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Fernand Cormon was a French painter born in Paris. He became a pupil of Alexandre Cabanel, Eugène Fromentin, and Jean-François Portaels, and one of the leading historical painters of modern France.
At an early age he attracted attention for the perceived sensationalism in his art, although for a time his powerful brush dwelled with particular delight on scenes of bloodshed, such as the Murder in the Seraglio (1868) and the Death of Ravara, Queen of Lanka at the Toulouse Museum. The Musée d'Orsay has his Cain flying before Jehovah's Curse. A Chiefs Funeral, and pictures having the Stone Age for their subject, occupied him for several years. He was appointed to the Legion of Honor in 1880. Subsequently he also devoted himself to portraiture.
Being well-accepted at the annual Salon, he also ran an art school in the 1880s where he tried to guide his students to create paintings which would be accepted by the Salon's jury. Among his students with whom he was unsuccessful on this point were Henri de Toulouse-Lautrec, Louis Anquetin, Eugène Boch, Paul Tampier, Émile Bernard and Vincent van Gogh.
Oil on canvas; Size 31.9 x 46.3 in. (81 x 117.5 cm.)
He belongs to a family of Dusseldorf artists, his father (1805 - 1867), after whom he is named and whose pupil he is, being a distinguished portrait and genre painter. "At the Masquerade" was one of the attractions of the Berlin Annual Exhibition of 1891.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of thirteen men and women, facing front; six lay in foreground with bicycles; six women stand holding banner in background; central character wears hat, holds guitar in front; tent in background; View of Goderich and vicinity imprint on left of card; Photographed by R.R. Sallows imprint on right of card; (title Tuquallah Hut written across bottom)
Object ID : 0322-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Oil on canvas; 114.5 x 145 cm.
Jean Jansem was born in 1920 at Seuleuze in Asia Minor and spent his early childhood in Salonika. When he was twelve years old his family settled in Paris. As a schoolboy he liked to copy reproductions of ancient sculptures, then following an accident in which he broke the bones of his foot, he spent three years in hospital. Thus, at an age when most children were playing, Jansem came to know the meaning of solitude. This long period of physical inactivity accustomed him to long periods of reflection and meditation, and from this came the gravity that has always characterized him.
Although the early chapters of his artistic life were difficult, in fact up to the war his most lucrative work was in the decorative arts - producing designs for fabrics and designing furniture, he never lost sight of his real passion, namely painting. From 1934 – 1936 he attended a variety of evening classes in Montparnasse and the Marais. He met fellow Armenian teacher, Ariel, who taught him to draw, but it was in the works of Picasso that he found his grand revelation.
Before he was sixteen he had been admitted to the Ecole des Arts Decoratifs (1936 - 1938) where Beianchon, Leguelt and Oudet exercised a silent and unobtrusive influence on the young artist. During 1937 he completed a training course at the Beaux-Arts and at Atelier Sabatier. In 1950 he went to Greece and it was in the Mediterranean that he discovered light, until then his painting had been sombre. Throughout the Greek countryside he eagerly sketched the shadowy figures who had surrounded him in his infancy and who until then had remained hidden in his subconscious mind - peasants, fishermen, tradesmen. All these he submitted to his friendly scrutiny, these men, women and children whose work was the same from one ocean to another and from one continent to another. He stripped them of the accessories that particular societies might have added to their essential, changeless characteristics.
Then followed a period of activity in which he won many awards, in 1951 the Prix Populiste, 1953 the Prix Antral, 1954 the Bourse Natioale, in 1958 Prix Comparaison in Mexico.
In 1959 he participated in the Biennale de Bruges. He is a member of the Salon d'Automne and has participated in: Salons des Independents, Salon des Tuileries, Salon d'Art Sacre, Salon de l,'Ecole de Paris, Salon des Peintres temoins de leur temps. He has exhibited in Salon d'Atitimne, Salon de Comparaison, Salon du Dessin and Salon de la Peinture a 1'eau. His paintings appear in Museums at Ville de Paris, Ennery de Paris, Poitiers and several Art Museums in the U.S.A.
Oil on canvas; 41 1/4 in. x 37 1/2 in.
