinture et de Sculpture, was open to their students. From 1666, the winner could win a stay of three to five years at the Palazzo Mancini in Rome at the expense of the King of France. In 1720, the Académie Royale d’Architecture began a prize in architecture, six painters, four sculptors, and two architects would be sent to the French Academy in Rome founded by Jean-Baptiste Colbert from 1666. Expanded after 140 years into five categories, the contest started in 1663 as two categories, painting and sculpture, in 1803, music was added, and after 1804 there was a prix for engraving as well. The primary winner took the First Grand Prize and the Second Prizes were awarded to the runners-up, in 1803, Napoleon Bonaparte moved the French Academy in Rome to the Villa Medici with the intention of preserving an institution once threatened by the French Revolution. At first, the villa and its gardens were in a sad state, in this way, he hoped to retain for young French artists the opportunity to see and copy the masterpieces of antiquity and the Renaissance. Jacques-Louis David, having failed to win the three years in a row, considered suicide. Édouard Manet, Edgar Degas, Ernest Chausson and Maurice Ravel attempted the Prix de Rome, but did not gain recognition. Ravel tried a total of five times to win the prize, during World War II the prize winners were accommodated in the Villa Paradiso in Nice. The Prix de Rome was abolished in 1968 by André Malraux, since then, a number of contests have been created, and the academies, together with the Institut de France, were merged by the State and the Minister of Culture. Selected residents now have an opportunity for study during an 18-month stay at The Academy of France in Rome, the heyday of the Prix de Rome was during the late eighteenth and early nineteenth centuries. The Prix de Rome for Architecture was created in 1720, the engraving prize was created in 1804. A Prix de Rome was also established in the Kingdom of Holland by Lodewijk Napoleon to award young artists and architects, during the years 1807–1810 prize winners were sent to Paris and onwards to Rome for study. Suspended in 1851 it was reinstated in 1870 by William III of the Netherlands, since then the winners have been selected by the Rijksakademie in Amsterdam under the main headings of architecture and the visual arts. The Belgian Prix de Rome is an award for artists, created in 1832
11.
Antoine Wiertz
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Antoine Joseph Wiertz was a Belgian romantic painter and sculptor. Born in Dinant from a poor family, he entered the Antwerp art academy in 1820. Thanks to his protector Pierre-Joseph de Paul de Maibe, a member of the Second Chamber of the States-General, between November 1829 and May 1832, he stayed in Paris, where he studied the old masters at the Louvre. Upon his return, he established himself in Liège with his mother, during his stay in Rome, Wiertz worked on his first great work, Les Grecs et les Troyens se disputant le corps de Patrocle, on a subject borrowed from book XVII of Homers Iliad. It was exhibited in Antwerp in 1837, where it met some success. Wiertz submitted the work for the Paris Salon of 1838, badly hung and lit, his entry elicited indifference on the part of the public, and provoked sarcasm among the critics. This second humiliation led to a profound rancour against art critics and against Paris, as expressed in his virulent pamphlet Bruxelles capitale, in 1844, Wiertz painted a second version of his Patrocles on an even bigger scale than the first. The Rome version is now in the Museum of Walloon Art in Liège, after the Paris disaster, Wiertz veered more and more to the excessive. A fine example is the monumental La Chute des Anges rebelles, the death of his mother in 1844 was a terrible blow to the artist. He left Liège in 1845 to settle in Brussels for good, during this period he painted a confrontation of Beauty and Death, Deux jeunes filles—La Belle Rosine, which remains perhaps his most famous work. Dissatisfied with the effect of oil painting, he developed a new technique combining the smoothness of oil painting with the speed of execution. This technique of mat painting entailed the use of a mixture of colours, turpentine, La Lutte homérique was the first big-scale painting executed in this technique. However, the used in this technique are responsible for the slow decay of the works produced with it. Wiertz was also a portrait painter, who made self-portraits at various ages. Influenced mainly by Rubens and the late Michelangelo, Wiertz monumental painting often moves between classical academism and lurid romanticism, between the grandiose and the ridiculous. After difficult negotiations with the Belgian government, Wiertz was able to realize his dream to turn his last studio into a museum for his works, the Belgian State bought a piece of land and funded the construction of a huge hall to accommodate the painters monumental works. In exchange, Wiertz donated all his works to the Belgian State and his remains were embalmed in accordance with Ancient Egyptian burial rites and buried in a vault in the municipal cemetery of Ixelles. A copy of one of Antoine Wiertzs works, the statue of The Triumph of Light was once prominently located high on San Franciscos Mount Olympus between the Haight-Ashbury and Corona Heights and it had been presented to the city of San Francisco by Adolph Sutro in 1887
12.
