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Found 36 results

  1. Daily Quotes

    The Open-minded see the truth in Different things, the Narrow-Minded see only the Differences
  2. 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
  3. 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
  4. 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
  5. 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
  6. 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
  7. 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
  8. 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
  9. 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
  10. Arnold Bocklin | Symbolist painter

    Arnold Bocklin | Symbolist painter Arnold Böcklin, (October 16, 1827, Basel, Switzerland - January 16, 1901, Fiesole, Italy), painter whose moody landscapes and sinister allegories greatly influenced late 19th-century German artists** and presaged the symbolism of the 20th-century Metaphysical and Surrealist artists. Although he studied and worked throughout much of northern Europe - Düsseldorf, Antwerp, Brussels, and Paris - Böcklin** found his real inspiration in the landscape of Italy, where he returned from time to time and where the last years of his life were spent. Böcklin first won a reputation with the large mural Pan in the Bulrushes (c. 1857), which brought him the patronage of the king of Bavaria. From 1858-1861, he taught at the Weimar Art School, but his nostalgia for the Italian landscape pursued him. After an interval during which he completed his mythological frescoes for the decoration of the Public Art Collection (Öffentliche Kunstsammlung), Basel, he settled in Italy and only occasionally returned to Germany, and then to experiment with flying machines. During his last two decades, Böcklin’s** work became increasingly subjective, often showing fabulous creatures or being based on dark allegorical themes, as in Island of the Dead (1880), which provided the inspiration for the symphonic poem The Isle of the Dead by the Russian composer Sergei Rachmaninoff. Such spectral scenes as his Odysseus and Calypso (1883) and The Pest (1898) reveal the morbid symbolism** that anticipated the so-called Freudian imagery of much 20th-century art. follow me for more such artworks, art genres, artists' SUJITH PUTHRAN
  11. Carl Larsson | Realist painter

    Carl Larsson | Realist painter Carl Larsson (1853-1919) is one of the most famous Swedish artists and perhaps the most beloved people. He is known for his watercolor paintings of idyllic family life. Carl Larsson was a painter and interior designer, representative of the Arts and Crafts Movement. His many paintings include oils, watercolors and frescoes. He considered his finest work to be Midvinterblot (Midwinter Sacrifice), a large wall mural now displayed inside the Swedish National Museum of Fine Arts. Larsson was born in 'Gamla stan', the old town in Stockholm, in 1853. His parents were extremely poor and his childhood sad and miserable. However, at the age of thirteen his teacher at the school for poor children urged him to seek entry into the 'principskola' of the Stockholm Academy of Fine Arts where he also got accepted. The first years at the 'principskola' he felt socially inferior, confused and shy. In 1869, sixteen years old, he got promoted to the 'antique school' of the same academy. There Carl Larsson became more sure of him self and he even became a central figure in student life. After several years as illustrator for books, magazines and newspapers Carl Larsson also spent several rather frustrating years in Paris as a hardworking artist without any success. The turning point in Carl Larsson's life came the year 1882 when he in Grez, a Scandinavian artist colony outside Paris, met Karin Bergöö (1859-1928), who soon should be his wife. One could almost call it a metamorphose in Carl Larsson's life. In Grez Carl Larsson painted some of his most important works - now in watercolor and very different from the more pretentious oil painting technique. Carl and Karin Larsson reared eight children and Karin and the children became Carl Larsson'sfavourite models and many of those watercolours are now loved and cherished all over the world. In 1888 the young family by gift got a little house, named Little Hyttnäs in Sundborn from Karin´s father Adolf Bergöö. Carl and Karin formed and furnished this house after their own very special artistic taste and also for the needs of the growing family. Through Carl Larsson's paintings and his books this house has been one of the most famous artist-homes in the world. The descendants of Carl and Karin Larsson now own this house and they are happy to be able to keep the house open for tourists each summer from May until October. Larsson's popularity increased considerably with the development of colour reproduction technology in the 1890s, when the Swedish publisher Bonnier published books written and illustrated by Larsson and containing full colour reproductions of his watercolours, titled A Home. However, the print runs of these rather expensive albums did not come close to that produced in 1909 by the German publisher Karl Robert Langewiesche (1874-1931). Langewiesche's choice of watercolours, drawings and text by Carl Larsson, titled Das Haus in der Sonne (The House in the Sun), immediately became one of the German publishing industry's best-sellers of the year - 40,000 copies sold in three months, and more than 40 print runs have been produced up to 2001. Carl and Karin Larsson declared themselves overwhelmed by such success. Larsson also drew several sequential picture stories, thus being one of the earliest Swedish comic creators. Carl Larsson considered his monumental works, such as his frescos in schools, museums and other public buildings, to be his most important works. His last monumental work, Midvinterblot (Midwinter Sacrifice), a 6-by-14-metre (20ft×46ft) oil painting completed in 1915, had been commissioned for a wall in the National Museum in Stockholm (which already had several of his frescos adorning its walls). However, upon completion, it was rejected by the board of the museum. The fresco depicts the blót of King Domalde at the Temple of Uppsala. Decades later, the painting was purchased and placed in the National Museum. | © Wikipedia Carl Larsson (Stoccolma, 28 maggio 1853 - Sundborn, Falun, 22 gennaio 1919) è stato un pittore e illustratore Svedese. Nato in una famiglia indigente, studiò dapprima in una scuola per bambini poveri, poi nel 1866, all'età di tredici anni, fu ammesso all'Accademia Reale Svedese delle Arti di Stoccolma. Durante i primi anni in questa prestigiosa istituzione Larsson, timido e socialmente inferiore rispetto a molti suoi compagni, trovò difficoltà ad ambientarsi; tuttavia, col passare degli anni riuscì a mettersi in luce grazie al suo talento, diventando una figura centrale dell'accademia. Dopo aver lavorato alcuni anni come illustratore per libri e giornali, nel 1880 si trasferì a Parigi, dove rimase fino al 1885 passando anni frustranti come artista senza successo. Fu proprio a Parigi che nel 1882 incontrò l'artista Karin Bergöö, che presto diventò sua moglie. Questo fu un punto di svolta nella vita di Larsson, che cominciò a dipingere le sue opere più importanti, abbandonando la pittura ad olio, fino ad allora la tecnica da lui maggiormente utilizzata, per realizzare degli acquerelli. Nel 1888 la coppia si trasferì nel piccolo villaggio svedese di Sundborn, presso Falun, in una casa che fu decorata ed arredata rispecchiando il loro gusto artistico; i loro eredi hanno trasformato questa casa in un museo che è ancora oggi visitabile. Carl e Karin Larsson ebbero sette figli; i suoi familiari divennero i soggetti preferiti di Larsson per realizzare delicate composizioni ad acquerello in cui, spesso con fine senso umoristico, descrive momenti di vita domestica a Sundborn. La sua opera influenzò diversi artisti svedesi, in particolare la pittrice Fanny Brate. La sua popolarità aumentò incredibilmente con i miglioramenti tecnici della stampa a colori: negli anni '90 l'editore svedese Bonnier pubblicò libri scritti ed illustrati da lui e contenenti riproduzioni dei suoi acquerelli, poi nel 1909 l'editore tedesco Langewiesche pubblicò una sua raccolta di acquerelli e disegni intitolata La Casa nel Sole che vendette decine di migliaia di copie. Larsson inoltre disegnò parecchie storie ad immagini in sequenza, diventando così uno dei primi creatori svedesi di fumetti. Tuttavia per Larsson le sue realizzazioni più importanti furono le grandi pitture decorative in musei ed altri edifici pubblici, come gli affreschi al Teatro dell'Opera ed al Museo Nazionale di Belle Arti di Stoccolma. Questi lavori non sempre furono ben considerati dai critici d'arte del tempo: Midvinterblot (Sacrificio di Pieno Inverno), rappresentante re Dómaldi accondiscendente ad essere sacrificato, era una imponente opera di 6 x 14 metri realizzata nel 1915 e commissionata per una parete nel Museo Nazionale di Belle Arti di Stoccolma, che aveva già diversi suoi affreschi ad adornare le pareti, ma una volta completata fu rifiutata dalla direzione del museo, che la comprò soltanto nel 1997. Nelle sue memorie Larsson dichiarò la sua amarezza e il suo disappunto per il rifiuto della pittura che lui stesso considerava essere il suo risultato più grande; nelle stesse memorie riconobbe che le immagini della sua famiglia furono la parte più immediata e durevole del suo lavoro, perché espressione genuina della sua personalità, dei suoi sentimenti più profondi e di tutto il suo amore per la moglie e i figli. FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  12. Ilya Glazunov | Academic / Allegorical painter