William Rothenstein was born into a Jewish family in Bradford and studied at the Slade School of Art (his teachers included Alphonse Legros) and in Paris, where he met and was encouraged by James McNeill Whistler and Edgar Degas. He was a friend of caricaturist and parodist Max Beerbohm. Rothenstein became known for his portrait drawings of famous individuals and was an official war artist in both World War I and World War II. He was a member of the International Society of Sculptors, Painters & Gravers. Rothenstein was Principal of the Royal College of Art from 1920 to 1935, where he encouraged figures including Jacob Epstein, Henry Moore and Paul Nash. He wrote several books. He was knighted in 1931. William Rothenstein was the father of art historian Sir John Rothenstein, who was the director of the Tate Gallery from 1938 to 1964, and the highly respected British printmaker Michael Rothenstein, whose divorce from Duffy Ayers caused a major controversy in British society. Rabindranath Tagore dedicated his Nobel Prize winner poetry collection Gitanjali to William Rothenstein
Otto Griebel was a German painter of the Neue Sachlichkeit (New Objectivity) and the proletarian-revolutionary art. In 1909 he began an apprenticeship as a decorative painter, and a short time later he met Otto Dix. Griebel served in World War I. After graduating in 1919, he was a master at the Dresden Academy. In 1919/1920, he worked with the Dadaists and formed friendships with George Grosz and John Heartfield. In 1933 Griebel was arrested by the Gestapo. His work was designated as degenerate art.
Oil on panel; 61 x 44.5 cm.
Austrian Painter. After studying at the Vienna Academy of Fine Arts from 1872 to 1875, Austrian-born Deutsch settled into the thriving art capital of Paris, where he joined his compatriot and fellow Orientalist painter Rudolf Ernst. Between 1879 and 1883, Deutsch exhibited portraits and genre scenes at the Salon. After 1883 he drew inspiration almost exclusively from his travels to Egypt. Deutsch was thought to have visited Egypt as many as five times between 1883 and 1904. These formative trips allowed him to gather subjects and motifs for his oeuvre.* In Paris he achieved great success in the 1890s with his highly detailed scenes of daily life in Egypt. The year 1900 marked the pinnacle of Deutsch's career, for he was awarded the gold medal at the Exposition Universelle for an Orientalist composition. Deutsch focused primarily on the depiction of Nubian figures, which became some of his most desired and popular images. Beginning in 1910, the artist painted scenes of everyday Egyptian life by the Nile in a free style and began to experiment with Post-Impressionism. Deutsch's late period typifies his shift away from academic tendencies in favor of a broader, more spontaneous manner. Ludwig Deutsch continued to paint until his death in Paris in 1935.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of family gathering; sixty-six people seated & standing in front of frame house; empty frame chair in front row on right; (written across bottom: John Morris Birthday Party, 1888);stamped on back From the studio of R.R. Sallows, Goderich, Ontario
Object ID : 0350-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Elliott Erwitt (b. 26 July 1928 Paris, France) is an advertising and documentary photographer known for his black and white candid shots of ironic and absurd situations within everyday settings— a master of Henri Cartier-Bresson's "decisive moment". In 1939, at the age of ten, Erwitt's family, of Russian origin, immigrated to the United States. Erwitt studied photography and filmmaking at Los Angeles City College and the New School for Social Research, finishing his education in 1950.
Born in Paris of Jewish-Russian immigrant parents, Erwitt served as a photographer's assistant in the 1950s in the United States Army while stationed in France and Germany. Erwitt was influenced by his meeting the famous photographers, Edward Steichen, Robert Capa and Roy Stryker. Stryker, the former Director of the Farm Security Administration's photography department, hired Erwitt to work on a photography project for the Standard Oil Company. Erwitt then began a freelance photographer career and produced work for Collier's, Look, Life and Holiday. Joining the Magnum Photos agency in 1953 allowed Erwitt to shoot photography projects around the world.
One of the subjects Erwitt has frequently photographed in his career is dogs: they have been the subject of four of his books, Son of Bitch (1974), Dog Dogs (1998), Woof (2005) and Elliott Erwitt's Dogs (2008).[1]
More recently, Erwitt has created an alter ego, the beret-wearing and pretentious André S. Solidor (which abbreviates to "ass") — "a contemporary artist, from one of the French colonies in the Caribbean, I forget which one", in order to "satirise the kooky excesses of contemporary photography". The work of said alter-ego was published in a book, The Art of André S. Solidor (2009), and exhibited in 2011 at the Paul Smith Gallery in London.[1][2]
He was awarded The Royal Photographic Society's Centenary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2002.[3]
Gustav Klimt was an Austrian Symbolist painter and one of the most prominent members of the Vienna Art Nouveau (Vienna Secession) movement. His major works include paintings, murals, sketches, and other art objects, many of which are on display in the Vienna Secession gallery. Klimt's primary subject was the female body,and his works are marked by a frank eroticism.
