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Found 52 results

  1. Edward Mitchell Bannister | Tonalist painter FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  2. Peter Demetz, 1969 | Figurative wood sculptor Peter Demetz was born in Bolzano-Italy and lives and works in Ortisei (BZ); 1983-84 - Art school in Ortisei; 1984-90 - Apprenticeship at Heinrich Demetz’s workshop; 1993 - Achievement of the diploma "Maestro scultore"; 1993-09 - Participation at collective exhibitions in Ortisei (UNIKA), Milan, Vail/Colorado, Leipzig, Lichtenstein/Germany, Gent, Vienna, Florence, Lecce, Bolzano, Istanbul, Palma de Mallorca and Roma. Orders in Italy, Austria, Germany, USA and Iceland: 1995-02 - Teacher at the vocational school in Ortisei and Selva Gardena. Subjects: drawing, history of art and sculpture. 1997-00 - Chairman of the association "Artigianato Artistico Gardenese" and of the UNIKA group; 1999-02 - Courses in pedagogy, didactics, educational and developmental psychology; 2001 - Lectures and seminars on wood sculpture as well as courses on working with wood and clay, drawing, design and anatomy; among others, for the design centre of the company Swarovski in Wattens (A), the LKJ-Sachsen in Leipzig, the Daetz-Centrum in Lichtenstein (Ger) and the Academy of Fine Arts in Carrara; 2002-06 - Leading teacher of the course on wood sculpture of the Westsächsische Hochschule Zwickau, Department of Applied Arts Schneeberg, at the Daetz-Centrum in Lichtenstein, Germany; 2007 - Collaboration with the Artforum Gallery of contemporary art, Bologna, Italy; 2011 - Collaboration with the White Room Art System Gallery of contemporary art, Capri/Positano, Italy. FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  3. Arnold Böcklin | A Modern Visionary | Symbolist painter Amajor artist of the late 19th century, the Swiss painter Arnold Böcklin (1827-1901) remains little-known in France, where his art was often reduced to the fascinating icon of only one of his many masterpieces, The Isle of the Dead. Rediscovered in the 1910s by surrealist painters - Giorgio de Chirico** and Max Ernst** in particular - who found a powerful inspiration in his fantastic and iconoclastic vision of mythology. Although it was long considered as "Germanic", if Böcklin's painting draws its inspiration in the artistic, literary and esthetical German traditions, it also breaks away from it. His first landscapes, impregnated with romanticism, took stock of the lessons of Johann Wilhelm Schirmer and Carl Friedrich Lessing with Castle in Ruin at Twilight, 1847 (Berlin, Nationalgalerie). His art also reflects a Nordic interpretation of the Latin character shared with the Deutsch-Römer, the German artists** who settled in Rome in the middle of the century. As he travelled widely, he was also influenced by other trends in European painting: Rubens**, for instance, whose memory haunts the depictions of fighting centaurs and the large fight scenes of the later years; Poussin and Le Lorrain, whose ideal landscapes are echoed in the series of Villas on the Seaside. Böcklin spent a large part of his life in Italy, where he was strongly marked by Pompeian art - Portrait of Angela Böcklin as a Muse, 1863 (Basel, Kunstmuseum) - and by the Italian Renaissance** he remembered in the sumptuous portraits and allegories of the 1870s in Munich - Self-Portrait, 1873 (Hamburg, Kunsthalle) and Anacréon's Muse, 1873 (Aarau, Aargauer Kunsthaus). To him, the Mediterranean antiquity was a golden age for humanity living in harmony with nature. His mythological creatures - Pan in the Reeds, 1859 (Munich, Neue Pinakothek), Spring Evening, 1879 (Budapest, Szepmüveszeti Museum) - express the artist's nostalgia and his deep scepticism towards modern civilisation, with affinities with the international symbolism** of the 1890s. Yet Böcklin's style, perfectly original, cannot be compared to that of any great symbolist. Rediscovering Böcklin, the surrealists highlighted the extraordinary creativity of the artist, his iconographic invention, the scholarly and iconoclastic exploration of mythology he practised, the extreme eroticism and morbidity of some of his work, the mix of genres and repertories, all that we now associate with a surprising modernity. This eclecticism is a characteristic of some large sea scenes, including Mermaids at Play, 1886 (Basel, Kunstmuseum) where tritons and naiads, lacking all idealisation, show the ferocious irony of the artist towards terrestrial and sensual appetites of the triumphant bourgeoisie of the first period of the Empire. During his stay in Naples, Böcklin developed a passion for the research carried out at the zoological station (a research centre on sea animals); they were to feed the fantastical bestiary of hybrid creatures inhabiting his paintings, especially sea scenes. Böcklin had a very high conception of the artist's destiny and of artistic creation - as testified by his impressive self-portraits, including the Self-portrait in the Workshop, 1893 (Basel, Kunstmuseum) and throughout his life he confronted, often painfully, with the fundamental questions of painting, of illusion, shape and colour. His fellow-countryman Félix Vallotton** recalls in the account in the Revue Blanche of the 50th-anniversary exhibition in Basel in 1897, how much for Böklin "to paint is a task for the elected" as he was "by turns haunted by all dreams, all ambitions: of shape, colour and expression". This perpetual quest was reflected in his traveller's life and the continuous renewal of the form of his work. After stays in Basel, Weimar and Munich, he spent the last ten years of his life in Florence, in Italy that to him was a second homeland, where he achieved Ulysses and Calypso, 1880 (Basel, Kunstmuseum) and the first version of The Isle of the Dead(Basel, Kunstmuseum). Artista di spicco di fine Ottocento, il pittore Svizzero Arnold Böcklin (1827-1901) è poco conosciuto in Francia dove la sua arte è stata spesso limitata soltanto ad uno dei suoi splendidi capolavori, L'Isola dei Morti. Riscoperto negli anni a cavallo tra il 1910-1920 da alcuni pittori surrealisti -primi fra tutti Giorgio de Chirico** Max Ernst**, molto ispirati dalla sua visione fantastica e iconoclasta della mitologia. La pittura di Böcklin, benché per un lungo periodo di tempo sia stata considerata "germanica", pur ispirandosi alle tradizioni artistiche, letterarie ed estetiche della Germania, si distacca da queste fonti. I suoi primi paesaggi impregnati di romanticismo si rifanno alle lezioni di Johann Wilhelm Schirmer e di Carl Friedrich Lessing - Castello in rovina al crepuscolo, 1847 (Berlino, Nationalgalerie). La sua pittura riflette altresì un'interpretazione nordica della latinità condivisa con i Deutsch-Römer, artisti tedeschi stabilitisi a Roma verso la metà del secolo; l'artista, inoltre, avendo a lungo viaggiato, ha subito molto l'influsso di altre correnti della storia della pittura europea: Rubens** ad esempio, il cui ricordo alberga nelle centauromachie e nelle grandi scene di combattimento degli ultimi anni; Poussin e Le Lorrain, i cui paesaggi ideali riecheggiano nella serie delle Ville in riva al mare. Böcklin ha trascorso una parte consistente della sua vita in Italia, subendo il forte influsso dell'arte pompeiana- Ritratto di Angela Böcklin in veste di musa, 1863 (Basilea, Kunstmuseum) - e del Rinascimento** italiano, del quale serba il ricordo nella fastosità dei ritratti e delle allegorie dipinti negli anni settanta del XIX secolo a Monaco - Autoritratto, 1873 (Amburgo, Kunsthalle), La musa di Anacreonte, 1873 (Aarau, Aargauer Kunsthaus). L'artista vedeva nell'antichità mediterranea un'età d'oro per l'umanità che viveva in armonia con la natura. Le sue creature mitologiche - Pan nel canneto, 1859 (Monaco, Neue Pinakothek), Sera di primavera, 1879 (Budapest, Szepmüveszeti Museum) - esprimono la nostalgia dell'artista e il suo profondo scetticismo nei confronti della civiltà moderna non senza affinità con il simbolismo** internazionale degli anni novanta del XIX secolo. Lo stile di Böcklin, tuttavia, completamente originale, non può essere paragonato a quello di nessuno dei maggiori simbolisti**. Con la riscoperta di Böcklin, i surrealisti hanno messo in evidenza la straordinaria creatività del pittore, la sua inventiva iconografica, l'esplorazione erudita ed iconoclastica della mitologia che l'artista metteva in pratica, l'erotismo e la morbosità, fuori da ogni norma, di certe opere, la commistione dei generi e dei registri, tutta una serie di fatti, questi, che si rivelano per il nostro modo si pensare di una sorprendente modernità. Questo eclettismo caratterizza alcune grandi scene raffiguranti paesaggi marini, tra cui Giochi