1.
Slide Rock State Park
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Slide Rock State Park is a state park of Arizona, USA, taking its name from a natural water slide formed by the slippery bed of Oak Creek. The park is located in Oak Creek Canyon 7 miles north of Sedona, Slide Rock State Park is located on Coconino National Forest land and is co-managed by the Arizona State Parks agency and the U. S. Forest Service. Tall red rock formations that are typical of the region also surround the park, the land was first developed by Frank L. Pendley, who arrived in the canyon in 1907 and acquired title to the land under the Homestead Act in 1910. Pendley developed a system and planted an apple orchard in 1912. The state completed a road through the canyon in 1914, several films were shot in the area, Angel and the Badman, Broken Arrow, Drum Beat, and Gun Fury. The park was purchased by Arizona State Parks from the Arizona Parklands Foundation on July 10,1985, the Pendley Homestead Historic District was accepted onto the National Register of Historic Places on December 23,1991. The apple farm is one of the few still preserved in Oak Creek Canyon. There are three hiking trails in Slide Rock State Park, Pendley Homestead Trail, Slide Rock Route, Slide Rock State Park attracted 254,584 visitors in 2005 and is one of the most visited tourist attractions in Arizona. In 2014, Slide Rock was named one of Fordors Travel top 10 state parks in the United States, most recently, USA Today readers voted Slide Rock as the 5th best swimming hole in the country. Slide Rock State Park official site Media related to Slide Rock State Park at Wikimedia Commons
Slide Rock State Park
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Slide Rock State Park
Slide Rock State Park
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Pendley Homestead
Slide Rock State Park
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Slide Rock State Park in snow, 2011.
2.
Arizona
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Arizona is a state in the southwestern region of the United States. It is also part of the Western United States and the Mountain West states and it is the sixth largest and the 14th most populous of the 50 states. Its capital and largest city is Phoenix, Arizona is one of the Four Corners states. It has borders with New Mexico, Utah, Nevada, California, and Mexico, Arizonas border with Mexico is 389 miles long, on the northern border of the Mexican states of Sonora and Baja California. Arizona is the 48th state and last of the states to be admitted to the Union. Historically part of the territory of Alta California in New Spain, after being defeated in the Mexican–American War, Mexico ceded much of this territory to the United States in 1848. The southernmost portion of the state was acquired in 1853 through the Gadsden Purchase, Southern Arizona is known for its desert climate, with very hot summers and mild winters. There are ski resorts in the areas of Flagstaff, Alpine, in addition to the Grand Canyon National Park, there are several national forests, national parks, and national monuments. To the European settlers, their pronunciation sounded like Arissona, the area is still known as alĭ ṣonak in the Oodham language. Another possible origin is the Basque phrase haritz ona, as there were numerous Basque sheepherders in the area, There is a misconception that the states name originated from the Spanish term Árida Zona. See also lists of counties, islands, rivers, lakes, state parks, national parks, Arizona is in the Southwestern United States as one of the Four Corners states. Arizona is the sixth largest state by area, ranked after New Mexico, of the states 113,998 square miles, approximately 15% is privately owned. The remaining area is public forest and park land, state trust land, Arizona is well known for its desert Basin and Range region in the states southern portions, which is rich in a landscape of xerophyte plants such as the cactus. This regions topography was shaped by volcanism, followed by the cooling-off. Its climate has hot summers and mild winters. The state is well known for its pine-covered north-central portion of the high country of the Colorado Plateau. Like other states of the Southwest United States, Arizona has an abundance of mountains, despite the states aridity, 27% of Arizona is forest, a percentage comparable to modern-day France or Germany. The worlds largest stand of pine trees is in Arizona
Arizona
–
Saguaro cactus flowers and buds after a wet winter. This is Arizona's official State Flower.
Arizona
–
Flag
Arizona
–
The
Horseshoe Bend of the
Colorado River.
Arizona
–
West Mitten at
Monument Valley
3.
French language
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French is a Romance language of the Indo-European family. It descended from the Vulgar Latin of the Roman Empire, as did all Romance languages, French has evolved from Gallo-Romance, the spoken Latin in Gaul, and more specifically in Northern Gaul. Its closest relatives are the other langues doïl—languages historically spoken in northern France and in southern Belgium, French was also influenced by native Celtic languages of Northern Roman Gaul like Gallia Belgica and by the Frankish language of the post-Roman Frankish invaders. Today, owing to Frances past overseas expansion, there are numerous French-based creole languages, a French-speaking person or nation may be referred to as Francophone in both English and French. French is a language in 29 countries, most of which are members of la francophonie. As of 2015, 40% of the population is in Europe, 35% in sub-Saharan Africa, 15% in North Africa and the Middle East, 8% in the Americas. French is the fourth-most widely spoken mother tongue in the European Union, 1/5 of Europeans who do not have French as a mother tongue speak French as a second language. As a result of French and Belgian colonialism from the 17th and 18th century onward, French was introduced to new territories in the Americas, Africa, most second-language speakers reside in Francophone Africa, in particular Gabon, Algeria, Mauritius, Senegal and Ivory Coast. In 2015, French was estimated to have 77 to 110 million native speakers, approximately 274 million people are able to speak the language. The Organisation internationale de la Francophonie estimates 700 million by 2050, in 2011, Bloomberg Businessweek ranked French the third most useful language for business, after English and Standard Mandarin Chinese. Under the Constitution of France, French has been the language of the Republic since 1992. France mandates the use of French in official government publications, public education except in specific cases, French is one of the four official languages of Switzerland and is spoken in the western part of Switzerland called Romandie, of which Geneva is the largest city. French is the language of about 23% of the Swiss population. French is also a language of Luxembourg, Monaco, and Aosta Valley, while French dialects remain spoken by minorities on the Channel Islands. A plurality of the worlds French-speaking population lives in Africa and this number does not include the people living in non-Francophone African countries who have learned French as a foreign language. Due to the rise of French in Africa, the total French-speaking population worldwide is expected to reach 700 million people in 2050, French is the fastest growing language on the continent. French is mostly a language in Africa, but it has become a first language in some urban areas, such as the region of Abidjan, Ivory Coast and in Libreville. There is not a single African French, but multiple forms that diverged through contact with various indigenous African languages, sub-Saharan Africa is the region where the French language is most likely to expand, because of the expansion of education and rapid population growth
French language
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The
"arrêt" signs (French for "stop") are used in
Canada while the international stop, which is also a valid French word, is used in France as well as other French-speaking countries and regions.
French language
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Regions where French is the main language
French language
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Town sign in
Standard Arabic and French at the entrance of
Rechmaya in
Lebanon.
French language
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An obsolete 100
Lebanese pound note with the French language inscriptions "Banque du Liban" and "Cent livres".
4.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
5.
Claude Monet
–
Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
Claude Monet
–
Claude Monet, photo by
Nadar, 1899.
Claude Monet
–
Impression, Sunrise (Impression, soleil levant), 1872; the painting that gave its name to the style.
Musée Marmottan Monet, Paris
Claude Monet
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The Woman in the Green Dress,
Camille Doncieux, 1866,
Kunsthalle Bremen
Claude Monet
–
Le déjeuner sur l'herbe, (right section), 1865–1866, with
Gustave Courbet,
Frédéric Bazille and Camille Doncieux, first wife of the artist,
Musée d'Orsay,
Paris
6.
John Singer Sargent
–
John Singer Sargent was an American artist, considered the leading portrait painter of his generation for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and his oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. His parents were American, but he was trained in Paris prior to moving to London and his commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work and he lived most of his life in Europe. Art historians generally ignored the society such as Sargent until the late 20th century. Before Sargents birth, his father, FitzWilliam, was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844–1854, after Johns older sister died at the age of two, his mother, Mary, suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives, although based in Paris, Sargents parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Tuscany, Sargent was born there in 1856. A year later, his sister Mary was born, after her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wifes entreaties to remain abroad. They lived modestly on an inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world, four more children were born abroad, of whom only two lived past childhood. Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, as his father wrote home, He is quite a close observer of animated nature. His mother was convinced that traveling around Europe, and visiting museums and churches. Several attempts to have him formally schooled failed, owing mostly to their itinerant life, Sargents mother was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions, young Sargent worked with care on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his sons interest in ships and the sea might lead him toward a naval career, at thirteen, his mother reported that John sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist, at the age of thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Although his education was far from complete, Sargent grew up to be a literate and cosmopolitan young man, accomplished in art, music
John Singer Sargent
–
Self-Portrait, 1906, oil on canvas,
Uffizi Gallery, Florence.
John Singer Sargent
–
Fanny Watts, Sargent's childhood friend. The first painting at Paris Salon, 1877,
Philadelphia Museum of Art
John Singer Sargent
–
The Daughters of Edward Darley Boit, 1882,
Museum of Fine Arts, Boston
John Singer Sargent
–
An Out-of-Doors Study, 1889, depicting
Paul César Helleu sketching with his wife Alice Guérin. The
Brooklyn Museum, New York.
7.
Tate Gallery
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Tate is an institution that houses the United Kingdoms national collection of British art, and international modern and contemporary art. It is a network of four art museums, Tate Britain, London, Tate Liverpool, Tate St Ives, Cornwall and Tate Modern, London, Tate is not a government institution, but its main sponsor is the UK Department for Culture, Media and Sport. The name Tate is used also as the name for the corporate body. The gallery was founded in 1897, as the National Gallery of British Art, the Tate Gallery was housed in the current building occupied by Tate Britain, which is situated in Millbank, London. Tate Liverpool has the purpose as Tate Modern but on a smaller scale. All four museums share the Tate Collection, one of the Tates most publicised art events is the awarding of the annual Turner Prize, which takes place at Tate Britain. The original Tate was called the National Gallery of British Art, situated on Millbank, Pimlico, the idea of a National Gallery of British Art was first proposed in the 1820s by Sir John Leicester, Baron de Tabley. It took a step nearer when Robert Vernon gave his collection to the National Gallery in 1847, a decade later John Sheepshanks gave his collection to the South Kensington Museum, known for years as the National Gallery of Art. Henry Tate also donated his own collection to the gallery and it was initially a collection solely of modern British art, concentrating on the works of modern—that is Victorian era—painters. It was controlled by the National Gallery until 1954, in 1926 and 1937, the art dealer and patron Joseph Duveen paid for two major expansions of the gallery building. His father had paid for an extension to house the major part of the Turner Bequest. Henry Courtauld also endowed Tate with a purchase fund, by the mid 20th century, it was fulfilling a dual function of showing the history of British art as well as international modern art. In 1954, the Tate Gallery was finally separated from the National Gallery, later, the Tate began organising its own temporary exhibition programme. In 1979 with funding from a Japanese bank a large extension was opened that would also house larger income generating exhibitions. In 1987, the Clore Wing opened to house the major part of the Turner bequest, in 1988, an outpost in north west England opened as Tate Liverpool. This shows various works of art from the Tate collection as well as mounting its own temporary exhibitions. In 2007, Tate Liverpool hosted the Turner Prize, the first time this has been held outside London and this was an overture to Liverpools being the European Capital of Culture 2008. In 1993, another offshoot opened, Tate St Ives and it exhibits work by modern British artists, particularly those of the St Ives School
Tate Gallery
–
The original Tate Gallery, now renamed
Tate Britain
Tate Gallery
–
The logo of Tate, used in several similar versions and colours, was designed by
Wolff Olins in 2000.
Tate Gallery
–
Tate Liverpool opened in 1988.
Tate Gallery
–
Tate St Ives opened in 1993.
8.
Barbizon school
–
The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870 and it takes its name from the village of Barbizon, France, near the Forest of Fontainebleau, where many of the artists gathered. Some of the most prominent features of school are its tonal qualities, color, loose brushwork. In 1824 the Salon de Paris exhibited works of John Constable and his rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events, during the Revolutions of 1848 artists gathered at Barbizon to follow Constables ideas, making nature the subject of their paintings. The French landscape became a theme of the Barbizon painters. Millet extended the idea from landscape to figures — peasant figures, scenes of peasant life, in The Gleaners, for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the complete the main harvest. The owners and their laborers are seen in the back of the painting, Millet shifted the focus and the subject matter from the rich and prominent to those at the bottom of the social ladders. To emphasize their anonymity and marginalized position, he hid their faces, the womens bowed bodies represent their everyday hard work. In the spring of 1829, Jean-Baptiste-Camille Corot came to Barbizon to paint in the Forest of Fontainebleau, while there he met the members of the Barbizon school, Théodore Rousseau, Paul Huet, Constant Troyon, Jean-François Millet, and the young Charles-François Daubigny. During the late 1860s, the Barbizon painters attracted the attention of a generation of French artists studying in Paris. Several of those artists visited Fontainebleau Forest to paint the landscape, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, in the 1870s those artists, among others, developed the art movement called Impressionism and practiced plein air painting. Both Théodore Rousseau and Jean-François Millet died at Barbizon, painters in other countries were also influenced by this art. Beginning in the nineteenth century, many artists came to Paris from Austria-Hungary to study the new movements. For instance, the Hungarian painter János Thorma studied in Paris as a young man, in 1896 he was one of the founders of the Nagybánya artists colony in what is now Baia Mare, Romania, which brought impressionism to Hungary. Marlatt Adolphe Joseph Thomas Monticelli Eugène Boudin Antonio Fontanesi American Barbizon school Art colony Naturalism landscape art Macchiaioli Catalogues des Collections des Musees de France, media related to Barbizon School at Wikimedia Commons Hecht Museum Cambridge Art Gallery
Barbizon school
–
The Gleaners.
Jean-François Millet. 1857.
Musée d'Orsay, Paris.
Barbizon school
–
Jean-Baptiste-Camille Corot, View of the Forest of Fontainebleau (1830)
Barbizon school
–
Théodore Rousseau, Barbizon landscape, ca. 1850,
Pushkin Museum, Moscow
Barbizon school
–
Charles-François Daubigny Rising Moon in Barbizon, c. 1850s,
Museum of Fine Arts, Ghent
9.
