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Found 93 results

  1. This week's ArtByte Artist Showcase Winner is AESPA (Alberto Esparz, a Chilean freelance artist! He is the winner of 5,000 ArtByte and will be featured all week on ArtByte's 150,000+ social media! See more of his work on the ArtByte Forum here
  2. 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
  3. jamie lynn - .jpg

    From the album Portraits

    As the delivery man knocked, she listened. An open window next the front door was unavoidable temptation. As he stuck his head through the opening, she watched. He began to enter. Half-way, caught his trousers on a nail, awry in the sill. Wiggling to free himself, she thought of a fly; web-stuck, easy prey. Two kitchen carving knives, spider's fangs - she bit...and bit and bit and bit and bit. One was probably enough, but, you know how it is - young, American, impulsive. Like a totally cool Bowie song - just badly written.
  4. interdimensional color wizard :)

    Hello artbyte community I would like to share peek into my creations, my channelings, altered visions. Please check out some more of my work Www.zentropyart.com Artbyte wallet AL1sMv8UZxGfGsNM1rxv6YtVD3boXhEW8B
  5. This week's Artist Showcase winner is ovko, a contemporary visual artist from the USA! He is the winner of 5,000 ArtByte and will be featured all week on ArtByte's 150,000+ social media! You can see more of his work here on the ArtByte Forum.
  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. Hi, I'm Blaine Prescott, painter, and visual artist. I wanted to share some of my paintings with you. I hope you enjoy them:
  10. Saxophone player

    From the album My Paintings

    Title: Saxophone playerMedium : Pastel on toned paper Size: 63.5 x 48.2 cms
  11. 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
  12. This week's ArtByte Artist Showcase winner is Florina Vameşu, a painter from Bucharest, Romania. She is the winner of 5,000 ArtBytes and will be featured this week on ArtByte's social media! You can see more of her work on the ArtByte Forum here.
  13. This week's ArtByte Artist Showcase winner is visual artist, Sujith Puthran He is the winner of 5,000 ArtByte and will be featured all week on ArtByte's social media. From the artist's website: "Sujith is a sensitive and introspective artist with a penchant for the unusual and thought-provoking image. Within the apparent calm and stillness of his repertoire lie hidden, complex psychological elements of perfection, different facial expressions, variety of feelings. Such is the depth of his understanding, both of Sketching as well as painting. Sujith carves-out his private artistic temperament within his figurative art" You can see more of his work on the ArtByte Forum here.
  14. 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
  15. Delightful Bath 

    From the album My Paintings

    Title: Delightful Bath Medium: Color pencil on Paper Size: 75 x 55 cms
  16. 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
  17. 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
  18. 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
  19. Sunshine

    From the album My Paintings

    Title: SunshineWatercolor on Paper 62.5 x 51 cms
  20. New to Artbyte

    Hello Artbyte Community! Just joined this forum, think it´s a great idea we use internet to publish our artworks. Am curious about the developments planned for the upcoming future! Am happy to be part of this! my pages where you can see some of my artwork are here: http://www.zolart.de http://www.flickr.com/zolarone check out my first artist entry here : Greetings Zolar AJ7AHNNgoHptWwdVYcxLJg8F98EP7wnJpz
  21. Introducing myself

    Hi everyone, I'm a visual artist, painter. As the subject of my works, I focus on the landscape, human figure or still life in a realistic style, sometimes with a touch of fantasy. I'll be grateful if you visit my website: http://jorgevandeperre.com Meanwhile, here is a sample of my recent works My wallet address if you want to support me: AKgD6DN9N2YVPQ59Faa4sy5e1dMG9Z8Tm4
  22. David Gray David's signature style reveals a personal and contemporary expression of beauty and order which pays homage to the Classical Tradition in its craftsmanship. Collectors of David's work often relate that his painting evokes a sense of peace, stillness, or a contemplative mood. His award-winning works have been covered by major art publications including Southwest Art, Art of the West, and American Art Collector. David also teaches several workshops per year in portraiture and still life painting throughout the United States and abroad. Fans of David's work will notice a change in style beginning in late 2017. This new style, while retaining the mastery of draftsmanship characteristic of earlier work, finds a new freedom of brushwork and color application. This new dialect of painting is influenced in part by French Impressionism of the late 19th century, particularly the work of Monet. Forms are often suggested rather than completely rendered, though a solidly sculpted structure is still evident. David's former work communicated a stirring beauty and meditative stillness. His current painting will push that expression into a new strength of emotion through bold brushwork, inventiveness, and a new found creative conviction. Education and Instructors Ten Day Figure Painting Workshop, Douglas Flynt, The Grand Central Academy of Art, New York, NY Hans Nordlund, Tacoma Academy of Fine Art, Tacoma, WA Terry Furchgott, Gage Academy of Art, Seattle, WA Bachelor of Fine Art, Pacific Lutheran University, Tacoma, WA
  23. Sadhu