July 1916 Water-works Dam
Peggy Benscoter & Anna with Olive Truman --
Sunday School Class Picnic
**
“Believe in a love that is being stored up for you like an inheritance,
and have faith that in this love there is strength,
and a blessing so large that you can travel as far as you wish
without having to step outside it.”
— Rainer Maria Rilke
*
"Whatever way you put it, I am here only because my world is here. When I took my first breath, my world was born with me. When I die, my world dies with me. In other words, I wasn't born into a world that was already here before me, nor do I live simply as one individual among millions of other individuals, nor do I leave everything behind to live on after me. People live thinking of themselves as members of a group or society. However, this isn't really true. Actually, I bring my own world into existence, live it out, and take it with me when I die."
- Kosho Uchiyama
Opening the Hand of Thought
Bain News Service,, publisher.
Mrs. F. Shepard & son, & Col. W. E. Horton
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.21787
Call Number: LC-B2- 3862-6
Oil on canvas; 32 x 61 cm.
Anna Ancher was a Danish Painter. She was the only one of the Skagen Painters that was actually born in Skagen, Denmark. Anna Ancher was born and grew up in the northernmost area of Jutland, called Skagen (the Skaw). Her talent became obvious at an early age and she grew acquainted with pictorial art via the many artists who settled to paint in Skagen. Anna Ancher studied drawing for 3 years at the Vilhelm Kyhn College of Painting in Copenhagen. However, Anna Ancher developed her own style and was a pioneer in observing the interplay of different colours in natural light. She also studied drawing in Paris at the atelier of Pierre Puvis de Chavannes along with Marie Triepcke, who would marry Peder Severin Krøyer, another Skagen painter. In 1880 she married fellow painter Michael Ancher, whom she met in Skagen. They had one daughter, Helga Ancher. Despite pressure from society that married women should devote themselves to household duties, she continued painting after marriage. Anna Ancher is considered to be one of the great Danish pictorial artists by virtue of her abilities as a character painter and colorist. Anna Ancher's art found its expression in Nordic art's modern breakthrough towards a more truthful depiction of reality, e.g. in Blue Ane (1882) and The Girl in the Kitchen (1883-1886). Anna Ancher preferred to paint interiors and simple themes from the everyday lives of the Skagen people and fishermen.
Jean Fautrier was a French painter and sculptor. He was one of the most important practitioners of Tachisme. He was born in Paris and studied in London at the Royal Academy of Art and the Slade School. He first exhibited his paintings at the Salon d'Automne in 1922 and at the Fabre Gallery in 1923. In 1927, he painted a series of pictures (still lifes, nudes, landscapes) in which black dominates, and in 1928 he began work on a series of engravings. Until 1933 he divided his efforts between sculpture and painting; he then spent five years as a ski instructor in Savoy.
Fautrier resumed painting in 1937, and in 1943 made his twenty-second and last sculpture. The same year, stopped by the German gestapo, he fled Paris and found refuge in Châtenay-Malabry, where he began work on the project of the Otages. These paintings were exhibited in 1945 with the Drouin gallery. In the years that followed, Fautrier worked on the illustration of several works. His late work is abstract, generally small in scale, often combining mixed media on paper. He died in Châtenay-Malabry in 1964.
Lewis Hine, who was best known for his use of photography as a means to achieve social reform, was first a teacher of botany and nature studies at the Ethical Culture School in New York. It was while he was teaching that he was given a camera by the head of the school. In his hand, the camera became a powerful means of recording social injustice and labor abuses.
Hine's interest in social welfare and in reform movements led him in 1905 to begin his first documentary series; immigrants on Ellis Island. In 1908 he left teaching to become an investigator and photographer for the National Child Labor Committee (NCLC), and between 1908 and 1916 he traveled extensively photographing child-labor abuses. Hine would manage to gain access to the sweatshops and factories where children were employed, and then, if he could, photograph them at work. Hine inveigled his way into factories by posing as an insurance agent, bible salesman, postcard seller, or industrial photographer. Once inside, Hine quickly would go about his business of photographing the children working. Having been a teacher, Hine was comfortable talking with children and would attempt to get as much information as possible regarding their living conditions, the circumstances under which they were forced to work, and their name and age. If he was unable to determine a child’s age by speaking to him, Hine would surreptitiously measure the child’s height against the buttons on his vest and estimate the child’s age by his height. If Hine was not able to gain admittance to a factory, he would wait outside the gates and photograph the children as the came to work. He visited children and families who worked at home and he wrote with impassioned sarcasm of the "opportunities for the child and family to enlist in the service of Industry."