Hudson River School
–
The Hudson River School was a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by romanticism. Neither the originator of the term Hudson River School nor its first published use has been fixed with certainty, the term is thought to have originated with the New York Tribune art critic Clarence Cook or the landscape painter Homer Dodge Martin. As originally used, the term was meant disparagingly, as the work so labeled had gone out of favor after the plein-air Barbizon School had come into vogue among American patrons and collectors. Hudson River School paintings reflect three themes of America in the 19th century, discovery, exploration, and settlement, the paintings also depict the American landscape as a pastoral setting, where human beings and nature coexist peacefully. They took as their inspiration such European masters as Claude Lorrain, John Constable and their reverence for Americas natural beauty was shared with contemporary American writers such as Henry David Thoreau and Ralph Waldo Emerson. Several painters were members of the Düsseldorf school of painting, others were educated by the German Paul Weber, while the elements of the paintings were rendered realistically, many of the scenes were composed as a synthesis of multiple scenes or natural images observed by the artists. During these expeditions, the artists recorded sketches and memories, returning to their studios to paint the works later. The artist Thomas Cole is generally acknowledged as the founder of the Hudson River School, Cole took a steamship up the Hudson in the autumn of 1825, the same year the Erie Canal opened, stopping first at West Point, then at Catskill landing. He hiked west high up into the eastern Catskill Mountains of New York State to paint the first landscapes of the area, the first review of his work appeared in the New York Evening Post on November 22,1825. At that time, only the English native Cole, born in a landscape where autumnal tints were of browns and yellows, coles close friend, Asher Durand, became a prominent figure in the school as well. An important part of the popularity of the Hudson River School was its celebration of its themes of nationalism, nature, however, its leading artists, such as Thomas Cole, were also suspicious of the economic and technological development of the age. Works by artists of this generation are often described as examples of Luminism. In addition to pursuing their art, many of the artists, including Kensett, Gifford, most of the finest works of the Hudson River school were painted between 1855 and 1875. During that time, artists such as Frederic Edwin Church and Albert Bierstadt were celebrities and they were both influenced by the Düsseldorf school of painting, and Bierstadt had studied in that city for several years. When Church exhibited paintings such as Niagara or Icebergs of the North, thousands of people lined up around the block and paid fifty cents a head to view the solitary works. The epic size of the landscapes in these paintings, unexampled in earlier American painting, reminded Americans of the vast, untamed, such works were being painted during the period of settlement of the American West, preservation of national parks, and establishment of green city parks. One of the largest collections of paintings by artists of the Hudson River School is at the Wadsworth Atheneum in Hartford, Johnsbury Athenaeum, in St. Johnsbury, VT Westervelt Warner Museum of American Art, in Tuscaloosa, AL Thyssen-Bornemisza Museum, in Madrid, Spain. New York, The Metropolitan Museum of Art, avery, Kevin J. & Kelly, Frank
Hudson River School
–
Thomas Cole (1801–1848),
The Oxbow, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm, 1836,
The Metropolitan Museum of Art
Hudson River School
–
Thomas Cole, A View of the Two Lakes and Mountain House, Catskill Mountains, Morning,
Brooklyn Museum of Art
Hudson River School
–
Frederic Edwin Church,
Niagara Falls, 1857,
Corcoran Gallery of Art, Washington, DC.
Hudson River School
–
Albert Bierstadt, Among the Sierra Nevada Mountains, California, 1868,
Smithsonian American Art Museum, Washington, DC.
10.
Impressionism
–
Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
Impressionism
–
Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionism
–
Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
–
Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
11.
Newlyn School
–
The Newlyn School was an art colony of artists based in or near Newlyn, a fishing village adjacent to Penzance, Cornwall, from the 1880s until the early twentieth century. The establishment of the Newlyn School was reminiscent of the Barbizon School in France and these schools along with a related California movement were also known as En plein air. Newlyn had a number of things guaranteed to attract artists, fantastic light, cheap living, the artists were fascinated by the fishermens working life at sea and the everyday life in the harbour and nearby villages. Some paintings showed the hazards and tragedy of the life, such as women anxiously looking out to sea as the boats go out. Lamorna Birch was the mover behind the colony and the work done there. The later Forbes School of Painting, founded by Stanhope Forbes and his wife Elizabeth in 1899, a present-day Newlyn School of Art was formed in 2011 with Arts Council funding providing art courses taught by many of the best-known artists working in Cornwall today. J. Lamorna Birch who lived there from 1908, Newlyn School painters include, For a full list see, George Bednar. Every Corner was a Picture, A checklist compiled for the West Cornwall Art Archive of 50 artists from the early Newlyn School painters through to the present, ISBN 1-872229-36-0 Art colony Staithes group Newlyn School Newlyn artists
Newlyn School
–
Walter Langley, Between The Tides, 1901
12.
Toothpaste
–
Toothpaste is a paste or gel dentifrice used with a toothbrush as an accessory to clean and maintain the aesthetics and health of teeth. Salt and sodium bicarbonate are among materials that can be substituted for commercial toothpaste, in addition to 20–42% water, toothpastes are derived from a variety of components, the three main ones being abrasives, fluoride, and detergents. Abrasives constitute at least 50% of a typical toothpaste and these insoluble particles help remove plaque from the teeth. The removal of plaque and calculus helps minimize cavities and periodontal disease, representative abrasives include particles of aluminum hydroxide, calcium carbonate, various calcium hydrogen phosphates, various silicas and zeolites, and hydroxyapatite. Abrasives, like the dental polishing agents used in dentists offices, some brands contain powdered white mica, which acts as a mild abrasive, and also adds a cosmetically pleasing glittery shimmer to the paste. The polishing of teeth removes stains from tooth surfaces, but has not been shown to improve dental health over and above the effects of the removal of plaque, the abrasive effect of toothpaste is indicated by its RDA value. Too high RDA values should be considered critical, and some dentists recommend toothpaste of an RDA value no higher than 50 for daily use, Fluoride in various forms is the most popular active ingredient in toothpaste to prevent cavities. Fluoride occurs in small amounts in plants, animals, and some water sources. The additional fluoride in toothpaste has beneficial effects on the formation of dental enamel, sodium fluoride is the most common source of fluoride, but stannous fluoride, olaflur, and sodium monofluorophosphate are also used. Stannous fluoride has been shown to be effective than sodium fluoride in reducing the incidence of dental caries and controlling gingivitis. Much of the toothpaste sold in the United States has 1,000 to 1,100 parts per million fluoride, in European countries, such as the UK or Greece, the fluoride content is often higher, a NaF content of 0. 312% w/w is common. Many, although not all, toothpastes contain sodium lauryl sulfate or related surfactants, SLS is found in many other personal care products, as well, such as shampoo, and is mainly a foaming agent, which enables uniform distribution of toothpaste, improving its cleansing power. Despite the different ingredients included in the toothpaste, recent study indicates that brushing with or without toothpaste has no impact on the level of plaque removal, triclosan, an antibacterial agent, is a common toothpaste ingredient in the United Kingdom. Triclosan or zinc chloride prevent gingivitis and, according to the American Dental Association, helps reduce tartar, a 2006 review of clinical research concluded there was evidence for the effectiveness of 0. 30% triclosan in reducing plaque and gingivitis. Toothpaste comes in a variety of colors, and flavors intended to use of the product. Three most common flavorants are peppermint, spearmint, and wintergreen, Toothpaste flavored with peppermint-anise oil is popular in the Mediterranean region. These flavors are provided by the oils, e. g. peppermint oil. More exotic flavors include Anethole anise, apricot, bubblegum, cinnamon, fennel, lavender, neem, ginger, vanilla, lemon, orange, hydroxyapatite nanocrystals and a variety of calcium phosphates are included in formulations for remineralization, i. e. the reformation of enamel
Toothpaste
–
Toothpaste from a tube being applied to a toothbrush
Toothpaste
–
Toothpaste is sold in many brands.
Toothpaste
–
Modern toothpaste gel
13.
Pigment
–
A pigment is a material that changes the color of reflected or transmitted light as the result of wavelength-selective absorption. This physical process differs from fluorescence, phosphorescence, and other forms of luminescence, many materials selectively absorb certain wavelengths of light. Materials that humans have chosen and developed for use as pigments usually have properties that make them ideal for coloring other materials. A pigment must have a high tinting strength relative to the materials it colors and it must be stable in solid form at ambient temperatures. For industrial applications, as well as in the arts, permanence, pigments that are not permanent are called fugitive. Fugitive pigments fade over time, or with exposure to light, pigments are used for coloring paint, ink, plastic, fabric, cosmetics, food, and other materials. Most pigments used in manufacturing and the arts are dry colorants. This powder is added to a binder, a neutral or colorless material that suspends the pigment. A distinction is made between a pigment, which is insoluble in its vehicle, and a dye, which either is itself a liquid or is soluble in its vehicle. A colorant can act as either a pigment or a dye depending on the vehicle involved, in some cases, a pigment can be manufactured from a dye by precipitating a soluble dye with a metallic salt. The resulting pigment is called a lake pigment, the term biological pigment is used for all colored substances independent of their solubility. In 2006, around 7.4 million tons of inorganic, organic, asia has the highest rate on a quantity basis followed by Europe and North America. By 2020, revenues will have risen to approx, the global demand on pigments was roughly US$20.5 billion in 2009, around 1. 5-2% up from the previous year. It is predicted to increase in a growth rate in the coming years. The worldwide sales are said to increase up to US$24.5 billion in 2015, pigments appear the colors they are because they selectively reflect and absorb certain wavelengths of visible light. White light is an equal mixture of the entire spectrum of visible light with a wavelength in a range from about 375 or 400 nanometers to about 760 or 780 nm. When this light encounters a pigment, parts of the spectrum are absorbed by the molecules or ions of the pigment, in organic pigments such as diazo or phthalocyanine compounds the light is absorbed by the conjugated systems of double bonds in the molecule. Some of the inorganic pigments such as vermilion or cadmium yellow absorb light by transferring an electron from the ion to the positive ion
Pigment
–
Natural
ultramarine pigment in powdered form
Pigment
–
Synthetic ultramarine pigment is chemically identical to natural ultramarine
Pigment
–
Miracle of the Slave by
Tintoretto (c. 1548). The son of a master
dyer, Tintoretto used Carmine Red Lake pigment, derived from the
cochineal insect, to achieve dramatic color effects.
Pigment
–
Girl with a Pearl Earring by
Johannes Vermeer (c. 1665).
14.
Linseed oil
–
Linseed oil, also known as flaxseed oil or flax oil, is a colourless to yellowish oil obtained from the dried, ripened seeds of the flax plant. The oil is obtained by pressing, sometimes followed by solvent extraction, Linseed oil is a drying oil, meaning it can polymerize into a solid form. Linseed oil use has declined over the past several decades with increased availability of synthetic alkyd resins—which function similarly, Linseed oil is an edible oil in demand as a nutritional supplement, as a source of α-Linolenic acid. In parts of Europe, it is eaten with potatoes. It is regarded as a due to its hearty taste, that enhances the flavour of quark. Linseed oil is a triglyceride, like other fats, Linseed oil is distinctive for its unusually large amount of α-linolenic acid, which has a distinctive reaction with oxygen in air. Having a high content of di- and triunsaturated esters, linseed oil is particularly susceptible to polymerization reactions upon exposure to oxygen in air and this polymerization, which is called drying, results in the rigidification of the material. The drying process can be so exothermic as to pose a fire hazard under certain circumstances, to prevent premature drying, linseed oil-based products should be stored in air-tight containers. Like some other drying oils, linseed oil exhibits fluorescence under UV light after degradation, most applications of linseed oil exploit its drying properties, i. e. the initial material is liquid or at least pliable and the aged material is rigid but not brittle. The water-repelling nature of the resulting hydrocarbon-based material is advantageous, Linseed oil is a common carrier used in oil paint. It can also be used as a medium, making oil paints more fluid, transparent. It is available in such as cold pressed, alkali refined, sun bleached, sun thickened. The introduction of linseed oil was a significant advance in the technology of oil painting, traditional glazing putty, consisting of a paste of chalk powder and linseed oil, is a sealant for glass windows that hardens within a few weeks of application and can then be painted over. The utility of putty is owed to the properties of linseed oil. When used as a finish, linseed oil dries slowly. Linseed oil does not cover the surface as varnish does, but soaks into the pores, leaving a shiny, a linseed oil finish is easily repaired, but it provides no significant barrier against scratching. Only wax finishes are less protective, liquid water penetrates a linseed oil finish in mere minutes, and water vapour bypasses it almost completely. Garden furniture treated with linseed oil may develop mildew, oiled wood may be yellowish and is likely to darken with age
Linseed oil
–
"Your country needs flax.." U.S. WWII poster soliciting linseed oil for use in paint.
15.
