View allAll Photos Tagged groupportraits
Persistent URL: floridamemory.com/items/show/165431
Local call number: PHF118
Title: Crew members of the "Savannah" - Miami
Date: ca. 1925
Physical descrip: 1 photoprint - b&w - 7 x 11 in.
Series Title: Fishbaugh Collection
Repository: State Library and Archives of Florida
500 S. Bronough St., Tallahassee, FL, 32399-0250 USA, Contact: 850.245.6700, Archives@dos.myflorida.com
Oil on canvas; 217 x 190 cm.
Fernando Botero Angulo is a Colombian figurative artist, self-titled "the most Colombian of Colombian artists" early on, coming to prominence when he won the first prize at the Salón de Artistas Colombianos in 1958. His work includes still-lifes and landscapes, but Botero tends to primarily focus on situational portraiture. His paintings and sculptures are united by their proportionally exaggerated, or "fat" figures, as he once referred to them. Botero explains his use of these "large people", as they are often called by critics, or obese figures and forms thus: "An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."
Botero is an abstract artist in the most fundamental sense of the word, choosing what colors, shapes, and proportions to use based on intuitive aesthetic thinking. Though he currently spends only one month a year in Colombia, he considers himself the "most Colombian artist living" due to his insulation from the international trends of the art world. Botero gained considerable attention in 2005 for his Abu Ghraib collection, which began as an idea he had on a plane, finally culminating in more than 85 paintings and 100 drawings. The Circus collection followed in 2008, with 20 works of oil and watercolor. In an interview promoting his Circus collection, Botero said: "After all this, I always return to the simplest things: still lifes."
Group Of Children. Manitou Falls, Wisconsin. RPPC.
Unposted.
VELOX Stamp Box.
Written on reverse:
Manitou Falls
[06593]
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of man and woman, full-length, facing front; woman standing on left wears long black dress, with black hat; man seated on right wears dark jacket, buttoned at top, black pants and shoes; painted backdrop; Sallows imprint on back of photocard
Object ID : 0808-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Martin Parr (born 23 May 1952) is a British documentary photographer,[1] photojournalist and photobook collector. He is known for his photographic projects that take a critical look at aspects of modern life, in particular provincial and suburban life in England. He is a member of Magnum Photos.
Born in Epsom, Surrey, Parr wanted to become a documentary photographer from the age of fourteen, and cites his grandfather, an amateur photographer, as an early influence.[2] From 1970 to 1973, he studied photography at Manchester Polytechnic. He married Susan Mitchell in 1980, and they have one child, Ellen Parr (born 1986). He has lived in Bristol since 1987.
Parr began work as a professional photographer and has subsequently taught photography intermittently from the mid-1970s. He was first recognised for his black-and-white photography in the north of England, Bad Weather (1982) and A Fair Day (1984), but switched to colour photography in 1984. The resulting work, The Last Resort: Photographs of New Brighton, was published in 1986.
Parr's approach to documentary photography is intimate, anthropological and satirical. Macro lenses, ring flash, high-saturation colour film, and since it became an easier format to work in, digital photography, all allow him to put his subjects "under the microscope" in their own environment, giving them space to expose their lives and values in ways that often involve inadvertent humour.[2] For example, to create his book Signs of the Times: A Portrait of the Nation's Tastes. (1992), Parr entered ordinary people's homes and took pictures of the mundane aspects of his hosts' lives, combining the images with quotes from his subjects to bring viewers uncomfortably close to them. The result of Parr's technique has been said to leave viewers with ambiguous emotional reactions, unsure whether to laugh or cry.
In 2008 Parr was awarded the Centenary Medal of The Royal Photographic Society 'in recognition of a sustained, significant contribution to the art of photography' which also carried with it an Honorary Fellowship (HonFRPS) of The Society.
Russian artist, one of the most significant and at the same time most characteristic painters of the circle of the "Jack of Diamonds" group.
He was born in the Cossack village Mikhailovskaya-on-Don (near Volgograd) in the peasant family in 1881. Studied at the Moscow School of Painting, Sculpture and Architecture under Konstantin Korovin and Valentin Serov. Was excluded from the school for artistic free thinking in 1909.
Traveled to France, Germany, Austria, England, Spain, Italy, Turkey and Egypt.