    Ilya Glazunov | Academic / Allegorical painter Ilya Glazunov Илья Глазунов (10 June 1930 - 9 July 2017) was a Russian artist ⎆ from Saint Petersburg. He was the founder of the Russian Academy of Painting, Sculpture and Architecture in Moscow - Российская академия живописи, ваяния и зодчества- where he also served as a rector up until his death. He held the title of People's Artist of Russia. Ilya Glazunov's paintings have mostly historical or religious themes. Famous works include Russia the Eternal, The 20th Century Mystery, The Ruining of the Temple on Easter Night, and illustrations to the works of Fyodor Dostoyevsky. Biography Ilya Glazunov was born in Leningrad (now Saint Petersburg) to Sergey Fyodorovich Glazunov and Olga Konstantinovna Glazunova (née Flug). Both of his parents originally belonged to Russian nobility. His father was a historian. As a child, Glazunov visited a children's school of arts, and later a secondary art school in the historical district of Petrogradskaya Storona. During the Great Patriotic War he survived the Siege of Leningrad. His father, mother and other relatives died in it. Ilya Glazunov | Portrait of Aleksandr Puskin In 1942 the then-eleven-year-old was transported from besieged Leningrad along the Road of Life. He stayed in the village of Greblo in the Novgorod region. In 1944 he returned to Leningrad and studied in the Leningrad Secondary Art School. From 1951-1957 he studied art at the I. Repin Institute of Painting, Sculpture and Architecture under the direction of Professor Boris Ioganson. In 1956, he married Nina Vinogradova-Benois. He painted the image of Nina in many of his works. Ilya Glazunov with his Wife Nina Vinogradova-Benois at the Exhibition in West Berlin Nina Vinogradova-Benois and Ilya Glazunov, 1957 Ilya Glazunov Portrait of his wife Nina Vinogradova-Benois Nina Aleksandrovna was a descendant of the Benois family, a familiar name in art history. Her uncle was the artistic director of the La Scala Opera for 30 years. On 24 May 1986, Nina Vinogradova-Benois committed suicide, just a few days before the opening of the exhibition of her husband in Manege. Their children, Ivan and Vera, have both become artists. Glazunov's success at the International Competition of Young Artists in Prague prompted the opening of his first single exhibition in Moscow in 1957. Soon after in the 1960s, he traveled to Italy for the first time to paint the portraits of many famous actors and actress, including Gina Lollobrigida and Anita Ekberg. He also painted portraits of many political leaders, including Indira Gandhi, Leonid Brezhnev, Urho Kekkonen, Yury Luzhkov and Andrei Gromyko. In 1978, Glazunov started teaching in the Moscow University of Art. In 1987 he founded the Russian Academy of Painting, Sculpture and Architecture. Ilya Glazunov was known for his active political position dictated by his patriotic, monarchistic and anti-democratic views. During the 1970s he stood against the General plan for restoration of Moscow that threatened to ruin the historical site of Moscow. Together with Vyacheslav Ovchinnikov he gathered signatures of prominent scientific and cultural figures under a letter of protest that was sent to the Politburo. The project was made public then, heavily criticized and, as a result, cancelled. This also led to the creation of the civil committee that monitored other reconstruction plans. Glazunov was one of the main advocates behind the restoration of the Cathedral of Christ the Saviour and one of the co-founders of the All-Russian Society for Protection of Historical and Cultural Monuments (VOOPIiK). Glazunov died from heart failure on 9 July 2017 at the age of 87. He will be buried at the Novodevichy Cemetery on July, 11. Ilya Glazunov | Portrait of Cuban leader Fidel Castro Honors ⎆ A minor planet, 3616 Glazunov, discovered by Soviet astronomer Lyudmila Zhuravlyova in 1984, is named after him. Order of Merit for the Fatherland; 1st class (10 June 2010) - for outstanding contribution to the development of national art, many years of creative and educational activities; 2nd class (11 October 2005) - for outstanding achievements in the field of domestic art and education; 3rd class (9 June 2000) - for outstanding contribution to the development of national art; 4th class (29 May 1995) - for services to the state, achievements in work and significant contribution to strengthening friendship and cooperation between nations Order of the Red Banner of Labour, 1985; People's Artist of the USSR, 1980; Honoured Artist of the RSFSR, 1973; State Prize of the Russian Federation, 1997 - for the restoration of the Moscow Kremlin; "For Service to Moscow" insignia - for his great services in the arts and arts education; Order of St. Andrei Rublev, 1st class (Russian Orthodox Church, 4 December 2010) - for outstanding contribution to the development of Russian art in the 80th anniversary of his birth; Honorary member of the Historical and Patriotic Association "Russian Banner", 1989; Perpetual rector of the Russian Academy of Painting, Sculpture and Architecture; Member of the Academy of Management in Education and Culture, 1997; "The most outstanding artist of the 20th century" in a poll of polls, 1999; UNESCO Gold Medal - for "outstanding contribution