Robert Antoine Pinchon
–
Robert Antoine Pinchon was a French Post-Impressionist landscape painter of the Rouen School who was born and spent most of his life in France. He was consistent throughout his career in his dedication to painting en plein air. From the age of nineteen he worked in a Fauve style but never deviated into Cubism, Claude Monet referred to him as a surprising touch in the service of a surprising eye. Among his important works are a series of paintings of the River Seine, mostly around Rouen, Robert Antoine Pinchon was born into an artistic and literary environment. His father, Robert Pinchon, a librarian, journalist, playwright and drama critic, was a friend of Guy de Maupassant. Maupassant and Robert Pinchon co-wrote in 1875 a script for a play entitled A la Feuille de Rose, Maison Turque, on the subject of eroticism and prostitution. The piece was presented officially on 15 May 1877 at the studio of Maurice Leloir, in front of Gustave Flaubert, Émile Zola, Ivan Turgenev and eight elegantly dressed masked women. Since his son showed signs of interest and aptitude in the arts, Robert Antoines father purchased a box of oil paints. An 1898 photograph shows him painting at the age of twelve and he exhibited some of his first paintings in 1900 at fourteen years of age. In 1900 Robert Antoine exhibited a painting in the storefront of a supply store owned by Dejonghe and Dumont in the rue de la République. The art critic Georges Dubosc wrote an article about Pinchons painting in Le Journal de Rouen, Robert Antoine Pinchon studied at Lycée Pierre-Corneille in Rouen at the turn of the century. Two other students in his class also became artists and lasting friends, Marcel Duchamp. Drawing classes at the Lycée were given by the stern and rigorous Philippe Zacharie, in 1879, Zacharie was named professor at the Académie de Peinture et de Dessin, which would later become the École Régionale des Beaux-Arts de Rouen. In February 1903 Marcel Duchamps painted a portrait of his friend Robert Antoine Pinchon, from 15 June through 31 July, at the Salon Municipal des Beaux-arts de Rouen, Pinchon exhibited two paintings, La Lande à Petit-Couronne and La Seine à Croisset. The art critic Charles Hilbert Dufour wrote an article in which he makes mention of the entries by Pinchon. Encouraged by Monets praise, François Depeaux decided to charge of the young artists career. This was the beginning of a relationship that would last until 1920, in 1904 Pinchon designed the cover of a program for the Theatre Normand. The occasion was for a play by Guy de Maupassant, from 18 July to 18 September Pinchon exhibited, this time alongside Luce, Lebourg and Camoin, at the Casino de Dieppe
Robert Antoine Pinchon
–
Photograph of the artist
Robert Antoine Pinchon
–
Robert Antoine Pinchon,
Le Pont aux Anglais, soleil couchant, 1905, oil on canvas, 54 x 73 cm, Musée des Beaux-Arts de Rouen
Robert Antoine Pinchon
–
Robert Antoine Pinchon, 1898, painting Le chemin, oil on canvas, 22 x 32 cm
Robert Antoine Pinchon
–
Robert Antoine Pinchon (left) and his father Robert Pinchon (right)
16.
Easel
–
An easel is an upright support used for displaying and/or fixing something resting upon it, at an angle of about 20° to the vertical. In particular, easels are traditionally used by painters to support a painting while they work on it, normally standing up, and are also sometimes used to display finished paintings. Artists easels are still made of wood, in functional designs that have changed little for centuries, or even millennia, though new materials. Easels are typically made from wood, aluminum or steel and it does not refer to the way the painting is meant to be displayed, most easel paintings are intended for display framed and hanging on a wall. In a photographic darkroom, an easel is used to keep the paper in a flat or upright position to the enlarger. The word easel is an old Germanic synonym for donkey, in various other languages, its equivalent is the only word for both the animal and the apparatus, such as Afrikaans, esel and earlier Dutch, ezel, themselves cognates of the Latin, asinus. Easels have been in use since the time of the ancient Egyptians, in the 1st century, Pliny the Elder made reference to a large panel placed upon an easel. There are three designs for easels, Tripod designs are based on three legs. H-Frame designs are based on right angles, all posts are generally parallel to each other with the base of the easel being rectangular. The main, front portion of the consists of two vertical posts with a horizontal crossbar support, giving the design the general shape of an H. A variation uses additions that allow the angle with respect to the ground to be adjusted. Four extendable armatures securely lock a canvas or drawing board to the easel and this includes bringing the working area directly underneath the brush or pen hand. The front and all four sides of a canvas are untouched by the easel, the easel folds down to a compact size. While painting, it can be moved without the canvas falling off, the ergonomic design aims to remove the physical pain and discomfort experienced when using traditional A- or H-frame easels and offer improved brush control. Consequently, an artist can work faster with no loss of quality and can experiment with different mediums and this easel design allows for it to be used in a studio, outdoors or for display, and was invented and designed by Australian artist and author Tony Barber. An easel can be full height, designed for standing by itself on the floor, shorter easels can be designed for use on a table. Artists easels typically are fully adjustable to accommodate for different angles, most have built-in anti-skid plates on the feet to prevent sliding. They are collapsible and overall very slim in stature to fit in small spaces around the studio, the simplest form of an artists easel, a tripod, consists of three vertical posts joined at one end
Easel
–
An example of a tripod design easel with an inclining mechanism built in
Easel
–
Brisbane Technical College Signwriting class, ca. 1900
Easel
–
Two examples of H-frame easels.
17.
Palette (painting)
–
A palette /ˈpælᵻt/, in the original sense of the word, is a rigid, flat surface on which a painter arranges and mixes paints. A palette is made of wood, plastic, ceramic, or other hard, inert, nonporous material. The most commonly known type of painters palette is made of a wood board designed to be held in the artists hand. Watercolor palettes are made of plastic or porcelain with rectangular or wheel format with built in wells. From the original, literal sense above came a sense by extension, referring to a selection of colors. This second, figurative sense is the one extended in the era to the computing senses of palette. A wet palette is a container with a layer of absorbent material that can be soaked with water. The paint sits on the membrane and is wet by osmosis. The main purpose of the wet palette is to keep acrylic paint, wet palettes are easily made, but can be bought. Color scheme Palette knife Palette, Online Etymology Dictionary Colorpalettes. net, Color Palette Ideas, Color Selection
Palette (painting)
–
An artist's palette
18.
Brief case
–
A briefcase is a narrow hard-sided box-shaped bag or case used mainly for carrying papers and other documents and equipped with a handle. Lawyers commonly use briefcases to carry briefs to present to a court, businesspeople and other professionals also use briefcases to carry usually important papers, and in more recent times electronic devices such as laptop computers and tablets. Briefcases are descendants of the limp satchel used in the century for carrying money. It was called a budget, derived from the Latin word bulga or Irish word bolg, godillot of Paris was the first to use a hinged iron frame on a carpet bag in 1826. There then followed the Gladstone bag and the Rosebery, an oval-top bag, eventually these became the modern metal-framed briefcase. The first of what is known as the modern rectangular briefcase is said to have invented in the late 1850s. In 2014 the global business bag market was $9.4 billion, a portfolio is a handleless case for carrying in the hand or under the arm. A folio case is a portfolio with a retractable handle, an attaché case is a box-style case made of leather, scrunched over a hinged frame that opens into two compartments. It was traditionally carried by an attaché, an officer attached to an embassy or consulate officially assigned to serve in a particular capacity. In recent years, leather pouches with a zipper sealed compartment have been referred to as attachés or poche document holders, backpack Messenger bag Suitcase Tablet case Nuclear briefcase Red box Media related to Briefcases at Wikimedia Commons
Brief case
–
black briefcase
19.
Acrylic paint
–
Acrylic paint is a fast-drying paint made of pigment suspended in acrylic polymer emulsion. Acrylic paints are water-soluble, but become water-resistant when dry, acrylic paint is typically used for crafting, or in art classes in schools because it does not require any chemicals, and rinses away with just water. It also is likely to leave a stain on clothes than oil paint. As early as 1934, the first usable acrylic resin dispersion was developed by German chemical company BASF, the synthetic paint was first used in the 1940s, combining some of the properties of oil and watercolor. Between 1946 and 1949, Leonard Bocour and Sam Golden invented a solution acrylic paint under the brand Magna paint, acrylics were made commercially available in the 1950s. Following that development, Golden came up with an acrylic paint called Aquatec. Otto Röhm invented acrylic resin, which was transformed into acrylic paint. These two product lines were the very first acrylic emulsion artists paints, water-based acrylic paints were subsequently sold as latex house paints, as latex is the technical term for a suspension of polymer microparticles in water. Interior latex house paints tend to be a combination of binder, filler, pigment, exterior latex house paints may also be a co-polymer blend, but the best exterior water-based paints are 100% acrylic, due to elasticity and other factors. Vinyl, however, costs half of what 100% acrylic resins cost, soon after the water-based acrylic binders were introduced as house paints, artists and companies alike began to explore the potential of the new binders. Water-soluble artists acrylic paints were sold commercially by Liquitex beginning in the 1950s, in 1963, Rowney was the first manufacturer to introduce artist’s acrylic paints in Europe, under the brand name Cryla. Before the 19th century, artists mixed their own paints, which allowed them to achieve the color and thickness. While suitable media and raw pigments are available for the production of acrylic paint, hand mixing may not be practical because of the fast drying time. Acrylic painters can modify the appearance, hardness, flexibility, texture, watercolor and oil painters also use various media, but the range of acrylic media is much greater. Acrylics have the ability to bond to many different surfaces, in these cases it is recommended that the surface first be sealed with an appropriate sealer. Acrylics can be applied in layers or washes to create effects that resemble watercolors. They can also be used to build layers of paint—gel and molding paste media are sometimes used to create paintings with relief features that are, quite literally. Acrylic paints are used in hobbies such as train, car, house
Acrylic paint
–
Tubes of acrylic paint (made by
Caran d'Ache).
Acrylic paint
–
Red acrylic paint squeezed from a tube.
Acrylic paint
–
Detail of acrylic painting showing finishes that resemble both oil and watercolor
Acrylic paint
–
Experimental pictures with floating acrylic paint.
20.
Camille Pissarro
–
Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas. His importance resides in his contributions to both Impressionism and Post-Impressionism, Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54, in 1873 he helped establish a collective society of fifteen aspiring artists, becoming the pivotal figure in holding the group together and encouraging the other members. Cézanne said he was a father for me, a man to consult and a little like the good Lord, and he was also one of Gauguins masters. Renoir referred to his work as revolutionary, through his portrayals of the common man. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions and he acted as a father figure not only to the Impressionists but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin. Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St. Thomas to Frederick and his father was of Portuguese Jewish descent and held French nationality. His mother was from a French-Jewish family from the island of St. Thomas and his father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle and married his widow. The marriage caused a stir within St. Thomas small Jewish community because she was married to Fredericks uncle. In subsequent years his four children were forced to attend the primary school. Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas Protestant church, when Camille was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris, while a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas. However, his father preferred he work in his business, giving him a job working as a cargo clerk and he took every opportunity during those next five years at the job to practise drawing during breaks and after work. When he turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired Pissarro to take on painting as a profession, becoming his teacher. Pissarro then chose to leave his family and job and live in Venezuela and he drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks. In 1855 he moved back to Paris where he working as assistant to Anton Melbye. In Paris he worked as assistant to Danish painter Anton Melbye and he also studied paintings by other artists whose style impressed him, Courbet, Charles-François Daubigny, Jean-François Millet, and Corot
Camille Pissarro
–
Circa 1900
Camille Pissarro
–
Paisaje tropical con casas rurales y palmeras, c. 1853.
Galería de Arte Nacional, Caracas
Camille Pissarro
–
Two Women Chatting by the Sea,
St. Thomas, (1856), (private collection)
Camille Pissarro
–
Jalais Hill, Pontoise,
Metropolitan Museum of Art 1867
21.
Pierre-Auguste Renoir
–
Pierre-Auguste Renoir, commonly known as Auguste Renoir, was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has said that Renoir is the final representative of a tradition which runs directly from Rubens to Watteau. He was the father of actor Pierre Renoir, filmmaker Jean Renoir and he was the grandfather of the filmmaker Claude Renoir, son of Pierre. Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, in 1841 and his father, Léonard Renoir, was a tailor of modest means, so in 1844, Renoirs family moved to Paris in search of more favorable prospects. The location of their home, in rue d’Argenteuil in central Paris, although the young Renoir had a natural proclivity for drawing, he exhibited a greater talent for singing. His talent was encouraged by his teacher, Charles Gounod, who was the choir-master at the Church of St Roch at the time. However, due to the financial circumstances, Renoir had to discontinue his music lessons. Although Renoir displayed a talent for his work, he tired of the subject matter. The owner of the factory recognized his apprentice’s talent and communicated this to Renoir’s family, following this, Renoir started taking lessons to prepare for entry into Ecole des Beaux Arts. When the porcelain factory adopted mechanical reproduction processes in 1858, Renoir was forced to other means to support his learning. Before he enrolled in art school, he also painted hangings for overseas missionaries, in 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet, at times, during the 1860s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol, although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition was slow in coming, partly as a result of the turmoil of the Franco-Prussian War. This loss of a favorite painting location resulted in a change of subjects. Renoir was inspired by the style and subject matter of modern painters Camille Pissarro. Although the critical response to the exhibition was largely unfavorable, Renoirs work was well received. That same year, two of his works were shown with Durand-Ruel in London, hoping to secure a livelihood by attracting portrait commissions, Renoir displayed mostly portraits at the second Impressionist exhibition in 1876. He contributed a diverse range of paintings the next year when the group presented its third exhibition, they included Dance at Le Moulin de la Galette
Pierre-Auguste Renoir
–
Pierre-Auguste Renoir
Pierre-Auguste Renoir
–
The Theater Box, 1874,
Courtauld Institute Galleries, London
Pierre-Auguste Renoir
–
Lise Sewing, 1866,
Dallas Museum of Art
Pierre-Auguste Renoir
–
The Swing (La Balançoire), 1876, oil on canvas,
Musée d'Orsay, Paris
22.
Vasily Polenov
–
Vasily Dmitrievich Polenov was a Russian landscape painter associated with the Peredvizhniki movement of realist artists. A native of St. Petersburg, Polenov studied under Pavel Chistyakov and he was a classmate and close friend of Rafail Levitsky, a fellow Peredvizhniki artist and famous photographer. Their letters, which are now stored in the Polenovs House museum, are an account of the many art exhibitions. As bachelors, Polenov and Levitsky lived and worked together in Deviche Pole and this house is illustrated by Polenov in his painting “Grandmothers Garden”. Polenov took part in the Russo-Turkish War as a war artist, returning from the war, he joined the Peredvizhniki, taking part in their mobile exhibitions. His works won the admiration of Pavel Mikhailovich Tretyakov, who acquired many of them for his gallery, in the late 1870s, Polenov concentrated on painting landscapes in the realist tradition of Aleksey Savrasov and Fyodor Vasilyev. He attempted to impart the silent poetry of Russian nature, related to human life. He was one of the first Russian artists who achieved a plein air freshness of color combined with artistic finish of composition, the principles developed by Polenov had a great impact on the further development of Russian landscape painting. Polenovs sketches of the Middle East and Greece paved the way for his masterpiece, Christ and the Sinner, in his works of the 1880s, Polenov tended to combine New Testament subjects with his penchant for landscape. From the 1870s, Polenov also turned to stage design, most notably, he decorated Savva Mamontovs mansion in Abramtsevo and his Russian Private Opera. In 1910-1918, Polenov was involved in a theatre project. Polenov was elected a member of the St. Petersburg Academy of arts in 1893, for many years, he coached young painters in the Moscow School of Painting, Sculpture and Architecture. His pupils included Abram Arkhipov, Isaac Levitan, Konstantin Korovin, Emily Shanks, Polenovs former home in Borok has been designated a national art museum, and the village was renamed Polenovo to commemorate his name. The coordinates of his home/museum approximately two hours south of Moscow are, 54°4453. 19N - 37°148. 46E He died at Polenovo, near Tarusa, media related to Vasiliy Polenov at Wikimedia Commons
Vasily Polenov
–
Portrait by
Ilya Repin.