Was the member of the association "Mir Iskusstva" and one of the organizers and most active members of the "Jack of Diamonds" group.
Taught at the SVOMAS (Free Workshops) in 1918-1920, VKhUTEMAS / VKhUTEIN (Higher State Artistic and Technical Workshops / Higher State Art Technical Institute) in 1918-1930.
He was a member of AKhRR (Association of Artist of Revolutionary Russia) in 1924-1932, and one of the organizers of OMKh (Society of Moscow Artists).
Lived in Moscow and from 1902 to 1917 taught in his studio. From 1918 to 1930 taught at the Svomas and VKhUTEMAS.
Mashkov's main genre was still life, but he also did landscapes and portraits.
Took part in the following exhibitions: Salons of the Golden Fleece (1909-1910), Salons of Vladimir Izdebskiy (1909-1910), the "Jack of Diamonds" group (1910-1914), Union of Youth (1910-1912), World of Art (1911-1912, 1915-1922), Salon des Independents (Paris, 1911-1912), Arts Association (London, 1911-1912), Moscow Painters (1925), AKhRR (1925-1929), Society of Moscow Artists (1928) etc. His paintings were shown in Tokyo and Aomori in 1926-1927.
Ilya Ivanovich Mashkov died in Moscow in 1944.
Unidentified School Class. RPPC.
Unposted.
AZO Stamp Box.
Written on reverse:
Miss E.G. Pau____?
___ecker School 1910?
[07386]
Real photo postcard. Postally unused.
Bought from an eBay seller in Wellington, Shropshire, United Kingdom.
The postcard back would suggest this is a later (circa 1920s) printing of what is almost certainly an Edwardian photograph.
My Mac is in Mac Rehab for up to 2 weeks. Back asap.
www.flickr.com/photos/brancusi/6108471296/in/photostream/...
Real photo postcard. Postally unused.
Found in a junk shop in Ballarat, Victoria.
en.wikipedia.org/wiki/Penshurst,_Victoria
State School no. 486 (former) - vhd.heritagecouncil.vic.gov.au/places/23363
Four men and two women on the deck of the three-masted bark LAMORICIERE, Puget Sound port, Washington, ca. 1904.
Photographer:
Hester, Wilhelm, 1872-1947
Subjects (LCSH):
Lamoriciere (Bark)
Barks (Sailing ships)--Washington (State)
Portraits, Group--Washington (State)
Digital Collection:
Wilhelm Hester Collection
http://content.lib.washington.edu/hesterweb/index.html
Item Number: HES172
Persistent URL:
http://content.lib.washington.edu/u?/hester,67
Visit Special Collections reproductions and rights page for information on ordering a copy.
University of Washington Libraries. Digital Collections http://content.lib.washington.edu/
Alphonse Maria Mucha was born on July 24, 1860 in the town of Ivancice, Moravia (now in the Czech Republic, then part of the Austrian Empire). His singing abilities allowed him to continue his education through high-school in the Moravian capital of Brno, however drawing was first love since childhood. He worked at decorative painting jobs in Moravia, mostly painting theatrical scenery, then in 1879 moved to Vienna to work for a leading Viennese theatrical design company, while informally furthering his artistic education. When a fire destroyed his employer's business in 1881 he returned to Moravia, doing freelance decorative and portrait painting. Count Karl Khuen of Mikulov hired Mucha to decorate Hrušovany Emmahof Castle with murals, and was impressed enough that he agreed to sponsor Mucha's formal training at the Munich Academy of Fine Arts.
Mucha moved to Paris in 1887, and continued his studies at Académie Julian and Academie Colarossi while also producing magazine and advertising illustrations. In 1894, he produced the artwork for a lithographed poster advertising Sarah Bernhardt at the Theatre de la Renaissance. Mucha's lush stylized poster art won him fame and numerous commissions.
Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewellery, carpets, wallpaper, and theater sets in what came to be known as the Art Nouveau style. Mucha's works frequently featured beautiful healthy young women in flowing vaguely Neoclassical looking robes, often surrounded by lush flowers which sometimes formed halos behind the women's heads. His style was often imitated.