Hokusai
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Katsushika Hokusai was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by Sesshū Tōyō and other styles of Chinese painting, born in Edo, Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji which includes the internationally iconic print, The Great Wave off Kanagawa. Hokusai created the Thirty-Six Views both as a response to a travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically The Great Wave print and Fine Wind, Clear Morning, as historian Richard Lane concludes, Indeed, if there is one work that made Hokusais name, both in Japan and abroad, it must be this monumental print-series. While Hokusais work prior to this series is important, it was not until this series that he gained broad recognition. Hokusais date of birth is unclear, but is stated as the 23rd day of the 9th month of the 10th year of the Hōreki era to an artisan family, in the Katsushika district of Edo. It is believed his father was the mirror-maker Nakajima Ise, who produced mirrors for the shogun and his father never made Hokusai an heir, so it is possible that his mother was a concubine. Hokusai began painting around the age of six, perhaps learning from his father, Hokusai was known by at least thirty names during his lifetime. While the use of names was a common practice of Japanese artists of the time. Hokusais name changes are so frequent, and so related to changes in his artistic production and style. At 14, he worked as an apprentice to a wood-carver, until the age of 18, Shunshō was an artist of ukiyo-e, a style of wood block prints and paintings that Hokusai would master, and head of the so-called Katsukawa school. Ukiyo-e, as practiced by artists like Shunshō, focused on images of the courtesans, after a year, Hokusais name changed for the first time, when he was dubbed Shunrō by his master. It was under this name that he published his first prints, during the decade he worked in Shunshōs studio, Hokusai was married to his first wife, about whom very little is known except that she died in the early 1790s. He married again in 1797, although this second wife died after a short time. He fathered two sons and three daughters with two wives, and his youngest daughter Sakae, also known as Ōi, eventually became an artist. Upon the death of Shunshō in 1793, Hokusai began exploring other styles of art and he was soon expelled from the Katsukawa school by Shunkō, the chief disciple of Shunshō, possibly due to studies at the rival Kanō school. This event was, in his own words, inspirational, What really motivated the development of my style was the embarrassment I suffered at Shunkōs hands. Hokusai also changed the subjects of his works, moving away from the images of courtesans, instead, his work became focused on landscapes and images of the daily life of Japanese people from a variety of social levels
13.
Thirty-six Views of Mount Fuji
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Thirty-six Views of Mount Fuji is a series of landscape prints by the Japanese ukiyo-e artist Hokusai. The series depicts Mount Fuji from different locations and in various seasons, the series was produced from c. 1830 to 1832, when Hokusai was in his seventies and at the height of his career, and published by Nishimura Yohachi. Among the prints are three of Hokusais most famous, Under the Wave off Kanagawa, South Wind, Clear Sky, the series has been described as the artists indisputable colour-print masterpiece. Mount Fuji is a subject for Japanese art due to its cultural. This belief can be traced to The Tale of the Bamboo Cutter, the most famous single image from the series is widely known in English as The Great Wave off Kanagawa, although a more literal translation might be, Off Kanagawa, the back of a wave. It depicts three boats being threatened by a wave while Mount Fuji rises in the background. While generally assumed to be a tsunami, the wave was intended to simply be a large ocean wave. Each of the images was made through a process whereby an image drawn on paper was used to guide the carving of a wood block and this block was then covered with ink and applied to paper to create the image. The complexity of Hokusais images includes the range of colors he used. These images are of modern facsimile prints made using the same techniques, a collection of Thirty-six Views of Mount Fuji prints contained in the wellness spa of the Costa Concordia was lost during the collision of the ship on January 13,2012. The Thirty-six Views of Mount Fuji prints were displayed at the Museum of Fine Arts, Hokusai, Genius of the Japanese Ukiyo-e. Hokusai, One Hundred Views of Mt. Fuji, Hokusai,36 Views of Mount Fuji exhibition at the Freer and Sackler Galleries Hokusais 36 Views of Mount Fuji A short biography of Hokusai including a section on the 36 Views of Mt. Fuji series. Jim Breens ukiyo-e page on Hokusai and the 36 Views 葛飾北斎の富士山・富嶽三十六景 Educational Audio Tour of The Great Wave
14.
