Other Artists represented by the Gallery:
Pierre Alechinsky (born October 19, 1927) is a Belgian artist. Lives and works in France since 1951
He was born in Brussels. In 1944 he attended the l'Ecole nationale supérieure d'Architecture et des Arts décoratifs de La Cambre, Brussels where he studied illustration techniques, printing and photography. In 1945 he discovered the work of Henri Michaux, Jean Dubuffet and developed a friendship with the art critic Jacques Putman. In 1949 he joined Christian Dotremont, Karel Appel, Constant, Jan Nieuwenhuys and Asger Jorn to form the art group Cobra. He participated both with the Cobra exhibitions and went to Paris to study engraving at Atelier 17 under the guidance of a master, Stanley William Hayter in 1951. In 1954 he had his first exhibition in Paris and started to become interested in oriental calligraphy. During the early 1950s he became the Paris correspondent for the Japanese journal Bokubi (the joy of ink), then in 1955, encouraged by Henri Storck and Luc de Heusch, he left for Japan with Micky, his wife. He exhibited Night, 1952 (Ohara Museum, Kurashiki) and made a film: Japanese Calligraphy – Christian Dotremont would write the commentary with music by André Souris. His paintings are related to Tachisme, Abstract expressionism, and Lyrical Abstraction.
In the Porte Saint-Martin district, in a room so tiny he was unable to stand back from his work, he started his first large painting: TAlice Grows Up, 1961, oil on canvas, 205 x 245 cm, private collection © ADAGPhe Anthill, 1955 (Solomon R. Guggenheim, New York). Then, from 1958 under the protective wing of the Galerie de France, the large format pictures came easily; such as The Great Transparencies, 1959 (reference to André Breton) and Alice Grows Up, 1961 (reference to Lewis Carroll). Passing from abstraction, a moment explored, to a more freely descriptive image that moves from the face to the monster. The connection to James Ensor becomes apparent (Homage to James Ensor 1956), The Parable of
Karel Appel (April 25, 1921–May 3, 2006) was a Dutch painter and sculptor, born in Amsterdam.
Christiaan Karel Appel was born in his parents' house at 7 Dapperstraat, Amsterdam. On the ground floor, his father, Jan Appel, had a barber shop. His mother, born Johanna Chevalier, was a descendant of French Huguenots. Karel Appel had three brothers.
At fourteen, Appel produced his first real painting, on canvas, a still life of a fruit basket. For his fifteenth birthday, his wealthy uncle Karel Chevalier gave him a paint set and an easel. An avid amateur painter himself, Chevalier gave his namesake some lessons in painting.
He studied at the Rijksakademie van Beeldende Kunsten there from 1940 to 1943 and had his first show in Groningen in 1946. He was influenced by Pablo Picasso, Henri Matisse and Jean Dubuffet; he joined the Nederlandse Experimentele Groep and joined CoBrA in 1948 together with Corneille, Constant and Jan Nieuwenhuys (see also Aart Kemink). His 1949 fresco 'Questioning Children' in the Amsterdam City Hall caused controversy and was covered up for ten years.
As a result of this controversy Appel moved to Paris in 1950 and he developed his international reputation travelling to Mexico, the USA, Yugoslavia and Brazil. He is particularly noted for his mural work and lived between New York and Florence. He died on the 3rd of May 2006 in Zürich, where he was living at the time. He is buried at the Père Lachaise cemetery in Paris.
Jean-Michel Basquiat (December 22, 1960, Brooklyn - August 12, 1988, New York, New York) was an American artist. He gained popularity, first as a graffiti artist in New York City, and then as a successful 1980s-era Neo-expressionist artist. Basquiat's paintings continue to influence modern day artists and command high prices.
Basquiat's mother, Matilde, was Puerto Rican and his father, Gerard Jean-Baptiste, is of Haitian origin and a former Haitian Minister of the Interior. At an early age, Basquiat displayed an aptitude for art and was encouraged by his mother to draw, paint, and to participate in other art-related activities. In 1977, when he was 17, Basquiat and his friend Al Diaz started spray-painting graffiti art on slum buildings in lower Manhattan, adding the infamous signature of "SAMO" or "SAMO shit" (i.e., "same ol' shit"). The graphics were pithy messages such as "Plush safe he think; SAMO" and "SAMO is an escape clause". In December 1978, the Village Voice published an article about the writings. The SAMO project ended with the epitaph SAMO IS DEAD written on the walls of SoHo buildings.
In 1978, Basquiat dropped out of high school and left home, a year before graduating. He moved into the city and lived with friends, surviving by selling T-shirts and postcards on the street. By 1979, however, Basquiat gained a certain celebrity status amidst the thriving art scene of Manhattan's East Village, for his regular appearances on Glenn O'Brien's live public-access cable show, TV Party . In the late 1970s, Basquiat formed a band called Gray, with the then-unknown musician and actor Vincent Gallo. Gray played at clubs such as Max's Kansas City, CBGB, Hurrahs, and the Mudd Club. Basquiat worked with Gallo again in a film Downtown 81 (a.k.a New York Beat Movie) which featured some of Gray's rare recordings on its soundtrack. He also appeared in Blondie's video for "Rapture".
Basquiat first started to gain recognition as an artist in June 1980, when
Émile Bernard (April 28, 1868 – April 16, 1941) is best known as a Post-Impressionist painter who maintained close relations to Van Gogh and Gauguin, and, at a later time, to Cézanne. Most of his notable work was accomplished at a young age, in the years 1886 through 1897. Later Bernard returned to a more or less academic practice, with his own trinity - God, Wagner, Titian - and Tintoretto as an intermediate. Less known is Bernard's literary work, comprising plays, poetry, and art critical as well as art historical statements that contain first hand information on the crucial period of modern art to which Bernard had contributed.
Emile Bernard was born in Lille, France in 1868 to parents who accepted his artistic talent. However, in his younger years his sister was sick and Emile was unable to receive much attention. As a result he stayed with his grandmother, who owned a laundry in France. She employed over twenty people and was one of the greatest supporters of his art. At a young age, she even built him a wooden studio so that he could be in private when creating. He soon moved to Paris and attended the College Sainte-Barbe.
He began his studies at the École des Arts Décoratifs, befriending fellow artists Louis Anquetin and Henri Toulouse-Lautrec. He joined the Atelier Cormon in Paris in 1884 where he experimented with impressionism and pointillism. After being suspended from the École des Beaux-Arts for “showing expressive tendencies in his paintings”, he toured Brittany on foot, where he was enamored by the tradition and landscape.
In August of 1886, Bernard met Gauguin in Pont-Aven. In this brief meeting, they exchanged little about art, but looked forward to meeting again. Bernard said, looking back on that time, that “my own talent was already fully developed.” He believed that his style may have played a part in the development of Gauguin’s mature style.
Bernard spent September of 1887 at
Giovanni Boldini (December 31, 1842 – July 11, 1931) was an Italian genre and portrait painter, belonging to the Parisian school. According to a 1933 article in Time magazine, he was known as the "Master of Swish" because of his flowing style of painting.
Boldini was born in Ferrara, the son of a painter of religious subjects, and went to Florence in 1862 to study painting, meeting there the realist painters known as the Macchiaioli. Their influence is seen in Boldini's landscapes which show his spontaneous response to nature, although it is for his portraits that he became best known. He attained great success in London as a portraitist.
From 1872 Boldini lived in Paris, where he became a friend of Edgar Degas. He also became the most fashionable portrait painter in Paris in the late 19th century, with a dashing style of painting which shows some Impressionist influence but which most closely resembles the work of his contemporaries John Singer Sargent and Paul Helleu. He was nominated commissioner of the Italian section of the Paris Exposition in 1889, and received the Légion d'honneur for this appointment. He died in Paris in 1931.
Pierre Bonnard (October 3, 1867 – January 23, 1947) was a French painter and printmaker.
He was born in Fontenay-aux-Roses. He led a happy and careless youth as the son of a prominent official of the French Ministry of War. At the insistence of his father, Bonnard studied law, graduating and practising as a barrister briefly. However, he had also attended art classes on the side, and soon decided to become an artist.
In 1891 he met Toulouse-Lautrec and began showing his work at the Salon des Indépendants. His first show was at the Galerie Durand-Ruel in 1896.
In his twenties he was a part of Les Nabis, a group of young artists committed to creating work of symbolic and spiritual nature. Other Nabis include Édouard Vuillard and Maurice Denis. He left Paris in 1910 for the south of France.
Bonnard is known for his intense use of color, especially via areas built with small brushmarks and close values. His often complex compositions—typically of sunlit interiors of rooms and gardens populated with friends and family members—are both narrative and autobiographical. His wife Marthe was an ever-present subject over the course of several decades. She is seen seated at the kitchen table, with the remnants of a meal; or nude, as in a series of paintings where she reclines in the bathtub. He also painted several self-portraits, landscapes, and many still lifes which usually depict flowers and fruit.
Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes.
In 1938 there was a major exhibition of his work along with Vuillard's at the Art Institute of Chicago. He finished his last painting, The Almond Tree in Flower, a week before his death in Le Cannet, on the French Riviera, in 1947. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant t
Born at Trouville, France, he worked in a small art shop where Claude Monet displayed his art work Le Havre and Honfleur across the estuary of the Seine. But before old age came on him, Boudin's father abandoned seafaring, and his son gave it up too, having no real vocation for it, though he preserved to his last days much of a sailor's character, frankness, accessibility, and open-heartedness.
In 1835 his family moved to Le Havre, where his father established himself as stationer and frame-maker. He began work the next year as an assistant in a stationery and framing store before opening his own small shop. There he came into contact with artists working in the area and exhibited in his shop the paintings of Constant Troyon and Jean-François Millet, who, along with Jean-Baptiste Isabey and Thomas Couture whom he met during this time, encouraged young Boudin to follow an artistic career. At the age of 22 he abandoned the world of commerce, started painting full-time, and traveled to Paris the following year and then through Flanders. In 1850 he earned a scholarship that enabled him to move to Paris, although he often returned to paint in Normandy and, from 1855, made regular trips to Brittany.
Dutch 17th century masters profoundly influenced him, and on meeting the Dutch painter Johan Jongkind, who already made his mark in French artistic circles, Boudin was advised by his new friend to paint outdoors (en plein air). He also worked with Troyon and Isabey, and in 1859 met Gustave Courbet who introduced him to Charles Baudelaire, the first critic to draw Boudin’s talents to public attention when the artist made his debut at the 1859 Paris Salon.