Mucha visited the USA from 1906 to 1910, then returned to the Czech lands and settled in Prague, where he decorated the Theater of Fine Arts and other landmarks of the city. When Czechoslovakia won its independence after World War I, Mucha designed the new postage stamps, banknotes, and other government documents for the new nation. He spent years working on what he considered his masterpiece, The Slav Epic, a series of huge paintings depicting the history of the Slavic peoples, unveiled in Prague in 1928.
He died of pneumonia after being arrested by the gestapo after being denounced as a 'reactionary' for his views. He was interred there in the Vyšehrad cemetery.
Helaas is de regen goed te zien. Daarvoor stoorden mijn flitsers verkeerd. Maar ze verzopen zowat. Alles doet het nog. En weer een leuke foto voor een brandweer kalender. Ik mag mijzelf wel zo langzamerhand brandweer fotograaf noemen.
Acrylic on canvas; 200 x 280 cm.
Yue Minjun (Chinese: 岳敏君) is a contemporary Chinese artist based in Beijing, China. He is best known for oil paintings depicting himself in various settings, frozen in laughter. He has also reproduced this signature image in sculpture, watercolour and prints. While Yue is often classified as part of the Chinese "Cynical Realist" movement in art developed in China since 1989, Yue himself rejects this label, while at the same time "doesn't concern himself about what people call him."[1]
Yue Minjun in the town of Daqing in Heilongjiang, China. Yue's family had been working on oil fields. When he was ten, his family moved to Beijing. He eventually moved to Hebei to find education and work, there he studied oil painting, he graduated from the Hebei Normal University in 1983. In the 1980s, he started painting portraits of his co-workers and the sea while he was engaged in deep-sea oil drilling. In 1989, he was inspired by a painting by Geng Jianyi at an art show in Beijing, which depicted Geng's own laughing face.[2] In 1990, he moved to Beijing, which was also home to other Chinese artists. During this period, his style of art developed out of portraits of his bohemian friends. Yue had been living a "nomadic" existence for much of his life, because his family often moved in order to find work on various oilfields.[3]
Over the years, Yue Minjun's style has rapidly developed. Yue often challenges social and cultural conventions by depicting objects and even political issues in a radical and abstract manner. He has also shifted his focus from the technical aspects to the "whole concept of creation". His self-portraits have been described by theorist Li Xianting as “a self-ironic response to the spiritual vacuum and folly of modern-day China.”[5] Art critics have often associated Yue with the Cynical Realism art movement in contemporary Chinese art.
Yue is currently residing with fifty other Chinese artists in the Songzhuang Village. His piece Execution became the most expensive work ever by a Chinese contemporary artist, when sold in 2007 for £2.9 million pounds (US $5.9 million) at London's Sotheby's.[7] The record sale took place week after his painting Massacre of Chios sold at the Hong Kong Sotheby's for nearly $4.1 million.[9] 'Massacre of Chios' shares its name with a painting of the same name, by Eugène Delacroix. As of 2007 thirteen of his paintings had sold for over a million dollars. One of his most popurar series was his "Hat" collection. This series, pictures Yue's grinning head wearing a variety of hats. The artist tells us that the series is about a "sense of the absurdity of the ideas that govern the sociopolitical protocol surrounding hats." The series nicely illustrates the way that Yue's character is universally adaptable, a sort of logo that can be attached to any setting to add value.
In 1999 Yue began fabricating bronze sculptural versions of his signature self-portrait paintings, playing off China's famous Qin Dynasty army of terracotta warriors. While the ancient sculptures are known for the subtle individuality of each of the warriors, his cackling modern-day version are relentlessly identical, cast from the same mold. During the "Year of China" in France in 2003/2004, he participated to the exhibition "China, the body everywhere?" including 39 Chinese contemporary artists at the Museum of Contemporary Art of Marseille.[10]
Photograph entitled 'Countess Annesley, Mrs Humphrys [and] Clara Humphrys'.
Photograph from an album containing black and white photographs taken by the Hon. Hugh Annesley. The front end board of this album is endorsed with a printed card, which overlays an earlier manuscript endorsement. From these two endorsements it is clear that the album belonged to Captain the Hon. Hugh Annesley, Scots Fusilier Guards. The album is also endorsed 1855.
Ref: D1854/5/1/3 No.78
Carte de visite. Plain back.