Woodcut
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Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print, the block is cut along the wood grain. The surface is covered with ink by rolling over the surface with a roller, leaving ink upon the flat surface. Multiple colors can be printed by keying the paper to a frame around the woodblocks, single-leaf woodcut is a term for a woodcut presented as a single image or print, as opposed to a book illustration. Among these the best known are the 16th century Hieronymus Andreae, Hans Lützelburger and Jost de Negker, all of whom ran workshops, the formschneider in turn handed the block on to specialist printers. There were further specialists who made the blank blocks and this is why woodcuts are sometimes described by museums or books as designed by rather than by an artist, but most authorities do not use this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, there were various methods of transferring the artists drawn design onto the block for the cutter to follow. Either the drawing would be made directly onto the block, or a drawing on paper was glued to the block, either way, the artists drawing was destroyed during the cutting process. Other methods were used, including tracing, in both Europe and the Far East in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga, as opposed to shin-hanga, in the West, many artists used the easier technique of linocut instead. Compared to intaglio techniques like etching and engraving, only low pressure is required to print, as a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. In Europe a variety of woods including boxwood and several nut and fruit woods like pear or cherry were commonly used, in Japan, there are three methods of printing to consider, Stamping, Used for many fabrics and most early European woodcuts. Used for European woodcuts and block-books later in the fifteenth century, also used for many Western woodcuts from about 1910 to the present. The block goes face up on a table, with the paper or fabric on top, the back is rubbed with a hard pad, a flat piece of wood, a burnisher, or a leather frotton. A traditional Japanese tool used for this is called a baren, later in Japan, complex wooden mechanisms were used to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful once multiple colors were introduced and had to be applied with precision atop previous ink layers, printing in a press, presses only seem to have been used in Asia in relatively recent times. Printing-presses were used from about 1480 for European prints and block-books, simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking
15.
Metropolitan Museum of Art
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The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
16.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
17.
William Etty
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William Etty RA was an English artist best known for his history paintings containing nude figures. He was the first significant British painter of nudes and still lifes, born in York, he left school at the age of 12 to become an apprentice printer in Hull. He completed his apprenticeship seven years later and moved to London, there he studied under Thomas Lawrence and trained by copying works by other artists. Etty earned respect at the Royal Academy of Arts for his ability to paint realistic flesh tones, Ettys Cleopatras Arrival in Cilicia, painted in 1821, featured numerous nudes and was exhibited to great acclaim. Its success prompted several further depictions of scenes with nudes. All but one of the works he exhibited at the Royal Academy in the 1820s contained at least one nude figure, and he acquired a reputation for indecency. Despite this, he was successful and critically acclaimed, and in 1828 was elected a Royal Academician. Although he was one of the most respected artists in the country he continued to study at life classes throughout his life, a practice considered inappropriate by his fellow artists. In the 1830s Etty began to branch out into the lucrative but less respected field of portraiture. He continued to paint both male and female nudes, which caused criticism and condemnation from some elements of the press. An extremely shy man, Etty rarely socialised and never married, from 1824 until his death he lived with his niece Betsy. Even in London he retained a keen interest in his native York, and was instrumental in the establishment of the towns first art school, Etty was prolific and commercially successful throughout the 1840s, but the quality of his work deteriorated throughout this period. As his health worsened he retired to York in 1848. He died in 1849, shortly after a retrospective exhibition. In the immediate aftermath of his death his works became highly collectable, changing tastes meant his work later fell out of fashion, and imitators soon abandoned his style. By the end of the 19th century the value of all of his works had fallen below their original prices, in the late 18th and early 19th centuries, British painting was strongly influenced by Joshua Reynolds, the first president of the Royal Academy of Arts. After Reynoldss death his Discourses on Art, which extolled the notion of a duty to paint idealised subjects. The Royal Academy dominated British art, with the annual Royal Academy Summer Exhibition the most important event in the calendar
18.