In 1857 Boudin met the young Claude Monet who spent several months working with Boudin in his studio. The two remained lifelong friends and Monet later paid tribute to Boudin’s early influence. Boudin joined Monet and his young friends in the first Impressionist exhibition in 1874, but never considered himself a radica
Georges Braque (May 13, 1882 – August 31, 1963) was a major 20th century French painter and sculptor who, along with Pablo Picasso, developed the art movement known as cubism.
Georges Braque was born in Argenteuil-sur-Seine, France. He grew up in Le Havre and trained to be a house painter and decorator as his father and grandfather were, but he also studied painting in the evenings at the École des Beaux-Arts in Le Havre from about 1897 to 1899. He apprenticed in Paris under a decorator and was awarded his certificate in 1902. The following year he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia.
His earliest works were impressionistic, but after seeing the work exhibited by the Fauves in 1905 Braque adopted a Fauvist style. The Fauves, a group that included Henri Matisse and Andre Derain among others, used brilliant colors and loose structures of forms to capture the most intense emotional response. Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braque's hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to L'Estaque, to Antwerp, and home to Le Havre to paint.
In May 1907, Braque successfully exhibited works in the Fauve style in the Salon des Indépendants. The same year, Braque's style began a slow evolution as he came under the strong influence of Paul Cézanne, who died in 1906, and whose works were exhibited in Paris for the first time in a large scale museum-like retrospective in September 1907. The 1907 Cezanne retrospective at the Salon d'Automne greatly impacted the direction that the avant-garde in Paris took, leading to the advent of Cubism.
Braque's paintings of 1908–1913 began to reflect his new interest in geometry and simultaneous perspective. He conducted an intense study of the effects of light and perspective and the technical means that painters use
Alon Zakaim Fine Art,
Victor Brauner (June 15, 1903 - March 12, 1966) was a Romanian Jewish painter, the brother of Harry Brauner (a known folklorist who was a political prisoner in Communist Romania, and who later married Lena Constante). [Please note: in some sources (such as certain Worldcat book and catalogue listings) this artist's first name is spelled Viktor.]
He was born in Piatra Neamt, the son of a timber manufacturer who subsequently settled in Vienna with his family for a few years. It is there that young Victor attended elementary school. When his family returned to the country in 1914, he continued his studies at the Evangelical school in Braila; he began to be interested in zoology in that period.
He attended the Art School in Bucharest (1919-1921) and H. Igiroseanu's private school of painting. He visited Falticeni and Balcic, and started painting landscapes in the manner of Paul Cézanne. Then, as he testified himself, he went through all the stages: "Dadaist, Abstractionist, Expressionist".
On September 26 1924, the Mozart Galleries in Bucharest hosted his first personal exhibition. In that period he met poet Ilarie Voronca, together with whom he founded the 75HP magazine. It was in this magazine that Brauner published the manifesto The Pictopoetry and the article The Surrationalism. He painted and exhibited Christ at the Cabaret (in the manner of George Grosz) and The Girl in the Factory (in the manner of Hodler). He participated to the Contimporanul exhibition in November 1924.
In 1925 he undertook his first journey to Paris, from where he returned in 1927. In the period 1928-1931 he was a contributor of the Unu magazine (an avant-garde periodical with Dadaist and Surrealist tendencies), which published reproductions of most of his paintings and graphic works: "clear drawings and portraits made by Victor Brauner to his friends, poets and writers" (Jaques Lessaigne - Painters I Knew).
In 1930 he settled in Paris, where he met Constantin Brancusi, who ins
Gustave Caillebotte (19 August 1848–21 February 1894), was a French painter, member and patron of the group of artists known as Impressionists, though he painted in a much more realistic manner than many other artists in the group. Caillebotte was noted for his early interest in photography as an artform.
Gustave Caillebotte was born on 19 August 1848 to an upper-class Parisian family. His father, Martial Caillebotte (1799-1874), was the inheritor of the family's military textile business and was also a judge at the Seine department's Tribunal de Commerce. Caillebotte's father was twice widowed before marrying Caillebotte's mother, Céleste Daufresne (1819-1878), who had two more sons after Gustave, René (1851-1876) and Martial (1853-1910). Caillebotte was born at home on rue du Faubourg-Saint-Denis in Paris, and lived there until 1866 when his father had a home built on rue de Miromesnil. Beginning in 1860, the Caillebotte family began spending many of their summers in Yerres, a town on the Yerres River about 12 miles south of Paris, where Martial Caillebotte, Sr. had purchased a large property. It was around this time that Caillebotte probably began to draw and paint.
Caillebotte earned a law degree in 1868 and a license to practice law in 1870. He was also an engineer. Shortly afterwards, he was drafted to fight in the Franco-Prussian war, and served in the Garde Nationale Mobile de la Seine.
After the war, Caillebotte began visiting the studio of painter Léon Bonnat, where he began to seriously study painting. He developed an accomplished style in a relatively short period of time and had his first studio in his parents' home. In 1873, Caillebotte entered into the École des Beaux-Arts, but apparently did not spend much time there. He inherited his father’s fortune in 1874 and the three sons divided the family fortune after their mother’s death in 1878. Around 1874, Caillebotte met and befriended several artists working outside the official Fren
Alexander Calder (22 July 1898 – 11 November 1976), also known as Sandy Calder, was an American sculptor and artist most famous for inventing the mobile. In addition to mobile and stabile sculpture, Alexander Calder also created paintings, lithographs, toys and tapestry and designed carpets.
Born in Lawnton, Pennsylvania, on July 22, 1898, Calder came from a family of artists. His father, Alexander Stirling Calder, was a well-known sculptor who created many public installations, a majority of them located in Philadelphia. Calder’s grandfather, sculptor Alexander Milne Calder, was born in Scotland and immigrated to Philadelphia in 1868. Calder’s mother, Nanette Lederer Calder, was a professional portrait painter who studied at the Académie Julian and the Sorbonne in Paris from around 1888 until 1893. She then moved to Philadelphia where she met Alexander Stirling Calder while studying at the Pennsylvania Academy of the Fine Arts. Calder’s parents were married on 22 February 1895. His older sister, Margaret “Peggy” Calder, was born in 1896. Her married name was Margaret Calder Hayes, and she was instrumental in the development of the UC Berkeley Art Museum.
In 1902, at the age of four, Calder posed nude for his father’s sculpture The Man Cub that is now located in the Metropolitan Museum of Art in New York. In that same year, he completed his earliest sculpture, a clay elephant.
Three years later, when Calder was seven and his sister was nine, Stirling Calder contracted tuberculosis and Calder’s parents moved to a ranch in Oracle, Arizona, leaving the children in the care of family friends for a year. The children were reunited with their parents in late March, 1906 and stayed at the ranch in Arizona until fall of the same year.
After Arizona, the Calder family moved to Pasadena, California. The windowed cellar of the family home became Calder’s first studio and he received his first set of tools. He used scraps of copper wire that he foun
Nikola Rukaj Gallery,
Scott White Contemporary Art,
Omer Tiroche Gallery,
Chowaiki & Co.,
Waterhouse & Dodd,
Taylor | Graham,
Marc Chagall was born Moishe Shagal (¿¿¿ ¿¿¿¿¿ - Shagal is a dialectal, North-Eastern Yiddish variant of the surname "Segal", an acronym of ¿¿¿ ¿¿¿ Segan Levi, meaning "Assistant Levite"); his name was rendered in the Russian language as Mark Zakharovich Shagalov. Chagall was born in Liozno, near Vitebsk, Belarus, the eldest of nine children in the close-knit Jewish family led by his father Khatskl (Zakhar) Shagal, a herring merchant, and his mother, Feige-Ite. This period of his life, described as happy though impoverished, appears in references throughout Chagall's work.
After he began studying painting in 1906 under famed local artist Yehuda Pen, Chagall moved to St. Petersburg some months later, in 1907. There he joined the school of the "Society of Art Supporters" and studied under Nikolai Roerich, encountering artists of every school and style. From 1908-1910 Chagall studied under Leon Bakst at the Zvantseva School of Drawing and Painting.
I and the Village, 1911, oil on canvas.This was a difficult period for Chagall; at the time, Jewish residents were only allowed to live in St. Petersburg with a permit, and the artist was jailed for a brief period for an infringement of this restriction. Despite this, Chagall remained in St. Petersburg until 1910, and regularly visited his home town where, in 1909, he met his future wife, Bella Rosenfeld.
After gaining a reputation as an artist, Chagall left St. Petersburg to settle in Paris to be near the burgeoning art community in the Montparnasse district, where he developed friendships with such avant-garde luminaries as Guillaume Apollinaire, Robert Delaunay, and Fernand Léger. In 1914, he returned to Vitebsk and, a year later, married his fiancée, Bella. While in Russia, World War I erupted and, in 1916, the Chagalls had their first child, a daughter they named Ida.
Chagall became an active participant in the Russian Revolution of 1917. Although the Soviet Ministry of Culture made him a
Les mariés dans le ciel de Paris
Jean-Baptiste Camille COROT
Camille Corot was born in Paris in 1796, in a house at 125 Rue du Bac, now demolished. His family were bourgeois people—his father was a cloth merchant and his mother a milliner—and unlike the experience of some of his artistic colleagues, throughout his life he never felt the want of money. After an education at Rouen, he apprenticed to a draper, but hated commercial life and despised what he called its "business tricks," yet he faithfully remained in it until he was 26, when his father consented to his adopting the profession of art.
Corot learned little from his masters. He visited Italy on three occasions, and two of his Roman studies hang in the Louvre. A regular contributor to the Salon, in 1846 the French government decorated him with the cross of the Légion d'Honneur, and he was promoted to an officer in 1867. His many friends considered, nevertheless, that he was officially neglected, and in 1874, a short time before his death, they presented him with a gold medal. He died in Paris and was buried at Père Lachaise.
A number of followers called themselves Corot's pupils. The best known are Camille Pissarro, Eugène Boudin, Berthe Morisot, Stanislas Lépine, Antoine Chintreuil, François-Louis Français, Le Roux, and Alexandre DeFaux.