tra le onde, 1886 (Basilea, Kunstmuseum) dove tritoni e naiadi privi di qualsiasi idealità, rivelano la feroce ironia del pittore di fronte agli appetiti terrestri e sensuali della borghesia trionfante dei primi periodi dell'Impero. Durante il suo soggiorno a Napoli, Böcklin si era appassionato alle ricerche della stazione zoologica (centro di ricerche sugli animali marini); questi studi contribuiranno ad ampliare il bestiario fantastico delle creature ibride che popolano i suoi quadri, più in particolare le scene di mare. Böcklin aveva un'altissima concezione del destino dell'artista e della creazione artistica - come testimoniano i suoi impressionanti autoritratti, tra cui L'Autoritratto in bottega, 1893 (Basilea, Kunstmuseum) e per tutta la sua vita si è confrontato, non senza sofferenza, con le questioni fondamentali della pittura, dell'illusione, della forma e del colore. Il suo compatriota Félix Vallotton**, nel resoconto della mostra giubilare di Basilea nel 1897, per la Revue Blanche, ricorda quanto per Böcklin "dipingere sia una missione elettiva", per lui che è stato "di volta in volta ossessionato da tutti i sogni, da tutte le ambizioni: ambizioni di forma, di colore e d'espressione". Questa ricerca perpetua si riflette nella sua vita itinerante e nell'incessante rinnovamento formale della sua opera. Dopo aver soggiornato a Basilea, Weimar e Monaco, l'artista trascorre gli ultimi dieci anni della sua vita a Firenze. Proprio in quest'angolo d'Italia che diventerà per lui una seconda patria, Böcklin lavora alla creazione di Ulisse e Calipso, 1880 (Basilea, Kunstmuseum) e mette mano alla prima versione di L'Isola dei Morti, (Basilea, Kunstmuseum). FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  4. Daily Quotes

    The Open-minded see the truth in Different things, the Narrow-Minded see only the Differences
  5. Vicente Romero, 1956 | Figurative painter

    Vicente Romero, 1956 | Figurative painter FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  6. H. Momo Zhou, 1981 | Figurative painter

    H. Momo Zhou, 1981 | Figurative painter Born in Guangzhou, China, Awarded painter H. Momo Zhou has followed in her family footsteps of creating fine artistic works. Her parents, highly respected professors of fine arts at the prestigious Guangzhou University of Art, China, nurtured Momo’s unique gift of spatial awareness of color, juxtaposition of line form, and a broad brush stroke of creativity. Her images embody the quintessential nuances of romanticism, realism and impressionism. H. Momo Zhou is a traditional fine artist who is currently capturing the beauty of human form and landscape on canvas. Natural beauty is the focus on every painting of hers. She was a finalist of the Bold Brush Competition in July 2012. Was chosen for the Salon International Jury Show on 2010 and 2012, Awarded artist of the week from Los Gatos Artist Association, and has a solo show in Vida Y Vino Wine Bistro in April, 2010. She was also featured in group shows at the Academy of Art galleries on several occasions. H. Momo Zhou received her BFA from Academy of Art University of San Francisco and currently resides in the city of San Mateo, California. Awards 2016 Award of Excellence - Oil Painters of America Salon Show at the Castle Gallery; 2016 Showing at the San Francisco Women in the Arts - Artist Choice awards; 2015 Finalist - Figure - International Artist Magazine Yearly Competition; 2013 4th place - Self Portrait - Portrait Society of America; 2013 Honorable Mention - Figure - Portrait Society of America; 2013 1st place - Figure - San Mateo County Art Competition; 2012 Artist of the year - Burlingame Artist Society; 2012 Finalist - Figure - Boldbrush Competition; 2012 1st Place - Figure - Burligame Art Society; 2012 Popular Choice - Figure - Burligame Art Society; 2012 Honorable Mention - Burlingame Art Society; 2011 1st place - Figure - Los Gatos Art Association. FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  7. Franz Richard Unterberger | Romantic landscape painter FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  8. Francesco Hayez / Shakespeare | The Kiss, 1859 | Art in Detail Let me not to the marriage of true minds Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O no! it is an ever-fixed mark That looks on tempests and is never shaken; Non sia mai ch'io ponga impedimenti all'unione di anime fedeli; Amore non è Amore se muta quando scopre un mutamento o tende a svanire quando l'altro s'allontana. Oh no! Amore è un faro sempre fisso che sovrasta la tempesta e non vacilla mai; It is the star to every wandering bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come: Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved. Non sia mai ch'io ponga impedimenti all'unione di anime fedeli; Amore non è Amore se muta quando scopre un mutamento o tende a svanire quando l'altro s'allontana. Oh no! Amore è un faro sempre fisso che sovrasta la tempesta e non vacilla mai; è la stella-guida di ogni sperduta barca, il cui valore è sconosciuto, benché nota la distanza. Amore non è soggetto al Tempo, pur se rosee labbra e gote dovran cadere sotto la sua curva lama; Amore non muta in poche ore o settimane, ma impavido resiste al giorno estremo del giudizio: se questo è errore e mi sarà provato, io non ho mai scritto, e nessuno ha mai amato. FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  9. Reflection - Graphite & Charcoal

    Reflection Graphite & Charcoal on Paper facebook page: https://www.facebook.com/sujithputhranartist artbyte address: AbcixgYXTTbXd2pgQhwhiYzKcpRFm2fcm4
  10. Louis Treserras, 1958 | Hyperrealist painter French painter⏭, sculptor and photographer Louis Treserras claims to be a self taught painter. For 30 years he has been painting young and mysterious nude female models. His rigorous approach to artistic composition would almost compare to a science, like mathematics. His style remains however poetic an intimist, with a very distinct and soft range of colors. A contemporary artist with a highly classical technique, characteristic of the uncompromising self-taught artist. The looks, gestures and attitudes are all words we hear are deaf yet. Louis Treserras is a painter of his time, he explores his own emotions through his paintings. For nearly 30 years he painted nudes. Defining itself as a self-taught he has put his technical and almost mathematical approach to the body art of a deeply intimate and poetic. For him the artistic adventure began in childhood. In his paintings painted Treserras girls slender, a dreamer or faint. FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  11. Loui Jover | Abstract /Surrealist painter

    Loui Jover, 1967 | Abstract /Surrealist painter Loui Jover is an Australian based painter with a unique style of art. He basically uses ink on pages from vintage books to create eye-catching and emotionally charged images of women’s faces. His images also incorporate couples in intensely emotional states. His works have been hailed as truly creative and emotional. As an avid artist who draws every single day creating books of cartoons and drawings, Loui has travelled extensively all over Europe and Asia. "Dipingo, disegno, e lo faccio tutti i giorni". Loui Jover, pittore europeo emigrato in Australia, dipinge su fragili pagine di libri d'epoca per creare immagini emotivamente cariche di volti di donne accattivanti. L’artista ritrae scene melanconiche che risaltano notevolmente sulle pagine ingiallite. Lui stesso dice che "c’è un senso di fragilità in queste immagini che trovo interessante (come se il vento potesse soffiarle via in qualsiasi momento) e la mano che disegna rigide linee nere contro l’intricata selva di parole stampate nelle pagine del libro offre una strana fusione e profondità" e che "il significato di ciascuna illustrazione può essere interpretabile dall'osservatore e dalla propria immaginazione". FOR MORE SUCH ARTWORKS AND ARTISTS' FOLLOW SUJITH PUTHRAN