Youth on the Prow, and Pleasure at the Helm
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Youth on the Prow, and Pleasure at the Helm is an oil painting on canvas by English artist William Etty, first exhibited in 1832 and currently in Tate Britain. Etty had been planning the painting since 1818–19, and a version was exhibited in 1822. Etty chose to illustrate Grays lines literally, depicting a boat filled with. Etty felt that his approach to the work illustrated a moral warning about the pursuit of pleasure, the painting was bought in 1832 by Robert Vernon to form part of his collection of British art. Vernon donated his collection, including Youth on the Prow, and Pleasure at the Helm, to the National Gallery in 1847 and it remains one of Ettys best-known works, and formed part of major exhibitions at Tate Britain in 2001–02 and at the York Art Gallery in 2011–12. William Etty, the son of a York baker and miller, had been an apprentice printer in Hull. He enrolled in the Schools of the Royal Academy of Arts and he submitted numerous paintings to the Royal Academy over the following decade, all of which were either rejected or received little attention when exhibited. In 1821 Ettys The Arrival of Cleopatra in Cilicia was a critical success, the painting featured nude figures, and over the following years Etty painted further nudes in biblical, literary and mythological settings. All but one of the 15 paintings Etty exhibited in the 1820s included at least one nude figure, Etty was the first British artist to specialise in the nude, and the reaction of the lower classes to these paintings caused concern throughout the 19th century. Although his portraits of male nudes were well received, many critics condemned his repeated depictions of female nudity as indecent. Youth on the Prow, and Pleasure at the Helm was inspired by a passage in Thomas Grays poem The Bard, Etty used a passage Gray intended to symbolise the seemingly bright start to the disastrous reign of Edwards great-great-grandson Richard II. Etty chose to illustrate Grays words literally, creating what has been described as a poetic romance, Youth and Pleasure depicts a small gilded boat. Above the boat, a figure representing Zephyr blows on the sails. Another nude representing Pleasure lies on a bouquet of flowers, loosely holding the helm of the boat. A nude child blows bubbles, which another nude on the prow of the ship, representing Youth, naiads, again nude, swim around and clamber on the boat. Although the seas are calm, a sweeping whirlwind is forming on the horizon, with a demonic figure within the storm clouds. Etty said of his approach to the text that he was hoping to create an allegory of Human Life. While Etty felt that the work conveyed a moral warning about the pursuit of pleasure
19.
The Great Wave off Kanagawa
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The Great Wave off Kanagawa, also known as The Great Wave or simply The Wave, is a woodblock print by the Japanese ukiyo-e artist Hokusai. It was published sometime between 1829 and 1833 in the late Edo period as the first print in Hokusais series Thirty-six Views of Mount Fuji and it is Hokusais most famous work, and one of the most recognizable works of Japanese art in the world. The image depicts an enormous wave threatening boats off the coast of the prefecture of Kanagawa, while sometimes assumed to be a tsunami, the wave is more likely to be a large rogue wave. As in all the prints in the series, it depicts the area around Mount Fuji under particular conditions, Hokusai began painting when he was six years old and at twelve, his father sent him to work at a booksellers. At sixteen, he was apprenticed as an engraver and spent three years learning the trade, at the same time he began to produce his own illustrations. At eighteen he was accepted as an apprentice to Katsukawa Shunshō, in 1804 he became famous as an artist when, during a festival in Tokyo, he completed a 240m² painting of a Buddhist monk named Daruma. In 1814, he published the first of fifteen volumes of sketches entitled Manga and his Thirty-six Views of Mount Fuji, from which the Great Wave comes, was produced from around c. 1830. From the sixteenth century fantastic depictions of waves crashing on rocky shores were painted on folding screens known as rough seas screens, Hokusai drew many waves throughout his career, the genesis of the Great Wave can be traced back over thirty years. Kōkans A View of Seven-League Beach was executed in middle of 1796, in both precursor works, the subjects are in the midst of a storm, beneath a great wave that threatens to devour them. Their rigidity and verticality evoke the shape of a mountain, while in the Great Wave the wave stands out because it is more active, dynamic, and aggressive. The earlier images are marked by the perspective traditionally used in Japanese painting. The Great Wave, on the hand, is depicted in a more western perspective. In the earlier prints the horizon is in the middle, whereas in the Great Wave the horizon is so low that it forces the viewers eye to the center of the action. In the first two, there is a boat on the crest of the wave, as if it had managed to escape. Hokusai eliminated this element for the Great Wave, because it interfered with the dynamic of the curve or to make the more dramatic. The two first prints have a composition, lacking consistency, whereas the Great Wave only has two important masses, the wave itself, and the vanishing point beneath the wave. The wave shows the level of control that Hokusai had reached, the image, although simple in its design is, however, the result of a long process, a methodical reflection. This print is a yoko-e, that is, a landscape format produced to the ōban size, the composition comprises three main elements, the sea whipped up by a storm, three boats and a mountain
20.