During the last few years of his life he earned large sums with his pictures, which were in great demand. In 1871 he gave £2000 for the poor of Paris, under siege by the Prussians.(see: Franco-Prussian War) During the actual Paris Commune he was at Arras with Alfred Robaut. In 1872 he bought a house in Auvers as a gift for Honoré Daumier, who by then was blind, without resources, and homeless. In 1875 he donated 10.000 francs to the widow of Millet in support of her children. His charity was near proverbial. He also financially supported the keep of a daycenter for children, rue Vandrezanne in Paris.
The works of Corot are housed in museums in France and the Netherlands, Britain and America.
Corot was the l
Niki de SAINT-PHALLE
Niki de Saint Phalle was born in Neuilly-sur-Seine, Hauts-de-Seine near Paris, to Jeanne Jacqueline (née Harper) and André-Marie Fal de Saint Phalle, a banker. After being wiped out financially during the Great Depression, the family moved from France to the United States in 1933. During her teens, she was a fashion model; at the age of sixteen she made the cover of Life magazine (September 26, 1949), and later the November 1952 cover of the French Vogue magazine. At eighteen, de Saint Phalle eloped with author Harry Mathews, whom she had known since the age of twelve, and moved to Cambridge, Massachusetts. While her husband studied music at Harvard University, de Saint Phalle began to paint, experimenting with different media and styles. Their first child, Laura, was born in 1951.
De Saint Phalle rejected the staid, conservative values of her family, which dictated domestic positions for wives and particular rules of conduct. However, after marrying young and giving birth to two children, she found herself living the same bourgeois lifestyle that she had attempted to reject; the internal conflict led to her to suffer a nervous breakdown. As a form of therapy, she was encouraged to start painting.
While in Paris, de Saint Phalle was introduced to the American painter Hugh Weiss who became both her friend and mentor, encouraging her to continue painting in her self-taught style. She subsequently moved to Deya, Majorca, Spain where her son Philip was born in May of 1955. While in Spain, de Saint Phalle read the works of Proust and visited Madrid and Barcelona where she discovered and was deeply affected by the work of Antonio Gaudí. Gaudí's influence opened many previously unimagined possibilities for de Saint Phalle regarding the use of diverse material and objet-trouvés as structural elements in sculpture and architecture. De Saint Phalle was particularly struck by Gaudí's "Park Güell" which convinced her to one day create her own garden work that would
Paul Delvaux (September 23, 1897 – July 20, 1994) was a Belgian painter, famous for his surrealist paintings with female nudes.
Delvaux was born in Antheit in the Belgian province of Liège, the son of a lawyer. The young Delvaux took music lessons, studied Greek and Latin, and absorbed the fiction of Jules Verne and the poetry of Homer. All of his work was to be influenced by these readings, starting with his earliest drawings showing mythological scenes. He studied at the Académie Royale des Beaux-Arts in Brussels, albeit in the architecture department owing to his parents' disapproval of his ambition to be a painter. Nevertheless, he pursued his goal, attending painting classes taught by Constant Montald and Jean Deville. The painters Frans Courtens and Alfred Bastien also encouraged Delvaux, whose works from this period were primarily naturalistic landscapes. He completed some 80 paintings between 1920 and 1925, which was the year of his first solo exhibition.
Delvaux's paintings of the late 1920s and early 1930s, which feature nudes in landscapes, are strongly influenced by such Flemish Expressionists as Constant Permeke and Gustave De Smet. A change of style around 1933 reflects the influence of the metaphysical art of Giorgio de Chirico, which he had first encountered in 1926 or 1927. In the early 1930s Delvaux found further inspiration in visits to the Brussels Fair, where the Spitzner Museum, a museum of medical curiosities, maintained a booth in which skeletons and a mechanical Venus figure were displayed in a window with red velvet curtains. This spectacle captivated Delvaux, supplying him with motifs that would appear throughout his subsequent work. In the mid-1930s he also began to adopt some of the motifs of his fellow Belgian René Magritte, as well as that painter's deadpan style in rendering the most unexpected juxtapositions of otherwise ordinary objects.
Delvaux acknowledged his influences, saying of de Chirico, "with him I realized wh
Derain was born in 1880 in Chatou, Île-de-France, just outside Paris. In 1898, while studying to be an engineer at the Académie Camillo, he attended painting classes under Eugène Carrière, and there met Matisse. In 1900, he met and shared a studio with Maurice de Vlaminck and began to paint his first landscapes. His studies were interrupted from 1901 to 1904 when he was conscripted into the French army. Following his release from service, Matisse persuaded Derain's parents to allow him to abandon his engineering career and devote himself solely to painting; subsequently Derain attended the Académie Julian.
Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure and later that year displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or "the wild beasts", marking the start of the Fauvist movement. In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to compose a series of paintings with the city as subject. In 30 paintings (29 of which are still extant), Derain put forth a portrait of London that was radically different from anything done by previous painters of the city such as Whistler or Monet. With bold colors and compositions, Derain painted multiple pictures of the Thames and Tower Bridge. These London paintings remain among his most popular work.
In 1907 art dealer Daniel-Henry Kahnweiler purchased Derain's entire studio, granting Derain financial stability. He experimented with stone sculpture and moved to Montmartre to be near his friend Pablo Picasso and other noted artists. Fernande Olivier, Picasso's mistress at the time, described Derain as
“ Slim, elegant, with a lively colour and enamelled black hair. With an English chic, somewhat striking. Fancy waistcoats, ties in crude colours, red and green. Always a pipe in his mouth, phlegmatic, mocki
b. 1901, Le Havre, France; d. 1985, Paris
Jean Dubuffet was born July 31, 1901, in Le Havre, France. He attended art classes in his youth and in 1918 moved to Paris to study at the Académie Julian, which he left after six months. During this time, Dubuffet met Raoul Dufy, Max Jacob, Fernand Léger, and Suzanne Valadon and became fascinated with Hans Prinzhorn’s book on psychopathic art. He traveled to Italy in 1923 and South America in 1924. Then, Dubuffet gave up painting for about ten years, working as an industrial draftsman and later in the family wine business. He committed himself to becoming an artist in 1942.
Dubuffet’s first solo exhibition was held at the Galerie René Drouin, Paris, in 1944. During the 1940s, the artist associated with André Breton, Georges Limbour, Jean Paulhan, and Charles Ratton. His style and subject matter in this period owed a debt to Paul Klee. From 1945, he collected Art Brut [more], spontaneous, direct works by untutored individuals, such as mental patients. The Pierre Matisse Gallery gave him his first solo show in New York in 1947.
From 1951 to 1952, Dubuffet lived in New York. He then returned to Paris, where a retrospective of his work took place at the Cercle Volney in 1954. His first museum retrospective occurred in 1957 at the Schloss Morsbroich, Leverkusen. Dubuffet exhibitions were subsequently held at the Musée des Arts Décoratifs, Paris, in 1960–61; the Museum of Modern Art, New York, and the Art Institute of Chicago in 1962; Palazzo Grassi, Venice, in 1964; the Tate Gallery, London, and Stedelijk Museum, Amsterdam, in 1966; and the Solomon R. Guggenheim Museum, New York, in 1966–67.
A collection of Dubuffet’s writings, Prospectus et tous écrits suivants, was published in 1967, the same year he started his architectural structures. Soon thereafter, he began numerous commissions for monumental outdoor sculptures. In 1971, he produced his first theater props, the “practicables.” A Dubuffe
Nikola Rukaj Gallery,
Raoul Dufy (June 3, 1877 – March 23, 1953) was a French Fauvist painter. He developed a colourful, decorative style that became fashionable for designs for ceramics, textiles and decorative schemes for public buildings. He is noted for scenes of open-air social events.
Dufy was born at Le Havre, in Normandy, one of a family of nine members. He left school at the age of 14 to work in a coffee importing company. In 1895 when he was 18, he started evening classes in art at Le Havre École des Beaux-Arts. He and Othon Friesz, a school friend, studied the works of Eugène Boudin in the museum in Le Havre.
In 1900, after a year of military service, Raoul won a scholarship enabling him to attend the École Nationale des Beaux-Arts in Paris, where he was a fellow student with Georges Braque. The impressionist landscapists, such as Claude Monet and Camille Pissarro, influenced him.
Introduced to Berthe Weill in 1902, she showed his work in her gallery. Henri Matisse's Luxe, Calme et Volupté, which Dufy saw at the Salon des Indépendants in 1905, was a revelation to the young artist and directed his interest towards Fauvism. Les Fauves (wild beasts) emphasised bright colour and rich bold contours in their work, and Dufy’s painting reflects this approach until about 1909, when contact with the work of Paul Cézanne led him to adopt a somewhat subtler technique. It was not until 1920, after he had flirted briefly with yet another style, cubism, that Dufy developed his own distinctive approach involving skeletal structures, arranged in a diminished perspective, and the use of light washes of colour put on by swift brush strokes in a manner that came to be known as stenographic.
Dufy's cheerful oils and watercolours depict yachting scenes, sparkling views of the French Riviera, chic parties and musical events. The optimistic and fashionably decorative and illustrative nature of much of his work has meant that his output is less highly critically valued than artis
Max Ernst (2 April 1891 - 1 April 1976) was a German painter, sculptor, graphic artist, and poet, considered one of the chief representatives of Dadaism and Surrealism.
Max Ernst was born in Brühl, Germany, near Cologne. In 1909, he enrolled in the University at Bonn to study philosophy but soon abandoned the courses. He began painting that year, but never received any formal artistic training. During World War I he served in the German army, which was a momentous interruption in his career as an artist. He stated in his autobiography, "Max Ernst died the 1st of August, 1914."
After the war, filled with new ideas, Ernst, Jean Arp and social activist Alfred Grünwald, formed the Cologne, Germany Dada group. In 1918 he married the art historian Luise Straus - a stormy relationship that would not last. The couple had a son who was born in 1920, the artist Jimmy Ernst. (Luise died in Auschwitz in 1944.) In 1919 Ernst visited Paul Klee and created paintings, block prints and collages, and experimented with mixed media.
In 1922, he joined fellow Dadaists André Breton, Gala, Tristan Tzara, Paul Éluard at the artistic community of Montparnasse. Constantly experimenting, in 1925 he invented a graphic art technique called frottage, which uses pencil rubbings of objects as a source of images.
The next year he collaborated with Joan Miró on designs for Sergei Diaghilev. With Miró's help, Ernst pioneered grattage in which he troweled pigment from his canvases. He also explored with the technique of decalcomania which involves pressing paint between two surfaces.