to world culture"; Member of the Russian Academy of Arts, 2000. Ilya Glazunov | Ivan the Terrible Ilya Glazunov and Gina Lollobrigida at her Villa on Appia Antica. Rome.Italy 1963 Ilya Glazunov - Portrait of Gina Lollobrigida Ilya Glazunov | Portrait of Michail Lermontov Ilya Glazunov | Smashing of the Church at Easter Night, 1999 Ilya Glazunov | The Contribution of the People of the USSR to World Culture and Civilization Ilya Glazunov | The Decline of Europe Ilya Glazunov | The Great Experiment Ilya Glazunov | The Market of Our Democracy Ilya Glazunov | The Mystery of the 20th Century Il'ja Sergeevič Glazunov - Илья́ Серге́евич Глазуно́в- (Leningrado, 10 giugno 1930 - Mosca, 9 luglio 2017) è stato un accademico e pittore Russo, dal 2000 membro della Accademia Russa di Belle Arti. È autore di opere prevalentemente riguardanti la religione cristiana ortodossa e la storia della Russia. Carriera Il'ja Glazunov nacque il 10 giugno 1930 a Leningrado. Figlio dello storico Sergej Fedorovič Glazunov e di Olga Konstantinovna Glazunova, nel 1942 sopravvisse all'assedio di Leningrado e attraverso la cosiddetta strada della Vita fu portato nel villaggio di Greblo, sito nell'Oblast' di Novgorod. Nel 1944, dopo la fine dell'assedio, tornò nella città natale. Al contrario, la sua intera famiglia morì a causa della malnutrizione. A Leningrado studiò presso la scuola secondaria d'arte e dal 1951-1957 fu allievo del professore Boris Ioganson, uno dei massimi rappresentanti del realismo socialista in ambito pittorico. Nel 1957, grazie al successo in una competizione internazionale per giovani artisti svoltasi a Praga, Glazunov poté realizzare la sua prima mostra personale a Mosca. All'inizio degli anni sessanta si recò in Italia, paese nel quale realizzò i ritratti di vari personaggi famosi tra cui le dive Gina Lollobrigida e Anita Ekberg. Nel 1978 iniziò ad insegnare presso l'Università d'arte di Mosca. Due anni dopo ricevette l'onorificenza di artista del Popolo dell'Unione Sovietica. Negli anni seguenti fu insignito di numerose onorificenze e riconoscimenti in ragione del suo contributo allo sviluppo della cultura russa. Fu uno dei maggiori sostenitori della ricostruzione della cattedrale di Cristo Salvatore demolita dai sovietici nel 1931. Politica Il'ja Glazunov è noto per le sue posizioni politiche apertamente anticomuniste, patriottiche e filozariste. Negli anni '60 aderì all'associazione "Rodina" (Patria), la quale dopo breve tempo fu disciolta dalle autorità sovietiche. Nel decennio successivo si oppose con successo ad un piano regolatore, messo a punto dal governo, che avrebbe stravolto l'aspetto del centro storico di Mosca. Dopo anni trascorsi privo del favore del regime, la sua situazione migliorò parzialmente grazie all'amicizia con Michail Suslov. A metà degli anni ottanta si unì al movimento nazionalista e ortodosso "Pamjat'" (Memoria). Il 9 febbraio 2012 è stato ufficialmente registrato come fiduciario del candidato alla presidenza della Federazione Russa Vladimir Putin. Famiglia Nel 1956 sposò Nina Vinogradova-Benois, donna appartenente ad una famiglia di artisti tra cui spiccano Alexandre Benois e il figlio di quest'ultimo Nicola -per molti anni dirigente presso La Scala. Dal matrimonio tra Glazunov e la Benois nacquero Ivan e Vera, entrambi divenuti pittori. Nel 1986 la moglie dell'artista si suicidò. In diversi dipinti del marito si trovano sue raffigurazioni. Opere Le opere di Il'ja Glazunov, pur subendo stilisticamente l'influenza del realismo, hanno un carattere profondamente visionario e trovano nella religione uno dei temi predominanti. Onorificenze civili Ordine della Bandiera rossa del Lavoro, 1985; Ordine al merito per la Patria di I Classe «Per il contributo di rilievo allo sviluppo dell'arte nazionale e i molti anni di attività creative ed educative» - 10 giugno 2010; Ordine al merito per la Patria di II Classe - «Per altissimi meriti nel campo dell'arte nazionale e dell'istruzione» - 11 ottobre 2005; Ordine al merito per la Patria di III Classe «Per il contributo di rilievo allo sviluppo dell'arte nazionale» 9 giugno 2000; Ordine al merito per la Patria di IV Classe - «Per i servizi allo Stato, per i risultati nel lavoro e per il significativo contributo al rafforzamento dell'amicizia e della cooperazione tra le nazioni» 29 maggio 1995; Artista del Popolo dell'Unione Sovietica, 1980; Artista emerito della RSFSR, 1973; Premio di Stato della Federazione Russa «Per il restauro del Cremlino di Mosca» 1997; Insegna per i Servizi a Mosca «Per i grandi servizi resi all'arte ed all'educazione» 2000. Onorificenze religiose; Ordine di Sant'Andrej Rublëv di I Classe «In considerazione del suo eccezionale contributo allo sviluppo dell'arte russa e in connessione con il suo 80º anniversario di nascita» 4 dicembre 2010. Altri riconoscimenti Membro dell'Accademia Russa di Belle Arti, 2000; Medaglia d'oro UNESCO per il rilevante contributo alla cultura mondiale, 2000; Membro dell'Accademia di management dell'educazione e della cultura, 1997; Membro onorario dell'associazione storico-patriottica "Bandiera russa", 1989; Rettore perpetuo dell'Accademia russa di pittura, scultura e architettura, 1987. For more such artworks and artists follow SUJITH PUTHRAN
  13. Eric Bowman | Part 3 | Ballet Dancers