Vasily Polenov
–
Polenov's celebrated painting of a traditional Russian courtyard (1878).
Vasily Polenov
–
Christ among the Doctors (1896)
23.
Isaac Levitan
–
Isaac Ilyich Levitan was a classical Russian landscape painter who advanced the genre of the mood landscape. Isaac Levitan was born in a shtetl of Kibarty, Augustów Governorate in Congress Poland and his father Elyashiv Levitan was the son of a rabbi, completed a Yeshiva and was self-educated. He taught German and French in Kowno and later worked as a translator at a bridge construction for a French building company. At the beginning of 1870 the Levitan family moved to Moscow, in September 1873, Isaac Levitan entered the Moscow School of Painting, Sculpture and Architecture where his older brother Avel had already studied for two years. After a year in the copying class Isaac transferred into a naturalistic class, Levitans teachers were the famous Alexei Savrasov, Vasily Perov and Vasily Polenov. In 1875, his mother died, and his father seriously ill and became unable to support four children. The family slipped into abject poverty, as patronage for Levitans talent and achievements, his Jewish origins and to keep him in the school, he was given a scholarship. In 1877, Isaac Levitans works were first publicly exhibited and earned recognition from the press. In 1880 his painting Осенний день, Сокольники was bought by famous philanthropist and art collector Pavel Mikhailovich Tretyakov. In the spring of 1884 Levitan participated in the art exhibition by the group known as the Peredvizhniki. Levitan often visited Chekhov and some think Levitan was in love with his sister, in the early 1880s Levitan collaborated with the Chekhov brothers on the illustrated magazine Moscow and illustrated the M. Fabritsius edition Kremlin. Together with Korovin in 1885-1886 he painted scenery for performances of the Private Russian opera of Savva Mamontov, in the 1880s he participated in the drawing and watercolor gatherings at Polenov’s house. Levitans work was a response to the lyrical charm of the Russian landscape. Levitan did not paint urban landscapes, with the exception of the View of Simonov Monastery, mentioned by Nesterov, during work in Ostankino, he painted fragments of the mansion’s house and park, but he was most fond of poetic places in the forest or modest countryside. Characteristic of his work is a hushed and nearly melancholic reverie amidst pastoral landscapes largely devoid of human presence, fine examples of these qualities include The Vladimirka Road,1892 Evening Bells,1892, and Eternal Rest,1894, all in the Tretyakov Gallery. Though his late work displayed familiarity with Impressionism, his palette was generally muted, in the summer of 1890 Levitan went to Yuryevets and among numerous landscapes and etudes he painted The View of Krivooserski monastery. So the plan of one of his best pictures, The Silent Monastery, was born, the image of a silent monastery and planked bridges over the river, connecting it with the outside world, expressed the artists spiritual reflections. It is known that this made a strong impression on Chekhov
Isaac Levitan
–
Issac Levitan, Self portrait, 1880
Isaac Levitan
–
Autumn day.
Sokolniki. 1879
Isaac Levitan
–
Levitan. Portrait by
Valentin Serov (1893)
Isaac Levitan
–
Lake. Russia 1900. The last, unfinished Levitan painting.
24.
Valentin Serov
–
Valentin Alexandrovich Serov was a Russian painter, and one of the premier portrait artists of his era. Serov was born in Saint Petersburg, son of the Russian composer and music critic Alexander Serov, Serovs early creativity was sparked by the realistic art of Repin and strict pedagogical system of Chistyakov. The greatest works of Serovs early period were portraits, The Girl with Peaches, in these paintings Serov concentrated on spontaneity of perception of the model and nature. From 1890 on, the became the basic genre in Serovs art. It was in this field that his style would become apparent. Serovs favorite models were actors, artists, and writers, initially abstaining from the polychromatic, brightly colored painting style of the 1880s, Serov often preferred a dominant scale of black-grey or brown tones. Impressionistic features appeared sometimes in construction of a portrait, or to capture a sense of spontaneous movement. As in the work of his contemporaries John Singer Sargent and Anders Zorn, the impressionism is not doctrinaire, receiving wide popularity, in 1894 Serov joined with the Peredvizhniki, and took on important commissions, among them portraits of grand duke Pavel Alexandrovich, S. M. Botkin,1899, and Felix Yusupov,1903 as well as Princess Olga Orlova, in these truthful, compositionally skillful, and picturesque executions in the grand manner, Serov consistently used linear-rhythmic drawing coupled with decorative color combinations. At the same time, he developed a contrasting direction, he frequently produced intimate, heartfelt, chamber portraits, mainly of children and women. In portraits of children Serov aspired to capture pose and gesture, to reveal and emphasize a spontaneity of internal movement, Serov frequently called upon various graphic techniques - watercolors, pastels, lithographs and so forth. Figures in Serovs portraits gradually became more and more refined and economical. From 1890 to 1900 Serov produced many landscape compositions on country themes, Serov married Olga Trubnikova in 1889. His wife and his children were the subject of many of his works, notably, his painting Children was of his sons Yura and Sasha. M. Gorkis museum, Moscow, Maria Yermolova, Feodor Chaliapin - both in the Tretyakov Gallery, and Helena Roerich, Serovs democratic beliefs were clearly shown during the Revolution from 1905 to 1907, he depicted a number of satirical figures exposing chastisers. A full member of the St. Petersburg Academy of Arts since 1903, in 1905 he resigned as a gesture of protest against the execution of striking workers and their families on 9 January, Bloody Sunday. His late creativity found expression in painting, and depth of comprehension of the historical maintenance of an epoch. The last years of Serovs life were marked by works on themes from classical mythology, while addressing images from the ancient tradition, Serov endowed classical subject matter with a personal interpretation
Valentin Serov
–
Self-portrait, 1880s
Valentin Serov
–
Valentin Serov - Portrait of Princess Olga Orlova
Valentin Serov
–
The girl with
peaches (1887) was the painting that inaugurated Russian
Impressionism.
Valentin Serov
–
Valentin Serov - Portrait of
Helena Roerich, 1909
25.
Konstantin Korovin
–
Konstantin Alekseyevich Korovin was a leading Russian Impressionist painter. Konstantin was born in Moscow to a merchant family officially registered as peasants of Vladimir Gubernia and his father, Aleksey Mikhailovich Korovin, earned a university degree and was more interested in arts and music than in the family business established by Konstantins grandfather. Konstantins older brother Sergei Korovin was a notable realist painter, Konstantins relative Illarion Pryanishnikov was also a prominent painter of the time and a teacher at the Moscow School of Painting, Sculpture and Architecture. In 1875 Korovin entered the Moscow School of Painting, Sculpture and Architecture and his brother Sergei was already a student at the school. During their student years, the Korovins became friends with fellow students Valentin Serov and Isaac Levitan, in 1881–1882, Korovin spent a year at the Imperial Academy of Arts in St. Petersburg, but returned disappointed to the Moscow School of Painting, Sculpture and Architecture. He studied at the school under his new teacher Vasily Polenov until 1886, in 1885 Korovin traveled to Paris and Spain. Paris was a shock for me … Impressionists… in them I found everything I was scolded for back home in Moscow, Polenov introduced Korovin to Savva Mamontovs Abramtsevo Circle, Viktor Vasnetsov, Apollinary Vasnetsov, Ilya Repin, Mark Antokolsky and others. The groups love for stylized Russian themes is reflected in Korovins picture A Northern Idyll, in 1885 Korovin worked for Mamontovs opera house, designing the stage decor for Giuseppe Verdis Aida, Léo Delibes Lakmé and Georges Bizets Carmen. In 1888 Korovin traveled with Mamontov to Italy and Spain, where he produced the painting On the Balcony, Konstantin traveled within Russia, the Caucasus and Central Asia and exhibited with the Peredvizhniki. He painted in the Impressionist, and later in the Art Nouveau, in the 1890s Korovin became a member of the Mir iskusstva art group. Korovins subsequent works were influenced by his travels to the north. In 1888 he was captivated by the northern landscapes seen in The Coast of Norway. His second trip to the north, with Valentin Serov in 1894, Korovin painted a large number of landscapes, Norwegian Port, St. Triphons Brook in Pechenga, Hammerfest, Aurora Borealis, The Coast at Murmansk and others. The paintings are built on a web of shades of grey. The etude style of works was typical for Korovins art of the 1890s. Using material from his trip, Korovin designed the Far North pavilion at the 1896 All Russia Exhibition in Nizhny Novgorod and he painted ten big canvasses for the pavilion as well, depicting various aspects of life in the northern and Arctic regions. After the closure of the Exhibition, the canvasses were eventually placed in the Yaroslavsky Rail Terminal in Moscow, in the 1960s, they were restored and transferred to the Tretyakov Gallery. In 1900 Korovin designed the Central Asia section of the Russian Empire pavilion at the Paris World Fair and was awarded the Legion of Honour by the French government, in the beginning of the 20th century, Korovin focused his attention on the theater
Konstantin Korovin
–
Valentin Serov, Portrait of Konstantin Korovin, 1891
Konstantin Korovin
–
Korovin. On the Balcony, Spanish Women Leonora and Ampara. 1897–1898
Konstantin Korovin
–
St. Triphon 's Brook in
Pechenga. 1894
Konstantin Korovin
–
Twilight in a Room. 1880s
26.
I. E. Grabar
–
Igor Emmanuilovich Grabar was a Russian post-impressionist painter, publisher, restorer and historian of art. Grabar, descendant of a wealthy Rusyn family, was trained as a painter by Ilya Repin in Saint Petersburg and he reached his peak in painting in 1903–1907 and was notable for a peculiar divisionist painting technique bordering on pointillism and his rendition of snow. By the end of 1890s Grabar had established himself as an art critic, in 1902 he joined Mir Iskusstva, although his relations with its leaders Sergei Diaghilev and Mstislav Dobuzhinsky were far from friendly. In 1910–1915 Grabar edited and published his opus magnum, the History of Russian Art, the History employed the finest artists and critics of the period, Grabar personally wrote the issues on architecture that set an unsurpassed standard of understanding and presenting the subject. Concurrently he wrote and published a series of books on contemporary, in 1913 he was appointed executive director of the Tretyakov Gallery and launched an ambitious reform program that continued until 1926. Grabar diversified the Tretyakov collection into modern art and in 1917 published its first comprehensive catalogue, in 1921 Grabar became the first professor of Art restoration at the Moscow State University. An experienced politician, Grabar stayed at the top of the Soviet art establishment until his death and he managed art-restoration workshops during 1918–1930 and from 1944 to 1960. Grabar took active part in redistribution of former church art nationalized by the Bolsheviks, in 1943 he formulated the Soviet doctrine of compensating World War II losses with art looted in Germany. After the war, he personally advised Joseph Stalin on the preservation of architectural heritage, Emmanuil Hrabar, father of Igor Grabar and his older brothers Bela and Vladimir, was an ethnic Rusyn lawyer and a polician of pro-Russian orientation. Olga Hrabar, mother of Igor and Vladimir, was a daughter of Rusyn pro-Russian, according to Igor Grabars memoirs, Dobryansky ran an underground network of obedient followers, the 1869 election was merely a means of shielding his son-in-law from prosecution. Dobryansky praised the suppression of the Hungarian Revolution of 1848 by Russian troops, in the early 1870s the Hungarian government forced Emmanuil Hrabar to leave the country. Olga with children stayed under police surveillance at the Dobryansky manor in Čertižné, in 1880 the Hrabars temporarily reunited in Russia. Emmanuil passed qualification test to teach German and French and settled with Igor and she was acquitted for lack of evidence and emigrated to Russia for the rest of her life. In Russia the Hrabars lived under nom de guerre Hrabrov, Igor Grabar restored his real surname in the early 1890s, Grabar attended high school in Yegoryevsk, where his father taught foreign languages. The stream of publications that followed the 1881 murder of Alexander II of Russia gave him the first impetus to draw. In 1882 the Hrabars relocated to Kiev, closer to the trial of their mother and grandfather, later in the same year. He sent Igor to Mikhail Katkovs boarding school in Moscow, the schoolmaster waived tuition fee to a fellow slavophile, strapped for cash, he painted portraits of fellow students for a fee. His illustrations to books by Nikolay Gogol, signed Igor Hrabrov, inspired the young Aleksandr Gerasimov and he later complained that tabloid bohemianism completely overwhelmed him
I. E. Grabar
–
Portrait of Grabar by
Boris Kustodiev, 1916.
I. E. Grabar
–
Portrait of Emmanuil Hrabar by Igor Grabar, 1895.
I. E. Grabar
–
The Fat Women (1904).
I. E. Grabar
–
Snow in March, 1904.
27.
Old World
–
The Old World consists of Africa, Europe, and Asia, regarded collectively as the part of the world known to Europeans before contact with the Americas. It is used in the context of, and contrast with and these regions were connected via the Silk Road trade route, and they have a pronounced Iron Age period following the Bronze Age. The concept of the three continents in the Old World, viz. Asia, Africa, and Europe, goes back to classical antiquity and their boundaries as defined by Ptolemy and other geographers of antiquity were drawn along the Nile and Don rivers. This definition remained influential throughout the Middle Ages and the Early Modern period, the Old world has areas of North Africa, Eurasia, parts of Papua New Guinea and Solomon Islands. The mainland of Afro-Eurasia has been referred to as the World Island, the term may have been coined by Sir Halford John Mackinder in The Geographical Pivot of History. The equivalent of the Old World had names in some of its ancient cultures, including Midgard in Germanic cosmology, synoptic table of the principal old world prehistoric cultures Afro-Eurasia
Old World
–
Map of the "Old World" (the
Ptolemy world map in a 15th-century copy)
28.