  12. Hiroshi Yoshida | Landscape painter / printmaker Hiroshi Yoshida / 吉田 博 (September 19, 1876 - April 5, 1950) was a 20th-century Japanese painter and woodblock printmaker. He is regarded as one of the greatest artists of the shin-hanga style, and is noted especially for his excellent landscape prints. Yoshida travelled widely, and was particularly known for his images of non-Japanese subjects done in traditional Japanese woodblock style, including the Taj Mahal, the Swiss Alps, the Grand Canyon, and other National Parks in the United States. Biography Hiroshi Yoshida (born Hiroshi Ueda) was born in the city of Kurume, Fukuoka, in Kyushu, on September 19, 1876. He showed an early aptitude for art fostered by his adoptive father, a teacher of painting in the public schools. At age 19 he was sent to Kyoto to study under Tamura Shoryu, a well known teacher of western style painting. He then studied under Koyama Shotaro, in Tokyo, for another three years. In 1899, Yoshida had his first American exhibition at Detroit Museum of Art (now Detroit Institute of Art). He then traveled to Boston, Washington, D.C., Providence and Europe. In 1920, Yoshida presented his first woodcut at the Watanabe Print Workshop, organized by Watanabe Shōzaburō (1885-1962), publisher and advocate of the shin-hanga movement. However, Yoshida's collaboration with Watanabe was short partly due to Watanabe's shop burning down because of the Great Kanto earthquake on September 1, 1923. In 1925, he hired a group of professional carvers and printers, and established his own studio. Prints were made under his close supervision. Yoshida combined the ukiyo-e collaborative system with the sōsaku-hanga principle of "artist's prints", and formed a third school, separating himself from the shin-hanga and sōsaku-hanga movement. The Yoshida family legacy The artistic lineage of the Yoshida family of eight artists: Kasaburo Yoshida (1861-1894), whose wife Rui Yoshida was an artist; their daughter Fujio Yoshida (1887-1987); Hiroshi Yoshida (1876-1950), their adopted son, who married Fujio; Tōshi Yoshida (1911-1995), Hiroshi's son, whose wife Kiso Yoshida (1919-2005) was an artist; Hodaka Yoshida (1926-1995), another of Hiroshi's sons, whose wife Chizuko Yoshida (b. 1924) and daughter Ayomi Yoshida (b. 1958) are artists. This group, four men and four women spanning four generations, provides an interesting perspective in looking at Japanese history and art development in the turbulent 20th Century. Although they inherit the same tradition, the Yoshida family artists work in different styles with different sensibilities. Toshi Yoshida and the Yoshida family have used the original Hiroshi Yoshida woodblocks to create later versions, including posthumous, of Hiroshi Yoshida prints. Prints created under Hiroshi Yoshida's management with special care have a jizuri seal kanji stamp. The Hiroshi Yoshida signatures vary depending on the agents and time of creation. Hiroshi Yoshida prints sold originally in the Japanese market will not have a pencil signature or title in English. Hiroshi Yoshida / 吉田 博 (Kurume, 19 settembre 1876 - Tokyo, 5 aprile 1950) è stato un incisore e pittore Giapponese. Noto per le stampe raffiguranti suggestivi panorami e soggetti non giapponesi, tra cui il Taj Mahal, le alpi svizzere e il Grand Canyon, è considerato tra i migliori rappresentanti del movimento Shin-hanga. Biografia Hiroshi Yoshida, nato Hiroshi Ueda, nasce il 19 settembre 1876 nella città di Kurume, nella prefettura di Fukuoka dell'isola di Kyūshū. Mostra presto un'attitudine al disegno, stimolata dal suo padre adottivo, un insegnante di pittura alla scuola pubblica. All'età di 19 anni viene inviato a Kyoto per studiare sotto la guida di Tamura Shoryu, un noto insegnante di pittura occidentale; successivamente trascorre altri tre anni a Tokyo sotto gli insegnamenti di Koyama Shotaro. Yoshida organizzò la sua prima mostra al Detroit Museum of Art (ora Detroit Institute of Arts) nel 1899. FOR MORE SUCH ARTISTS AND ARTWORKS FOLLOW SUJITH PUTHRAN
  13. Jack Vettriano, 1951 | Realist / Figurative / Genre painter Born in Fife, Scotland, Jack Vettriano left school at sixteen to become a mining engineer. For his twenty-first birthday, a girlfriend gave him a set of watercolour paints and, from then on, he spent much of his spare time teaching himself to paint. In 1989, he submitted two paintings to the Royal Scottish Academy’s annual exhibition; both were accepted and sold on the first day. The following year, an equally enthusiastic reaction greeted the three paintings, which he entered for the prestigious Summer Exhibition at London’s Royal Academy and his new life as an artist began from that point on. Over the last twenty years, interest in Vettriano’s work has grown consistently. There have been sell-out solo exhibitions in Edinburgh, London, Hong Kong and New York. 2004 was an exceptional year in Vettriano’s career; his best known painting, The Singing Butler was sold at Sotheby’s for close to £750,000; he was awarded an OBE for Services to the Visual Arts and was the subject of a South Bank Show documentary, entitled "Jack Vettriano: The People’s Painter". From 1994-2007, Vettriano was represented by Portland Gallery in London but the relationship ended in June 2007. In 2008, Vettriano undertook a variety of private projects, including the launch of a new book, Studio Life, and commissions to paint portraits of Sir Jackie Stewart and Zara Phillips, the latter of which was part of a charity fund-raising project for Sport Relief, the experience of which was captured in a documentary broadcast on BBC1 in March 2008. In 2009, Vettriano was commissioned by the Yacht Club of Monaco to create a series of paintings to mark the centenary of their world famous yacht, Tuiga. The subsequent exhibition, "Homage a Tuiga", premiered in Monaco as part of Classic Yacht Week in September 2009, before touring to the UK in 2010. In 2010, an exhibition of over forty new paintings, "Days of Wine and Roses", was officially opened at the Kirkcaldy Museum & Art Gallery in Fife, by First Minister, the Rt Hon Alex Salmond SNP. The exhibition then toured to London, opening at Heartbreak in September 2010. In December 2011, Vettriano’s self-portrait, "The Weight", went on long-term display at the Scottish National Portrait Gallery in Edinburgh, when it re-opened after a major three-year refurbishment programme. A major Retrospective exhibition to mark 20 Years of Vettriano’s career, opened at Kelvingrove Art Gallery and Museum, Glasgow on the 21st September 2013 amd ran until 23rd February 2014. In April 2015, Vettriano established his own publishing company called Jack Vettriano Publishing Limited. Jack Hoggan, noto come Jack Vettriano (Methil, 17 novembre 1951), è un pittore Scozzese di origini italiane, onorato da Elisabetta II d'Inghilterra con l'Ordine dell'Impero Britannico (OBE). Biografia Cresce nella città industriale di Methil, Scozia. La sua è una famiglia povera: "dovevo dividere un unico letto con mio fratello maggiore" racconta; così il futuro artista è spinto a lavorare fin da ragazzino. Lasciati gli studi a 16 anni, diviene apprendista minerario e comincia a dipingere negli anni settanta con un set di acquerelli ricevuti in regalo per il suo ventunesimo compleanno. I suoi primi quadri sono firmati Jack Hoggan e sono più che altro riproduzioni di impressionisti. Dopo quattordici anni riesce ad esibire le sue opere professionalmente. Nel 1988 si sente infatti pronto ad esibire i suoi quadri in pubblico e presenta due opere alla mostra annuale della Royal Scottish Academy. Entrambe vengono vendute il primo giorno della mostra e Vettriano riceve immediatamente numerose offerte da varie gallerie artistiche. Il successo contribuisce al declino del suo primo rapporto coniugale e il pittore decide quindi di trasferirsi a Edimburgo, cambiando anche nome in Vettriano, derivazione dal cognome da nubile della madre, Vettraino, figlia di un emigrante italiano che agli inizi del '900 partì da Belmonte Castello nella Valle di Comino (Frosinone), per andare a lavorare nelle miniere di carbone nel nord della Scozia. Mostre e incassi Le città di Edimburgo, Londra, Hong Kong, Johannesburg, e New York hanno ospitato numerose sue mostre. I suoi quadri ricordano il genere film noir, spesso con tematiche romantiche e nudi in primo piano. I suoi lavori sono talvolta stati tacciati di populismo e definiti privi di immaginazione da alcuni critici d'arte. Vettriano è tuttavia uno dei pittori viventi più venduti internazionalmente. I suoi originali vengono valutati altissime cifre, ma sembra che le sue riproduzioni guadagnino addirittura di più. Il quotidiano The Guardian afferma che l'artista incassi 500.000 sterline all'anno in soli diritti d'autore per riproduzioni tipografiche. La sua opera più famosa, The Singing Butler, ogni anno viene regolarmente riprodotta su biglietti d'auguri in Gran Bretagna e vende più di qualsiasi altro artista. In Italia, molte sue opere sono state riprodotte su copertine di libri di letteratura moderna. Il 21 aprile 2004 l'opera originale The Singing Butler è stata venduta all'asta per 744.500 sterline. Nel novembre 1999, i lavori di Vettriano sono stati esposti per la prima volta a New York, esibiti alla International 20th Century Arts Fair. Una serie di sue opere è stata venduta per un totale superiore al milione di sterline in agosto 2007. L'opera più costosa è stata Bluebird at Bonneville, comprata per 468.000 sterline all'asta di Sotheby's tenutasi in Scozia, presso il Gleneagles Hotel. Jack Vettriano | Bluebird at Bonneville Vettriano mantiene laboratori d'arte in Scozia, Londra e Nizza. È stato rappresentato dalla Portland Gallery fino al 2007, suoi quadri sono stati acquistati da Jack Nicholson, Sir Alex Ferguson, Sir Tim Rice e Robbie Coltrane e altre importanti personalità. A tutt'oggi sono stati pubblicati cinque volumi sulla sua vita e opere, l'ultimo nel 2008 col titolo Studio Life. for more such Artworks and Artists' follow SUJITH PUTHRAN