Hine's photographs were used to make lantern slides for lectures and to illustrate pamphlets, magazine articles, and exhibitions. Through his photographs, Hine was able to inspire social change. His photos documenting the horrid conditions under which children were employed, made real the plight of these children. This led to the passage of child labor laws. Not only did Hine document the horrors of work, he also depicted the dignity of labor. This is best seen in his photos of the construction of the Empire State Building. From 1930 to 1931 he took hundreds of pictures of the Empire State Building under construction. These photos, as well as photographs of factory workers and other laborers, were published in Men at Work. While Hine's early photographs were often published, by the 1930s, interest in his work had declined. In 1938 he was denied a grant to photograph American crafts people at work. The Photo League in New York publicized his work, but it was not until a number of years after his death that he again received wide recognition. A new monograph was recently printed entitled, Lewis W. Hine Children At Work by Vicki Goldberg.
Local identifier: SFF 89203_0151_l9_002_bakside
Caption: "Johane Myawo, Aaron Gameda, Malla Moe".
This is the reverse side of the following image: www.flickr.com/gp/fylkesarkiv/kT92wf
Ilya Yefimovich Repin was a leading Russian painter and sculptor of the Peredvizhniki artistic school. An important part of his work is dedicated to his native country, Ukraine. His realistic works often expressed great psychological depth and exposed the tensions within the existing social order. Beginning in the late 1920s, detailed works on him were published in the Soviet Union, where a Repin cult developed about a decade later, and where he was held up as a model "progressive" and "realist" to be imitated by "Socialist Realist" artists in the USSR.
Oil on canvas; diptych; 200 x 360 cm.
Zeng Fanzhi ( 曾梵志) (born 1964, Wuhan, China) is an artist based in Beijing.There are few Chinese painters whose careers boast the breadth and complexity as that of Zeng Fanzhi. From the earliest stages of his career, Zeng Fanzhi's paintings have been marked by their emotional directness, the artist's intuitive psychological sense, and his carefully calibrated expressionistic technique. Moving to the more cosmopolitan Beijing in the early 1990s, Zeng's art displayed an immediate shift, responding to his immersion in a more superficial environment, his seminal Mask series displaying the tensions between the artist's dominant existential concerns and an ironic treatment of the pomposity and posturing inherent to his new contemporary urban life. Throughout, Zeng's expressionistic techniques run counter to such techniques' conventional usage. That is, Zeng's representation of raw, exposed flesh or awkwardly over-sized hands is not an attempt at pure emotional expression, but instead play against the superficially composed appearances of his subjects, an ironic treatment of emotional performance as a metaphor for a lost self, of stunted self-realization.
He grew up during the Chinese Cultural Revolution, and he went to the Hubei Academy of Fine Arts.[1] There, he was largely influenced by Expressionism. Currently, Zeng is one of, if not the most popular artist of his era,[1] in addition to being one of Asia's most financially successful artists.[2] In May, 2008, he set a world auction record when one of his contemporary Chinese art pieces “Mask Series 1996 No. 6” was sold for $9.6 million in Hong Kong.[1] Zeng has lived and worked in Beijing since 1993, and has been exhibited all over the globe in venues such as the Shanghai Art Museum, National Art Museum, Kunst Museum Bonn, Kunstmuseum Bern, Santa Monica Art Centre, and Art Centre.[1]
Kees van Dongen, was a Dutch painter and one of the Fauves. He gained a reputation for his sensuous, at times garish, portraits. He was born in the suburbs of Rotterdam. In 1892 van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam. Between 1892 to 1897, he frequented the Red Quarter seaport area, where he drew scenes of sailors and prostitutes. In 1899 he went to Paris. He began to exhibit in Paris, including the controversial 1905 exhibition Salon d'Automne, in a room featuring Matisse and others. The bright colors of this group of artists led to them being called Fauves ('Wild Beasts'). He was also briefly a member of the German Expressionist group Die Brücke (The Bridge). He was part of an avant-garde wave of painters—Maurice de Vlaminck, Othon Friesz, Henri Rousseau, Robert Delaunay, Albert Marquet, Edouard Vuillard—who incarnated hopes of a renewal in painting stuck in Neo-impressionism. In 1906 he moved to 13 rue Ravignan, where he was friends with the circle surrounding Pablo Picasso.