Jean-Auguste-Dominique Ingres
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Jean-Auguste-Dominique Ingres was a French Neoclassical painter. A man profoundly respectful of the past, he assumed the role of a guardian of orthodoxy against the ascendant Romantic style represented by his nemesis. His exemplars, he explained, were the great masters which flourished in that century of glorious memory when Raphael set the eternal. I am thus a conservator of good doctrine, and not an innovator, Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children of Jean-Marie-Joseph Ingres and his wife Anne Moulet. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, the deficiency in his schooling would always remain for him a source of insecurity. In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture, there he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques veneration of Raphael was an influence on the young artist. Ingres won prizes in several disciplines, such as composition, figure and antique and his musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse. Ingres followed his masters neoclassical example but revealed, according to David and his trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds. Working in Paris alongside several other students of David in a provided by the state. He found inspiration in the works of Raphael, in Etruscan vase paintings, in 1802 he made his debut at the Salon with Portrait of a Woman. The following year brought a commission, when Ingres was one of five artists selected to paint full-length portraits of Napoleon Bonaparte as First Consul. These were to be distributed to the towns of Liège, Antwerp, Dunkerque, Brussels. In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, although he had hoped to stay in Paris long enough to witness the opening of that years Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. Chaussard condemned Ingress style as gothic and asked, How, with so much talent, a line so flawless, the answer is that he wanted to do something singular, something extraordinary. M. Ingress intention is nothing less than to make art regress by four centuries, to carry us back to its infancy, Ingres stylistic eclecticism represented a new tendency in art. As art historian Marjorie Cohn has written, At the time, Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the style appropriate to his subject
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Portrait of Monsieur Bertin
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Portrait of Monsieur Bertin is an 1832 oil-on-canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin, the French writer, art collector and director of the pro-royalist Journal des débats, Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry, the painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches, the final work faithfully captures the sitters character, conveying both a restless energy and imposing bulk. It is a realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve. He sits in profile against a brown ground lit from the right, his fingers are pronounced and highly detailed. Ingres portrait of Bertin was a critical and popular success, although his family worried about caricature and disapproved, it became widely known and sealed the artists reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton, today art critics regard it as Ingres finest male portrait. It has been on permanent display at the Musée du Louvre since 1897, Louis-François Bertin was 66 in 1832, the year of the portrait. He befriended Ingres either through his son Édouard Bertin, a student of the painter, or via Étienne-Jean Delécluze, Ingres friend, in either case the genesis of the commission is unknown. Bertin was a leader of the French upper class and a supporter of Louis Philippe and he was a director of the Le Moniteur Universel until 1823, when the Journal des débats became the recognised voice of the liberal-constitutional opposition after he had come to criticize absolutism. He eventually gave his support to the July Monarchy, the Journal supported contemporary art, and Bertin was a patron, collector and cultivator of writers, painters and other artists. Ingres was sufficiently intrigued by Bertins personality to accept the commission and it was completed within a month, during Ingres frequent visits to Bertins estate of retreat, Le Château des Roches, in Bièvres, Essonne. Ingres made daily visits, as Bertin entertained guests such as Victor Hugo, his mistress Juliette Drouet, Hector Berlioz, Ingres later made drawings of the Bertin family, including a depiction of his hosts wife and sketches of their son Armand and daughter-in-law, Cécile. The portrait of Armand evidences his physical resemblance to his father, Ingres early career coincided with the Romantic movement, which reacted against the prevailing neoclassical style. Neoclassicism in French art had developed as artists saw themselves as part of the center of Europe. Romantic painting was freer and more expressive, preoccupied more with colour than with line or form, paintings based on classical themes fell out of fashion, replaced by contemporary rather than historical subject matter, especially in portraiture
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James Arthur O'Connor