    Eric Bowman, 1960 | Ballet dancers Eric Bowman* is an American Award-winning painter*, known for working in the Impressionism style*. Bowman* was born was born in Pasadena and grew up in Orange County, CA. For more such artists' & artworks follow SUJITH PUTHRAN
  14. Eric Bowman, | Part 2 | Jazz music

    Eric Bowman, 1960 | Jazz music Eric Bowman is an American Award winning painter, known for working in the Impressionism / Figurative style. Bowman was born was born in Pasadena and grew up in Orange County, CA.. br /> For more such artworks and Artists' follow SUJITH PUTHRAN
  15. Karl Bang | Fantasy painter

    Karl Bang, 1935 | Visionary /Fantasy painter 龐卡 Pang Ka (Karl Bang) was born in Bong Ka, Shanghai in 1935. He was formally trained by the master artists of Chinese painting and he also formally trained in the European painting tradition in France and Belgium. These multiple styles led to Karl Bang's multi-cultural blending of the traditional Chinese artistic discipline with the more personally expressive European style, and later also included traditions from around the entire globe. During Mao Tse-tung's Cultural Revolution in China, Karl was obligated to paint only the propaganda images the government demanded him to paint. However, in 1984 he was allowed to emigrate to the United States, where Karl was free to paint his one heart's passion - beautiful women, goddesses, and the feminine archetype - from various races and cultures. This central theme to all of Karl Bang's work is exquisitely developed and refined in each of his images. For Karl, painting women goes much deeper than their outer beauty. He sees women as epitomizing the gentler instincts of humankind - nurturing, gentility, truth, and inner strength. Karl Bang, vero nome 龐卡 Pang Ka, è nato a Shanghai nel 1935. Nel 1984 l'artista insieme alla sua famiglia si trasferiscono negli Stati Uniti, dove rielabora il suo linguaggio espressivo, assorbendo gradualmente elementi dell'arte occidentale. Bang come ogni artista caratterizza la sua opera con un proprio distinguibile segno: esprime la bellezza e il mistero di mondi esotici e integra i soggetti floreali con sensuali figure femminili dal volto di porcellana. I fiori sbocciano nei suoi dipinti combinati in un bouquet di fantasia. FOR MORE SUCH ARTISTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  16. Eric Bowman | Page 1