  14. Peter Demetz, | Figurative wood sculptor

    Peter Demetz, 1969 | Figurative wood sculptor Peter Demetz was born in Bolzano-Italy and lives and works in Ortisei (BZ); 1983-84 - Art school in Ortisei; 1984-90 - Apprenticeship at Heinrich Demetz’s workshop; 1993 - Achievement of the diploma "Maestro scultore"; 1993-09 - Participation at collective exhibitions in Ortisei (UNIKA), Milan, Vail/Colorado, Leipzig, Lichtenstein/Germany, Gent, Vienna, Florence, Lecce, Bolzano, Istanbul, Palma de Mallorca and Roma. Orders in Italy, Austria, Germany, USA and Iceland: 1995-02 - Teacher at the vocational school in Ortisei and Selva Gardena. Subjects: drawing, history of art and sculpture. 1997-00 - Chairman of the association "Artigianato Artistico Gardenese" and of the UNIKA group; 1999-02 - Courses in pedagogy, didactics, educational and developmental psychology; 2001 - Lectures and seminars on wood sculpture as well as courses on working with wood and clay, drawing, design and anatomy; among others, for the design centre of the company Swarovski in Wattens (A), the LKJ-Sachsen in Leipzig, the Daetz-Centrum in Lichtenstein (Ger) and the Academy of Fine Arts in Carrara; 2002-06 - Leading teacher of the course on wood sculpture of the Westsächsische Hochschule Zwickau, Department of Applied Arts Schneeberg, at the Daetz-Centrum in Lichtenstein, Germany; 2007 - Collaboration with the Artforum Gallery of contemporary art, Bologna, Italy; 2011 - Collaboration with the White Room Art System Gallery of contemporary art, Capri/Positano, Italy. FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  15. Wassily Kandinsky | Abstract /Expressionist painter Wassily Kandinsky and Franz Marc, 1911 By this time, according to his reminiscences, he had lost much of his early enthusiasm for the social sciences. He felt, however, that art was "a luxury forbidden to a Russian". Eventually, after a period of teaching at the university, he accepted a post as the director of the photographic section of a Moscow printing establishment. In 1896, when he was approaching his 30th birthday, he was forced to choose among his possible futures, for he was offered a professorship in jurisprudence at the University of Dorpat (later called Tartu), in Estonia, which was then undergoing Russification. In what he called a "now or never" mood, he turned down the offer and took the train for Germany with the intention of becoming a painter. In 1921 he founded the Russian Academy of Artistic Sciences. But by then the Soviet government was veering from avant-garde art to Social Realism, and so, at the end of the year, he and his wife left Moscow for Berlin. Wassily Kandinsky a Venezia, anni 30 FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  16. Nguyen Tuan, 1963 | Figurative sculptor

    Nguyen Tuan, 1963 | Figurative sculptor Born in Vietnam, Nguyen Tuan experienced the fall of Saigon in 1975, survived a failed escape attempt from his native land in 1988, witnessed the death of his close friend in the same escape attempt, and was then cast into a concentration camp. Almost miraculously, he escaped the camp and fled to the United States where he became captivated with sculpting. In 1995, Tuan Nguyen received his fine art degree from the Art Institute of Southern California in Laguna Beach, CA. > The Vietnamese master sculptor Nguyen Tuan is internationally known for his seemingly "weightless" figurative sculpture merging Western techniques with traditional Eastern values. He has coined the term "existential balance" to bring emphasis to the importance of balance to human existence. Tuan Nguyen has received the Gloria Medal* from the National Sculpture Society (New York), a medal designed by C. Paul Jennewein and bestowed upon a young artist in Jennewein's memory for a meritorious body of work as determined by the luminary board of the Society. In 2006, Tuan received the Gold Medal* for Sculpture from the California Art Club for his work “Rendezvous”. Among his most notable public installations are the Vietnam War Memorial in Westminster, California, the heroic sculpture of Saint Therese in Mobile, Alabama, and the extensive public collection of his works at the Plaza in Orlando, Florida. Tuan’s latest project is the creation of a Vietnamese Refugee Memorial. Tuan’s works can be found in the permanent collections of the Pasadena Museum of Art and the White House. FOR MORE SUCH ARTWORKS AND ARTISTS' FOLLOW SUJITH PUTHRAN
  17. A Stop-Motion Demo Turns Meta as the Characters

    A Stop-Motion Demo Turns Meta as the Characters Gradually Take Over in ‘Stems’ by Ainslie Henderson “Puppet making often begins by just gathering stuff, like materials that I find attractive like wood, sticks, wire, leaves, flowers, petals, and bits of broken electronics,” says Henderson in the film. “[I use] things that have already had a life are lovely to have as puppets. And then from there you just start improvising. It’s like making music, you just see where it leads you.” During the process of animating Henderson’s voiceover gradually fades and the viewer realizes his voice is simply a tape recording on screen, and has suddenly been repurposed as an instrument by his animated creations. Stems has picked up numerous awards since 2016 including a BAFTA in Scotland. You can watch more of Henderson’s work on his Vimeo Channel. For more such Artists' & Artworks follow SUJITH PUTHRAN
  18. Waterline: Pejac Unveils New Drawings to Be Exhibited in a Floating Gallery on Paris’ Seine River Continuously secretive and unexpected when it comes to revealing his projects, Pejac (previously) once again surprised the art world by announcing an upcoming self-produced pop-up solo exhibition in Paris. Roughly a year since his last showing at an old gondola workshop on the canals of Venice, and a month since his surprise visit to NYC, the Spanish artist just announced this new show titled Waterline. To exhibit this selection of new work, Pejac found an old péniche boat that will be transformed into an unconventional floating art gallery from June 20-24th, 2018. Moored right next to Notre-Dame cathedral, this vintage vessel will host his most intimate show to date, presenting a large series of accomplished studio drawings. Works on paper are a crucial part of Pejac’s creative process and are usually the first step toward large public interventions or canvases, but are truly artworks in their own right. By showcasing previously unseen works, Waterline will grant the most direct look at the unmediated stage of the artist’s practice. Created mostly with charcoal or pencil on paper, these images are the early stages of concepts we’ve already seen turn into large pieces, or might still evolve into their final versions. Poetic and despairing, these striking pictures propose an unconventional future focused on the ways in which humans treat resources and the environment, as well as current socio-political issues and “modern society” values. You can see more of Pejac’s recent work on Instagram. For more such Artworks and Artists' follow SUJITH PUTHRAN
  19. Polygon-Wrapped Floral Arrangements by Norihiko Terayama Japanese designer Norihiko Terayama suspends simple floral arrangements in polygonal forms, contrasting the organic material with straight, meticulous lines. With the simple addition of pins and thread his series Crust of the Polygon reframes the dried plants as poetic sculptures. Another one of his series, Polygon of Tree Branch, features full branches encased in a similar geometric style. Terayama studied at Design Academy Eindhoven where he trained under designer Richard Hutten and was immersed in Dutch conceptual design. His company Studio Note designs home and lifestyle products which often incorporate natural elements. You can see more projects by the Japanese designer on his website. For more such Artists' & Artworks follow SUJITH PUTHRAN
  20. New Three-Dimensional Murals by Peeta