Ernst developed a fascination with birds that was prevalent in his work. His alter ego in paintings, which he called Loplop, was a bird. He suggested this alter-ego was an extension of himself stemming from an early confusion of birds and humans. He said his sister was born soon after his bird died. Loplop often appeared in collages of other artists' work, such as Loplop presents André Breton. Er
Henri Fantin-Latour (January 14, 1836 - August 25, 1904) was a French painter and lithographer.
Born Henri Jean Théodore Fantin-Latour in Grenoble, Rhône-Alpes, France, he studied at the École des Beaux-Arts in Paris. He is best known for his flower paintings and group portraits of his friends Parisian artists and writers. His work strongly influenced the symbolist movement of the late 19th Century.
Whistler brought attention to Fantin in England.
In addition to his paintings, Fantin-Latour created ingenious lithographs demonstrating the music of some of the great classical composers.
In 1876, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife's family at Buré, Orne in Basse-Normandie, where he died.
He was interred in the Cimetière du Montparnasse, Paris, France.
Lucio Fontana (19 February 1899 – 7 September 1968) was a painter and sculptor born in Rosario, province of Santa Fe, Argentina, the son of an Italian father and an Argentine mother. He was mostly known as the founder of Spatialism.
Fontana spent the first years of his life in Italy and came back to Argentina in 1905, where he stayed until 1922, working as a sculptor along with his father and then on his own.
In 1928 he returned to Italy, and there he presented his first exhibition in 1930, organized by the Milano art gallery Il Milione. During the following decade he journeyed Italy and France, working with abstract and expressionist painters.
In 1940 he returned to Argentina. In Buenos Aires (1946) he founded the Altamira academy together with some of his students, and made public the White Manifesto, where he states that "Matter, colour and sound in motion are the phenomena whose simultaneous development makes up the new art". Back in Milano in 1947, he supported, along with writers and philosophers, the first manifesto of spatialism (Spazialismo)**. He also resumed his ceramics works in Albisola.
From 1958 on he started the so-called slash series, consisting in holes or slashes on the painting surface, drawing a sign of what he named "an art for the Space Age". In 1959 he exhibited cut-off paintings with multiple combinable elements (he named the sets quanta). He participated in the Bienal de São Paulo and in numerous exhibitions in Europe (including London and Paris) and Asia, as well as New York.
Shortly before his death he was present at the "Destruction Art, Destroy to Create" demonstration at the Finch College Museum of New York. Then he left his home in Milano and went to Comabbio (in the province of Varese, Italy), his family's mother town, where he died in 1968.
Fontana's works can be found in the permanent collections of more than one hundred museums around the world. He was the sculptor of the bust of Ovidio Lagos, founder of the L
Alberto Giacometti (October 10, 1901 – January 11, 1966) was a Swiss sculptor, painter, draftsman, and printmaker.
Alberto Giacometti was born in Borgonovo, now part of the Swiss municipality of Stampa, near the Italian border. His father, Giovanni Giacometti, was a painter. Alberto attended the School of Fine Arts in Geneva. In 1922 he moved to Paris to study under the sculptor Antoine Bourdelle, an associate of Auguste Rodin. It was there that Giacometti experimented with cubism and surrealism and came to be regarded as one of the leading surrealist sculptors. Among his associates were Joan Miró, Max Ernst, Pablo Picasso and Balthus.
Between 1936 and 1940, Giacometti concentrated his sculpting on the human head, focusing on the model's gaze, followed by a unique artistic phase in which his statues became stretched out; their limbs elongated. Obsessed with creating his sculptures exactly as he envisioned through his unique view of reality, he often carved until they were as thin as nails and reduced to the size of a pack of cigarettes, much to his consternation. A friend of his once said that if Giacometti decided to sculpt you, "he would make your head look like the blade of a knife." After his marriage his tiny sculptures became larger, but the larger they grew, the thinner they became. Giacometti said that the final result represented the sensation he felt when he looked at a woman.
His paintings underwent a parallel procedure. The figures appear isolated, are severely attenuated, and are the result of continuous reworking. Subjects were frequently revisited: one of his favorite models was his younger brother Diego Giacometti. A third brother Bruno Giacometti is a Swiss architect.
In 1962, he was awarded the grand prize for sculpture at the Venice Biennale, and the award brought with it worldwide fame. Even when he had achieved popularity and his work was in demand, he still reworked models, often destroying them or setting them aside to be return
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Keith Haring (May 4, 1958 – February 16, 1990) was an artist and social activist whose work responded to the New York City street culture of the 1980s.
Born in Reading, Pennsylvania, Haring grew up in Kutztown and was interested in art from an early age. From 1976 to 1978 he studied graphic design at The Ivy School of Professional Art, a commercial and fine art school in Pittsburgh. At age 19 Haring, who was openly gay, moved to New York City, where he was inspired by graffiti art, and studied at the School of Visual Arts.
He achieved his first public attention with chalk drawings in the subways of New York. The exhibitions were put on film by the photographer Tseng Kwong Chi. Around this time, "The Radiant Baby" became his symbol. Starting in 1980, he organized exhibitions in Club 57. He participated in the Times Square Exhibition and drew, for the first time, animals and human faces. In 1981 he sketched his first chalk drawings on black paper and painted plastic, metal and found objects.
He contributed in the New York New Wave display in 1981, and had his first exclusive exhibition in the Tony Shafrazi Gallery. That same year, Haring took part of Documenta 7 in Kassel, Germany. He took part in the Whitney Biennial in 1983, as well as the São Paulo Biennial. He got to know Andy Warhol, who was the theme of several of Haring's pieces including "Andy Mouse".
Haring became close friends with Madonna in the 80's. After his death in 1990, Madonna dedicated the New York stop on her Blonde Ambition tour to him. She can be seen praying for Keith before that show in the film "Truth or Dare." Years later in her Sticky and Sweet Tour, she sang her hit "Into the Groove" during a "old school" section of her show while Haring's art flashed on enormous screens on the stage.
In 1984, he painted wall murals in Melbourne (such as the 1984 'Detail-Mural at Collingwood College, Victoria' that is due for demolition), Sydney, Rio de Janeiro, the Paris Museum of Modern
Hans Hartung (21 September 1904 – 8 December 1989) was a German-French painter, known for his gestural abstract style. He was also a decorated World War II veteran of the French Foreign Legion.
Hartung was born in Leipzig, Germany into an artistic family. He studied painters like Corinth and Nolde and also learned the basis of cubism and French painting. Studying both in Leipzig and Dresden, he reproduced the paintings of the masters, he then entered the Fine Arts academies of Dresden and Munich. To prevent succumbing to provincialism, he decided in 1926 that he would leave his native country. Consequently, after a bicycle trip through Italy, he moved to Paris.
He lived with Anna-Eva Bergmann and established himself in the French towns of Leucate, and then in the Spanish Balearic Islands specifically Minorca successively. He spent much time fishing. His first exhibition was held in 1931 in Dresden. His last bonds with Germany were broken when his father died in 1932. He was rejected from Nazi Germany on account of being a 'degenerate', because his painting style was associated with cubism - an art movement incompatible with Nazi Germany's ideals. In 1935 when he attempted to sell paintings while visiting Berlin, the police tried to arrest him. He was able to flee the country with the help of his friend Christian Zervos.
After returning to Paris as a refugee his wife left him, causing him to become depressive. His friends tried to help him with his financial difficulties, but his paintings were becoming more abstract and did not sell well. For the time being he could only afford a little shop where he could work at improving his technique.
In December 1939, he became a member of the French Foreign Legion. He was closely followed by the Gestapo and arrested for seven months by the French police. After they learned he was a painter, he was put in a red cell in order to wear off his vision. After being released he rejoined the Legion to fight in North Afri
Asger Oluf Jorn (3 March 1914–1 May 1973) was a founding member of the Situationist International, and a prolific artist and essayist. He was born in Vejrum, in the northwest corner of Jutland, Denmark and baptized Asger Oluf Jørgensen.
He was the second oldest of six children, an elder brother to Jørgen Nash. Both his parents were teachers. His father, Lars Peter Jørgenson, was a fundamentalist Christian who died when Asger was 12 years old in a car crash. His mother, Maria, née Neilsen, was more liberal but nevertheless a deeply committed Christian. This early heavy organised Christian influence had a negative effect on Asger who began progressively to inwardly rebel against it, and more generally against other forms of authority.
In 1929, aged 15, he was diagnosed with tuberculosis although he made a recovery from it after spending 3 months on the west coast of Jutland. By the age of 16 he was influenced by Nicolai Grundtvig, and although he had already started to paint, Asger enrolled in the Vinthers Seminarium, a teacher training college in Silkeborg where he paid particular attention to a course in Nineteenth century Scandinavian thought. Also at about this time Jorn became the subject of a number of oil paintings by the painter Martin Kaalund-Jørgensen, which encouraged Jorn to try his hand in this medium.
When he graduated from college in 1935, the principal wrote a reference for him which said that he had attained 'an extraordinary rich personal development and maturity' - especially because of his wide reading in areas outside the topics required for his studies. While at College he joined the small Silkeborg branch of the Danish Communist Party and came under the direct influence of the trade unionist Christian Christensen, with whom he became close friends and who, Jorn was to later write, was to become a second father to him.
In 1936 he traveled (on a BSA motorbike he had scraped together enough money to buy) to Paris to become a stud
Paul Klee (IPA: [kle¿]) (December 18, 1879 – June 29, 1940) was a Swiss painter of German nationality.[a] He was influenced by many different art styles in his work, including expressionism, cubism, and surrealism. He was a student of orientalism. He and his friend, the Russian painter Wassily Kandinsky, were also famous for teaching at the Bauhaus school of art and architecture.
Klee was born in Münchenbuchsee (near Bern), Switzerland, into a musical family—his father, Hans Klee, was a German music teacher at the Hofwil Teacher Seminar near Bern. Klee started young at both art and music. At age seven, he started playing the violin, and at age eight, he was given a box of chalk from his grandmother and was encouraged to draw frequently with it. Paul could have done either art or music as an adult; in his early years, he had wanted to be a musician, but he later decided on the visual arts during his teen years. He studied art at the Academy of Fine Arts in Munich with Heinrich Knirr and Franz von Stuck. After traveling to Italy and then back to Bern, he settled in Munich, where he met Wassily Kandinsky, Franz Marc, and other avant-garde figures and became associated with Der Blaue Reiter. Here he met Bavarian pianist Lily Stumpf, whom he married; they had one son named Felix Paul.