    Eric Bowman, 1960 | Plein Air /Figurative / Impressionist painter Award winning artist Eric Bowman was born in Pasadena and grew up in Orange County, CA (back when it actually had orange groves). Essentially a self-taught artist, Eric had a knack for drawing as far back as he can remember, always the class artist throughout his elementary and high school years. Various art-related jobs such as silk screen T-shirt printer or surfboard airbrush technician led to a lengthy and successful career as a commercial artist, eventually transitioning to fine art painting. As a painter, Eric has garnered many awards in national and regional exhibitions in some of the country's most prestigious galleries and museums. His paintings are in collections around the world, including England, Australia, Canada and Mexico. Eric Bowman is a Signature Member of both the American Impressionist Society and the Laguna Plein Air Painters Association, and an Out-of-State Member of the California Art Club. When not traveling to various plein air shows or visiting his beloved home state of California, Eric resides in northwest Oregon with his wife and daughter, and their dog, Mucha. Publications: Plein Air magazine - Feature Article April 2016; Pratique Des Arts (French art publication) - Feature Article May 2015; Southwest Art magazine - "Artist to Watch" Oct 2014; American Art Collector magazine - Group Show Preview Nov 2014; International Artist magazine - Feature Article Nov/Dec 2014; Uncle Jam magazine - Feature Article and cover image Winter 2013; American Art Collector magazine - Solo Show Preview May 2013; American Art Collector magazine - Solo Show Preview Jan 2013; Southwest Art magazine - "Artistic Excellence" award Dec 2012; American Art Collector magazine - Solo Show Preview June 2011. Recent Shows/Awards: Invitational - "Maynard Dixon Country Camp Out" June 2016 - Mount Carmel, Utah; Group Show - "California Art Club 105th Gold Medal Exhibition" Autry Museum April 2016 - Los Angeles; Group Show - "Coors Western Art exhibition" January 2016 - Denver, CO; Finalist - "BoldBrush Painting Competition" October 2015 - Juror: Phil Couture; Invitational - American Masters Exhibition 2015 - Salmagundi Club, New York, NY; Invitational - "Collectors Reserve 2015" Gilcrease Museum, Tulsa, OK; Group Show - "Sonoma Plein Air" Oct. 2015 - Sonoma, CA; Juried Show - "American Impressionist Society National Exhibition 2015" Trailside Gallery, Scottsdale, AZ; Juried Show - "Plein Air Easton" July 2015 - Easton, Maryland; Finalist - "BoldBrush Painting Competition" November 2015 - Juror: Jason Sacran; Best of Show Award - "BoldBrush Painting Competition"January 2015 - Juror: Timothy C. Tyler; Finalist - "BoldBrush Painting Competition" November 2014 - Juror: Vincent Xeus; Invitational - American Masters Exhibition 2014 - Salmagundi Club, New York, NY; Juried Show - "American Impressionist Society National Exhibition 2014" Abend Gallery, Denver, CO; Invitational - "Small Works Invitational 2014" - Howard/Mandville Gallery; Kirkland, WA; Group Show - "Sonoma Plein Air" Oct. 2014 - Sonoma, CA; Finalist - "BoldBrush Competition" August 2014 - Juror: Tim Rees; Solo Show - "Personal Space" January 2014 - Bonner David Galleries, Scottsdale, AZ; Invitational - "Laguna Plein Air Painters Assoc. Invitational" Oct 2013 - Laguna Beach, CA; Invitational - "Small Works Invitational 2013" - Howard/Mandville Gallery; Kirkland, WA; Juried Show - "American Impressionist Society National Exhibition 2013" M Gallery, Charleston, SC; Juried Show - "Sonoma Plein Air" Oct. 2013 - Sonoma, CA; Solo Show - "Summerland" Sept. 2013 - Brian Marki Fine Art, Portland, OR; Juried Show - "Plein Air Easton" July 2013 - Easton, Maryland; Solo Show - "Form and Function" April 2013- Bonner David Galleries, Scottsdale, AZ; Juried Show - "American Impressionist Society National Exhibition 2012" - Eckert and Ross Gallery, Indianapolis, IN; Honorable Mention - Southwest Art magazine "Artistic Excellence" competition 2012; Artist Choice Award - "Sonoma Plein Air" - Oct 2012 - Sonoma, CA; Plein Air Magazine Award - "Sonoma Plein Air" - Oct 2012 - Sonoma, CA; Invitational - "Oregon Invitational Plein Air" - Aug 2012 - Portland Art Museum, Portland, OR; Second Place Award - "Plein Air Easton" - July 2012 - Easton, Maryland - Juror: Tim Newton, Salmagundi Club, NY; Group Show - "Anniversary Show 2012" - Howard/Mandville Gallery, Kirkland, WA; Juried Show - Oil Painters of America National Exhibition, June 2012 - Evergreen Gallery, Evergreen, CO; Juried Show - LPAPA "Best Of Plein Air" June 2012 - Seven Degrees Gallery, Laguna Beach, CA; Juried Show - "American Impressionist Society Annual Exhibition 2011" - Mountainsong Galleries, Carmel, CA; Invitational - "Small Works Invitational 2011" - Howard/Mandville Gallery; Kirkland, WA; Juried Show - "Plein Air Easton" - July 2011 - Easton, Maryland Solo Show - "Off Key, On Point" June 2011 - Bonner David Gallery; Scottsdale, AZ; Juried Show - "Sonoma Plein Air" May 2011 - Sonoma, CA; Juried Show - LPAPA "Best of Plein Air" July 2011 - Esther Wells Collection; Laguna Beach, CA; Invitational - "Small Works Invitational 2010" - Howard/Mandville Gallery; Kirkland, WA; Juried Show - "American Impressionist Society Annual Exhibition 2010" - Richland Fine Art; Nashville, TN; Juried Show - "Pacific Northwest Plein Air 2010" - Columbia River Art Gallery; Hood River, OR; Second Place Award (x2) - "Hillsboro Plein Air" July 2010 - Cultural Arts Center; Hillsboro, OR; Juried Show - LPAPA "Best of Plein Air" July 2010 - Esther Wells Collection; Laguna Beach, CA; Purchase Prize Award - "Chronicle Exhibition Invitational" June 2010 - Festival of Arts; Lake Oswego, OR; Juried Show - "Salon International" April 2010 - Greenhouse Gallery; Austin, TX; Judge - "Borrego Springs Plein Air Invitational" 2010 - Borrego Art Institute; Borrego Springs, CA; Invitational - "Small Works Invitational 2009" - Howard/Mandville Gallery; Kirkland, WA; Third Place Award - "Pacific Northwest Plein Air 2009" - Columbia River Art Gallery; Hood River, OR - Juror: Ned Mueller, OPA, PAPA, LPAPA; Juried Show - "Oil Painters of America Western Regional Exhibition" Aug 2009 - Howard/Mandville Gallery, Kirkland, WA; Finalist - "BoldBrush Painting Competition" July 2009 - Juror: Josh Elliott; Group Show - "Town and Country: Oregon at 150" June 2009 - Froelick Gallery, Portland, OR; Juried Show - "Sonoma Plein Air" May 2009 - Sonoma, CA; Juried Show - "Oil Painters of America National Exhibition 2009" - Sage Creek gallery, Santa Fe, NM; 2 Man Show - "The Distance Traveled" April 2009 - Broderick Gallery; Lake Oswego, OR; First Place Award - "Pacific Northwest Plein Air 2008" - Columbia River Art Gallery; Hood River, OR - Juror: Colleen Schafroth - Director, Maryhill Museum; Solo Show - Astoria Fine Art Gallery; July 2008 Astoria, OR; Third Place Award - "Paint San Clemente Plein Air competition 2008" - San Clemente Art Association, San Clemente, CA - Juror: Debra Huse; Second Place Quick Draw Award - "Paint San Clemente Plein Air competition 2008" - San Clemente Art Association, San Clemente, CA; Juried Show - "Oil Painters of America National Exhibition 2008" - Dana Gallery; Missoula, Montana; 2 Purchase Prize Awards - "Pacific Northwest Plein Air 2007" - Columbia River Art Gallery; Hood River, OR - Juror: Susan Diehl; Solo Show - "Town and Country" The Paintings of Eric Bowman at Yoshida Fine Art Gallery; February 2007 Portland, OR; Honorable Mention - "Pacific Northwest Plein Air 2006" - Columbia River Art Gallery; Hood River, OR - Juror: Susan Diehl; First Place Award - "Pacific Northwest Plein Air 2005" - Columbia River Art Gallery; Hood River, OR - Juror: Kenn Backhaus, PAPA, OPA; Best Oil Award and People's Choice Award - "Paint the Gorge Plein Air Show 2005" - Caswell Gallery; Troutdale, OR; First Place Quick Draw Award - "Bidwell Park Centennial Plein Air Competition 2005" Avenue 9 Gallery; Chico, CA; Juried Show - "Oil Painters of America Western Regional Exhibition 2005" - Waterhouse Gallery; Santa Barbara, CA. Eric Bowman è nato a Pasadena, California ed è cresciuto ad Orange County, CA. Essenzialmente artista autodidatta, Eric aveva un talento per il disegno fin da piccolo. Eric ha raccolto molti premi in mostre nazionali e regionali in alcune delle più prestigiose gallerie e musei del paese. I suoi dipinti si trovano in collezioni di tutto il mondo, tra cui Inghilterra, Australia, Canada e Messico. ican Impressionist Society e la Laguna Plein Air Imbianchini Association, e membro di un Out-of-Stato della California Art Club. Quando non viaggia a diverse manifestazioni d'arte o visita la sua amata California, Eric risiede nel nord-ovest di Oregon con la moglie e la figlia, e il loro cane, Mucha. for more such artworks and artists' Follow SUJITH PUTHRAN
  17. ILLUSIONS IN GIF | MUST WATCH