    Italian artist Manuel de Rita a.k.a. Peeta (previously) transforms static structures by painting colorful cubes and abstracted cylindrical shapes to appear as if they are floating above the surface of the wall. This technique was derived from the traditional 3D lettering he grew up painting and continues to evolve as he experiments with realistic objects, like the window that protrudes from the turquoise and purple work below. “Initially, my works only realized the sculptural quality of individual letters, namely the ones that spelled out my own moniker Peeta,” he says in an artist statement. “Progressively, the fusion between traditional lettering and three-dimensional style has given life to a unique kind of visual rhythm. Today, through my anamorphic works I redesign the volumes of any kind of surface involved, thus causing with my paintings a temporary interruption of normality by altering the perception of familiar contexts, and so raising a different understanding of spaces and, consequently, of reality as a whole.” These large-scale explorations of multiple dimensions and eye-boggling optics have been painted globally, including Guangzhou, China; Barcelona, Spain; Mirano, Italy, and more. Recently the artist wrapped up an artist residency at Jardin Orange in Shenzhen, China. You can see more of Peeta’s work, including his paintings on canvas and sculptural objects, on his website and Instagram. for more such Artists' & Artworks follow SUJITH PUTHRAN
  21. Giuseppe Muscio | Hyperrealist Painter

    Giuseppe Muscio | Hyperrealist Painter Italian painter ⎆ Giuseppe Muscio was born in Orta Nova, a small town situated in the historical and cultural region of Apulia. "I was fascinated by the majestic landscape around me and realized that I was born to be an artist and painter. If I close my eyes, I still can smell the perfume of the rows of vines, the fragrance of the olives and the almonds. I immediately began to reproduce what I could see onto drawing sheets, which my grandfather would give me. Soon, I moved to Milan with my family, leaving behind my roots and my love for the region. I was passionate about painting; I studied the painting’s techniques of the greatest painters of 16th, 17th and 18th centuries. I also experimented with various painting techniques using scientific methods". Giuseppe Muscio è nato ad Orta Nova. Ha studiato le tecniche della pittura dei più grandi pittori del sedicesimo, diciassettesimo e diciottesimo secolo. Ha anche sperimentato varie tecniche pittoriche utilizzando metodi scientifici. Ha incontrato grandi Maestri come Giorgio De Chirico ⎆, Domenico Cantatore, Renato Guttuso ⎆. Frequentava i loro studi, dove ha imparato nuove tecniche e ho visto nuove idee migliorando così le sue conoscenze e le abilità pittoriche. Follow me for more such Artists' & Artworks SUJITH PUTHRAN
  22. Michael Cheval, 1966 | Playhouse of Quintessence Michael Cheval | Gina Lollobrigida's portrait “Playhouse of Quintessence” series of paintings embodies Michael Cheval ’s philosophical reflections and his attempt to express a certain phenomena via limited means. At the core of this idea lies the principle of theatrical pantomime where the language of gestures is most important. The task was further complicated b...y the artist’s restriction to use only the face (or the mask) and the hands. Michael Cheval | New Rules of the New Game Each work expresses simple and clear notions that could be conveyed in one word. However, translated into the language of art, they acquire incredible wealth of undertones and meanings. Colors, gestures, suppleness of lines, cold and warm tones, light and shadow - this is the language of art that relates it to music. This is the universal language, language of the World! The artist began conducting his first experiments over ten years ago. But only now they solidified into a clearly defined concept and a philosophical base that made it possible to unify these paintings into the single “Playhouse of Quintessence” series. The number of works that make up this collection will grow with time. Royal Tango Fleeting Echo Of the Golden Age Dodocycle II Total Zugzwang For more such artworks & Artists' follow SUJITH PUTHRAN
  23. Henri de Toulouse-Lautrec

    Henri de Toulouse-Lautrec | Post-Impressionist painter Henri de Toulouse-Lautrec, in full Henri-Marie-Raymonde de Toulouse-Lautrec-Monfa (born Nov. 24, 1864, Albi, France-died Sept. 9, 1901, Malromé), French artist who observed and documented with great psychological insight the personalities and facets of Parisian nightlife and the French world of entertainment in the 1890s. His use of free-flowing, expressive line, often becoming pure arabesque, resulted in highly rhythmical compositions (e.g., In the Circus Fernando: The Ringmaster, 1888). The extreme simplification in outline and movement and the use of large colour areas make his posters some of his most powerful works. Childhood and education Toulouse-Lautrec’s family was wealthy and had a lineage that extended without interruption back to the time of Charlemagne. He grew up amid his family’s typically aristocratic love of sport and art. Most of the boy’s time was spent at the Château du Bosc, one of the family estates located near Albi. Henri’s grandfather, father, and uncle were all talented draftsmen, and thus it was hardly surprising that Henri began sketching at the age of 10. His interest in art grew as a result of his being incapacitated in 1878 by an accident in which he broke his left thighbone. His right thighbone was fractured a little more than a year later in a second mishap. These accidents, requiring extensive periods of convalescence and often painful treatments, left his legs atrophied and made walking most difficult. As a result, Toulouse-Lautrec devoted ever greater periods to art in order to pass away the frequently lonely hours. Toulouse-Lautrec’s first visit to Paris occurred in 1872, when he enrolled in the Lycée Fontanes (now Lycée Condorcet). He gradually moved on to private tutors, and it was only after he had passed the baccalaureate examinations, in 1881, that he resolved to become an artist. His first professional teacher in painting was René Princeteau, a friend of the Lautrec family. Princeteau’s fame, such as it was, arose from his depiction of military and equestrian subjects, done in a 19th-century academic style. Though Toulouse-Lautrec got on well with Princeteau, he moved on to the atelier of Léon Bonnat at the end of 1882. In Bonnat, Toulouse-Lautrec encountered an artist who fought vehemently against deviation from academic rules, condemned the slapdash approach of the Impressionists, and judged Toulouse-Lautrec’s drawing "atrocious". His work received a more positive reaction in 1883, when he joined the studio of Fernand Cormon. In the early 1880s, Cormon enjoyed a moment of celebrity, and his studio attracted such artists as Vincent van Gogh and the Symbolist painter Émile Bernard. Cormon gave Toulouse-Lautrec much freedom in developing a personal style. That Cormon approved of his pupil’s work is proved by his choosing Toulouse-Lautrec to assist him in illustrating the definitive edition of the works of Victor Hugo. In the end, however, Toulouse-Lautrec’s drawings for this project were not used. Despite this approval, Toulouse-Lautrec found the atmosphere at Cormon’s studio increasingly restrictive. "Cormon’s corrections are much kinder than Bonnat’s were", he wrote his uncle Charles on Feb. 18, 1883. The academic regimen of copying became insufferable. He made "a great effort to copy the model exactly", one of his friends later recalled, "but in spite of himself he exaggerated certain details, sometimes the general character, so that he distorted without trying or even wanting to". Soon Toulouse-Lautrec’s attendance at the studio became infrequent at best. He then rented his own studio in the Montmartre district of Paris and concerned himself, for the most part, with doing portraits of his friends. The documenter of Montmartre Thus it was that in the mid-1880s Toulouse-Lautrec began his lifelong association with the bohemian life of Montmartre. The cafés, cabarets, entertainers, and artists of this area of Paris fascinated him and led to his first taste of public recognition. He focused his attention on depicting popular entertainers such as Aristide Bruant, Jane Avril, Loie Fuller, May Belfort, May Milton, Valentin le Désossé, Louise Weber (known as La Goulue ["the Glutton"]), and clowns such as Cha-U-Kao and Chocolat. In 1884 Toulouse-Lautrec made the acquaintance of Bruant, a singer and composer who owned a cabaret called the Mirliton. Impressed by his work, Bruant asked him to prepare illustrations for his songs and offered the Mirliton as a place where Toulouse-Lautrec could exhibit his works. By this means and through reproductions of his drawings in Bruant’s magazine Mirliton, he became known