In 1914, he visited Tunisia with August Macke and Louis Moilliet and was impressed by the quality of the light there, writing, "Colour has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever... Colour and I are one. I am a painter." Klee also visited Italy (1901), and Egypt (1928), both of which greatly influenced his art. Klee was one of Die Blaue Vier (The Blue Four), with Kandinsky, Feininger, and Jawlensky; formed in 1923, they lectured and exhibited together in the USA in 1924. Klee influenced the work of other noted artists of the early 20th century including Belgian printmaker Rene Carcan.
Wifredo Oscar de la Concepción Lam y Castilla (b. December 8, 1902, Sagua La Grande, Cuba; d. September 11, 1982, Paris), better known as Wifredo Lam, was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture. Inspired by and in contact with some of the most renowned artists of the twentieth century, Lam melded his influences and created a unique style, which was ultimately characterized by the prominence of hybrid figures. Though he was predominantly a painter, he also worked with sculpture and ceramics in his later life.
Wifredo Lam was born and raised in Sagua La Grande, a village in the sugar farming province of Villa Clara, Cuba. He was of mixed ancestry: his father, Yam Lam, was a Chinese immigrant and his mother, Ana Serafina Lam, was born to a Congolese, former slave mother and a Cuban mulatto father. In Sagua La Grande, Lam was surrounded by many people of African descent; his family, like many others, practiced Catholicism along side their African traditions. Through his godmother, Matonica Wilson, a Santeria priestess locally celebrated as a healer and sorceress, he was exposed to rites of the African orishas. His contact with African celebrations and superstitions proved to be his largest artistic influence.
In 1916, Lam moved to Havana to study law, a path that his family had thrusted upon him. While he studied law, he also began studying tropical plants at the Botanical Gardens. From 1918 to 1923, Lam studied painting at the Escuela de Bellas Artes. However, Lam disliked both academic teaching and painting. He left for Madrid in the autumn of 1923 to further his art studies.
In 1923, Lam began studying in Madrid under Fernando Alvarez de Sotomayor, the curator of the Museo del Prado and teacher of Salvador Dalí. In the mornings he would attend the studio of the reactionary painter, while he spent his evenings working along side young, nonconformist painters. At the Prado, Lam discovered and was awed by th
Léger was born in the Argentan, Orne, Basse-Normandie, where his father raised cattle. He apprenticed with an architect from 1897-1899 before moving in 1900 to Paris, where he supported himself as an architectural draftsman. After military service in Versailles in 1902-1903, he enrolled at the School of Decorative Arts; he also applied to the Ecole des Beaux-Arts but was rejected. He nevertheless attended the Beaux-Arts as a non-enrolled student, spending what he described as "three empty and useless years" studying with Gérôme and others, while also studying at the Académie Julian. He began to work seriously as a painter only at the age of 25. At this point his work showed the influence of Impressionism, as seen in Le Jardin de ma mère (My Mother's Garden) of 1905, one of the few paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger's work after he saw the Cézanne retrospective at the Salon d'Automne in 1907.
In 1909 he moved to Montparnasse and met such leaders of the avant-garde as Archipenko, Lipchitz, Chagall, and Robert Delaunay. His major painting of this period is Nudes in the Forest (1909-10), in which Léger displayed a personal form of Cubism—his critics called it "Tubism" for its emphasis on cylindrical forms—that made no use of the collage technique pioneered by Braque and Picasso.
In 1910 he joined with several other artists, including Delaunay, Jacques Villon, Henri Le Fauconnier, Albert Gleizes, Francis Picabia, and Marie Laurencin to form an offshoot of the Cubist movement, the Puteaux Group—also called the Section d'Or (The Golden Section). Léger was influenced during this time by Italian Futurism, and his paintings, from then until 1914, became increasingly abstract. Their vocabulary of tubular, conical, and cubed forms are laconically rendered in rough patches of primary colours plus green, black and white, as seen in the series of paintings with the titl
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GASPARE AUGUSTO MANOS was born in Bangkok, Thailand on the 6th of July 1968. He is the son of an Italian diplomat father who worked for the United Nations and an Italian mother who inspired and helped her son develop a passion for drawing and sculpture from a very early age. He was taken by both extremely cultured parents to visit most of the existing museums and important collections of art in Europe by the age of 15. He thus developed a strong passion for old masters such as Carpaccio, Bellini, Tintoretto, a strong understanding of 19th and 20th Century art history and thought, a passion for 18th Century furniture, as well as 1920-1940’s works of art, not to mention African tribal art. In synthesis, his ancient family history and the opportunity to live in Asia, Africa and Europe with parents that speak 7 languages fluently and a constant contact with people of exceptional interest ranging from the Pope John Paul II, artists of international repute, diplomats and thinkers of the caliber of Karl Popper gave him the opportunity to question life and the meaning of ‘reality’. His need to find a more satisfying answer to this philosophical issue has been explored through the medium of art since he was the age of 15.
Gaspare’s family took him from Bangkok, Thailand to Nairobi in Kenya in 1973 where he learned Swahili and started to assimilate African culture. He was transferred from a French speaking school to an English speaking school at his request at the age of 8, whilst continuing to speak Italian at home and Swahili with local people. In Kenya where he spent nearly a decade, he traveled widely in close contact with nature, African landscapes and open spaces that have influenced his particular vision of space ever since. A close encounter with a lion whilst on foot outside his tent on a safari has marked him for life and instilled
Marino Marini (February 27, 1901 - August 6, 1980) was an Italian sculptor.
Born in Pistoia, Marini is particularly famous for his series of stylised equestrian statues, which feature a man with outstretched arms on a horse. Probably the most famous example is The Angel of the City at the Peggy Guggenheim Collection, Venice.
He attended the Accademia Di Belle Arti in Florence in 1917. Although he never abandoned painting, Marini devoted himself primarily to sculpture from about 1922. From this time his work was influenced by Etruscan art and the sculpture of Arturo Martini. Marini succeeded Martini as professor at the Scuola d’Arte di Villa Reale in Monza, near Milan, in 1929, a position he retained until 1940. During this period Marini traveled frequently to Paris, where he associated with Massimo Campigli, Giorgio de Chirico, Alberto Magnelli, and Filippo Tibertelli de Pisis. In 1936 he moved toTenero-Locarno, in the Ticino canton, Switzerland; during the following few years the artist often visited Zürich and Basel, where he became a friend of Alberto Giacometti, Germaine Richier and Fritz Wotruba. In 1936 he received the Prize of the Quadriennale of Rome. He accepted a professorship in sculpture at the Accademia di Belle Arti di Brera, Milan, in 1940.
In 1946 the artist settled permanently in Milan. He participated in Twentieth-Century Italian Art at the Museum of Modern Art in New York in 1944. Curt Valentin began exhibiting Marini’s work at his Buchholz Gallery in New York in 1950, on which occasion the sculptor visited the city and met Jean Arp, Max Beckmann, Alexander Calder, Lyonel Feininger, and Jacques Lipchitz. On his return to Europe, he stopped in London, where the Hanover Gallery had organized a solo show of his work, and there met Henry Moore. In 1951 a Marini exhibition traveled from the Kestner-Gesellschaft Hannover to the Kunstverein in Hamburg and the Haus der Kunst of Munich. He was awarded the Grand Prize for Sculpture at the Veni
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Albert Marquet (27 March 1875 – 14 June 1947) was a French painter, associated with the Fauvist movement.
Marquet was born in Bordeaux. In 1890 he moved to Paris to attend the Decorative Arts School, where he met Henri Matisse. They were roommates for a time, and they influenced each other's work. Marquet began studies in 1892 at the École des Beaux-Arts under Gustave Moreau, a symbolist artist who was a follower of the Romantic tradition of Eugène Delacroix.
In these years, Marquet exhibited paintings at the Salon des Indépendants. Although he did not sell many paintings, the artistic community of Paris became aware of his work. His early compositions were characterised by a clear and painterly Fauvist approach, in which he had a fine control of the drawing and responded to light, not only by intensifying the strongest tones, but also by seeing the weaker ones in coloristic terms.
In 1905 he exhibited at the Salon d'Automne where his paintings were put together with those of Henri Matisse, Maurice de Vlaminck, André Derain, Othon Friesz, Georges Rouault, Raoul Dufy, Henri Manguin, Georges Braque, Louis Valtat and Jean Puy.
Dismayed by the intense coloration in these paintings, critics reacted by naming the artists the "Fauves", i.e. savage beasts. Although Marquet painted with the fauves for years, he used less bright and violent colours than the others, and emphasized less intense tones made by mixing complementaries, thus always as colors and never as grays.
At the end of 1907 he stayed in Paris and dedicated himself, together with Henri Matisse, to a series of city views. The fundamental difference between the two is that while Matisse used strong colours, Marquet favored grayed yellows, greyed violets or blues. Black was usually used as a violent contrast to light colors for such forms as bare tree trunks or calligraphically drawn people contrasted with very light, often yellow or orange streets and sidewalks. Another difference is that Mar
André-Aimé-René Masson (January 4, 1896 – October 28, 1987) was a French artist.
Masson was born in Balagny-sur-Thérain, near Senlis in Picardy, but was brought up in Belgium. He studied art in Brussels and Paris. He fought for France in World War I and was seriously injured.
Masson's early works display an interest in cubism. He later became associated with surrealism, and he was one of the most enthusiastic employers of automatic drawing, making a number of automatic works in pen and ink. Masson would often force himself to work under strict conditions, for example, after long periods of time without food or sleep, or under the influence of drugs. He believed forcing himself into a reduced state of consciousness would help his art be free from rational control, and hence get closer to the workings of his subconscious mind.
From around 1926 he experimented by throwing sand and glue onto canvas and making oil paintings based around the shapes that formed. By the end of the 1920s, however, he was finding automatism rather restricting, and he left the surrealist movement and turned instead to a more structured style, often producing works with a violent or erotic theme, and making a number of paintings in reaction to the Spanish Civil War (he associated once more with the surrealists at the end of the 1930s).
André Masson drew the cover of the first issue of Georges Bataille's review, Acéphale, in 1936, and participated in all its issues until 1939.