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James Arthur OConnor was an Irish painter. James Arthur OConnor was born 15 Astons Quay, Dublin – the son of an engraver and printer, OConnor would become a distinguished landscape painter. He was self-taught, receiving just a few lessons from William Sadler and he travelled to London with Francis Danby and George Petrie, exhibiting at the Royal Academy in 1822. OConnor visited France, Belgium, the Netherlands, and the Rhineland and he died poor, in Brompton, London,7 January 1841. OConnor was married – his wifes name was Anastatia, the list below contains an incomplete list of his works and gives either the owner or the location of where the original is found today. Dublin, The National Gallery of Ireland,1985, the quiet man of Irish landscape painting. OConnor painting at AskArt OConnor at Wolverhampton Arts
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Joseph Paelinck
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Joseph Paelinck, was a painter from the Southern Netherlands. Paelinck attended the Royal Academy of Fine Arts and then with Jacques-Louis David in Paris, where he painted in 1804 A Judgment of Paris, after he had worked there a short time as a teacher, he went to Rome and stayed there for five years. He painted, among other things, Rome under Augustus for the Quirinal Palace and he was later a professor at the Académie royale de peinture et de sculpture in Brussels. This article is based on a public domain text from Meyers encyclopedia,1 Painting by or after Joseph Paelinck at the Art UK site Media related to Joseph Paelinck at Wikimedia Commons
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Illustrator
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An illustrator is an artist who specializes in enhancing writing or elucidating concepts by providing a visual representation that corresponds to the content of the associated text or idea. The illustration may be intended to clarify complicated concepts or objects that are difficult to describe textually, illustration is the art of making images that work with something and add to it without needing direct attention and without distracting from the thing they illustrate. The other thing is the focus of the attention, and the role is to add personality. A cartoon illustration can add humor to stories or essays, use reference images to create scenes and characters. This can be as simple as looking at an image to inspire artwork, or creating character sketches. Some traditional illustration techniques include watercolor, pen and ink, airbrush art, oil painting, pastels, wood engraving, and linoleum cuts. Traditional illustration seems to have come full circle, from falling out of favor to photography in the early 1990s to being superseded by CGI, universities and art schools offer specific courses in illustration so this has become a new avenue into the profession. Many illustrators are freelance, commissioned by publishers or advertising agencies, most scientific illustrations and technical illustrations are also known as information graphics. Among the information graphics specialists are medical illustrators who illustrate human anatomy, often requiring years of artistic. A particularly popular medium with illustrators of the 1950s and 1960s was casein, the immediacy and durability of these media suited illustrations demands well. The artwork in both types of paint withstood the rigors of travel to clients and printers without damage, digital illustration is the technique of using a computer to produce original artwork. Digital illustrators use a combination of software and image editing software to create computer art. Digital illustration is not merely the manipulation of images with software, computer illustration or digital illustration is the use of digital tools to produce images under the direct manipulation of the artist, usually through a pointing device such as a tablet or a mouse. Computers dramatically changed the industry and today many cartoonists and illustrators create digital illustrations using computers, graphics tablets, software such as Adobe Illustrator or Adobe Photoshop are now widely used by those professionals
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1883 in art
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20 April – Claude Monet moves to the house in Giverny which will be his main residence for the rest of his life. 28 October – Les XX established in Brussels by Octave Maus, L. Wyllie – Toil, Glitter, Grime and Wealth on a Flowing Tide 3 February – Camille Bombois, French naïve painter. 18 February – Jacques Ochs, French artist, épée and foil fencer,12 April Francis Cadell, Scottish Colourist painter Imogen Cunningham, American photographer. 24 June – Jean Metzinger, French painter and art theorist,16 July – Charles Sheeler, American modernist painter and photographer. 31 July – Erich Heckel, German painter and printmaker,19 August – Coco Chanel, French fashion designer. 14 September – Richard Gerstl, Austrian painter and draughtsman,9 November – Charles Demuth, American painter. 4 December – Felice Casorati, Italian painter,24 December – Stojan Aralica, famous Serbian Impressionist painter and academic. 26 December – Maurice Utrillo, French painter, date unknown – Charles Jourdan, French fashion designer