    James R. Eads and Chris McDaniel | Illusions in gif wait for the gif image to load properly The result of a collaboration of artist James R Eads and animator Chris McDaniel, Illusions, is a rare example of visionary art being translated beautifully between two mediums. Two artists - one painter and one animator - have collaborated on a series of digital Gif works that seem to suck viewers into their computer screens. colorful and vibrant illustrations by James R. Eads have been brought to life Chris McDaniel, known as "the glitch". These looped sequences see Van Gogh -like strokes swirl and coil into seemingly living, breathing compositions, expressing vivid motifs soured from the sky, stars, universe and beyond. Illusions è il risultato della collaborazione tra il pittore surrealista James R Eads e l'animatore Chris McDaniel, un raro esempio di arte visionaria. Chris McDaniel - pseudonimo di “The Glitch“ e noto animatore digitale - rimase profondamente colpito dalle tele di Eads e contatta l’autore domandagli di poter animare alcuni suoi lavori. Eads non riesce a trattenere la curiosità nel vedere il risultato delle sue immagini fisse trasformate in Gif ed acconsente immediatamente. L’effetto Gif trasforma i suoi magici lavori in illustrazioni vorticose e ipnotiche particolarmente affascinanti che esaltano ancor più i colori vivaci usati dall'artista e accompagnano noi osservatori in un mondo magico in grado di donarci sensazioni di pace e di serenità. For more such artists' & artwork's follow SUJITH PUTHRAN
  18. Hugo Urlacher | Portrait Painter

    Hugo Urlacher, 1958 | Portrait painter Hugo Urlacher was born in Buenos Aires, Argentina. He is considered a very accomplished portrait painter. During his career as a plastic artist, instead of focusing on art shows and exhibitions and depending on a middle person, he concentrated on commissioned works, while developing his own personal art. In this manner, he completed a great number of portraits of national and international figures. His personal work focuses exclusively on the human figure, following his classic aesthetic roots, with great influence from the impressionist realism, source of his ever present magical inspiration. The artists that have had the greatest influence in Urlacher’s works are: Degas, Vermeer, Miguel Angel Merisi, Rembrandt, and, above all, Diego Velazquez. Urlacher later ventured into the Sacred Art field, and has been painting for the past fourteen years altar pieces for Opus Dei oratories. He also completed works for several churches in Buenos Aires: “San Felipe Neri”, “San Vicente de Paul” and “San Cayetano”. In 2007-2008 Hugo Urlacher painted a portrait of Father Alberto Cutie. He also painted The 23 Virgins of the Americas at the church of St. Frances De Sales. Urlacher painted a portrait of Mother Adela Galindo, founder of The Pierced Hearts of Mary and Jesus. A total of six stained glass panels depicting various saints were created for their chapel and were all hand painted by Urlacher. It serves to mention he is also stained glass painter for Art Glass USA. He has been working with master stained glass artist Francisco Javier Da Silva Goncalves creating artistic designs of all kinds for over 27 years. Urlacher is also an expert engraver of plates for paper money, and an apprentice of the master Italian engraver Trento Cioninni, author of the five portraits in the current series of argentine paper money. Urlacher engraved plates for Argentine currency (the reverse of the one-hundred pesos bill, “The Campaign to the Dessert”) as well as plates for the currency of Paraguay, the Republic of Guinea, and Angola, among others. A large part of his paintings are of his own personal creations. These paintings and portraits form exciting additions to diverse private collections around the world. There are also many paintings and stained glass panels of religious works in many churches, chapels and other places of prayer that are on permanent public display. Due to Urlachers artistic expression and diversity in paintings, portraits, engravings on paper currency and stained glass, examples of his work can be found all over the world. Hugo Urlacher è nato il 30 ottobre 1958 a Buenos Aires, Argentina. Autodidatta, pittore della bellezza classica, ha iniziato a dipingere nel 1982 all’età di 24 anni. For more such artists' & artwork's follow SUJITH PUTHRAN
  19. Chinese Surrealist Painter | Du Kun