American Impressionism
–
American Impressionism was a style of painting related to European Impressionism and practiced by American artists in the United States during the late 19th and early 20th centuries. American Impressionism is a style of painting characterized by loose brushwork, Impressionism emerged as an artistic style in France in the 1860s. Major exhibitions of French impressionist works in Boston and New York in the 1880s introduced the style to the American public. Some of the first American artists to paint in a mode, such as Theodore Robinson, did so in the late 1880s after visiting France. Others, such as Childe Hassam, took notice of the numbers of French impressionist works at American exhibitions. From the 1890s through the 1910s, American impressionism flourished in art colonies—loosely affiliated groups of artists who lived and worked together and shared a common aesthetic vision. Art colonies tended to form in small towns that provided affordable living, abundant scenery for painting, some American art colonies remained vibrant centers of impressionist art into the 1920s. However, impressionism in America lost its status in 1913 when a historic exhibition of modern art took place at the 69th Regiment Armory building in New York City. Prominent impressionist painters, from the United States include, Impressionism Pennsylvania Impressionism Hoosier Group Richmond Group Ten American Painters Gerdts, California Art,450 Years of Painting and Other Media. The Irvine Museum and Georgia Museum of Art, New York, the National Academy of Design. Weinberg, Barbara H. Childe Hassam, American Impressionist, New York, The Metropolitan Museum of Art. Plein Air Painters of California, The North, plein Air Painters of California, The Southland. Philadelphia, James A. Michener Art Museum and University of Pennsylvania Press
American Impressionism
–
Frank W. Benson, Eleanor Holding a Shell,
North Haven, Maine, 1902, private collection.
American Impressionism
–
Theodore Robinson, Low Tide
Riverside Yacht Club, (1894), Collection of Margaret and Raymond Horowitz
American Impressionism
–
Mary Cassatt, Lilacs in a Window, 1880
American Impressionism
–
Childe Hassam,
Celia Thaxter 's Garden, 1890,
The Metropolitan Museum of Art,
New York City
29.
Old Lyme
–
Old Lyme is a town in New London County, Connecticut, United States. The Main Street of the town, Lyme Street, is a historic district, the town has long been a popular summer resort and artists colony. The town is named after Lyme Regis, England, the US headquarters of Sennheiser is located in Old Lyme, as is Callaway Cars, the Florence Griswold Museum, the Lyme Academy College of Fine Arts, and the Lyme Art Association. Old Lyme and its neighboring town Lyme are the namesake for Lyme disease, the town of Old Lyme contains several villages, including Black Hall, Laysville, Lyme, Soundview, and South Lyme. The total population of the town was 7,603 at the 2010 census, Old Lyme is a community of about 7,600 permanent residents, in addition to several thousand seasonal vacationers who occupy a seaside community of summer residences. It is located on the east bank of the Connecticut River at its confluence with the Long Island Sound, numerous examples of Colonial and Federal architecture can be found throughout the town. The town of Lyme was set off from Saybrook, which is on the west bank of the river mouth, South Lyme was later incorporated from Lyme in 1855, then renamed Old Lyme in 1857 because it contains the oldest-settled portion of the Lymes. Old Lyme occupies about 27 square miles of shoreline, tidal marsh, inland wetlands and its neighbor to the north is the town of Lyme, and to the east is East Lyme. Other placenames from the root are Hadlyme and South Lyme. The placename Lyme derives from Lyme Regis, a port on the coast of Dorset, England. The picturesque Old Lyme Cemetery contains the graves of the original settlers, the Duck River flows through the cemetery and into the Connecticut River at Watch Rock Park. The Lyme in Lyme disease was named after the town and it was discovered in 1975 after a mysterious outbreak of what appeared to be juvenile rheumatoid arthritis in children who lived in Lyme and Old Lyme. See main page Old Lyme Art Colony The Florence Griswold House in Old Lyme housed an art colony for years in the early 20th century to many prominent American Impressionist painters. The Lyme Art Colony included Childe Hassam, Edward Charles Volkert, Willard Metcalf, Wilson Irvine and these artists made Old Lyme a thriving art community, which still continues today. The Griswold House was transformed into an art museum, the Florence Griswold Museum, or affectionately called Flo Gris, the building of the Old Lyme Congregational Church is known for the many paintings that have been made of it, most notably by Childe Hassam. Bennett Rockshelter Florence Griswold House and Museum —96 Lyme St, Lieutenant River III Site Lieutenant River IV Site Lieutenant River No. served as a U. S. Representative, U. S. Senator, and the 85th Governor of Connecticut. He unsuccessfully sought the Republican nomination for President in 1980. According to the United States Census Bureau, the town has an area of 28.8 square miles, of which 23.1 square miles is land and 5.7 square miles
Old Lyme
–
Seal
Old Lyme
–
View of the
Connecticut River in Old Lyme near its mouth at
Long Island Sound
Old Lyme
–
Church at Old Lyme, oil on canvas,
Childe Hassam, 1905
Old Lyme
–
Barefoot tourists
30.
Guy Rose
–
Guy Orlando Rose was an American Impressionist painter and California resident who received national recognition in the late 19th and early 20th centuries. Guy Orlando Rose was born March 3,1867 in San Gabriel and he was the seventh child of Leonard John Rose and Amanda Jones Rose. His father was a prominent California senator and he and his wife raised their large family on an expansive Southern California ranch and vineyard – the San Gabriel Valley town of Rosemead bears the family name. In 1876 young Guy Rose was accidentally shot in the face during a trip with his brothers. While recuperating he began to sketch and use watercolors and oil paints, on September 12,1888, Rose enrolled at the Académie Julian in Paris and studied with Benjamin-Constant, Jules Lefebvre, Lucien Doucet and Jean-Paul Laurens while in Paris. In 1888-89, he won a scholarship at the Académie Delacluse and contributed religious and figural studies as well as landscapes to the Paris Salons in 1890,1891,1894,1900, and 1909. He met fellow students Frank Vincent and Frederick Melville at the Académie Julian – Frank Vincent, Rose lived in New York, New York in the 1890s and illustrated for Harpers, Scribners, and Century. Choosing to return to France in 1899, he and his wife Ethel Rose bought a cottage at Giverny, in 1900 he resided in Paris and spent the winter in Briska, Algeria where he painted three known paintings. From 1904 to 1912 husband and wife lived in Giverny and his works from this show the influence of the master Claude Monet. In 1913-1914 the Roses summered in and held an outdoor sketching school at Narragansett, suffering on and off again from the effects of lead poisoning, Rose and his wife moved permanently to Los Angeles, California in 1914. Between 1918 and 1920 the Roses not only painted in Carmel-by-the-Sea, California as summer residents, in 1919 they leased the Carmel cottage of artist Alice Comins. Guy’s oils appeared at the Thirteenth and Fourteenth Annual Exhibitions of the Carmel Arts and Crafts Club in 1919 and 1920, at the latter he displayed The Beach and The Point. In the fall of 1921 his two Carmel paintings at the Hotel Del Monte Art Gallery in Monterey were said to “possess the charm of the subject, in Los Angeles, Guy Rose taught and served as Director of the Stickney Memorial School of Art in Pasadena. In 1921 he suffered a stroke that left him paralyzed. Guy Rose died in Pasadena, California on November 17,1925, in 1926 the Stendahl Gallery held a memorial exhibition of his works. Karges Fine Art Guy Rose at The Athenaeum Monterey Coast, Huntington Library, near Pasadena, California
Guy Rose
–
Guy Rose in
Giverny, 1890
Guy Rose
–
Marguerite, ca. 1900
Guy Rose
–
On the River, 1908
Guy Rose
–
The Blue Kimono, 1909
31.
Robert William Wood
–
Robert William Wood was an American landscape painter. He was born in England, emigrated to the United States and he was active in the art colonies of San Antonio, Texas in the 1930s, Monterey, California in the 1940s and Laguna Beach in the 1950s. Robert William Wood was born in Sandgate, Kent, England, after emigrating from England in 1910, he roamed the United States from Maine to California in search of landscape subjects. He eventually settled in Laguna Beach, California in 1940 and his popularity made him a household name in America. Millions of his reproductions were printed in editions by a number of publishers. Titles like Autumn Bronze, Early Spring, Pine & Birch, Texas Spring, and The Old Mill are found in homes across North America. He lived in rural Ohio, Seattle, Washington, Portland, Oregon, San Antonio, Texas, Monterey, California, Laguna Beach, California, Woodstock, New York, San Diego, California, and Bishop, California. He was an exhibitor at the Laguna Art Festival and a Life Member of the Laguna Art Association. He was represented by galleries in Laguna Beach, Los Angeles, San Antonio, Dallas, Austin, Pittsburgh, Philadelphia, Atlanta, Wood moved to the Owens Valley in Bishop, California in the early 1960s with his wife, the artist Caryl Wood. On a large parcel of land with its own trout pond, the Woods sold the property to move to San Diego, where they restored a Victorian home. After a few years in San Diego, they returned to Bishop, Wood was an extremely facile painter and his artistic production was substantial, in excess of 5,000 completed works. His work is sold at galleries specializing in historic American art and is frequently at auction. Wood, unpublished essay, West Hollywood, California,2007 Interview with Howard E, & Mrs. Fred T. Hogan,1974 Hagen, Raymond, Robert Wood Exhibition,1970 Website devoted to Robert W. Wood Mount Shasta as a visual resource Texasbluebonnetpainters website
Robert William Wood
–
Robert W. Wood
32.
Group of Seven (artists)
–
The Group of Seven, also known as the Algonquin School, was a group of Canadian landscape painters from 1920 to 1933, originally consisting of Franklin Carmichael, Lawren Harris, A. Y. Jackson, Frank Johnston, Arthur Lismer, J. E. H. MacDonald, later, A. J. Casson was invited to join in 1926, Edwin Holgate became a member in 1930, and LeMoine FitzGerald joined in 1932. Two artists commonly associated with the group are Tom Thomson and Emily Carr, although he died before its official formation, Thomson had a significant influence on the group. Emily Carr was also associated with the Group of Seven. The Group was succeeded by the Canadian Group of Painters in the 1933, the Art Gallery of Ontario, in its earlier incarnation as the Art Gallery of Toronto, was the site of their first exhibition as the Group of Seven. The McMichael was founded by Robert and Signe McMichael, who began collecting paintings by the Group of Seven and their contemporaries in 1955. Tom Thomson, J. E. H. MacDonald, Arthur Lismer, Frederick Varley, Frank Johnston, in 1913, they were joined by A. Y. Jackson and Lawren Harris. They often met at the Arts and Letters Club of Toronto to discuss their opinions and this group received monetary support from Harris and Dr. James MacCallum. Harris and MacCallum jointly built the Studio Building in 1914 in the Rosedale ravine to serve as a meeting and working place for the new Canadian art movement. MacCallum owned land on Georgian Bay and Thomson worked as a guide in nearby Algonquin Park, the informal group was temporarily split up during World War I, during which Jackson and Varley became official war artists. A further blow to the group came in 1917 when Thomson died while canoeing in Algonquin Park and he appeared to have suffered a blow to the head and showed no signs of drowning. The circumstances of his death remain mysterious, the seven who formed the original group reunited after the war. They continued to travel throughout Ontario, especially the Muskoka and Algoma regions, sketching the landscape, in 1919, they decided to make themselves into a group devoted to a distinct Canadian form of art which didnt exist yet, and began to call themselves the Group of Seven. It is unknown who specifically chose these seven men, but it is believed to have been Harris, by 1920, they were ready for their first exhibition thanks to the constant support and encouragement of Eric Brown, the director of the National Gallery at that time. Prior to this, many believed the Canadian landscape was not worthy of being painted. Reviews for the 1920 exhibition were mixed, but as the decade progressed the Group came to be recognized as pioneers of a new, Canadian, after Frank Johnston left the group in 1920 to move to Winnipeg, A. J. Casson was invited to join in 1926. Franklin Carmichael had taken a liking to him and had encouraged Casson to sketch, the Groups champions during its early years included Barker Fairley, a co-founder of Canadian Forum magazine, and the warden of Hart House at the University of Toronto, J. Burgon Bickersteth. The members of the Group began to travel elsewhere in Canada for inspiration, including British Columbia, Quebec, Nova Scotia, after Samuel Gurney Cresswell and other painters on Royal Navy expeditions, these were the first artists of European descent who depicted the Arctic
Group of Seven (artists)
–
Frederick Varley,
A. Y. Jackson,
Lawren Harris,
Barker Fairley,
Frank Johnston,
Arthur Lismer, and
J. E. H. MacDonald. Image ca. 1920, F 1066, Archives of Ontario, I0010313.
Group of Seven (artists)
–
Red Maple, 1914, by A.Y. Jackson
Group of Seven (artists)
–
Gas Chamber at Seaford a piece of war art by Frederick Varley
33.