Bought from an eBay seller in Old Kilpatrick, Dunbartonshire, Scotland.
PsP gallery (buy PsP pictures on SmugMug)
PsP (Wordpress)
500px
www.instagram.com/pspimages4u/
Shutterstock
Oil on canvas; 66.0 x 56.0 cm.
Gertler was born in London, the child of Jewish immigrants. At an early age Gertler showed a talent for drawing. He enrolled in art classes at Regent Street Polytechnic. Due to poverty, he was forced to drop out after a year and he began working at a stained glass company. While there he attended evening classes at the Polytechnic. In 1908 he placed third in a national art competition. He applied for a scholarship from the Jewish Education Aid Society to resume his art studies. The application was successful and he enrolled at the Slade School of Art. At Slade, he met Paul Nash, Edward Wadsworth, C.R.W. Nevinson and Stanley Spencer.
Gertler was patronized by Lady Ottoline Morrell through whom he became acquainted with the Bloomsbury Group. She introduced him to Walter Sickert, the leader of the Camden Town Group. He was soon enjoying great success as a painter of society portraits, but his temperamental manner led to increasing frustration and the alienation of sitters and buyers. As a result, he struggled frequently with poverty. In 1914 Edward Marsh became Gertler's patron. The relationship between the two men was difficult, as Gertler felt that the system of patronage and the circle in which he moved was in direct conflict with his sense of self. In 1916 Gertler ended the relationship.
His earliest still-lifes show the influence of Dutch 17th-century painting and the work of Chardin. Gertler's later works developed a sometimes very harsh edge to them, influenced by his increasing ill health. In 1920 he was diagnosed with tuberculosis, which hospitalized him on a number of occasions. Gertler gassed himself in his London studio in 1939, having attempted suicide on at least one prior occasion in 1936. He was suffering at the time from increasing financial difficulties, his wife had recently left him, he had held a critically derided exhibition at the Lefevre Gallery, he was still depressed over the death of his mother and he was filled with fear over the imminent world war. Gertler’s obituary in The Times described his death as ‘a serious loss to British art. Opinions of his work are likely to vary,’ it conceded, ‘but it is safe to say that a considered list of the half-dozen most important painters under fifty working in England would include him'.
Oil on canvas; 122 x 152.5 cm.
Chen Yanning was born in Guangzhou, China in 1945.Chen graduated from the Guangzhou Academy of Art in 1965.He was a professional painter at Guangdong Art Institute from 1970 to 1986 and received numerous awards during the period.In 1987, his work was exhibited in The Contemporary Oil Painting from the People's Republic of China held in New York.In 1987 and 1989, he had two successful solo exhibitions presented by the Hefner Gallery in New York.
In 1988, he graduated from the Oklahoma City University and was engaged as an instructor at the Art Department of the university.In 1991, he won the national prize in a portraiture competition held by the Federation of British Artists in UK.Since then, he has been making portraits for the royal family and the aristocracies, for which he was highly acclaimed.From 1992 to 1994, his works were exhibited as an artist at the Portrait Centre of America.In 1998, his work was exhibited at the China 5000 Year exhibition at the Solomon R Guggenheim Museum in New York.In 1999, he was commissioned to do a portrait for Queen Elizabeth in the Buckingham Palace.
He has had many solos and group exhibitions in Australia, Brazil, the UK, Canada, France, Hong Kong, Singapore and the US.And his works are in the permanent collection of the China National Gallery, the West Australia National Gallery, the California State Capital Museum and the Scottish National Portrait Gallery, and are also in private collections in the US, Singapore, Japan and Europe.
Scene depicting a group of four men singing and playing guitars while surrounded by mainly white male spectators, seated on the deck of a riverboat, possibly in Tennessee. One perfomer plays a star shaped guitar and sings with his head tilted back and mouth wide open. P.8743.189
Link to record on ImPAC, the Library Company’s digital collections catalog: lcpdams.librarycompany.org:8881/R/-?func=dbin-jump-full&a...
Wang Qingsong specializes in digitally enhanced photographs and oil paintings that address universal social conflicts. Widely considered the reigning master of photographic mise-en-scene (and high quality printing) in China today, Wang, born in 1966, lives and works in Beijing.