    DU Kun 杜昆, 1982 ~ Revels of the Rock Gods | Surrealist painter DU Kun /杜昆 born in Sichuan, China, in 1982. Under the influence of his art teacher father DU began studying painting from the age of four, later graduating from Beijing’s Central Academy of Fine Arts’ Oil Painting program. Today he works between Tianjin and Beijing as his base, and is particularly widely renowned as a young Chinese artist for his creativity and the brilliance of his techniques. Further, since his student days, in addition to his work as a painter DU Kun has been applying his talents in the field of music. He made his professional debut as a rock musician while still at art school, and has since frequently demonstrated his musical prowess. Developing from the city paintings of his early career which were pervaded by an atmosphere of intense mysticism, DU Kun has advanced toward a method of expression that makes use of allegories of religious aspects and contemporary societal criticism, as well as provoking rumination upon the actions of humanity. The artist began working on the ‘Gods of Rock Festival’ series in 2014, creating the works out of his own passion for rock music. While these are all portraits of rock musicians, within the portraits we see depicted tall pagodas (pavilions intend for rest or recreation), Confucian mausolea, Buddhist temples and other traditional Chinese architectural structures. Gods that appear in ancient legends, majestic mountain and cliffs, magnificent seas and rivers, roaring waterfalls and the leisurely twilight are woven together to create a subtle and unique world - a world in which both time and space, tradition and the avant-garde, music and painting are adroitly melted together. These works by DU Kun are masterfully original portraits, and surely they are also the sacred land that exists in the heart of every rock musician. DU Kun, artista di Pechino, amante del rock, influenzato ed intimorito dal potere del successo, dalla creazione della musica -lui stesso suona- e dall'aura che le star emanano. Da questa base parte la sua serie di dipinti “Revels of the Rock Gods” -in mostra a Tokyo fino a metà febbraio, ogni dipinto della serie è realizzato ad olio e raffigura il volto di un musicista come se fosse un tempio costruito a lui dedicato. I templi prendono in prestito elementi dal buddismo e dalla architettura confuciana, gli occhi diventano finestre, i rami, gli alberi o le cascate i capelli, la superficie diventa pelle, come le facciate di legno ornate con oro. FOR MORE SUCH ARTISTS' AND ARTWORKS FOLLOW SUJITH PUTHRAN
  20. The amateur waits for inspiration...The professional knows that inspiration will come once he starts...
  21. Vicente Romero | Figurative painter

    Vicente Romero, 1956 | Figurative painter ' For more such art-works & artists' follow SUJITH PUTHRAN
  22. Kazimir Malevich | Cubist/Geometric abstract painter Follow me for more such artists' & art-works SUJITH PUTHRAN
  23. RIP - Stephan Hawking

    Stephen Hawking “Remember to look up at the stars and not down at your feet. Never give up work. Work gives you meaning and purpose and lifeis empty without it. If you are lucky enough to find love, remember it is there and don’t throw it away.” Early life Stephen Hawking was born on 8 Jan 1942, which was the 300th death anniversary of Galileo. Though he was born to a well-educated parents, the time he was born was quite difficult as his parents did not have money back then and also the Second World War was making livelihoods rather challenging, in search of a safer place his family returned to Oxford, Stephen had three siblings and therefore the family had scarcity of money. His early school life was not outstanding, he was third from the bottom in his class but he enjoyed board games and like geniuses do, he with his friends created their own board games, he also made computers out of waste part to solve mathematical equations not only this, he loved to climb, dance and rowing. He loved mathematics but as Oxford did not have the degree he had to take up Physics and later went into specifics of it, Cosmology. Where he believes he was not able to spend time on studies and was paying much attention to school, on the other hand, he was exploring science. Disability Is In The Mind He was 21 years old when he was diagnosed with ALS, it all started in Oxford when he began to notice that he would trip and fall or slur his speech, till 1963 he ignored it but it was his father who took notice of this condition and took him to the doctor. A series of tests diagnosed that its Amyotrophic Lateral Sclerosis (ALS), which is when the nerves that control muscles were failing. He was told that he wouldn’t survive more than two years. When everyone had lost hope then Stephen had a dream that he was going to be executed and he believes this disease helped him to become the scientist he is today, as he says “Before my condition was diagnosed, I had been very bored with life, there had not seemed to be anything worth doing.” With the sudden realization that he might not even live long enough to earn his PhD, Hawking dedicated all his energies to his work and research. In one of his interviews, he also mentioned – “My expectations were reduced to zero when I was 21. Everything since then has been a bonus.” The Journey It all began with his research on Black holes, to his first major publication The Grand Design -Hawking set out to challenge Sir Isaac Newton’s belief that the universe had to have been designed by God, simply because it could not have been born from chaos. “It is not necessary to invoke God to light the blue touch paper and set the universe going” and till today he is in headlines for his new theories and work. Lesson For Us He did not recover from his disease and it made him physically weak in time, but what kept him going was his willingness to work from the mind as he says “Although I cannot move and I have to speak through a computer, in my mind I am free.” He didn’t close his mind when his body failed and today at the age of 73 while he was just given hardly anytime he proved that it’s about the will to live and readiness to accept challenges. Death has to come but the life which we have between birth and death is up to us and it’s our will how we want to live. As he says – “I’m not afraid of death, but I’m in no hurry to die.” (Stephen Hawking) When a man who can’t move, or talk, can make wonders and also lead a normal family life with kids, then why do some of us lose hope and accept failures? Is it right to flow in the river of sadness when the grave is not the goal? RIP
  24. Misawa Hiroshi 三澤 寛志, 1961 | Figurative painter Japanese painter Misawa Hiroshi was born in Tokyo in 1961. He is interested in educating younger generations, so now he works in two art schools. He has a fund of knowledge about human body anatomy, so he describes his works in profound perspective. He has the great art of sketching. 1984 - Graduated from Musashino Art University; 1984 - MAU Best Graduation Award Shin-Seisaku Exhibition (from this time on annually); 1984 - Japan and France Art Exhibition; 1986 - Graduated from Musashino Art Graduate School; 1986 - MAU Graduate School Best Graduation Award; 1989 - Individual exhibition at Gallery Center in Yokohama; 1990 - Shun Yo Exhibition at Mitsukoshi Department Store IN Nihon-bashi; 1990 - Scarabee Exhibition at Gallery Akane in Ginza; 1995 - Maeda Kanji Award Exhibition individual exhibition at Gallery Center in Yokohama; 1999 - Individual exhibition at Gallery Center in Yokohama; 2001 - Individual exhibition at Gallery Center in Yokohama; 2004 - Individual exhibition at Gallery Center in Yokohama. Follow me for more such Artists & Artworks Sujith Puthran
  25. Luigi da Rios - Italian Artist