Under the German occupation of France during World War II, his work was condemned by the Nazis as degenerate. With the assistance of Varian Fry in Marseille, Masson escaped the Nazi regime on a ship to the French island of Martinique from where he went on to the United States. Upon arrival in New York City, U.S. customs officials inspecting Masson's luggage found a cache of his erotic drawings. Denouncing them as pornographic, they ripped them up before the artist's eyes.
Living in New Preston, Co
Henri Matisse (December 31, 1869 – November 3, 1954) was a French artist, known for his use of color and his fluid, brilliant and original draughtsmanship. As a draughtsman, printmaker, and sculptor, but principally as a painter, Matisse is one of the best-known artists of the twentieth century. Although he was initially labeled as a Fauve (wild beast), by the 1920s, he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.
Born Henri-Émile-Benoît Matisse in Le Cateau-Cambrésis, Nord-Pas-de-Calais, France, he grew up in Bohain-en-Vermandois in Northeastern France, where his parents owned a seed business. He was their first son. In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, when his mother had brought him art supplies during a period of convalescence following an attack of appendicitis. He discovered "a kind of paradise" as he later described it, and decided to become an artist, deeply disappointing his father. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau and Gustave Moreau. Initially he painted still-lifes and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Chardin was one of Matisse's most admired painters; as an art student he made copies of four Chardin paintings in the Louvre. In 1896 he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh (who had been a good fri
Roberto Antonio Sebastián Matta Echaurren (November 11, 1911 – November 23, 2002), usually known as Matta, was one of Chile's best-known painters. Born in Santiago, he initially studied architecture at the Pontificia Universidad Católica de Chile in Santiago, but became disillusioned with this occupation and left for Paris in 1933. His travels led him to meet artists such as René Magritte, Salvador Dalí, André Breton, and Le Corbusier.
It was Breton who provided the major spur to the Chilean's direction in art, encouraging his work and introducing him to the leading members of the Paris Surrealist movement. Matta produced illustrations and articles for Surrealist journals such as Minotaure. During this period he was introduced to the work of many prominent contemporary European artists, such as Pablo Picasso and Marcel Duchamp.
The first true flowering of Matta's own art came in 1938, when he moved from drawing to the oil painting for which he is best known. This period coincided with his emigration to the United States, where he lived until 1948. His early paintings, such as Invasion of the Night, give an indication of the work he would continue, with diffuse light patterns and bold lines on a featureless background. This is also the period of the "inscape" series, and the closely related "psychological morphologies". Prof. Claude Cernuschi (see Boston College Matta exhibition external link below) writes that "Matta's key ambition to represent and evoke the human psyche in visual form was filtered through the writings of Freud and the psychoanalytic view of the mind as a three-dimensional space: the 'inscape'." According to the essay on Matta in Crosscurrents of Modernism (see references below), the inscapes' evocative forms "are visual analogies for the artist's psyche" (p. 241). During the 1940s and 1950s, the disturbing state of world politics found reflection in Matta's work, with the canvases becoming busy with images of electrical machinery and d
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Joan Miró i Ferrà (April 20, 1893 – December 25, 1983) was a Catalan (Spanish) painter, sculptor, and ceramist born in Barcelona, Catalonia, Spain to the family of a goldsmith and watchmaker. His work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods and his desire to "kill", "murder", or "rape" them in favor of more contemporary means of expression.
Young Miró was drawn towards the arts community that was gathering in Montparnasse and in 1920 moved to Paris. There, under the influence of the poets and writers, he developed his unique style: organic forms and flattened picture planes drawn with a sharp line. Generally thought of as a Surrealist because of his interest in automatism and the use of sexual symbols (for example, ovoids with wavy lines emanating from them), Miró’s style was influenced in varying degrees by Surrealism and Dada, yet he rejected membership to any artistic movement in the interwar European years. André Breton, the founder of Surrealism, described him as "the most Surrealist of us all." Miró confessed to creating one of his most famous works, Harlequin's Carnival, under similar circumstances:
"How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling..."
In 1926, he collaborated with Max Ernst on designs for Sergei Diaghilev. With Miró's help, Ernst pioneered the technique of grattage, in which he troweled pigment onto his canvases. Miró married Pilar Juncosa in Palma de Mallorca on October 12, 1929; their daughter Dolores was born July 17, 1931. Shuzo Takiguchi published the first monograph on Miró in 1940. In 1959, André Breton a
Nikola Rukaj Gallery,
Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the ninth arrondissement of Paris . He was the second son of Claude-Adolphe and Louise-Justine Aubrée Monet, both of them second-generation Parisians. On 20 May 1841, he was baptised into the local church parish, Notre-Dame-de-Lorette as Oscar-Claude. In 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the family grocery store business, but Claude Monet wanted to become an artist. His mother was a singer.
On the first of April 1851, Monet entered the Le Havre secondary school of the arts. He first became known locally 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 former student of Jacques-Louis David. On the beaches of Normandy in about 1856/1857 he met fellow artist Eugène Boudin who became his mentor and taught him to use oil paints. Boudin taught Monet "en plein air" (outdoor) techniques for painting.
On 28 January 1857 his mother died. He was 16 years old when he left school, and went to live with his widowed childless aunt, Marie-Jeanne Lecadre.
When Monet traveled to Paris to visit The Louvre, he witnessed painters copying from the old masters. Monet, having brought his paints and other tools with him, would instead go and sit by a window and paint what he saw. Monet was in Paris for several years and met several painters who would become friends and fellow impressionists. One of those friends was Édouard Manet.
In June 1861 Monet joined the First Regiment of African Light Cavalry in Algeria for two years of a seven-year commitment, but upon his contracting typhoid his aunt Marie-Jeanne Lecadre intervened to get him out of the army if he agreed to complete an art course at a university. It is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter. Disillusioned with the t
Gustave Moreau (April 6, 1826 – April 18, 1898) was a French Symbolist painter. He was born and died in Paris.
Moreau's main focus was the illustration of biblical and mythological figures. As a painter of literary ideas rather than visual images, he appealed to the imaginations of some Symbolist writers and artists, who saw him as a precursor to their movement.
His father, Louis Jean Marie Moreau, was an architect, who recognized his talent. His mother was Adele Pauline des Moutiers. Moreau studied under François-Édouard Picot and Théodore Chassériau, with whom he may have become lovers; Moreau also carried on a deeply personal 25-year relationship, possibly romantic, with Adelaide-Alexandrine Dureux, a woman whom he drew several times. His first painting was a Pietà which is now located in the cathedral at Angoulême. He showed A Scene from the Song of Songs and The Death of Darius in the Salon of 1853. In 1853 he contributed Athenians with the Minotaur and Moses Putting Off his Sandals within Sight of the Promised Land to the Great Exhibition.
Oedipus and the Sphinx, one of his first symbolist paintings, was exhibited at the Salon of 1864. Over his lifetime, he produced over 8,000 paintings, watercolors and drawings, many of which are on display in Paris' Musée national Gustave Moreau at 14, rue de la Rochefoucauld (IXe arrondissement). The museum is in his former workshop, and was opened to the public in 1903.
He had become a professor at Paris' École des Beaux-Arts in 1891 and had counted among his many students the fauvist painters, Henri Matisse and Georges Rouault.
Moreau is buried in Paris' Cimetière de Montmartre.
Berthe Morisot (January 14, 1841 – March 2, 1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists.
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. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which was founded by Cézanne, Degas, Monet, Morisot, Pissarro, Renoir, and Sisley. It was held at the studio of the photographer Nadar.
She became the sister-in-law of her friend and colleague, Édouard Manet, when she married his brother, Eugène.
Morisot was born in Bourges, Cher, France into a successful bourgeois family. Both she and her sister Edma Morisot chose to become painters. Once Berthe Morisot settled on pursuing art, her family did not impede her career.
She was born into a family that, according to family tradition, had included one of the most prolific Rococo painters of the ancien régime, Fragonard, whose handling of colour and expressive, confident brushwork influenced later painters. By age twenty, she had met and befriended the important, and pivotal, landscape painter of the Barbizon School, who excelled in figure painting as well, Camille Corot.
The older artist instructed Berthe and her sister in painting and introduced them to other artists and teachers. Under Corot's influence, Morisot took up the plein air method of working. As art students, Berthe and Edma worked closely together until Edma married, had children, and no longer had time to paint so intensely as Berthe. Letters between them show a loving and cordial relationship, underscored by Berthe's regret at the distance between them and about Edma's withdrawal from painting. Edma wholeheartedly supported Berthe's continued work and the
Benjamin Lauder Nicholson OM, (10 April 1894 – 6 February 1982), known as Ben Nicholson, was an English abstract painter. Born at Denham, Buckinghamshire, Nicholson was the son of the painter Sir William Nicholson and the brother of Nancy Nicholson. The family moved to London in 1896 and Nicholson was educated as a boarder at Gresham's School, Holt, Norfolk.
He travelled to New York in 1917 for an operation on his tonsils, then visited other American cities, returning to England in 1918. From 1920 to 1933 he was married to the painter Winifred Nicholson and lived in London. After his first exhibition of figurative works in London in 1922, his work began to be influenced by Synthetic Cubism, and later by the primitive style of Rousseau. In London, Nicholson met the sculptors Barbara Hepworth (to whom he was married from 1933 to 1951) and Henry Moore. On visits to Paris he met Mondrian, whose work in the neoplastic style was to influence him in an abstract direction, and Picasso, whose cubism would also find its way into his work. His gift, however, was the ability to incorporate these European trends into a new style that was recognizably his own. He first visited St Ives, Cornwall in 1928 with his fellow painter Christopher Wood, where he met the fisherman and painter, Alfred Wallis. In Paris in 1933 he made his first wood relief, White Relief, which contained only right angles and circles. In 1937 he was one of the editors of Circle, an influential monograph on constructivism. He believed that abstract art should be enjoyed by the general public, as shown by the Nicholson Wall, a mural he created for the garden of Sutton Place in Guildford, Surrey. In 1943 he joined the St. Ives Society of Artists. A retrospective exhibition of his work was shown at the Tate Gallery in London in 1955.
Nicholson married the photographer Felicitas Vogler in 1957 and moved to Castagnola, Switzerland, in 1958. In 1968 he received the British Order of Merit (OM). In 1971 he sepa
Julius Mordecai Pincas, (March 31, 1885 – June 5, 1930) known as Pascin, Jules Pascin, or "The Prince of Montparnasse", was a Bulgarian painter.