Tom Thomson
–
Thomas John Tom Thomson was an influential Canadian artist of the early 20th century. Thomson died under mysterious circumstances on Canoe Lake in Algonquin Park, Thomas John Tom Thomson was born near Claremont, Ontario to John and Margaret Thomson and grew up in Leith, Ontario, near Owen Sound. In 1899, he entered a machine shop apprenticeship at a foundry owned by William Kennedy. He was fired from his apprenticeship by a foreman who complained of Thomsons habitual tardiness, also in 1899, he volunteered to fight in the Second Boer War, but was turned down because of a medical condition. Thomson was reputed to have been refused entry into the Canadian Expeditionary Force for service in the First World War also and he served as a fire ranger in Algonquin Park during this time. In 1901, he enrolled in a college in Chatham, Ontario, but dropped out eight months later to join his older brother, George Thomson. There he met and had a summer romance with Alice Elinor Lambert. In 1904, he returned to Canada, and may have studied with William Cruikshank, settling in Toronto, Thomson joined Legg Brothers, a photo-engraving firm. In late 1908/early 1909, Thomson joined Grip Ltd. an artistic design firm in Toronto, in fall 1912, Thomson left Grip with several other designers to work at another Toronto firm, Rous & Mann. Thomson first visited Algonquin Park in May 1912, there after he often traveled around Ontario with his colleagues, especially to the wilderness of Ontario, which was to be a major source of inspiration for him. In 1912 he began working, along with artists who would go on to form the Group of Seven after his death, at Rous and Mann Press. He first exhibited with the Ontario Society of Artists in 1913 and he would continue to exhibit with the Ontario Society until his death. In 1914 the National Gallery of Canada began acquiring his paintings, for several years he shared a studio and living quarters with fellow artists. Beginning in 1914 he worked intermittently as a fighter, ranger, and guide in Algonquin Park. During the next three years, he produced many of his most famous works, including The Jack Pine, The West Wind and he was employed as a graphic designer with Torontos Grip Ltd. an experience which honed his draughtsmanship. Although he began painting and drawing at an age, it was only in 1912, when Thomson was well into his thirties. His first trips to Algonquin Park inspired him to follow the lead of fellow artists in producing oil sketches of scenes on small. Thomson peaked creatively between 1914 and 1917 and he was aided by the patronage of Toronto physician James MacCallum, who enabled Thomsons transition from graphic designer to professional painter
Tom Thomson
–
Tom Thomson
Tom Thomson
–
Tom Thomson's Forest Undergrowth
Tom Thomson
–
Tom Thomson's
The Jack Pine 1916–17
Tom Thomson
–
Tom Thomson's Pine Island,
Georgian Bay
34.
Henri Biva
–
Henri Biva was a French artist, known for his landscape paintings and still lifes. He focused primarily on the suburbs of Paris, painting outdoors in the plein-air tradition. Bivas pictures are characterized by strokes and a pure palette bathed with warm natural light. The artist was a member of the Société des Artistes Français, Henri Biva was born in Montmartre at 18 rue du Vieux Chemin de Paris. His official date of birth is 23 January 1848 and he grew up in an artistic environment, both within his own family and in the neighborhood in which he lived. His younger brother Paul Biva also became a painter, as would Henri Bivas son Lucien Biva, in 1873 Biva studied at the École des Beaux-Arts in Paris, where many famous artists in Europe were trained. His teachers included Léon Tanzi, an esteemed Realist painter, a trace of both instructors can be contemplated in Bivas work. These combined influences explain the skillfully controlled artistry of Henri Biva, shortly thereafter, during the latter half of the 1870s, Henri Biva began showing his works in the Parisian salons, while enjoying sufficient commercial success to make his living. At the Salon de 1879 Biva exhibited two paintings, Les roses du parc and Pavillon dété du Chateau de Villeneuve-lÉtang, numbers 293 and 294 in the catalogue. Unlike contemporaries such as Pissarro or Monet, Bivas landscapes suggest a time before industrialization when no railroad or factory disrupted rural vistas, rather, these images show no evidence of human activity at all except for the occasional fisherman drowsing by the riverside. Three years later, in 1895, he received a class medal, and in 1896. With this third award in place, he was no longer obligated to submit his work to the jury for acceptance. The turn of the century brought Biva continued success and public renown and his landscapes and flower paintings, still widely sought after by art collectors, gradually evolved into more meditative images. In 1886 Biva exhibited three works, including Une rue de Ville-dAvray, La Nuit, at the Exposition Internationale de Blanc et Noir. Bivas was awarded the Médaille de bronze at the Exposition Universelle, inviting the attention of the Purchasing Committee and this honorable accomplishment appears to have stimulated further commercial success in the years leading up to World War I. Following the war years, Bivas sales rebounded as he continued exhibiting paintings throughout the 1920s, Biva exhibited his painting in the Salons des Artistes Francais, Paris, in 1900,1903,1904 and 1905. In 1923 Henri Biva was elected vice-president of the Salon dHiver, founded in 1897, Biva continued to show regularly in Paris, with a conspicuous break during World War I. According to his certificate, Biva died 2 February 1929 at his home in Paris,72 rue du Château-dEau
Henri Biva
–
1903, Villeneuve-l'Etang
Henri Biva
–
Henri Biva, ca 1905-06,
Matin à Villeneuve (From Waters Edge), oil on canvas, 153.7 x 127 cm (60.5 x 50 in), painted at Villeneuve l'Etang, Marnes-la-Coquette (Seine-et-Oise), France, private collection
Henri Biva
–
Henri Biva, By the river, signed Henri Biva (lower left) oil on canvas, 122 by 162 cm
Henri Biva
–
Henri Biva, Bord de rivière ensoleillé, signed Henri Biva (lower left), oil on canvas, 53.3 by 59.7 cm
35.
Mary Cassatt
–
Mary Stevenson Cassatt was an American painter and printmaker. She was born in Pennsylvania, but lived much of her life in France. Cassatt often created images of the social and private lives of women and she was described by Gustave Geffroy in 1894 as one of les trois grandes dames of Impressionism alongside Marie Bracquemond and Berthe Morisot. Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh and she was born into an upper-middle-class family, Her father, Robert Simpson Cassat, was a successful stockbroker and land speculator. He was descended from the French Huguenot Jacques Cossart, who came to New Amsterdam in 1662 and her mother, Katherine Kelso Johnston, came from a banking family. Katherine Cassatt, educated and well-read, had a influence on her daughter. The ancestral name had been Cossart, a distant cousin of artist Robert Henri, Cassatt was one of seven children, of whom two died in infancy. One brother, Alexander Johnston Cassatt, later president of the Pennsylvania Railroad. The family moved eastward, first to Lancaster, Pennsylvania, then to the Philadelphia area, Cassatt grew up in an environment that viewed travel as integral to education, she spent five years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad she learned German and French and had her first lessons in drawing and it is likely that her first exposure to French artists Ingres, Delacroix, Corot, and Courbet was at the Paris World’s Fair of 1855. Also in the exhibition were Degas and Pissarro, both of whom were later her colleagues and mentors, though her family objected to her becoming a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15. Part of her parents concern may have been Cassatts exposure to feminist ideas, although about 20 percent of the students were female, most viewed art as a socially valuable skill, few of them were determined, as Cassatt was, to make art their career. She continued her studies from 1861 through 1865, the duration of the American Civil War, among her fellow students was Thomas Eakins, later the controversial director of the Academy. Impatient with the pace of instruction and the patronizing attitude of the male students and teachers. She later said, There was no teaching at the Academy, female students could not use live models, until somewhat later, and the principal training was primarily drawing from casts. Cassatt decided to end her studies, At that time, no degree was granted, after overcoming her fathers objections, she moved to Paris in 1866, with her mother and family friends acting as chaperones. The museum also served as a place for Frenchmen and American female students. In this manner, fellow artist and friend Elizabeth Jane Gardner met, toward the end of 1866, she joined a painting class taught by Charles Chaplin, a noted genre artist
Mary Cassatt
–
Self-portrait by Mary Cassatt, c. 1878,
gouache on paper, 23⅝ × 16 3/16 in.,
Metropolitan Museum of Art,
New York
Mary Cassatt
–
Young Woman in a Black and Green Bonnet, 1890,
Princeton University Art Museum
Mary Cassatt
–
The Boating Party by Mary Cassatt, 1893–94, oil on canvas, 35½ × 46 in.,
National Gallery of Art, Washington
Mary Cassatt
–
Tea by Mary Cassatt, 1880, oil on canvas, 25½ × 36¼ in.,
Museum of Fine Arts, Boston
36.
William Merritt Chase
–
William Merritt Chase was an American painter, known as an exponent of Impressionism and as a teacher. He is also responsible for establishing the Chase School, which later would become Parsons The New School for Design. William Merritt Chase was born on November 1,1849, in Williamsburg, Indiana, to the family of Sarah Swain and David H. Chase, Chases father moved the family to Indianapolis in 1861, and employed his son as a salesman in the family business. Chase showed an early interest in art, and studied under local, self-taught artists Barton S. Hays, after a brief stint in the Navy, Chases teachers urged him to travel to New York to further his artistic training. In 1870, declining family fortunes forced Chase to leave New York for St. Louis, Missouri, while he worked to help support his family he became active in the St. Louis art community, winning prizes for his paintings at a local exhibition. He also exhibited his first painting at the National Academy in 1871 and he studied under Alexander von Wagner and Karl von Piloty, and befriended American artists Walter Shirlaw, Frank Duveneck, and J Frank Currier. In Munich, Chase employed his rapidly burgeoning talent most often in figurative works that he painted in the loosely brushed style popular with his instructors, home in America, he exhibited his painting Ready for the Ride with the newly formed Society of American Artists in 1878. He also opened a studio in New York in the Tenth Street Studio Building and he was a member of the Tilers, a group of artists and authors, among whom were some of his notable friends, Winslow Homer, Arthur Quartley and Augustus Saint Gaudens. In 1881, friend and artist William Preston Phelps travelled back to Europe to team up with Chase to go on a tour of Italy, Venice. Chase cultivated multiple personae, sophisticated cosmopolitan, devoted family man, Chase married Alice Gerson in 1887 and together they raised eight children during Chases most energetic artistic period. His eldest daughters, Alice Dieudonnee Chase and Dorothy Bremond Chase, in New York City, however, Chase became known for his flamboyance, especially in his dress, his manners, and most of all in his studio. At Tenth Street, Chase had moved into Albert Bierstadts old studio and had decorated it as an extension of his own art, Chase filled the studio with lavish furniture, decorative objects, stuffed birds, oriental carpets, and exotic musical instruments. The studio served as a point for the sophisticated and fashionable members of the New York City art world of the late 19th century. By 1895 the cost of maintaining the studio, in addition to his residences, forced Chase to close it. In addition to his painting, Chase actively developed an interest in teaching, initially he took on private pupils, among his first being Dora Wheeler, a student from 1879 to 1881 who became a professional artist and a lifelong friend. Later, somewhat against his will, he was persuaded to take charge of an art-school at Shinnecock Hills, “ At the instigation of Mrs. William Hoyt, Chase opened the Shinnecock Hills Summer School on eastern Long Island, New York in 1891. Chase adopted the plein air method of painting, and often taught his students in outdoor classes and he also opened the Chase School of Art in 1896, which became the New York School of Art two years later with Chase staying on as instructor until 1907. Along with Robert Henri, who became an instructor, Chase was the most important teacher of American artists around the turn of the 20th century
William Merritt Chase
–
William Merritt Chase in 1900
William Merritt Chase
–
Self portrait, 1915–16, oil on canvas,
Richmond Art Museum
William Merritt Chase
–
"Keying Up" – The Court Jester,
Pennsylvania Academy of the Fine Arts
William Merritt Chase
–
Studio Interior, c. 1882,
Brooklyn Museum
37.
John Constable
–
John Constable, RA was an English Romantic painter. Born in Suffolk, he is principally for his landscape paintings of Dedham Vale. I should paint my own places best, he wrote to his friend John Fisher in 1821, painting is and his most famous paintings include Wivenhoe Park of 1816, Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art and he did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more works than in his native England, John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann Constable. His father was a corn merchant, owner of Flatford Mill in East Bergholt and, later. Golding Constable owned a ship, The Telegraph, which he moored at Mistley on the Stour estuary. He was a cousin of the London tea merchant, Abram Newman, although Constable was his parents second son, his older brother was intellectually disabled and John was expected to succeed his father in the business. After a brief period at a school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the business after leaving school, but his younger brother Abram eventually took over the running of the mills. In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk and Essex countryside, which was to become the subject of a large proportion of his art. These scenes, in his own words, made me a painter, and I am grateful, the sound of water escaping from mill dams etc. willows, old planks, slimy posts. He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, in 1799, Constable persuaded his father to let him pursue a career in art, and Golding granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended classes and anatomical dissections. Among works that inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci. He also read widely among poetry and sermons, and later proved a notably articulate artist, by 1803, he was exhibiting paintings at the Royal Academy. In 1802 he refused the position of drawing master at Great Marlow Military College, Constables usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He made occasional trips further afield, in 1803 he spent almost a month aboard the East Indiaman ship Coutts as it visited south-east ports, and in 1806 he undertook a two-month tour of the Lake District
John Constable
–
John Constable by
Daniel Gardner, 1796
John Constable
–
Dedham Vale (1802)
John Constable
–
Wivenhoe Park (1816)
John Constable
–
Maria Bicknell, painted by Constable in 1816
38.
Lovis Corinth
–
Lovis Corinth was a German artist and writer whose mature work as a painter and printmaker realized a synthesis of impressionism and expressionism. Corinth studied in Paris and Munich, joined the Berlin Secession group and his early work was naturalistic in approach. Corinth was initially antagonistic towards the expressionist movement, but after a stroke in 1911 his style loosened and his use of color became more vibrant, and he created portraits and landscapes of extraordinary vitality and power. Corinths subject matter also included nudes and biblical scenes, Corinth was born Franz Heinrich Louis on 21 July 1858 in Tapiau, in Prussia. The son of a tanner, he displayed a talent for drawing as a child, in 1876 he went to study painting in the academy of Königsberg. Initially intending to become a painter, he was dissuaded from this course by his chief instructor at the academy. In 1880 he traveled to Munich, which rivaled Paris as the art center in Europe at the time. There he studied briefly with Franz von Defregger before gaining admittance to the Academy of Fine Arts Munich, the realism of Corinths early works was encouraged by Löfftzs teaching, which emphasized careful observation of colors and values. Other important influences were Courbet and the Barbizon school, through their interpretation by the Munich artists Wilhelm Leibl, except for an interruption for military service in 1882–83, Corinth studied with Löfftz until 1884. He concentrated especially on improving his skills, and made the female nude his frequent subject. He was disappointed, however, in his failure to win a medal at the Salon. In 1891, Corinth returned to Munich, but in 1892 he abandoned the Munich Academy, in 1894 he joined the Free Association, and in 1899 he participated in an exhibition organized by the Berlin Secession. These nine years in Munich were not his most productive, Corinth moved to Berlin in 1900, and had a one-man exhibition at a gallery owned by Paul Cassirer. In 1902 at the age of 43, he opened a school of painting for women and married his first student, Charlotte Berend, Charlotte was his youthful muse, his spiritual partner, and the mother of his two children. She had a influence on him, and family life became a major theme in his art. He published numerous essays on art history, and in 1908 published Das Erlenen der Malerei, in December 1911, he suffered a stroke, and was partially paralyzed on his left side. Thereafter he walked with a limp, and his hands displayed a chronic tremor, with the help of his wife, within a year he was painting again with his right hand. His disability inspired in the artist an intense interest in the simple, in the summer of 1919, for example, he produced a cycle of casual etchings of his family in their country home
Lovis Corinth
–
Self-portrait with Skeleton, 1896, oil on canvas, 66 x 86 cm, Städtische Galerie im Lenbachhaus
Lovis Corinth
–
The Artist and His Family, 1909, oil on canvas, Niedersächsisches Landesmuseum,
Hanover
Lovis Corinth
–
Morning Sunshine, 1910, Hessian State Museum, Darmstadt
Lovis Corinth
–
Susanna and the Elders, 1923,
Lower Saxony State Museum
39.