    Luigi da Rios | painter Luigi da Rios (1843 - February, 1892) was an Italian painter. He was born in Ceneda, Vittorio Veneto. He was a pupil at the Academy of Fine Arts of Venice, where he won a number of awards. Forced into exile to avoid conscription into the Austrian armies, he fled to Florence in May 1866. With the end of the conflict, he returned to Venice, and began to paint portraits, genre, and historical subjects. He exhibited frequently from 1867-1882 at the yearly exhibitions of the Venetian Promotrice di Belle Arti. Among his works are: Una cameriera; Torquato Tasso; Raffaello e la Fornarina; Le donne al pozzo (won first prize in 1872 at the Regional Exhibition at Treviso); Le analfabete (the illiterate); L'orfanella; Una calle a Venezia; Dopo la messa; Dopo il lavoro; and Lettura. He also exhibited in 1881 at Milano, 1887 at Venice, and at the Royal Academy of London. He painted frescoes for Villa Bisacco-Palazzi in Chirignago (1864), in Villa Visconti di Modrone on Lake Como (1866) and in the parish church of Chirignago (1878). He was appointed academic of merit to the Venetian Academy, and member of the Society of Watercolor painters of Brussels. He died in Venice in 1892. Da Rios, Luigi - Figlio di Domenico, nacque a Ceneda, oggi Vittorio Veneto (provincia di Treviso), nel 1844. Dopo aver frequentato giovanissimo una bottega da falegname, si iscrisse all'accademia di belle arti di Venezia all'età di quindici anni. Attraverso gli Atti dell'accademia è possibile ricostruire i numerosi premi, medaglie, "accessit" ottenuti tra il 1859 e il 1864 in quasi t utti gli insegnamenti offerti dall'accademia stessa. Fuggito a Firenze nel maggio 1866 per sottrarsi alla coscrizione austriaca, si applicò allo studio dei capolavori dell'arte fiorentina del Quattro e Cinquecento. Rientrò a Venezia dopo l'unione del Veneto al Regno d'Italia (ottobre 1866), trasferendosi per breve tempo a Milano e sul lago di Como per realizzare un ciclo di affreschi in una villa Visconti di Modrone. In questi anni si dedicò anche alla ritrattistica, ma si specializzò in seguito in quadri di genere di soggetto popolare veneziano. Partecipò assiduamente alle mostre annuali della Società veneta promotrice di belle arti esponendo numerosi dipinti: nel 1867 - Testa di fanciulla; nel 1868 - La visita alle tombe; nel 1869 - Una cameriera; nel 1870 - Un ricordo dell'estinto, e Torquato Tasso; nel 1871 - Raffaello e la Fornarina; nel 1872 - Pia de' Tolomei, Due pezzenti, Un ponte a Venezia; nel 1873 - Una lettera in cattive mani, Le donne al pozzo - che ottenne il primo premio all'Esposizione regionale veneta di Treviso, 1872, Le analfabete, L'orfanella, Una calle a Venezia, Nell'Alpago dopo il tramonto; nel 1874 - Dopo la messa, Dopo il lavoro, Il custode della casa di Dio; nel 1875 - Una magra colazione; nel 1878 - Cossa gastu fato?, Un virtuoso del secolo scorso; nel 1879 - Studiosa, Lettura; e nel 1881, Una chioggiotta. Nello stesso anno vendette un acquarello, La ricreazione, alla Società Donatello (Memorie...,1884). Altre opere del da Rios sono: Veronica Franco rifiuta i doni inviati da Enrico III; Il carnevale di Venezia, vasto affresco, già nell'albergo Europa di Milano; Venere (1877); Una fondamenta (1879); Le orfanelle (1881); Primavera (1882); La tombola, I colombi di piazza S. Marco, Le curiose (1883-84); Venditore di zucche, Il papà ritorna (1889). Partecipò alle Esposizioni nazionali di Milano del 1881 (con Tentazioni in casa di Dio e Fondamenta a Venezia), e di Venezia, del 1887, con Il papà non viene. A quell'epoca abitava a Venezia, ai Carmini (L'Esposizione nazionale artistica illustrata, 1887). Un suo Ritratto di Umberto I, già segnalato presso la prefettura di Venezia (Comanducci, 1934), è ora irreperibile; si conservano, invece, i suoi affreschi nella villa Bisacco-Palazzi di Chirignago (Venezia) del 1864, con episodi di ambientazione settecentesca, significativi di un precoce revival neo tiepolesco: Cantastorie, Ciarlatano, Indovino, Cavadenti, Giochi di putti. Nella stessa villa si conservano un affresco raffigurante Madonna con Bambino e dipinti ad olio: due Ritratti dei Bisacco-Palazzi (1865), ed un Ritratto di giovane (1876). Nella chiesa parrocchiale di Chirignago affrescò soffitto e pareti nel 1878: Predica del Battista, la Vergine con le virtù teologali, S. Giorgio, S. Francesco di Sales, Il S. Cuore appare a s. Maria Margherita Alacoque (firmato), Pio IX, gli Evangelisti e Padreterno. Fu accademico di merito all'Accademia di belle arti di Venezia e membro della Società degli acquarellisti di Bruxelles; espose pure all'Accademia reale di Londra. Il da Rios morì nel febbraio 1892. Follow me for more such artists' & artworks SUJITH PUTHRAN
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