    From the album My Paintings

    Title: Sadhu Medium: Pastel on Paper Size: 75 x 55 cms
  24. SHANE WOLF - AMERICAN MASTER OF PAINTING SHANE WOLF was born in 1976 in Cincinnati, Ohio, USA. After receiving his bachelor's degree in design in 2000 he joined Salomon SAS in Annecy, France, as a graphic designer. In 2004 he embarked on a 16-month around the world trip and kept a drawing journal of his travels. Naturally, his journey led him to Florence, the birthplace of the Italian Renaissance. ACADEMIA 2016 Permanent Collection, Museum European of Modern Art (MEAM), Barcelona, Spain 2015 Boston Figure Painting Competition Grand Champion, Boston Academy of Realist Art, Boston, USA Museum European of Modern Art (MEAM) Purchase Award, Art Renewal Center Salon, New York, USA 2013 Gold Medal, Salon de l’Académie Européenne des Arts, France, Paris, France Silver Medal, Société des Artistes Français, Grand Palais, Paris, France Best Nude, Art Renewal Center (ARC) International Salon, New York, USA Best Nude Runner Up, Art Renewal Center (ARC) International Salon, New York, USA 2012 Bronze Medal, Société des Artistes Français, Grand Palais, Paris, France Gold Medal, Salon de Val du Cher, Saint Victor, France Finalist (nude and portrait categories), Art Renewal Center (ARC) International Salon, New York, USA 2011 Bronze Medal, Société Nationale des Beaux-Arts, Carrousel du Louvre, Paris, France Taylor Prize, Grand Palais, Paris, France Finalist (nude category) America China Oil Painting Artists’ League (ACOPAL), New York, USA 2010 Honorable Mention (nude category), Art Renewal Center (ARC) International Salon, New York, USA 2009 Hudson River Fellowship, New York, USA In Florence, he began passionately studying art at the Angel Academy of Art. From 2005 to 2009, he rigorously explored the fundamentals of art based on techniques used by the Old Masters who have all made their mark on art history since the Renaissance and through to today's art. He received his Diploma of Excellence all the while being a teacher at this prestigious Italian art academy. In 2010, he moved to Paris where he has been living and working since, driven by a vital desire to draw and share the humanist ideals that the human form inspires in him. Over the next 6 years, he would win numerous prizes and participate in many solo and group exhibitions in Europe and the USA. SHANE WOLF's vertiginous ascent in the art world has attracted the keen interest of collectors and museums that acquire and assiduously follow his evolving art, certain of the major role he plays in the world of contemporary figurative art. In 2014, driven by his passion and his knowledge, he decided to dedicate the following 4 years to the realization of a monumental work, to be completed according to the exacting principles of his art… SOLO SHOWS 2014 Shane Wolf: Drawings, Galerie L’Œil du Prince, Paris, France Shane Wolf: Portes Ouvertes, Paris 11e, France 2012 Shane Wolf: The Eidolon Series, Galerie L’Œil du Prince, Paris, France Expressions: Shane Wolf, Galerie Stephan Woelk, Saint Paul de Vence, France 2011 Shane Wolf: Portes Ouvertes, Bagnolet, France 2009 Opere da Firenze III: 4 Years in Italy, Cincinnati, Ohio, USA 2008 Shane Wolf: Drawings & Paintings, Florence, Italy Opere da Firenze II, Cincinnati, Ohio, USA 2007 Opere da Firenze, Cincinnati, Ohio, USA GROUP SHOWS 2015 MEAM, Barcelona, Spain Art Renewal Center Salon International, New York, USA Young Masters, Dialogues, Sphinx Gallery, London, England London Art Fair, London, England 2014 110 ans de la Grande Chaumière, Paris, France En Quête de L’Excellence, Centre Culturel de Chine, Paris, France 2013 Art en Capital, Salon des Arstistes Français, Grand Palais, Paris, France ArtCité, Fontenay Sous Bois, France Salon de l’Académie Européenne des Arts—France, Paris, France Art Renewal Center Salon International, New York, USA SR Brennen Galleries, Santa Fe, New Meexico, USA Egeli Gallery, Cape Cod, Massachusetts, USA 2012 Art en Capital, Salon des Artistes Français, Grand Palais, Paris, France Scope: Art Takes Miami, Miami, Florida, USA Mysteriously Beautiful, Michel Haillard and Shane Wolf, Galerie Woelk, Saint Paul de Vence, France Amfitrions, Château de Montesquiu, Barcelona, Spain Art Renewal Center Salon International, New York, USA 2011 150e Anniversaire de la Société Nationale des Beaux-Arts, Carrousel du Louvre, Paris, France Art en Capital, Grand Palais, Paris, France Small is Beautiful, Galerie L’Œil du Prince, Paris, France Chic Art Fair, Cité de la Mode et du Design, Paris, France America China Oil Painting Artists’ League (ACOPAL), New York, USA 2010 Annigoni’s Legacy, Musée Bardini, Florence, Italy Art Renewal Center Salon International, New York, USA 2009 Hudson River Revival, Musée d’Art de Springville, Utah, USA Manifest NUDE, Cincinnati, Ohio, USA 2008 Angel Academy of Art, Florence, Italie Greenhouse Gallery Salon International, San Antonio, Texas, USA Art Renewal Center Salon International, New York, USA 2007 Exclusive Italian Artists, Christchurch, New-Zealand Angel Academy of Art, Florence, Italy Art Renewal Center Salon International, New York, USA Annigoni’s Legacy: 10th Year Anniversary of the Angel Academy of Art, London, England Afferato l’IDEA, Chiesa St James, Florence, Italy 2006 Art Renewal Center Salon International, New York, USA Angel Academy of Art, Florence, Italy Florencimento, Centre Uffizi, Florence, Italy
  25. Oil painting on fiberboard, 50 x 70 cm. (19.69 x 27.56 in.) - 2017 Awarded: 1st. place - Painting category - 7th Annual "Figurative" 2017 Online Art Exhibition - Light Space Art Online Gallery https://www.lightspacetime.art/figurative-2017-online-art-exhibition-painting-category/ https://www.artsy.net/artwork/jorge-van-de-perre-little-fringed-red-blanket Details I hope you enjoyed this work. Thanks for regarding!! if you have appreciated my work in this publication: My ArtByte wallet: AKgD6DN9N2YVPQ59Faa4sy5e1dMG9Z8Tm4
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