William Didier-Pouget
–
William Didier-Pouget was a French artist, born in 1864, Toulouse, France, known for his landscape paintings. He focused primarily on the countryside of southern France, infusing his landscapes, always painted outdoors, with light, Didier-Pouget is associated with the later phase of Impressionism, although not actually identified with the group of artists typically known as the Impressionists. His career as an exhibiting artist stems from 1886 onwards and he was a member of the Société des Artistes Français, a member of lÉcole de Crozant and Société des Peintres de Montagne. Also, laureate of lInstitut au Concours Troyon, Officer of the order of Nichan Iftikar, William Didier-Pouget was the son of a newspaper editor. Antoine Paul Jules Edgar Pouget, a lover, encouraged William in his ambition to become an artist. The two would take long walks together, the elder pointing out natural phenomena while discussing methods of their pictorial representation. He related biographical details of the artists, past and present. Didier-Pouget began his art training at the École des Beaux-Arts in the city of Toulouse. He later studied at the Académie de Paris with Amédée Baudit, the famed French landscape painter and he later studied with Louis-Augustin Auguin, an associate of Gustave Courbet and Jean-Baptiste Corot. Ultimately, Didier-Pouget was accepted into the studio of Maxime Lalanne, under these influences many profitable years followed. The seeds were sown for what would become Didier-Pougets fruitful career as an artist, William Didier-Pouget married Caroline Salley and had a daughter, Yvonne. Yvonne Aubert-Didier-Pouget became an artist painter and miniaturist, in Toulouse, the young artist had already been regarded as a prodigy of talent, and great things were expected of him. Paintings were exhibited in the provinces, attracting attention. Encouraged, Didier-Pouget sought an audience, and moved to Paris. From 1886 he exhibited regularly at the Salons, each new season showing a marked advancement in his art, bringing to the world of Paris new and delightful colour-schemes, during his early years Didier-Pougets landscape paintings were temperate and ethereal with a poetic atmosphere. Progressively he began to specialize in a style that would build his reputation all the way to the United States. The artist took pleasure in expressing the tranquil ambiance of river scenes, the soft poesy of his mountainous landscapes are suggestive of Auguin, a disciple of Corot. Didier-Pouget, part of the school, had cultivated from their groundwork the idea of leaving the foreground largely unobstructed
William Didier-Pouget
–
William Didier-Pouget, 1906 engraving
William Didier-Pouget
–
William Didier-Pouget circa 1907 in his studio, 12
Boulevard de Clichy, Paris (Postcard)
William Didier-Pouget
–
William Didier-Pouget, ca.1909, Matinée dans le Limousin, Bruyères en fleurs, oil on canvas, 240 x 170 cm. Sale, Tajan Paris, Monday 18 November 2002, Lot 205 (entitled Bergère).
William Didier-Pouget
–
William Didier-Pouget, Le soir dans les Hautes Pyrénées, Salon 1904, postcard
40.
Rackstraw Downes
–
Rackstraw Downes is a British-born realist painter and author. Born Rodney Harry Rackstraw Downes in Pembury, Kent, England, he moved to the United States and studied painting as a student at The Hotchkiss School in Lakeville. He then returned to England and attended Cambridge University, where he was at St Johns College and received a Bachelor of Arts in English literature. Back in the United States, he studied at the Yale School of Art with Neil Welliver, Al Held and Alex Katz, originally an abstract painter, in 1966 Downes changed course and began working in the realist, plein-air style he is known for. Downes friendship with Welliver led to the purchase of a farm in Maine in 1964, in 1965 Downes moved to New York City. Over the next years he taught at the University of Pennsylvania, Parsons School of Design. He has also painted interiors of a scale similar to his landscapes. He has written for The New York Times, Art in America, Art News, The New Criterion and he also edited Art In Its Own Terms, Selected Criticism, 1935–1975, a collection of Fairfield Porters writing. Downes received a Guggenheim Fellowship in 1998, in 1999 he was inducted into the American Academy of Arts and Letters, and in 2009 he was awarded a MacArthur Fellowship genius award. In 1982 he was elected into the National Academy of Design as an Associate member, New York Times art critic Ken Johnson wrote that Downes paints beautiful pictures of ugly places. Downes work is held in collections including the Museum of Modern Art. He is represented by the Betty Cuningham Gallery in New York,2010 Parrish Art Museum in Southampton, New York. 2010 Aldrich Contemporary Art Museum, Ridgefield, Connecticut,2011 Weatherspoon Art Museum, Greensboro, North Carolina. Schwartz, Sanford, Storr, Robert, and Downes, Rackstraw, princeton University Press, April 2005 Under the Gowanus and Razor-Wire Journal, The making of two paintings. New York, Turning the Head Press,2000 In Relation to the Whole, Three Essays from Three Decades -1973,1981,1996
Rackstraw Downes
–
Rackstraw Downes
41.
Carl Eytel
–
Carl Eytel was a German American artist who built his reputation for paintings and drawings of desert subjects in the American Southwest. Immigrating to the United States in 1885, he settled in Palm Springs. While he enjoyed success as an artist, he lived as an ascetic, Eytels most important work, Desert Near Palm Springs, hangs in the History Room of the California State Library. Carl Eytel was born as Karl Adolf Wilhelm Eytel in Maichingen, Böblingen to Tusnelda and Friederick Hermann Eytel, as a boy, he became a ward of his grandfather when his father died. From 1880 to 1884 he studied forestry in Tübingen and then was drafted into the German Army and he first traveled to the United States in 1885 aboard the Suevia and worked as a ranch hand in Kansas. Later he worked at a slaughterhouse for 18 months to earn his living, in 1891, he read an article about the Palm Springs area in the San Francisco Call and was incited to visit the California desert. Eytel returned to Germany to study art for 18 months at the Royal Art School Stuttgart, wanting to be a cowboy, he worked as a cowhand in the San Joaquin Valley and he eventually settled in Palm Springs in 1903. Living in small cabins he built himself, Palm Springs remained his home, Eytel often walked on his travels, covering 400 miles in the Colorado Desert on foot. On one of his travels he was lynched as a horse thief and in 1918, during a trip to northern Arizona. Serving as George Wharton James guide to every obvious and obscure location of importance, the work was successful and received generally favorable reviews. The collaboration on the book lasted from 1903 to 1907, Eytels illustrations were also used by James in his 1906 article The Colorado Desert, As General Kearney Saw It. By 1908 Eytel was exhibiting works in Pasadena and enjoying the patronage of socialite Martha M. Newkirk and he was also planning to build a bungalow in Beaumont, California. And, in 1909, his work was being exhibited in major art venues, later, in 1911, after traveling with Chase on horseback, he contributed 21 realistic line art drawings to Chases book, Cone-bearing Trees of the California Mountains. A stone wall in the room of Dr. Welwood Murrays early hotel was covered with an Eytel mural of Palm Canyon. His hundreds of drawings of native palms were his trademark and he became known as The Artist of the Palms and his work helped publicize early Palm Springs. In 1977 his works were selling for $10,000 and under, other Brotherhood members included cartoonist and painter Swinnerton, author James, and photographers Fred Clatsworthy and Stephen H. Willard. The men lived near each other, traveled throughout the Southwest, helped with each others works. The Brotherhood lasted from 1915 when Jaeger, who was the teacher in the Palm Springs one-room school house, met Eytel and it ended in 1923 when Chase died
Carl Eytel
–
Eytel sketching – during his trip with
George Wharton James
Carl Eytel
–
Pinus lambertiana (sugar-pine) by Eytel, from
J. Smeaton Chase, Cone-bearing Trees of the California Mountains, 1911
Carl Eytel
–
Smoketree (
Psorothamnus spinosus)
Carl Eytel
–
from J. Smeaton Chase Our Araby (1920)
42.
Francesco Filippini
–
Francesco Filippini was an Italian painter from Lombardy. Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853 and his father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry-shop, Filippini attended the school of drawing at the Pinacoteca Tosio, from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.79 In 1879 another grant allowed him to travel to Paris to visit the Salon. Filippini exhibited at the shows of the Accademia di Belle Arti di Brera in Milan from 1879. He made his living by teaching, both in schools and privately and he was made an honorary member of the Brera Academy in 1878. He died in Milan on 6 March 1895, Francesco Filippini was much influenced by Tranquillo Cremona. When young, Filippini painted mostly religious or historical subjects, as well as some portraits. In later life he painted mostly landscapes – of the Apennines, of Pegli, of Porto Valtravaglia, of the Val Camonica or of the Valle Seriana – or seascapes in Chioggia, Genova and his work shows the influence of the Scapigliatura painter Tranquillo Cremona. and Claude Monet. The Painter signing works in the right, in italics. Francesco Filippini, 1853-1895, un protagonista del naturalismo lombardo and this article incorporates text available under the CC BY-SA1.0 license. Media related to Francesco Filippini at Wikimedia Commons
Francesco Filippini
–
Prime nevi, 1889
43.
Vincent van Gogh
–
Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
–
Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm.,
Art Institute of Chicago (F 345)
Vincent van Gogh
–
Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of
Goupil & Cie 's gallery in
The Hague.
Vincent van Gogh
–
Vincent c. 1866, approx. age 13
Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
44.
Winslow Homer
–
Winslow Homer was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th-century America, largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and he also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations. Born in Boston, Massachusetts in 1836, Homer was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both from long lines of New Englanders and his mother was a gifted amateur watercolorist and Homers first teacher. She and her son had a relationship throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature, her dry sense of humor, Homer had a happy childhood, growing up mostly in then rural Cambridge, Massachusetts. He was a student, but his art talent was evident in his early years. Homers father was a volatile, restless businessman who was looking to make a killing. When Homer was thirteen, Charles gave up the store business to seek a fortune in the California gold rush. When that failed, Charles left his family and went to Europe to raise capital for other schemes that didnt materialize. After Homers high school graduation, his father saw a newspaper advertisement, Homers apprenticeship at the age of 19 to J. H. Bufford, a Boston commercial lithographer, was a formative but treadmill experience. He worked repetitively on sheet music covers and other work for two years. By 1857, his career was underway after he turned down an offer to join the staff of Harpers Weekly. From the time I took my nose off that lithographic stone, Homer later stated, I have had no master, Homers career as an illustrator lasted nearly twenty years. His quick success was due to this strong understanding of graphic design. Before moving to New York in 1859, Homer lived in Belmont and his uncles Belmont mansion, the 1853 Homer House, was the inspiration for a number of his early illustrations and paintings, including several of his 1860s croquet pictures. The Homer House, owned by the Belmont Womans Club, is open for public tours, in 1859, he opened a studio in the Tenth Street Studio Building in New York City, the artistic and publishing capital of the United States. Until 1863, he attended classes at the National Academy of Design, and studied briefly with Frédéric Rondel, in only about a year of self-training, Homer was producing excellent oil work
Winslow Homer
–
Winslow Homer, at the
National Gallery of Art,
New York City, 1880, photo by
Napoleon Sarony (1821–1896)
Winslow Homer
–
The Bathers, wood engraving, Harper's Weekly, 1873
Winslow Homer
–
Prisoners from the front,
1866, The Metropolitan Museum of Art, Oil on canvas. 24 x 38in
Winslow Homer
–
Long Branch, New Jersey, 1869
45.
George Inness
–
George Inness was a prominent American landscape painter and georgist activist. Neither pure realist nor impressionist, Inness was a figure who intended for his works to combine both the earthly and the ethereal in order to capture the complete essence of a locale. In Inness’s words, he attempted through his art to demonstrate the reality of the unseen”, within his own lifetime, art critics hailed Inness as one of Americas greatest artists. George Inness was born in Newburgh, New York and he was the fifth of thirteen children born to John William Inness, a farmer, and his wife, Clarissa Baldwin. His family moved to Newark, New Jersey when he was five years of age. In 1839 he studied for months with an itinerant painter. In his teens, Inness worked as a map engraver in New York City, during this time he attracted the attention of French landscape painter Régis François Gignoux, with whom he subsequently studied. He debuted his work at the National Academy in 1844, Inness opened his first studio in New York in 1848. In 1849, he married Delia Miller, who died a few months later, the next year he married Elizabeth Abigail Hart, with whom he would have six children. In 1851 a patron named Ogden Haggerty sponsored Inness first trip to Europe to paint, Inness spent fifteen months in Rome, where he studied landscapes by Claude Lorrain and Nicolas Poussin. He also rented a studio there above that of painter William Page, in 1853 he was elected into the National Academy of Design as an Associate member and became a full Academician in 1868. During trips to Paris in the early 1850s, Inness came under the influence of working in the Barbizon school of France. Barbizon landscapes were noted for their looser brushwork, darker palette, Inness quickly became the leading American exponent of Barbizon-style painting, which he developed into a highly personal style. In 1854 his son George Inness, Jr. who also became a painter of note, was born in Paris. In the mid-1850s, Inness was commissioned by the Delaware, Lackawanna, Inness moved from New York City to Medfield, Massachusetts in 1860, where he converted a barn into a studio. In 1862-63, he was an art teacher to Charles Dormon Robinson and he then to Eagleswood, New Jersey in 1864. He returned to Europe in the spring of 1870, living in Rome and touring Tivoli, Lake Albano, in 1878, he returned to New York, taking a studio in the New York University Building. The same year, he participated in the Universal Exposition in Paris
George Inness
–
George Inness, 1890
George Inness
–
George Inness - In the Berkshires, 1850
George Inness
–
The Storm, oil on canvas, 1885.