Wang holds the auction record, $864,943, in contemporary Chinese photography, for Follow Me, which depicts a teacher in front of a giant blackboard scribbled with slogans and brand names in English and Chinese.[1] His works have been sold at Sotheby's (New York and London locations) and Christie's (London).
Wang Qingsong has had solo exhibitions at Albion Gallery, London; PKM Gallery, Beijing; PKM Gallery, Seoul; MEWO Kunsthalle, Memmingen, Germany; and Marella Arte Contemporanea, Milan. His work has been exhibited internationally in numerous group shows, including Action–Camera: Beijing Performance Photography (Belkin Art Gallery, Vancouver, 2008); Fabricating Images from History (Chinablue Gallery, Beijing, 2008); 21:Contemporary Art (Brooklyn Museum, 2008); Beyond Icon: Chinese Contemporary Art in Miami (Art Basel, Miami, 2007); Mirror Image of Diversity (Beijing Tokyo Art Projects, Beijing, 2007); and Body Language (National Gallery of Victoria, Melbourne, Australia, 2008). Wang has also participated in the 2008 Shanghai Biennale; the Busan Biennale; and the 2006 Bucharest Biennale. Wang had his first solo museum exhibition at The Hammer Museum at UCLA in the spring of 2009.
www.artspeakchina.org/mediawiki/Wang_Qingsong_%E7%8E%8B%E...
Sister-in-law & nephews of Granny Lamb (nee Thirza Wheeler)
Carte de visite.
Bought from an eBay seller in Old Kilpatrick, Dunbartonshire, Scotland.
From an album of a german family who run a factory "Multhaupt Hermanos. Fabrica alemana de salchichas y conservas" in South America (Peru, Bolivia?) at the turn of the century. This photograph is one of the older ones in the album, ca. 1890s.
Group of African American boys, circa 1920's
Vintage African American photography courtesy of Black History Album, The Way We Were.
Follow Us On Twitter @blackhistoryalb
Acrylic on canvas; 200 x 250 cm.
1980 Born in the Zhanjiang, Guangdong Province
2006 Graduates in the Guangzhou Fine arts Institute oil painting is the fourth work room. Studies assiduously the Guangzhou Fine arts Institute oil painting is master the graduate student
Selected Exhibitions
2007 'Forwards. Forwarding. - Second session of Guangdong new youth art greatly unfolds' the Guangdong art museum forward
2007 'Attitude' China contemporary artist unite exhibition 3+3 art space 798 art zone Beijing
2007 Embarks - - 2007 from Here the Shanghai Youth Fine arts To unfold the Shanghai Liu Haisu art museum Greatly
2006 'Super Hero' - the Guangdong art new influence association unfolds Guangzhou
2006 'New Vision' 06 - modernized adult ritual (third session of national fine arts colleges and universities oil painting specialized graduating student outstanding art show), Shenzhen He Xiangning art museum, Guangdong art museum
2006 'Ramble Swims' the Guangzhou art new influence association to unfold third, Guangzhou
2005 'Opening, Experiment' oil art exhibition, Guangzhou
2005 'Uncertain' paper this art show, Guangzhou Loft345 art space
2005 '15' oil painting art show, Guangzhou railroad tie
2005 'Chirp Chirp', oil art exhibition Guangzhou Loft 345art space 'Experience And Expression' Guangzhou Fine arts Institute art museum
2005 'Inexplicable Marvelous' art show, West Guangzhou society artistic hall
2005 'First Session of Guangdong University student Art Art show Develops the Fine arts Art show', Guangzhou
2004 'Han Jianyu Individual Oil painting Art show' Guangzhou
Local identifier: SFF 89203_0151_l3_001
Photographer: Unknown
Caption: "Man og hustru gir sig til Herren. M. S. Ekusemi. From Miss Dagny Iversen you know her. Man og hustru gir sig over til Herren nu. Vi takker Gud for hver en sjel. M Moe".
The reverse side of this image can be seen here: www.flickr.com/gp/fylkesarkiv/pc36sG
PsP gallery (buy PsP pictures on SmugMug)
PsP (Wordpress)
500px
www.instagram.com/pspimages4u/
Shutterstock
Nicolai Ivanovich Fechin (1881-1955) was born in Kazan, Russia on the banks of the Volga River. He would become an important American Impressionist portrait painter during the early 20th century.