He was born in Vidin, Bulgaria to a Spanish-Sephardic Jewish father and a Serbian-Italian mother. His early artistic training was in Vienna and Munich. He adopted the pseudonym Pascin (an anagram of Pincas) early in 1905, at about the same time that he began contributing drawings to Simplicissimus, a satirical magazine published in Munich. In December, 1905 he arrived in Paris, becoming part of the great migration of artistic creativity to that city at the start of the 20th century. In 1907 Pascin met Hermine Lionette Cartan David, also a painter, and they became lovers, living together until Pascin left for America on October 3, 1914. Hermine David stayed in Paris with her mother until, at Pascin's request, she too sailed to America on October 31, 1914.
Pascin lived in America from 1914 to 1920, sitting out World War I, and while there he taught at the Telfair Academy in Savannah, Georgia. He and Hermine painted in New York City as well as in Miami, New Orleans and Cuba. Pascin married Hermine David at city hall in New York City. The witnesses were Max Weber and Maurice Sterne, both painters living in New York and friends of Pascin. Pascin was granted American citizenship, but in France he became the symbol of the Montparnasse artistic community. Always in his bowler hat, he was a witty presence at Le Dôme café, Le Jockey club, and the other haunts of the area’s bohemian society. Pascin made visits to Bulgaria in 1923/1924 and at an uncertain later date.
Despite the constant partying, Pascin created thousands of watercolors and sketches, plus drawings and caricatures that he sold to various newspapers and magazines. He studied the art of drawing at the Academy Colarossi and, like Henri de Toulouse-Lautrec before him, he drew upon his surroundings and his friends, both male and female, as subjects. H
Pablo Ruiz Picasso (October 25, 1881 – April 8, 1973) was a Spanish painter, draughtsman, and sculptor. As one of the most recognized figures in twentieth-century art, he is best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and his depiction of the German bombing of Guernica during the Spanish Civil War, Guernica (1937).
Picasso was baptized Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Clito, a series of names honouring various saints and relatives. Added to these were Ruiz and Picasso, for his father and mother, respectively, as per Spanish custom. Born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco (1838–1913) and María Picasso y López. Picasso’s family was middle-class; his father was a painter whose specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts and a curator of a local museum. Ruiz’s ancestors were minor aristocrats.
The young Picasso showed a passion and a skill for drawing from an early age; according to his mother, his first words were “piz, piz”, a shortening of lápiz, the Spanish word for ‘pencil’. From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was a traditional, academic artist and instructor who believed that proper training required disciplined copying of the masters, and drawing the human body from plaster casts and live models. His son became preoccupied with art to the detriment of his classwork.
The family moved to La Coruña in 1891 so his father could become a professor at the School of Fine Arts. They stayed almost four years. On one occasion the father found his son painting over his unfinished
Serge Poliakoff (January 8, 1900 - October 12, 1969) was a Russian-born French modernist painter belonging to the 'New' Ecole de Paris.
Serge Poliakoff was born in Moscow in 1900, the thirteenth child of what would eventually be fourteen. His father, a Kyrgyz, supplied the army with horses that he bred himself and also owned a racing stable. His mother was heavily involved with the church, and its religious icons fascinated him. He enrolled at the Moscow School of Painting, Sculpture and Architecture, but fled Russia and the Russian Revolution in 1917. He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist.
He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumière. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous colours of the Egyptian sarcophagi. It was a little afterwards that he met Wassily Kandinsky, Sonia and Robert Delaunay, and Otto Freundlich.
With these influences, Poliakoff quickly came to be considered as one of the most powerful painters of his generation. In 1947, he was trained by Jean Deyrolle in Gordes in the Vaucluse region of France amongst peers such as Schneider, Giloli, Victor Vasarely, and Jean Dewasne. By the beginning of the 1950s, he was still staying at the Old Dovecote hotel near Saint-Germain-des-Prés, which was also home to Louis Nallard and Maria Manton, and continuing to earn a reliable income by playing the balalaika. A contract enabled him to quickly gain better financial stability.
In 1962 a room was given over to his paintings by the Venice Biennial, and Poliakoff became a French citizen in the same year. His works are now displayed in a large number of museums in Europe and New York. Poliakoff also worked with ceramics at the Manufacture nationa
Rauschenberg was born as Milton Ernst Rauschenberg (he changed his first name as an adult) in Port Arthur, Texas, the son of Dora and Ernest Rauschenberg. His father was of German and Cherokee ancestry and his mother of Anglo-Saxon descent. His parents were Fundamentalist Christians. Rauschenberg studied at the Kansas City Art Institute and the Académie Julian in Paris, France, where he met the painter Susan Weil, who in the summer of 1950 became his wife. In 1948 Rauschenberg and Weil decided to attend Black Mountain College in North Carolina.
Josef Albers originally of the Bauhaus school became Rauschenberg's painting instructor at Black Mountain. Albers' preliminary courses relied on strict discipline that did not allow for any "uninfluenced experimentation". Rauschenberg described Albers as influencing him to do "exactly the reverse" of what he was being taught.
From 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York, where he met fellow artists Knox Martin and Cy Twombly.
In 1951 Rauschenberg had his first one-man show at the Betty Parsons Gallery and in 1954 had a second one-man show at the Charles Egan Gallery.
In 1951 created his "White Paintings" in the tradition of monochromatic painting whose purpose was to reduce painting to its most essential nature and the subsequent possibility for pure experience. The "White Paintings" were shown at Eleanor Ward's Stable Gallery in New York during October of 1953. They appear at first to be essentially blank, white canvas. However, one commentator said that "…rather than thinking of them as destructive reductions, it might be more productive to see them, as John Cage did, as hypersensitive screens – what Cage suggestively described as ‘airports of the lights, shadows and particles.’ In front of them, the smallest adjustments in lighting and atmosphere might be registered on their surface. Rauschenberg himself said that they we
Pierre-Auguste Renoir (February 25, 1841–December 3, 1919) 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 been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau".
Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, the child of a working class family. As a boy, he worked in a porcelain factory where his drawing talents led to him being chosen to paint designs on fine china. He also painted hangings for overseas missionaries and decorations on fans before he enrolled in art school. During those early years, he often visited the Louvre to study the French master painters.
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. Although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition did not come for another ten years, due, in part, to the turmoil of the Franco-Prussian War.
During the Paris Commune in 1871, while he painted on the banks of the Seine River, some members of a commune group thought he was a spy, and were about to throw him into the river when a commune leader, Raoul Rigault, recognized Renoir as the man who had protected him on an earlier occasion.
In 1874, a ten-year friendship with Jules Le Coeur and his family ended, and Renoir lost not only the valuable support gained by the association, but a generous welcome to stay on their property near Fontainebleau and its scenic forest. This loss of a favorite painting location resulted in a distinct change of subjects.
Renoir experienced his initial acclaim when six of his paintings hung in the first Impressionist exhibition in 1874. In the same year two of his works were shown with Durand-Ruel in London.
In 1881, he trave
Auguste Rodin (born François-Auguste-René Rodin; November 12, 1840 – November 17, 1917) was a French artist, most famous as a sculptor. He was the preeminent French sculptor of his time, and remains one of the few sculptors widely recognized outside the visual arts community.
Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past. He was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Paris's foremost school of art. Sculpturally, he possessed a unique ability to model a complex, turbulent, deeply pocketed surface in clay.
Many of Rodin's most notable sculptures were roundly criticized during his lifetime. They clashed with the predominant figure sculpture tradition, in which works were decorative, formulaic, or highly thematic. Rodin's most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, and celebrated individual character and physicality. Rodin was sensitive to the controversy about his work, but did not change his style, and successive works brought increasing favor from the government and the artistic community.
From the unexpected realism of his first major figure—inspired by his 1875 trip to Italy—to the unconventional memorials whose commissions he later sought, Rodin's reputation grew. By 1900, he was a world-renowned artist. Wealthy private clients sought Rodin's work after his World's Fair exhibit, and he kept company with a variety of high-profile intellectuals and artists. He married his life-long companion, Rose Beuret, in the last year of both their lives. His sculpture suffered a decline in popularity after his death in 1917, but within a few decades his legacy solidified.
Rodin was born in 1840 into a working-class family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin, who was a police depar
Georges Henri Rouault (27 May 1871 – 13 February 1958) was a French Fauvist and Expressionist painter, and printmaker in lithography and etching.Rouault was born in Paris into a poor family. His mother encouraged his love for the arts, and in 1885 the fourteen-year-old Rouault embarked on an apprenticeship as a glass painter and restorer, which lasted until 1890. This early experience as a glass painter has been suggested as a likely source of the heavy black contouring and glowing colours which characterize Rouault's mature painting style. During his apprenticeship he also attended evening classes at the School of Fine Arts, and in 1891 he entered the Ecole des Beaux-Arts, the official art school of France. There he studied under Gustave Moreau and became his favorite student. Rouault's earliest works show a symbolism in the use of colour that probably reflects Moreau's influence, and when Moreau died in 1898 Rouault was nominated the curator of the Moreau Museum in Paris.
Rouault also met Henri Matisse, Albert Marquet, Henri Manguin, and Charles Camoin. These friendships brought him to the movement of Fauvism, the leader of which was considered to be Matisse.
In 1891 Rouault painted "The Way to Calvary".
From 1895 on, he took part in major public exhibitions, notably the Salon d’Automne (which he helped to found), where paintings with religious subjects, landscapes and still lifes were shown. In 1905 he exhibited his paintings at the Salon d’Automne with the other Fauvists. While Matisse represented the reflective and rationalized aspects in the group, Rouault embodied a more spontaneous and instinctive style.
His use of stark contrasts and emotionality is credited to the influence of Vincent van Gogh. His characterizations of overemphasized grotesque personalities inspired the expressionist painters.
In 1907, Rouault commenced a series of paintings dedicated to courts, clowns and prostitutes. These paintings are interpreted as moral and socia
Kenny Scharf (born in 1958, in Hollywood, Los Angeles, California) is an American painter who lives in Brooklyn, New York. The artist received his B.F.A in 1980 at the School of Visual Arts located in New York City. Scharf's works consist of popular culture based shows with made up science-related backgrounds.