Reynolda House Museum of American Art
46.
Theodore Lukits
–
Theodore Nikolai Lukits was a Romanian American portrait and landscape painter. Lukits began his career as an illustrator while still in his teens. He was a still life painter, muralist and founder of the Lukits Academy of Fine Arts in Los Angeles for more than sixty years. He had the reputation of a craftsman who made his own paints from raw pigments, constructed brushes and palettes, Lukits was responsible for keeping the Beaux-Arts methods of the French academic system alive in the western United States, and several of his students went on to prominent careers. His works are displayed in public collections. He was a member of a number of art organizations. Lukits was born Nicolae Teodorescu in Timişoara, Transylvania, which was part of the Austro-Hungarian Empire. His father, Theodore Lukits, Sr. was a butcher and he came to the United States at age two when his family immigrated in 1899, and he grew up in St. Louis, Missouri. Lukits began formal studies at Washington University in St. Louis School of Fine Arts before he was twelve and his first teacher was Edmund H. Wuerpel. He also studied with Richard E. Miller in St. Louis, Lukits left public school after the 8th grade in order to pursue a career in art, with the full cooperation of his parents. He worked from an age, first as an office boy and then as an airbrush artist. Lukits moved to Chicago when he was fifteen to attend the Chicago Academy of Fine Arts, at the Chicago Academy he studied with the painter, illustrator and traveler Carl Werntz who founded the school in 1902. He also studied with William Victor Higgins, who became famous as one of the Taos Ten of the Taos art colony. Lukits began at the Art Institute of Chicago with evening, weekend, Lukits worked under Edwin Blashfield at some point in his Chicago years, presumably as an assistant on a mural project in the Midwest, but it is not known when. He also studied with the realist painters Robert Henri, Charles Webster Hawthorne, and George Bellows, another painter Lukits was influenced by was Housep Pushman. He first met the Armenian artist in 1916 in Chicago, where he had an exhibition at the Art Institute of his figurative works, during his student days, Lukits shared a studio with the Swedish-born painter Christian von Schneidau. The two became friends in Chicago and would renew their friendship in California where they both would paint portraits of movie stars. He won every award at the Art Institute, including the Bryan Lathrop Traveling Scholarship
Theodore Lukits
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Theodore Lukits at Los Angeles museum, 1937
Theodore Lukits
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Study of an Old Man, Theodore Lukits (1915)
Theodore Lukits
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Souvenir of Seville, Oil on Canvas, 80" × 40" (1926) Private Collection
Theodore Lukits
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"At the Dressing Table", Gouache, 9 1 ⁄ 4 " × 8 3 ⁄ 8 " (1917–18), Promised Gift, California Art Club
47.
Frederick McCubbin
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Frederick McCubbin was an Australian painter and prominent member of the Heidelberg School art movement, also known as Australian Impressionism. McCubbin was born in Melbourne, the third of eight children of baker Alexander McCubbin and his English wife Anne, McCubbin was educated at William Willmetts West Melbourne Common School and St Pauls School, Swanston Street. He also studied at the Victorian Academy of the Arts and exhibited there in 1876 and again from 1879 to 1882, in this period, after the death of his father, he became responsible for running the family business. By the early 1880s, McCubbins work began to attract attention and won a number of prizes from the National Gallery. By the mid-1880s he concentrated more on painting the Australian bush, in 1883, McCubbin received first prize in the first annual Gallery students exhibition, for best studies in colour and drawing. In 1888, he became instructor and master of the School of Design at the National Gallery, in this position he taught a number of students who themselves became prominent Australian artists, including Charles Conder and Arthur Streeton. McCubbin married Annie Moriarty in March 1889 and they had seven children, of whom their son Louis McCubbin became an artist and director of the Art Gallery of South Australia 1936–1950. A grandson, Charles, also became an artist, in 1901 McCubbin and his family moved to Mount Macedon, transporting a prefabricated English style home up onto the northern slopes of the mountain which they named Fontainebleau. It was in this setting, in 1904, that he painted The Pioneer, amongst many other works. The house survived the Ash Wednesday fires and stands today as a testament to the artist and it was at Macedon that he was inspired by the surrounding bush to experiment with the light and its effects on colour in nature. McCubbin continued to paint through the first two decades of the 20th century, though by the beginning of World War I his health began to fail. He traveled to England in 1907 and visited Tasmania, but aside from these relatively short excursions lived most of his life in Melbourne, there he taught at the National Gallery of Victoria Art School, where his students included painter Hilda Rix Nicholas and the photographer Ruth Hollick. In 1912 he became the member of the Australian Art Association. McCubbin died in 1917 from a heart attack, McCubbin creates an engulfing, claustrophobic landscape by barely suggesting any horizon and compressing midground and background. In contrast, the folk are portrayed as heroic figures. Gallery In 1998 McCubbins painting Bush Idyll sold for $2,312,500, on 25 February 2005, the 150th anniversary of his birth, the premiere of McCubbin, A Musical Biography of Frederick McCubbin by Peter Burgess was staged at Federation Square, Melbourne. On 22 March 2016, McCubbins painting An Old Politician, resurfaced from a vault in an Australian bank. The painting has not been viewed in public exhibition since its sale to a collector in the 1880s
Frederick McCubbin
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Self-portrait (1886)
Frederick McCubbin
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The Letter (1884)
Frederick McCubbin
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Down on His Luck (1889)
Frederick McCubbin
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A Bush Burial (1890)
48.
Willard Metcalf
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Willard Leroy Metcalf was an American artist born in Lowell, Massachusetts. He studied at the School of the Museum of Fine Arts, Boston, after early figure-painting and illustration, he became prominent as a landscape painter. He was one of the Ten American Painters who in 1897 seceded from the Society of American Artists, for some years he was an instructor in the Womens Art School, Cooper Union, New York, and in the Art Students League, New York. In 1893 he became a member of the American Watercolor Society, born into a working-class family, Metcalf began painting in 1874. In 1876 he opened a studio in Boston, and received a scholarship at the Boston Museum school, in 1882 he held an exhibition at the J. Eastman Chase Gallery in Boston, the sales from which financed a study trip abroad. Metcalf left for Europe in September 1883, and did not return to the United States until late 1888, during that time he traveled and painted, studying first in Paris with Gustave Boulanger and Jules-Joseph Lefebvre, subsequently going to England and Pont-Aven, Brittany. In the winter of 1884 he apparently met John Twachtman in Paris and his landscapes at this time were traditional renditions of peasant scenes, in the manner of Jean Millet. By 1886 Metcalf was painting in Giverny, evidently the first American painter to visit there, soon thereafter he traveled to Algeria and Tunisia, returning to Giverny in the summers of 1887 and 1888, in the company of other American painters. Upon his return to the United States Metcalf had an exhibition at the St. Botolph Club in Boston. After living briefly in Philadelphia, in 1890 he opened a studio in New York, working for years as a portrait painter, illustrator. In 1895 he painted at Gloucester, Massachusetts, and ceased to work as an illustrator, in the late 1890s he appears to have painted little, and his contributions to the first few exhibitions of The Ten were disappointing. At the time Metcalf led a social life that included heavy drinking. Metcalfs model for the murals was Marguerite Beaufort Hailé, a stage performer twenty years his junior, in preparation for a mural commissioned by a tobacco company, Metcalf traveled to Havana, Cuba in 1902, to make painted studies. That year he produced a series of notable landscapes, including The Boat Landing. These works were characterized by a new freshness of execution and lightness of palette, in 1904 he resided and painted steadily in Clarks Cove, Maine. His expertly handled, subtle views of the New England landscape met with critical and financial success. In 1907 May Night won the Corcoran gold medal, was honored with the top prize of $3,000. It remains one of best works and is now in the collections of the National Gallery of Art, in the same year his marriage to Marguerite dissolved when she eloped from Old Lyme with one of Metcalfs male students
Willard Metcalf
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Metcalf, c. 1920
Willard Metcalf
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Cornish Hills, 1911, oil on canvas.
Willard Metcalf
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On the Suffolk Coast, 1885
Willard Metcalf
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The Ten Cent Breakfast
49.
Berthe Morisot
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Berthe Marie Pauline Morisot was a painter and a member of the circle of painters in Paris who became known as the Impressionists. She was described by Gustave Geffroy in 1894 as one of les trois grandes dames of Impressionism alongside Marie Bracquemond, in 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by Academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris and it was held at the studio of the photographer Nadar. She was married to Eugène Manet, the brother of her friend, Morisot was born in Bourges, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect of the department of Cher and he also studied architecture at École des Beaux Arts. Her mother, Marie-Joséphine-Cornélie Thomas, was the great-niece of Jean-Honoré Fragonard and she had two older sisters, Yves and Edma, plus a younger brother, Tiburce, born in 1848. The family moved to Paris in 1852, when Morisot was a child and it was common practice for daughters of bourgeois families to receive art education, so Berthe and her sisters Yves and Edma were taught privately by Geoffroy-Alphonse Chocarne and Joseph Guichard. Morisot and her sisters initially started taking lessons so that they could make a drawing for their father for his birthday. In 1857 Guichard, who ran a school for girls in Rue des Moulins, introduced Berthe and Edma to the Louvre gallery where they could learn by looking and he also introduced them to the works of Gavarni. Guichard later became the director of École des Beaux Arts where Morisots father earned his degree, as art students, Berthe and Edma worked closely together until Edma married Adolphe Pontillon, a naval officer, moved to Cherbourg, had children, and had less time to paint. Letters between the show a loving relationship, underscored by Berthes regret at the distance between them and Edmas withdrawal from painting. Edma wholeheartedly supported Berthes continued work and their families always remained close, Edma wrote “… I am often with you in thought, dear Berthe. I’m in your studio and I like to slip away, if only for a quarter of an hour and her sister Yves married Theodore Gobillard, a tax inspector, in 1866, and was painted by Edgar Degas as Mrs Theodore Gobillard. In 1860, under Corots influence she took up the plein air method of working, by 1863 she was studying under Achille Oudinot, another Barbizon painter. In the winter of 1863–64 she studied sculpture under Aimé Millet, Morisots first appearance in the Salon de Paris came at the age of twenty-three in 1864, with the acceptance of two landscape paintings. She continued to show regularly in the Salon, to favorable reviews, until 1873. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1878 when her daughter was born, Morisots mature career began in 1872. She found an audience for her work with Durand-Ruel, the private dealer, in 1877, she was described by the critic for Le Temps as the one real Impressionist in this group
Berthe Morisot
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Berthe Morisot, 1875
Berthe Morisot
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Berthe Morisot, Portrait de Mme Morisot et de sa fille Mme Pontillon ou La lecture (The Mother and Sister of the Artist - Marie-Joséphine & Edma) 1869/70
Berthe Morisot
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Berthe Morisot, The Cradle, 1872,
Musée d'Orsay
Berthe Morisot
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Berthe Morisot, Grain field, c.1875,
Musée d'Orsay
50.
Tom Roberts
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Thomas William Tom Roberts was an Australian artist and a key member of the Heidelberg School, also known as Australian Impressionism. After attending art schools in Melbourne, he left for Europe in 1881 to further his training and he did much to promote en plein air painting and encouraged other artists to capture the national life of Australia. While he is best known for his narratives, among them Shearing the Rams. And Bailed Up, he achieved renown as a portraitist. Roberts was born in Dorchester, Dorset, England, although some mystery surrounds his actual birthdate, his birth certificate says 8 March 1856 and he migrated with his family to Australia in 1869 to live with relatives. He returned to England for three years of art study at the Royal Academy Schools from 1881 to 1884. While in London and Paris, he took in the influence of painters Jules Bastien-Lepage. Through the 1880s and 1890s Roberts worked in Victoria, in his studio at the studio complex of Grosvenor Chambers at 9 Collins Street. In 1896 he married 35-year-old Elizabeth Williamson and they had a son, many of his most famous paintings come from this period. Roberts was a maker of picture frames, and during the period 1903–1914. Roberts spent World War I in England assisting at a hospital, in Australia, he built a house at Kallista, near Melbourne. Elizabeth died in January 1928, and Roberts remarried, to Jean Boyes and he died in 1931 of cancer in Kallista near Melbourne. He is buried near Longford, Tasmania, Roberts painted a considerable number of fine oil landscapes and portraits, some painted at artist camps with his friend McCubbin. Perhaps the most famous in his time were two paintings, Shearing the Rams, now displayed in the National Gallery of Victoria and The Big Picture, displayed in Parliament House. The Big Picture, a depiction of the first sitting of the Parliament of Australia, was an enormous work, at the time it was exhibited, it was criticized because many critics did not feel that it fitted the definition of high art. Shearing would probably have been much messier than shown in the image, and with men chopping trees in Wood splitters. Roberts had more works on display in this exhibition than anyone else, in 1888 Roberts met Conder in Sydney and they painted together at Coogee beach. The younger Conder found these painting expeditions influential and decided to follow Roberts to Melbourne later that year to join him, while Conder painted Coogee Bay emphasising on the decorative qualities of form and colour, Roberts’ Holiday sketch at Coogee embodies his primary focus on the landscape’s natural effects
Tom Roberts
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Portrait taken c.1920–1925
Tom Roberts
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Roberts painting
The Big Picture
Tom Roberts
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Shearing the Rams (1890; National Gallery of Victoria, Melbourne)
Tom Roberts
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Coming South
Media related to Plein air at Wikimedia Commons