Under the influence of Jasmy Jacob, amongst others, Kees van Dongen developed the lush colors of his Fauvist style. This gained him a solid reputation with the French bourgeoisie. As a fashionable portraitist his subjects included Arletty, Leopold III of Belgium and Maurice Chevalier. With a playful cynicism he remarked of his popularity as a portraitist with high society women; ' The essential thing is to elongate the women and especially to make them slim. After that it just remains to enlarge their jewels. They are ravished.' A remark that allies itself to another of his sayings - ' Painting is the most beautiful of lies.' In 1926 he was awarded the Legion of Honour and in 1927 the Order of the Crown of Belgium. In 1929 he received French nationality and two of his works were admitted to the Musée du Luxembourg.
Family Sharing A Watermelon. Photograph.
Stamped on reverse:
Baldwin Studio
St. Louis, Missouri
New Orleans, Louisiana
Jacques-Louis David was a highly influential French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s his style of history painting marked a change in taste away from Rococo frivolity toward a classical austerity and severity, consistent with the moral climate of the final years of the old regime. David later became an active supporter of the French Revolution and friend of Maximilien Robespierre (1758-1794), and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release, that of Napoleon I. It was at this time that he developed his 'Empire style', notable for its use of warm Venetian colours. David had a huge number of pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting.
Orginal photo by Methodshop found at www.flickr.com/photos/methodshop/7733812674 and www.flickr.com/photos/methodshop/7733814058
Licensed as Creative Commons - (BY-SA) - just like all these portraits
...more to come
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Oil on panel; 149 x 141 cm.
Jan Matejko was a Polish painter known for paintings of notable historical Polish political and military events. His most famous works include oil on canvas paintings like Battle of Grunwald, paintings of numerous other battles and court scenes, and a gallery of Polish kings. He is counted among the most famous Polish painters.
From his earliest days Matejko showed exceptional artistic talent that allowed him to advance from grade to grade, although he had great difficulty with other subjects. He never mastered a foreign language and did not do well even with his native Polish language. He attended St. Ann's High School, which he dropped out of in 1851 because of poor results. He studied at the School of Fine Arts in Kraków from 1852 to 1858. His teachers included Wojciech Korneli Stattler and Władysław Łuszczkiewicz. During this time, he began exhibiting historical paintings at the Society of Friends of the Fine Arts there. After studying under the historical painter Hermann Anschütz in Munich (1859) and then briefly and less successfully in Vienna, Matejko returned to Kraków. It would be however years before he would gain commercial success; for a time he was the proverbial "starving artist", who celebrated when he sold a canvas.
During the January Uprising of 1863 in which he did not participate because of poor health, Matejko gave financial support and transported arms to the insurgents' camp in Goszcza). In 1864 he married Teodora Giebultowska, with whom he had four children. At that time Matejko started to gain international recognition; literally a starving artist during his younger days. In 1865 Matejko's painting "Skarga's Sermon" was awarded a gold medal at the yearly Paris salon; soon afterwards Count Maurycy Potocki bought it for 10,000 guldens. In 1868, his painting "Rejtan" was awarded a gold medal at the World Exhibition in Paris. Critics listed Matejko as one of the most important European historical painters. From the Polish perspective, he succeeded in propagating the Polish history, and reminding the world about Poland, which while partitioned and without any independent political representation, still commanded the hearts of many. Beginning in 1873, he was for many years the principal of the Academy of Fine Arts.
In addition to historical events Matejko made also several portraits. Among others "Wife in the wedding dress" (1879), A. Potocki (1879), S. Tarnowski (1890), Self-Portrait (1892). Altogether Matejko authored 320 oil paintings and several thousands drawings and watercolors. Finally he painted a monumental polychrome in St. Mary's Basilica, Kraków (1889–1891). His most important paintings were hidden during World War II. After 1945 majority of his works was found and subject to restoration. They are now mainly in Warsaw's National Museum. His works, disseminated in thousands of reproductions, have made him one of the most famous painters in Poland, and became almost standard illustrations of many key events in Polish history.
Oil on canvas; 138 x 184 cm.
The artist Lasar Segall was a Brazilian Jewish painter, engraver and sculptor born in Lithuania. Segall's work is derived from impressionism, expressionism and modernism. His most significant themes were depictions of human suffering, war, persecution and prostitution. Segall was born in the Jewish ghetto of Vilnius, Lithuania and was the son of a Torah scribe. Segall moved to Berlin at the age of 15 and studied first at Berlin Königliche Akademie der Künste from 1906 to 1910. At the end of 1910 he moved to Dresden to continue his studies at the Kunstakademie Dresden as a "Meisterschüler".