As a child, Nicolai Fechin learned wood carving from is father who worked as a craftsman with metals and wood. At the age of 13, Nicolai Fechin enrolled with a scholarship at the Kazan Art School which was started by his grandfather. Six years later, Nicolai began studies at the Imperial Academy of Art in St. Petersburg and his teacher, Ilya E. Repin, worked to make his students aware of the social evils in Russia and to reflect those realities in their art work. Another teacher at the school taught him to use wider, frenetic, nervous-seeming brush strokes in addition to using his fingers in the paint to convey a sense of texture.
After Nicolai Fechin graduated from the Academy of Art he was a teacher at the Kazan Art School while he continued to study at the Imperial Academy of Art in Petrograd. He did so well in his studies there that he earned scholarship money which allowed him to study painting in Paris and throughout Europe. Nicolai Fechin was happy to leave Russia as this was during the Bolshevik Revolution which caused much suffering and deprivation. While Nicolai Fechin was in Europe he was fascinated by the Impressionists' style of painting and he experimented with it and with painting with a palette knife.
He and his wife were quite poor and they immigrated to America with their baby daughter in 1923. Nicolai Fechin was assisted by some wealthy sponsors and they settled in Central Park in New York City. While he searched for work he continued painting and was fascinated by the ethnicities around him. Nicolai Fechin taught at the New York Academy of Art until he gained gallery notoriety. His talent at painting portraits became so well known that many wealthy people hired Nicolai Fechin to paint their portraits. During the summers, Nicolai Fechin and his family traveled west which included California and New Mexico.
Nicolai Fechin suffered from tuberculosis and some artist friends persuaded him to join their circle of friends in the drier climate of Taos, New Mexico. Nicolai Fechin and his family felt comfortable in this community of adobe architecture and Indians and he became a naturalized American citizen while living there. He built a house in Taos of which he carved the doors, the window frames, the pillars, the furniture and even designed the adobe structure. He worked very hard at his painting and created many paintings and portraits of Indians, Mexicans and cowboys. These paintings are regarded as among his best work because of the exotic subject matter, high degree of modeling of the faces, and forceful, intense coloration. He also did impressionist wood sculpture.
Due to a bitter divorce, Nicolai Fechin left Taos in 1927 and his daughter traveled with him. They went to New York for the winter and then on to Los Angeles at the invitation of the renowned Los Angeles art dealer, Earl Stendahl. For the next ten years, Nicolai Fechin and his daughter lived near each other in Hollywood Hills, California. Nicolai Fechin was very well received in Los Angeles and this popularity along with the sales of his artwork picked up his spirits considerably.
Toward the end of his life, Nicolai Fechin was persuaded by his biggest collector and good friend, John Burnham, to have a simultaneous retrospective at the art museums in San Diego and La Jolla. The events were huge successes and a chance for Nicolai Fechin to see paintings he had not seen for many years.
Repository: California Historical Society
Digital object ID: CHS2010.238.tif
Date: circa 1850s
Format: Daguerreotype
Preferred citation: [Group of miners], courtesy, California Historical Society, CHS2010.238.tif
French painter and sculptor. He was born into a cultivated family of artistic inclination and independent means. He first studied with his mother, the printmaker and painter Laure Lacombe (1834–1924), and received further guidance from the French painters Georges Bertrand (1849–1929), Alfred Roll and Henri Gervex, who were family friends. From 1888 to 1897 he spent the summers at Camaret on the Brittany coast. In 1892 he befriended Paul Sérusier and was soon attracted to the aesthetic of the NABIS. He painted Breton figural scenes and stylized seascapes characterized by flat patterns, Japanese print devices, and mysterious, often anthropomorphic imagery. Familiarity with Paul Gauguin in 1893–4 aroused his interest in wood-carving (an interest that may also have been nurtured by his father, an amateur cabinetmaker) and encouraged him to employ a deliberately crude technique. Known as ‘the Nabi sculptor’, Lacombe explored Symbolist themes such as the cycle of life and death treated in The Bed (1894–6; Paris, Mus. d’Orsay).
Real photo postcard. Postally unused.
Bought from an eBay seller in Stourbridge, United Kingdom.