Scharf uses images from the animated cartoons popular during his childhood, such as The Flintstones and The Jetsons. The reason Scharf uses cartoon images in his art work is to bring popular culture into the fine arts. Scharf wants to see how far he can push the line between high and low art. Scharf to this day is making artwork that makes the viewers think about where the line is and how far has the artist pushed it. In 2001, he released a cartoon of his own, "The Groovenians" of which there was only one episode.
Scharf was a key figure in the East Village art scene of the 1980s, with shows at Fun gallery (1981) and Tony Shafrazi (1984), before seeing his work embraced by museums, such as the Whitney, which selected him for the 1985 Whitney Biennial.
He did the album covers of The B-52's in the mid-80s. In 1995, Scharf designed a room at the Tunnel nightclub in New York.
Scharf was friends with the graffiti artist Keith Haring and appears in the documentary "The Universe of Keith Haring". In 2004, he appeared in The Nomi Song, a documentary about his friend, opera singer and new wave star Klaus Nomi.
He is currently represented by the Paul Kasmin Gallery in New York.
In 2009, Kenny did a live-action spray-painting 100 foot mural at New York's Armory Show, and along with Kadar Brock and Inbred Hybrid Collective gave the first sanctioned performance art in the long history of the exhibition.
Chowaiki & Co.,
KM Fine Arts | Chicago - Los Angeles,
Paul Sérusier (1864—1927) was a French painter.He studied at the Académie Julian and was a monitor there in the mid 1880s In the summer of 1888 he travelled to Pont-Aven and joined the small group of artists centered there around Paul Gauguin. While at the Pont-Aven artist's colony he painted The Talisman under the close supervision of Gauguin. He was a Post-Impressionist painter, a part of the group of painters called Les Nabis. Sérusier along with Paul Gauguin named the group. Pierre Bonnard, Edouard Vuillard and Maurice Denis became the best known of the group, but at the time they were somewhat peripheral to the core group.
He later taught at the Académie Ranson and published his book ABC de la peinture in 1921.
Antoni Tàpies (born in Barcelona, December 13, 1923) is a Spanish painter. He is considered a great master artist of the 20th century. After studying law for 3 years, he devoted himself from 1943 onwards only to his painting. He is perhaps the best-known Catalan artist to emerge in the period since the Second World War.
In 1950 he held his first solo exhibition, at Galeries Laietanes, Barcelona. In the early 50s he lived in Paris, to where he has often returned. Both in Europe and beyond, the highly influential French critic and curator Michel Tapié (no relation, despite the similar name) enthusiastically promoted the work of Antoni Tàpies.
In 1948, Tàpies helped co-found the first Post-War Movement in Spain known as Dau-al-Set which was connected to the Surrealist and Dadaist Movements. The main leader and founder of Dau-al-Set was the poet Joan Brossa. The movement also had a publication of the same name, Dau-al-Set. Tàpies started as a surrealist painter, his early works were influenced by Paul Klee and Joan Miró; but soon become an abstract expressionist, working in a style known as "Arte Povera", in which non artistic materials are incorporated into the paintings. In 1953 he began working in mixed media; this is considered his most original contribution to art. One of the first to create serious art in this way, he added clay and marble dust to his paint and used waste paper, string, and rags (Grey and Green Painting, Tate Gallery, London, 1957).
His international reputation was well established by the end of the 50s. From the late 50's to early 60's, Tàpies worked with Enrique Tábara, Antonio Saura, Manolo Millares and many other Spanish Informalist artists. From about 1970 (influenced by Pop art) he began incorporating more substantial objects into his paintings, such as parts of furniture. Tàpies's ideas have had worldwide influence on art, especially in the realms paintings, sculpture, etchings and lithography. Examples of
Kees VAN DONGEN
Cornelis Theodorus Maria van Dongen (January 26, 1877 – May 28, 1968), usually known as Kees van Dongen or just van Dongen, was a Dutch painter and one of the Fauves. He gained a reputation for his sensuous, at times garish, portraits.
Kees van Dongen was born in Delfshaven, in the suburbs of Rotterdam. In 1892, at age 16, Kees van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam. During this period from 1892 to 1897, van Dongen frequented the Red Quarter seaport area, where he drew scenes of sailors and prostitutes.
In 1897 he lived in Paris for several months. In December 1899 he returned to Paris to join Augusta Preitinger ("Guus"), whom he had met at the Academy. They married on July 11, 1901 (they divorced in 1921). He began to exhibit in Paris, including the controversial 1905 exhibition Salon d'Automne, in a room featuring Henri Matisse amongst others. The bright colours 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.)
In 1906 the couple moved to the Bateau Lavoir at 13 rue Ravignan, where they were friends with the circle surrounding Pablo Picasso and his girlfriend Fernande Olivier.
In addition to selling his paintings, van Dongen also gained an income by selling satirical sketches to the newspaper 'Revue Blanche' and organising very successful costume balls in Montparnasse to gain extra income.
Under the influence of Jasmy Jacob, amongst others, Kees van Dongen developed the lush colours of his Fauvist style. This gained him a solid reputation with the French bourgeoisie and a resultant profitable lifestyle.
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 Luxembourg.
The social and commercial appeal of his later work (which includes a 1958 portrait of Brigitte Bardot) did not match the
Maurice de Vlaminck
Maurice de Vlaminck (4 April 1876 – 11 October 1958) was a French painter. Along with André Derain and Henri Matisse he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense color.
Maurice de Vlaminck was born in Paris to a family of musicians. His father taught him to play the violin. He began painting in his late teens. In 1893, he studied with a painter named Henri Rigalon on the Ile de Chatou. In 1894 he married Suzanne Berly. The turning point in his life was a chance meeting on the train to Paris towards the end of his stint in the army. Vlaminck, then 23, met an aspiring artist, André Derain, with whom he struck up a life-long friendship. When Vlaminck completed his army service in 1900, the two rented a studio together for a year before Derain left to do his own military service. In 1902 and 1903 he wrote several mildly pornographic novels illustrated by Derain. He painted during the day and earned his livelihood by giving violin lessons and performing with musical bands at night.
In 1911, Vlaminck traveled to London and painted by the Thames. In 1913, he painted again with Derain in Marseille and Martigues. In World War I he was stationed in Paris, and began writing poetry. Eventually he settled in the northwestern suburbs of Paris. He married his second wife, Berthe Combes, with whom he had two daughters. From 1925 he traveled throughout France, but continued to paint primarily along the Seine, near Paris.
Vlaminck died in Rueil-la-Gadelière on 11 October 1958.
Two of Vlaminck's groundbreaking paintings, Sur le zinc (At the Bar) and L'homme a la pipe (Man Smoking a Pipe) were painted in 1900.
For the next few years Vlaminck lived in or near Chatou (the inspiration for his painting houses at Chatou), painting and exhibiting alongside Derain, Matisse, and other Fauvist painters. At this time his exuberant paint application and vibrant use of co
Jean-Édouard Vuillard (November 11, 1868 - June 21, 1940) was a French painter and printmaker associated with the Nabis.
Jean-Édouard Vuillard, the son of a retired captain, spent his youth at Cuiseaux (Saône-et-Loire); in 1878 his family moved to Paris in modest circumstances. After his father's death, in 1884, Vuillard received a scholarship to continue his education. In the Lycée Condorcet Vuillard met Ker Xavier Roussel (also a future painter and Vuillard's future brother in law), Maurice Denis, musician Pierre Hermant, writer Pierre Véber and Lugné-Poë. On Roussel's advice he refused a military career and entered the Ecole des Beaux-Arts, where he met Pierre Bonnard.
In 1885, Vuillard left the Lycée Condorcet and joined his closest friend Roussel at the studio of painter Diogène Maillart. There, Roussel and Vuillard received the rudiments of artistic training.
In 1888, Vuillard joined the Nabis and contributed to their exhibitions at the Gallery of Le Barc de Boutteville. Later he shared a studio with other fellow member of the Nabis, Pierre Bonnard and Maurice Denis. In the early 1890s he worked for the Théâtre de l'Oeuvre of Lugné-Poë designing settings and programs.
In 1898 Vuillard visited Venice and Florence. The following year he made a trip to London. Later he went to Milan, Venice and Spain. Vuillard also traveled in Brittany and Normandy.
Vuillard first exhibited at the Salon des Indépendants of 1901 and at the Salon d'Automne in 1903. In the 1890s Vuillard met the brothers Alexandre and Thadée Natanson, the founders of the Revue Blanche, and in 1892 did on their advice his first decorations ("apartment frescoes") for the house of Mme Desmarais. Subsequently he fulfilled many other commissions of this kind: in 1894 for Alexandre Natanson, in 1898 for Claude Anet, in 1908 for Bernstein, and in 1913 for Bernheim and for the Théâtre des Champs-Elysées. The last commissions he received date to 1937 (Palais de Chaillot in Pa
Tom Wesselmann (February 23, 1931 - December 17, 2004) was born in Cincinnati, Ohio and was an American pop artist who specialized in found art collages.
From 1949 to 1951 he attended college in Ohio; first at Hiram College, and then transferred to major in Psychology at the University of Cincinnati. He was drafted into the US Army in 1952, but spent his service years stateside. He started making his first cartoons while still in the service, and became interested in cartooning as a career. After his discharge he decided to study drawing, so he completed his university studies in 1954 and, at the same time, entered the Art Academy of Cincinnati. He achieved some initial success when he sold his first cartoon strips which were published in the magazines 1000 Jokes and True.
In 1956 he was accepted into Cooper Union and moved to New York. The bustling New York art scene and museums inspired him. During a visit to MoMA he was struck by the Robert Motherwell painting Elegy to the Spanish Republic: “The first aesthetic experience… He felt a sensation of high visceral excitement in his stomach, and it seemed as though his eyes and stomach were directly connected”.
At the same time Wesselmann was drawn to the work of Willem de Kooning: “…He was what I wanted to be” , but he soon understood the need to return to the language of art and the need to shift right away from action painting: “He realized he had to find his own passion he felt he had to deny to himself all that he loved in de Kooning, and go in as opposite a direction as possible. "The traditional situations of painting would be the subjects; the reclining nude, a still life on a table, a portrait, an interior, etc..
In 1957 Wesselmann met Claire Selley, another Cooper Union student who was to become his friend, model, and later, his wife. 1958 was a pivotal year for Wesselmann. On a trip to Cooper Union's Green Camp in rural New Jersey to paint landscapes, he realized that he co
S.N.A. (Syndicat National des Antiquaires Négociants en Objets d'Art Tableaux anciens et modernes de France)