Segall published a book of five etchings in Dresden, Sovenirs of Vilna in 1919, and two books illustrated with lithographs titled Bubu and die Sanfte.[1] He then began to express himself more freely and developed his own style, which incorporated aspects of Cubism, while exploring his own Jewish background. His earlier paintings throughout 1910 to the early 1920s depicted troubled figures surrounded in claustrophobic surroundings with exaggerated and bold features, influenced by African tribal figures.[2] In 1912 his first painted series of works were conducted in an elderly insane asylum.[3] Segall's work largely portrayed the masses of persecuted humanity in his Expressionist form. Later that year, he moved to São Paulo, Brazil, where three of his siblings were already living. He returned to Dresden in 1914 and was still quite active in the Expressionist style. In 1919 Segall founded the 'Dresdner Sezession Gruppe 1919' with Otto Dix, Conrad Felixmüller, Otto Lange and other artists. Segall's exhibition at the Galery Gurlitt received multiple awards. However successful Segall was in Europe, he had already been greatly influenced by his time spent in Brazil, which had already transformed both his style and his subject matter. The visit to Brazil gave Segall the opportunity to obtain a strong idea of South American art and, in turn, made Segall return to Brazil.
Segall's subject matter was portrayed more subtly and softer in his early career. He did not depict much of the African influence on his artwork until he moved to Brazil. It was not until Segall visited Brazil for the first few times, that he branched out towards the Expressionist style. He was able to express himself in a freer manner while he portrayed the lifelong theme of his Jewish culture depicting the tribulations of European Jews.[1] Although he was a humanist, he never forgot his Jewish roots.[9]
Segall's initial paintings in Brazil reflect a strong national connection and passion for his newfound homeland. He portrayed the landscapes in São Paulo and Rio de Janeiro and portrayed the different races without tension or malintention.[10] However, Segall remained faithful towards his Cubist nature throughout the majority of his artworks. Specifically, one of his famous artworks, entitled Banana Plantation, shows a Brazilian banana plantation, thick in density.[7] Segall achieved balance in this painting by centering the worker's neck and head protruding from the bottom of the painting. This causes the audience to be fully focused towards the center space. This significant symmetrical balance emphasizes the human element involved in the Brazilian agricultural system.[7] The diminished amount of slavery in Brazil during this time period, the 1920s, abolished Brazilian-Negro slaves and replaced them with an overwhelming amount of European workers coming to Brazil. This particular image portrays the engulfment of the plantations by the Europeans.
Other prominent theme in Segall's work is human suffering and emigration. In another famous artwork of Segall's, entitled Ship of Emigrants, a ship dock is overcrowded and engulfed with emigrant passengers. Not only does the image portray a dark and saddening emotion, but it significantly portrays the troubled figures aboard the ship.[2] The solemn faces and lack of expression on the passengers blatantly shows the harsh reality of emigrants and their depressing lifestyles of forced moves.
Konstantin Apollonovich Savitsky was a Russian realist painter born in the city of Taganrog in the village Frankovka or Baronovka, named after former governor Otto Pfeilizer-Frank. Savitsky's father worked as a doctor. In Frankovka the family rented a summer house. Savitsky spent his childhood and youth in Taganrog. He showed an interest for painting in the early childhood. Being on the shore of Azov Sea with his parents, he loved to make sketches, and drawing lessons at Gymnasium were his favorite subject.
When Konstantin was fifth-grader at Taganrog Gymnasium, his teenager's life changed unexpectedly. Both of his parents died suddenly. Kostya was taken by his uncle who lived in present-day Latvia and became his guardian. There Savitsky entered a private boarding-school and in 1862 he graduated and left for Saint Petersburg, where entered The Imperial Academy of Arts. Personal contacts with outstanding representatives of Russian culture - Ilya Repin, Ivan Shishkin, Viktor Vasnetsov, Mark Antokolski, Stasov, Nikolai Mikhailovich Karamzin - made a great influence on development of the young artist. Soon Savitsky became one of the best students of the Imperial Academy of Arts. His student paintings were awarded with silver medals and for his painting "Cain and Abel"1871 he received a gold medal.
After graduation from Imperial Academy of Arts and two years abroad, the artist becomes co-partner of mobile art exhibitions (Peredvizhniki, a group of Russian realist artists who in protest to academic restrictions formed an artists' cooperative, which evolved into the Society for Traveling Art Exhibitions in 1870. The artwork "Repairing Railway" was one of the first paintings of that time dedicated to life of the working class.
Konstantin Savitsky is a co-author of the famous painting Morning in the Pine Forest. On the original Peredvizhniki exhibition the painting was shown by two authors Ivan Shishkin and Konstantin Savitsky. It was assumed that Savitsky had painted the bears and Shishkin the forest but later the scholars found that preparational drawing of the pine forest were made by both Savitsky and Shishkin. Later Savitsky withdrew his signature from the painting and it is currently attributed solely to Shishkin.