in Montmartre and started to receive commissions. Toulouse-Lautrec sought to capture the effect of the movement of the figure through wholly original means. For example, his contemporary Edgar Degas (whose works, along with Japanese prints, were a principal influence on him) expressed movement by carefully rendering the anatomical structure of several closely grouped figures, attempting in this way to depict but one figure, caught at successive moments in time. Toulouse-Lautrec, on the other hand, employed freely handled line and colour that in themselves conveyed the idea of movement. Lines were no longer bound to what was anatomically correct; colours were intense and in their juxtapositions generated a pulsating rhythm; laws of perspective were violated in order to place figures in an active, unstable relationship with their surroundings. A common device of Toulouse-Lautrec was to compose the figures so that their legs were not visible. Though this characteristic has been interpreted as the artist’s reaction to his own stunted, almost worthless legs, in fact the treatment eliminated specific movement, which could then be replaced by the essence of movement. The result was an art throbbing with life and energy, that in its formal abstraction and overall two-dimensionality presaged the turn to schools of Fauvism and Cubism in the first decade of the 20th century. The originality of Toulouse-Lautrec also emerged in his posters. Rejecting the notion of high art, done in the traditional medium of oil on canvas, Toulouse-Lautrec in 1891 did his first poster, Moulin Rouge-La Goulue. This poster won Toulouse-Lautrec increasing fame. "My poster is pasted today on the walls of Paris", the artist proudly declared. It was one of more than 30 he would create in the 10 years before his death. Posters afforded Toulouse-Lautrec the possibility of a widespread impact for his art, no longer restricted by the limitations of easel painting. They also enhanced the success he had enjoyed in the preceding year when his works were shown in Brussels at the Exposition des XX (the Twenty), an avant-garde association, and in Paris at the Salon des Indépendants. Toulouse-Lautrec is most important for his success in going beyond a representation of superficial reality to a profound insight into the psychological makeup of his subjects. He turned to the lithograph after 1892 as a medium well suited to this goal. Among more than 300 lithographs produced in the final decade of his life were an album of 11 prints titled Le Café Concert (1893); 16 lithographs of the entertainer Yvette Guilbert (1894); and a series of 22 illustrations for Jules Renard’s Les Histoires naturelles (1899). But none of these works is more significant than Elles, a series done in 1896, presenting a sensitive portrayal of brothel life. Toulouse-Lautrec spent lengthy periods observing the actions and behaviour of prostitutes and their clients. The resulting 11 works revealed these individuals as human beings, with some of the same strengths and many of the weaknesses of other members of society. A masterpiece of this genre is Au salon de la rue des Moulins (At the Salon). This painting evokes sympathy from the spectator as he observes the women’s isolation and loneliness, qualities which the young Toulouse-Lautrec had so often experienced himself. At the Salon is a brilliant demonstration, therefore, of his stated desire to "depict the true and not the ideal", in which truth is based not on a careful representation of detail but rather on capturing, in a few brief brushstrokes, the essential nature of a subject. The appearance of Elles coincided with a growing deterioration in his physical and mental condition. Toulouse-Lautrec’s figure, even among the great human diversity found in Montmartre, remained unmistakable. His fully developed torso rested on dwarfish legs. Not quite five feet one inch tall, his size seemed further diminished because of his practice of associating with unusually tall men, such as his fellow students Maxime Dethomas and Louis Anquetin and his cousin and close friend Gabriel Tapié de Céleyran. His frequently ironic tone failed to mask a fundamental dislike of his physical appearance, and his letters contain many derogatory remarks about his body and references to an increasing number of ailments, including syphilis. Drinking heavily in the late 1890s, when he reputedly helped popularize the cocktail, he suffered a mental collapse at the beginning of 1899. The immediate cause was the sudden, unexplained departure of his mother from Paris on January 3. He was always close to his family, particularly to his mother, who had always supported his ambitions; and he interpreted her leaving as a betrayal. The effect on his weakened system was severe, and he was committed shortly thereafter to a sanatorium in Neuilly-sur-Seine. This decision was made by the artist’s mother, against the advice of relatives and friends of the artist, in the hope of avoiding a scandal. Toulouse-Lautrec remained formally committed until March 31, 1899, though he chose to stay on at the sanatorium until mid-May. While there he was able to demonstrate his lucidity and power of memory by preparing a number of works on the theme of the circus. These works, however, lack the force and intensity of his earlier compositions. In the spring of 1900 he started drinking heavily again. Less than three months before his 37th birthday, he died at Château de Malromé. Assessment Toulouse-Lautrec greatly influenced French art of the late 19th and early 20th centuries by his use of new kinds of subjects, his ability to capture the essence of an individual with economical means, and his stylistic innovations. Despite his deformity and the effects of alcoholism and mental collapse later in life, Toulouse-Lautrec helped set the course of avant-garde art well beyond his early and tragic death at the age of 36. Toulouse-Lautrec was not a profound intellectual. Tapié de Céleyran wrote that he read little and when he did it was usually at night, because of insomnia. But he was a great satirist of pretense and convention. In typical fashion, he passed off his initial, unsuccessful attempt at the baccalaureate by having name cards printed "Henri de Toulouse-Lautrec, flunker of the arts". This iconoclasm surfaced also when he parodied Pierre Puvis de Chavannes’s serious Symbolist work The Sacred Grove by turning it into a boisterous scene filled with rowdy friends (1884). Yet he also could push himself in pursuits like swimming and boating, and toward the end of his life he installed a rowing machine in his studio. In his enthusiasm for sports he once accompanied a French bicycling team on a trip through England. Toulouse-Lautrec was, as two observers have concluded, a "sensitive, deeply affectionate man, conscious of his infirmity but wearing a mask of joviality and irony". Although recognized today as a major figure in late 19th-century art, Toulouse-Lautrec’s status in his lifetime was disputed. Indeed, the artist’s father, who took slight interest in his son after his disabling injuries, regarded his son’s work as only "rough sketches” and could never accept the idea of a member of the aristocracy betraying his class by turning from a "gentleman" artist to a professional one. Stung by such criticism and hampered by his infirmities, Toulouse-Lautrec persevered to emerge as a prolific artist whose work eventually helped shape the art of decades to come. Il conte Henri-Marie-Raymond de Toulouse-Lautrec-Montfa (Albi, 24 novembre 1864 - Saint-André-du-Bois, 9 settembre 1901) è stato un pittore francese, tra le figure più significative dell'arte del tardo Ottocento. Divenne un importante artista post-impressionista, illustratore e litografo e registrò nelle sue opere molti dettagli degli stili di vita bohémien della Parigi di fine Ottocento. Toulouse-Lautrec contribuì anche con un certo numero di illustrazioni per la rivista Le Rire, durante la metà degli anni novanta. Soffriva di picnodisostosi, una malattia genetica delle ossa, che può portare a manifestazioni cliniche apparentemente simili al nanismo. Toulouse-Lautrec morì a soli 37 anni circa, a causa dell'alcolismo o della sifilide. Le origini Henri-Marie-Raymond de Toulouse-Lautrec-Montfa nacque nel 1864, primogenito del conte Alphonse-Charles-Marie de Toulouse-Lautrec-Montfa e della contessa Adèle-Zoë-Marie-Marquette-Tapié de Celeyran. I Toulouse-Lautrec si ritenevano discendenti da Raimondo V conte di Tolosa, padre di Baudouin, che nel 1196 avrebbe dato origine alla stirpe, contraendo matrimonio con Alix, viscontessa di Lautrec. La famiglia regnò per secoli sull'Albigese. La famiglia nel XIX secolo apparteneva