Or are they fairies with wands?
Undated, but the Crown Studios (rounded corners) stamp box dates it to between 1913 and 1929.
Oil on canvas; 97 × 130 cm.
Paul Cézanne was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic inquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed.
Cézanne's work demonstrates a mastery of design, color, tone, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of color and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception.
Black-and-white photo of four men standing outdoors in Hungary during the 1960s, dressed in casual and semi-formal clothing.
Mixed media on canvas; 99.6 x 136 cm.
Vuillard studied art from 1886 to 1888 at the Académie Julian and the École des Beaux-Arts in Paris. In 1889 he joined a group of art students that included Maurice Denis, Pierre Bonnard, Paul Sérusier, Ker-Xavier Roussel, and Félix Vallotton. They called themselves the Nabis (Hebrew for “Prophets”), and they drew their inspiration from the Synthetist paintings of Paul Gauguin’s Pont-Aven period. Like Gauguin, the Nabis advocated a symbolic, rather than a naturalistic, approach to color, and they usually applied their paint in ways that emphasized the flat surface of the canvas. Their admiration of Japanese woodcuts, which were then in vogue in Europe, inspired them to use simplified shapes and strong contours. Many of his works deal with domestic and dressmaking scenes set in his mother’s bourgeois home. In the paintings and prints of his Nabi period, he often created flattened space by filling his compositions with the contrasting rich patterns of wallpaper and women’s dresses. Because of their focus on intimate interior scenes, both Vuillard and Bonnard were also called Intimists.
In addition to painting, Vuillard, like most of the other Nabis, was involved in book illustration, poster design, and designs for the theatre. In 1893 Vuillard helped found Aurélien Lugné-Poë’s Théâtre de l’Oeuvre, which produced Symbolist plays. Vuillard designed stage sets and illustrated programs. In 1899 the Nabis exhibited together for the last time. That year Vuillard began to paint in a more naturalistic style. He also executed two series of masterful lithographs that reveal his great debt to Japanese woodcuts. Vuillard continued to receive numerous commissions to paint portraits and decorative works for private patrons as well as for public buildings. His public paintings included the decorations in the foyer of the Théâtre des Champs-Élysées (1913) and murals in the Palais de Chaillot (1937) and in the League of Nations in Geneva (1939).
Vuillard retained an Intimist sensibility for his entire career; even when painting portraits and landscapes, he instilled his compositions with a sense of quiet domesticity. In the early 20th century, when European art was influenced by the development of avant-garde styles such as Cubism and Futurism, many critics and artists viewed Vuillard as conservative. Paintings from his Nabi period received the most popular and critical approval, with critics often dismissing his later work. However, in the late 20th century, historians and critics began to devote more attention to Vuillard’s achievements as a decorative painter and designer.
Oil on canvas; 97 x 131 cm.
He was born into a conservative middle class family in Lausanne, and there he attended Collège Cantonal, graduating with a degree in classical studies in 1882. In that year he moved to Paris to study art under Jules Joseph Lefebvre and Gustave Boulanger at the Académie Julian. He spent many hours in the Louvre, where he greatly admired the works of Holbein, Dürer and Ingres. His earliest paintings, such as the Ingresque Portrait of Monsieur Ursenbach (1885), are firmly rooted in the academic tradition. During the following decade Vallotton painted and made a number of prints. In 1891 he executed his first woodcut, a portrait of Paul Verlaine. The many woodcuts he produced during the 1890s were widely disseminated and were recognized as radically innovative in printmaking. They established Vallotton as a leader in the revival of true woodcut as an artistic medium.
By 1892 he was affiliated with Les Nabis, a group of young artists that included Pierre Bonnard, Ker-Xavier Roussel, Maurice Denis, and Edouard Vuillard, with whom Vallotton was to form a lifelong friendship. During the 1890s, when Vallotton was closely allied with the avant-garde, his paintings reflected the style of his woodcuts, with flat areas of color, hard edges, and simplification of detail. His subjects included genre scenes, portraits and nudes. Examples of his Nabi style are the deliberately awkward Bathers on a Summer Evening (1892–93), now in the Kunsthaus Zürich, and the symbolist Moonlight (1895), in the Musée d'Orsay.