The titles of his artworks as "Lost all their possessions in the fire", "To war", "Herdsmen", "Krutchnik", "Argument at the Bound" speak about the direction of his art.
After graduation from Imperial Academy of Arts the artist dedicated more than 20 years to teaching arts in the art schools of Moscow, Saint Petersburg and Penza. In 1897 Konstantin Savitsky became member of the Imperial Academy of Arts.
Oil on wood; 173.5 x 149 cm.
Mexican family of painters. Luis Juarez (b c. 1585; d Mexico City, c. 1638) painted in the Mannerist style of the Spanish painters settled in Mexico, such as Baltasar de Echave Orio and Alonso Vazquez, although his figures are softer than those of his teachers. He began working in the first decade of the 17th century. His signed St Teresa (Guadalajara, Mus. Guadalajara) dates from that time and his St Anthony of Padua and the Ascension (both Quer?taro, Mus. Reg.) from 1610. In 1611 he was commissioned to make the triumphal arch for the reception of the Viceroy of New Spain, Fray Garc?a Guerra. During the 1620s he painted the retables in the church of Jesus Maria, Mexico City, and in S Agustine, Puebla. The finest of his numerous religious works are the Annunciation, the Agony in the Garden, the Visitation, the Archangel Michael and St Raphael (all Mexico City, Pin. Virreinal); the Mystic Marriage of St Catherine and the Virgin Bestowing the Chasuble on St Ildefonso (both Mexico City, Mus. N. A.); and the Education of the Virgin and the Ascension.
Read more: www.answers.com/topic/juarez-4#ixzz2BMBgOyFW
Oil on canvas; 126.3 x 184.1 cm.
Laurits Tuxen was a Danish painter and sculptor specializing in figure painting. He was also associated with the Skagen Painters. He was the first head of Kunstnernes Frie Studieskoler, an art school established in the 1880s to provide an alternative to the education offered by the Royal Danish Academy of Fine Arts.
Tuxen grew up in Copenhagen and studied at the Royal Danish Academy of Art where together with P.S. Krøyer he was considered to be one of the best painters.
He first visited Skagen in 1870 and he returned on several occasions. In the 1880s and 1890s, he travelled widely painting portraits for Europe's royal families including Christian IX of Denmark, Queen Victoria and the Russian royalty. In 1901, after the death of his first wife Ursule, he married the Norwegian Frederikke Treschow and shortly afterwards purchased Madam Bendsen's house at the artists' colony in Skagen in the north of Jutland, converting it into a stately summer residence.
In 1914 he made a study trip to Greece to paint the entry of George I of Greece into Salonika, for the Christian castle. He made lively and well-characterized portraits, among them his self-portrait in the Uffizi Gallery in Florence, and portraits of Peder Severin Krøyer, in the Museum of Fine Arts in Budapest. He also made portraits in sculpture, including a portrait group of Krøyer and Michael Peter Ancher.
Tuxen went on to paint a number of landscapes in and around Skagen, but also completed a number of paintings of his family, friends and garden flowers. Laurits Tuxen painted mainly landscapes in Skagen, but also portraits of European royal personalities, namely Christian IX of Denmark, Queen Victoria, Czar Nicolas II, etc.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Posed group portrait of fourteen men and women; figures alternate between men and women with men seated on bicycles; all men wearing hats; building in background with banner suspended from pillars; View of Goderich and vicinity imprint on left of card; Photographed by R.R. Sallows imprint on right of card; (title The Start written across bottom)
Object ID : 0320-rrs-ogohc-ph
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Teitl Cymraeg/Welsh title: Fy mam (yn eistedd), Shan y Lliwdy a Morwyn Bontfaen
Ffotograffydd/Photographer: John Thomas (1838-1905)
Nodyn/Note: Two women standing with Jane Thomas (mother of John Thomas), who is sitting between them.
Dyddiad/Date: [1867]
Cyfrwng/Medium: Negydd gwydr / Glass negative
Maint/Dimensions: 110 x 185 mm.
Cyfeiriad/Reference: jtrr063 (jth02773)
Rhif cofnod / Record no.: 3363713
Rhagor o wybodaeth am gasgliad John Thomas yn Llyfrgell Genedlaethol Cymru
More information about the John Thomas Collection at the National Library of Wales
Michelangelo Merisi da Caravaggio was an Italian artist active in Rome, Naples, Malta and Sicily between 1593 and 1610. He is considered the first great representative of the Baroque school of painting.