alla tipica aristocrazia di provincia, proprietaria terriera, conduceva una vita agiata tra i vari castelli di proprietà nel Midi e nella Gironde grazie ai proventi dei loro vigneti e poderi. A Parigi erano proprietari di appartamenti nei quartieri residenziali e possedevano una tenuta di caccia nel Sologne. Inoltre frequentavano l'alta società e il padre, appassionato di ippica, seguiva le corse a Chantilly. Politicamente si schierava tra i legittimisti e non a caso Lautrec venne chiamato Henri, in omaggio al pretendente al trono il conte di Chambord. Un fratello, Richard, nacque nel 1867, ma morì l'anno seguente. Nel 1872, Lautrec si trasferì con la madre a Parigi, dove frequenterà il Lycée Fontanes (oggi Liceo Condorcet). Qui conoscerà Maurice Jayant, di origine alsaziana; che divenne suo amico fidato; Jayant riconobbe presto il genio di Henri, ed in seguito sarebbe divenuto anche il curatore della sua eredità, il biografo e avrebbe fondato, ad Albi, il museo dedicato all'amico. Nel 1878, ad Albi, nel salone della casa natale, Henri cadde sul parquet mal incerato e si ruppe il femore sinistro; l'anno successivo, durante un soggiorno a Barèges, mentre aveva ancora l'apparecchio ortopedico alla gamba sinistra, cadendo in un fossato si ruppe l'altra gamba. Essendo affetto da picnodisostosi (oppure da osteogenesi imperfetta), le fratture non guarirono mai e le sue gambe smisero di crescere, così che da adulto, pur non essendo affetto da vero nanismo, rimase alto solo 1,52 m, avendo sviluppato un busto normale ma mantenendo le gambe di un bambino (0,70 m). D'altro canto i suoi genitali erano ipertrofici se confrontati con la sua corporatura, come provano alcune foto. Fisicamente inadatto a partecipare alla maggior parte delle attività sportive e sociali solitamente intraprese dagli uomini del suo ceto sociale, Lautrec si immerse completamente nella sua arte. Secondo un racconto forse apocrifo, a chi lo derideva per la bassa statura rispondeva: «Ho la statura del mio casato», citando la lunghezza del suo cognome nobiliare (de Toulouse-Lautrec-Montfa). Il gruppo "Les XX" Il pittore belga Théo van Rysselberghe scoprì il talento di Lautrec e lo invitò ad esporre con il gruppo dei XX nel 1888 a Bruxelles. L'artista belga parlando di Lautrec a Octave Maus disse: « ...non è niente male il tappetto; quel tipo ha del talento». Questa fu la sua prima importante esposizione, che gli permise di presentare le proprie opere con gli artisti più innovatori del momento. L'idea di esporre tra Les XX lo inorgoglì molto, gli stessi pittori curarono il catalogo dell'esposizione. Lautrec sulla propria pagina disegnò un clown con l'elenco delle sue opere esposte. Tra le dieci opere vi erano il "Ritratto di Mme Adèle de Toulouse-Lautrec", "Au Cirque: dans les coulisses","La contessa Adèle de Toulouse-Lautrec nel salone del Château de Malromé"e "François Gauzi". Espose a Bruxelles anche l'anno successivo, nuovamente il "Bal du Moulin de la Galette" (già esposto al Salon) e "Liseuse". Quando si recò all'esposizione ebbe un violento litigio con il belga Henry De Groux che parlando di Van Gogh lo considerò un ignorante e uno sbruffone. La lite degenerò al punto tale che Lautrec sfidò a duello il belga e la cosa sarebbe andata avanti se Octave Maus non avesse convinto il De Groux a ritirarsi. La tecnica Lautrec si pose accanto alla pittura di Seurat, Gauguin, Van Gogh in aperto contrasto con gli ultimi impressionisti Bonnard e Vuillard. Le opere dei primi anni furono ispirate dal movimento impressionista, esse sono caratterizzate da una pennellata veloce e nervosa con l'apposizione di colori poco miscelati, i soggetti però al contrario dell'impressionismo, non sono un tutt'uno con l'ambiente in una fusione tra effetto luminoso ed atmosferico, ma la figura viene sempre rappresentata in primo piano e l'ambiente che la circonda è solamente un pretesto per caratterizzarla. In seguito Lautrec utilizzò nelle proprie opere una pittura ad olio molto fluida, quasi dovesse eseguire un acquarello, dentro però uno schema compositivo ben delineato. Abbandonò del tutto le sensazioni ottiche di Manet o Monet, per concentrarsi principalmente sul carattere della figura umana. Estimatore dalla stampa giapponese, resa popolare da Théodore Duret, Lautrec diventò prima un collezionista di stampe di Ukiyo-e ed in seguito questa passione si ripercosse anche nel lavoro con la semplificazione della linea e la stesura del colore in modo piatto ed omogeneo. La tavolozza del pittore divenne molto semplice con la presenza predominante di blu e verdi, contrapposti ai viola ed ai rosa. A prima vista, le opere mature di Lautrec sembrano quasi create "di getto", ma non è così. L'opera è frutto di studi preparatori al carboncino che si basano spesso su fotografie. In seguito Lautrec preparava un "cartone" su cui abbozzava con il colore viola o blu-vermiglio, molto diluito di trementina, le figure del quadro, sottolineate da "lumeggiature" bianche. In seguito all'evaporazione del "medium" rimaneva solamente il tratto del colore caratterizzato da un'opacità molto simile al pastello. Sopra questo "impianto" il pittore stendeva poi il colore a questo punto spesso e continuo sempre però dando l'importanza principale alla linea del movimento e della figura che furono la costante nella sua opera. Al termine della sua carriera, Toulouse stanco nel corpo ma non nello spirito crea delle opere caratterizzate da una materia pittorica spessa a pennellate molto larghe e di colore scuro, quasi spento. In alcune zone viene applicato il colore che definisce la figura sostituendone la linea che fino a quel momento era stata predominante. Queste opere sembrano quasi anticipare i temi dei Fauves e degli Espressionisti. I temi pittorici Montmartre Agli inizi degli anni Novanta, Lautrec cominciò a rappresentare i locali di Montmartre, le opere "Al Circo Fernando", "Ballo al Moulin de La Galette", "Al Moulin Rouge", sono considerate dai critici le opere che attraverso le influenze di Dégas e Forain, portarono l'artista alla maturità artistica. Mentre il Barone Haussmann cambiava il volto del centro di Parigi con grandi boulevard, Montmartre zona periferica a nord della città era rimasta intatta. Gérard de Nerval così la descriveva: Dei numerosi mulini che avevano costellato la "Butte di Montmartre" nel XIX secolo ne erano rimasti tre; questi divennero meta di passeggiate visto che attorno nacquero bar, locali e caffè-concerto per il divertimento popolare. Così l'industria del divertimento investì in questa zona di Parigi non ancora urbanizzata nella ricerca di nuovi mercati e mode. Charles Zidler, proprietario dell'Hyppodrome e della sala da ballo nei Jardins de Paris, aprì nel 1889 con il suo socio Joseph Oller il Moulin Rouge. Nella zona vi erano già il Circo Fernando, Le Mirliton e Le Chat Noir, famoso per essere il ritrovo di poeti musicisti e pittori. Lautrec, al contrario di altri pittori che popolavano quegli ambienti, decise di rappresentare la gente e non il luogo. Nei suoi quadri vi era la raffigurazione del proletariato e dei suoi divertimenti, acriticamente come spettacolo per la borghesia. Non bisogna dimenticare che la borghesia francese della Terza Repubblica era affascinata dalla vita del ceto popolare, non a caso i romanzi di Émile Zola vendevano 3000 copie al mese ad un pubblico quasi esclusivamente borghese. Così disse Félix Fénéon dell'opera di Lautrec: Vedette Il ricordo di Yvette Guilbert, Jane Avril, Aristide Bruant o May Milton e molti altri, non sarebbe così vivo senza le raffigurazioni di Lautrec. L'artista in completa simbiosi con questi personaggi esaltò i loro successi nei duecento locali della capitale francese come l'Eldorado, il Jardin de Paris, Les Ambassadeurs o La Scala attraverso dipinti e manifesti che contribuirono anche alla loro notorietà. Anche questi spettacoli si indirizzavano ad un pubblico popolare a cui si offriva divertimento a prezzi modici, visto che i divertimenti parigini erano troppo costosi perché riservati ai ricchi. In tutte le rappresentazioni Lautrec procedeva sempre verso la semplificazione del soggetto. Arthur Huc direttore di La Dépêche de Toulouse scrisse: Le "maisons closes" Le rappresentazioni di Lautrec dei bordelli parigini sono forse le sue opere più famose. Di preciso non si sa quando queste opere vennero eseguite. Joyant nei suoi scritti si contraddice, prima data i dipinti tra il 1892-1895, per poi riclassificarli tra il 1891-1894. Il catalogo di Mme Dortu li colloca tra il 1893-1894. Lautrec lavorava molto spesso nei bordelli in centro città specialmente intorno all'Opéra ed alla Biblioteca Nazionale, ma principalmente nelle case di Rue d'Amboise ed al 6 di rue Moulin. L'atteggiamento che il