In his own lifetime Caravaggio was considered enigmatic and rebellious. He burst upon the Rome art scene in 1600, and thereafter never lacked for commissions yet he behaved atrociously. A notice on him, dating from 1604 and describing his lifestyle three years previously, tells how "after a fortnight's work he will swagger about for a month or two with a sword at his side and a servant following him, from one ball-court to the next, ever ready to engage in a fight or an argument. In 1606 he killed a man in a brawl and fled from Rome with a price on his head. In Malta in 1608 he was involved in another brawl, and yet another in Naples in 1609. By the next year, after a relatively brief career, he was dead.
Painter John Koch's "Cocktail Party" classic portrait of New York cocktail party in 1956. Leo Lerman is in the foreground in profile (with dark beard) conversing with pianist Ania Dorfmann. The other guests, left to right, are artist Roger Baker, artist and critic Maurice Grosser, the Dr. Leonard Smileys, the painter John Koch (mixing drinks), Mrs. Edgar Feder, an unidentified woman, composer Virgil Thomson, music critic Noel Straus, Dora Koch (standing), an unknown seated woman, artist Felicia Meyer Marsh, artist Aaron Shikler, art dealer Roy Davis, butler Leroy Lowry, artist Raphael Soyer, and biographer Frances Winwar.
Teitl Cymraeg/Welsh title: Dawns Dydd Sant Padrig yn Theatr y Garrison, Croesoswallt.
Ffotograffydd/Photographer: Geoff Charles (1909-2002)
Dyddiad/Date: March 23, 1955.
Cyfrwng/Medium: Negydd ffilm / Film negative
Cyfeiriad/Reference: (gch07870)
Rhif cofnod / Record no.: 3368464
Rhagor o wybodaeth am gasgliad Geoff Charles yn Llyfrgell Genedlaethol Cymru
More information about the Geoff Charles Collection at the National Library of Wales
Margaret Bourke-White, original name Margaret White (born June 14, 1904, New York, New York, U.S.—died August 27, 1971, Stamford, Conn.), American photographer known for her contributions to photojournalism.
Margaret White was the daughter of an engineer-designer in the printing industry. She attended Columbia University (1922–23), the University of Michigan (1923–25), Western Reserve University (now Case Western Reserve University), and Cornell University (A.B., 1927). During this period she took up photography, first as a hobby and then, after leaving Cornell and moving to New York City, on a professional freelance basis. She combined her own last name with her mother’s maiden name (Bourke) to create her hyphenated professional name. Beginning her career in 1927 as an industrial and architectural photographer, she soon gained a reputation for originality, and in 1929 the publisher Henry Luce hired her for his new Fortune magazine. In 1930 Fortune sent Bourke-White to photograph the Krupp Iron Works in Germany, and she continued on her own to photograph the First Five-Year Plan in the Soviet Union. She became one of the first four staff photographers for Life magazine when it began publication in 1936, and her series of photographs of Fort Peck Dam was featured on the cover and as part of the feature story of the first issue.
Throughout the 1930s Bourke-White went on assignments to create photo-essays in Germany, the Soviet Union, and the Dust Bowl in the American Midwest. These experiences allowed her to refine the dramatic style she had used in industrial and architectural subjects. These projects also introduced people and social issues as subject matter into her oeuvre, and she developed a compassionate, humanitarian approach to such photos. In 1935 Bourke-White met the Southern novelist Erskine Caldwell, to whom she was married from 1939 to 1942. The couple collaborated on three illustrated books: You Have Seen Their Faces (1937), about Southern sharecroppers; North of the Danube (1939), about life in Czechoslovakia before the Nazi takeover; and Say, Is This the U.S.A. (1941), about the industrialization of the United States.
Bourke-White covered World War II for Life and was the first woman photographer attached to the U.S. armed forces. While crossing the Atlantic to North Africa her transport ship was torpedoed and sunk, but Bourke-White survived to cover the bitter daily struggle of the Allied infantrymen in the Italian campaign. She then covered the siege of Moscow and, toward the end of the war, she crossed the Rhine River into Germany with General George Patton’s Third Army troops. Her photographs of the emaciated inmates of concentration camps and of the corpses in gas chambers stunned the world.
After World War II, Bourke-White traveled to India to photograph Mahatma Gandhi and record the mass migration caused by the division of the Indian subcontinent into Hindu India and Muslim Pakistan. During the Korean War she worked as a war correspondent and traveled with South Korean troops.
Stricken with Parkinson disease in 1952, Bourke-White continued to photograph and write. She retired from Life magazine in 1969.
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