pittore aveva con le prostitute fu molto contraddittorio. Lautrec aveva sviluppato un'amicizia con alcune di loro, ma altre lo chiamavano "Monsieur le Comte" e lui lodava il modo con cui gli lustravano le scarpe; alcune furono sue amanti, oltre che modelle. L'artista raffigurò le maisons rimanendo sempre all'interno di uno schema ben preciso. Non utilizzò né l'allegoria di Legrand o Zier, né la caricatura presente in molte raffigurazioni che Degas fece negli anni Settanta o negli acquarelli di Bernard, ma raffigurò le prostitute "a tutto tondo" sia nelle ore del lavoro che nel loro ambiente domestico. Trascurò il lato erotico della rappresentazione raffigurando raramente anche la clientela maschile. Lautrec non rappresentò i bordelli nemmeno con l'interesse umanitario dei suoi colleghi di sinistra, ma più per un interesse per i luoghi del divertimento pubblico (come rappresentava il Moulin Rouge) e molte volte i luoghi e le persone rappresentate sono viste perfino felici. Raramente inoltre raffigurò le filles de joie (nomignolo dato alle prostitute francesi) in atteggiamenti di sofferenza, al contrario le scene trasmettevano tranquillità e la rappresentazione era quella di donne che aspettavano di mettersi al lavoro con rassegnata docilità, propria della loro classe sociale abituata a servire, perché essendo Lautrec comunque un borghese di nobili origini, nei suoi dipinti non mise mai in discussione le classi sociali né la condizione dei propri soggetti, non avendo velleità rivoluzionare, ma solo di realismo e arte pura. Retrospettive Senza Maurice Joyant, probabilmente Lautrec non avrebbe raggiunto la fama che ha oggi in tutto il mondo. Nel 1888 Joyant vecchio compagno di Liceo di Lautrec riallacciò l'amicizia con l'artista, nel 1890 subentrò a Theo Van Gogh nella direzione della galleria Goupil, sul boulevard di Montmartre. Da quel momento promosse l'attività di Lautrec con due retrospettive, la prima nel 1893 a Parigi e nel 1898 alla Goupil di Londra. Alla morte del figlio, il padre Alphonse incaricò Joyant come esecutore testamentario ed egli divenne a tutti gli effetti il suo "erede spirituale" organizzando nel 1914 una nuova retrospettiva, ma soprattutto convincendo la contessa Adèle madre di Henri a donare alla città di Albi il patrimonio di opere del figlio da lei conservato. Il 30 luglio 1922 alla presenza di Léon Berard, ministro dell'Istruzione e Belle Arti, dopo alcuni anni in cui Joyant faticò non poco con i sottosegretari del ministero ad ottenere le autorizzazioni, nell'antico palazzo dei vescovi di Albi il museo Toulouse-Lautrec venne inaugurato con la piena soddisfazione della contessa Adèle. Da quel momento un pubblico sempre più vasto si avvicinò alla sua opera e la critica lo incensò come uno dei grandi artisti del Novecento. La mostra del 1931 presso il Museo delle Arti Decorative di Parigi, segnò la consacrazione di Lautrec anche da parte delle istituzioni francesi che in passato l'avevano rinnegato come artista. L'opera di catalogazione di Joyant venne proseguita nel 1971 da Geneviève Dortu pubblicando un catalogo ragionato di 737 dipinti, 4748 disegni ed 275 acquarelli. L'opera grafica è stata catalogata a partire dal 1945 da Jean Adhémar e completata dal mercante d'arte Wolfang Wittroock, il corpus grafico, eliminando facsimili e stampe posteriori prive delle iscrizioni ammontano a 334 stampe, 4 monotipi e 30 manifesti. Manifesti pubblicitari e riviste Lautrec viene considerato uno dei maestri nella creazione di manifesti e stampe tra XIX e XX secolo.L'interesse per questa nuova arte fece sì che si organizzassero mostre in tutta la Francia: a Nantes (1889), a Nancy e Bordeaux (1890), a Parigi (1891, 1892), a Reims (1896) e durante L'Esposizione Universale del 1900. La "Sociéte des Peintres-Graveurs français", venne fondata a Parigi nel 1889 presso la Galerie Durand-Ruel ed organizzò tra il 1889-1908 ben otto mostre e Lautrec partecipò a quella del 1893, divenendo membro della Sociéte nel 1897. Essendo la litografia eseguita su blocchi diversi di pietra calcarea inchiostrata e impressa sulla carta tramite la pressione di un torchio manovrato a mano, si utilizzavano solitamente pochi colori. Questa tecnica si adattava perfettamente all'arte di Lautrec che in pochi tratti riusciva a cogliere l'essenza della rappresentazione. Inoltre egli innovò la tecnica di stampa utilizzando il "crachis" o spruzzo. Otteneva un effetto puntinato sulle opere spargendo "a pioggia" con uno spazzolino da denti il colore durante le varie fasi di stampatura. Solitamente la figura principale era rappresentata con la tesura di un colore "piatto" omogeneo che si stagliava su uno sfondo "puntinato" ottenuta con lo spruzzo.' Nella sua vita Lautrec eseguì 30 manifesti tra i quali sono famosi i manifesti pubblicitari di locali parigini (Divan Japonais, Moulin Rouge: Bal Tous les soirs, Aristide Bruant all'Ambassadeurs), che nel tempo hanno reso celebre la loro immagine. L'ultimo venne eseguito nel 1896. Illustrò delle riviste come «La revue blanche» e «L'estampe originale». Invitato da Manuel Luque, collaborò inoltre a lungo con la rivista satirica «Le Rire». Follow me for more such artworks and artists' SUJITH PUTHRAN
  24. David Inshaw | Romantic Painter

    David Inshaw, 1943 | Landscape / Pop Art / Romantic painter David Inshaw -born 21 March 1943 in Wednesfield, Staffordshire, England-, is a British artist who sprang to public attention in 1973 when his painting The Badminton Game was exhibited at the ICA Summer Studio exhibition in London. The painting was subsequently acquired by the Tate Gallery and is one of several paintings from the 1970s that won him critical acclaim and a wide audience. Others include The Raven, Our days were a joy and our paths through flowers, She did not turn, The Cricket Game, Presentiment and The River Bank (Ophelia). David Inshaw studied at Beckenham School of Art in 1959-63 and the Royal Academy Schools in 1963-66. A teaching post at the West of England College of Art, Bristol, in 1966-75 was followed by a two-year fellowship in Creative Art at Trinity College, Cambridge, in 1975-77. Inshaw moved to Devizes, Wiltshire, in 1971 and formed the Broadheath Brotherhood with Graham and Ann Arnold in 1972. The three artists were joined by Peter Blake, Jann Haworth, and Graham and Annie Ovenden in 1975, when the group was renamed the Brotherhood of Ruralists. The Ruralists exhibited together for the first time at the Royal Academy Summer Exhibition in 1976, and Inshaw left the group seven years later, in 1983. He moved to Clyro near Hay-on-Wye in 1989 but returned to Devizes in 1995 and has lived there since then. Inshaw's paintings are held in many private and public collections, including the Arts Council of Great Britain, Bristol City Museum and Art Gallery, the British Council, the Royal West of England Academy, Tate Britain and Wiltshire Museum. A major book on Inshaw's life and work was published in 2010, the David Inshaw website and on-line gallery was launched in 2011, and Inshaw was made an honorary Doctor of Letters by Durham University in 2012. An exhibition of new paintings and The Badminton Game (on loan from Tate Britain) was held at the Fine Art Society, London, in 2013 with a second exhibition in 2015 to coincide with an updated edition of Andrew Lambirth's book on the artist. The Badminton Game was inspired by the gardens of Devizes and the landscape of Wiltshire. Inshaw has described how the place gave him a feeling of "mystery and wonder". He wrote about the painting: Its original title was a line from Thomas Hardy's poem "She, to Him": Remembering mine the loss is, not the blame. The painting was exhibited at the ICA Summer Studio exhibition in London. It is in the collection of the Tate Gallery since 1980. According to The Guardian, it is "one of the most enduringly popular images in the museum's collection". As of 2017, it was not on display. In 2011 it was the subject of an episode in BBC's series Hidden Paintings of the West. For more such artists' & artworks follow SUJITH PUTHRAN
  25. Giulio Romano | Renaissance / Mannerist painter Giulio Romano ⎆, also known as Giulio Pippi, (c. 1499 - 1 November 1546) was an Italian painter ⎆ and architect. A pupil of Raphael ⎆, his stylistic deviations from high Renaissance ⎆ classicism help define the 16th-century style known as Mannerism ⎆. For biographical notes -in english and italian- and other works by Romano see: Giulio Romano | Mannerist painter Tiziano Vecellio ⎆ | Ritratto di Giulio Romano, Mantova, 1536 Raphael | Self-Portrait with Giulio Romano, Musée du Louvre, Paris, 1519-1520 FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
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