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René was born in Belgium and in 1922 he married Georgette Berger. In 1925, Magritte painted what he considered to be his first major work, in 1927, he held his first one-man show at the Galérie Le Centaure. He toyed with everyday objects, human habits and emotions, placing them in foreign contexts and questioning their familiar meanings. He rehabilitated the object. He made the commonplace profound and the rational irrational. His work goes beyond escapism and serves to reveal some of the murkier and complex aspects of the human condition.
Ansel Adams was born in San Francisco. His first published photographs in the Sierra Club’s 1922 Bulletin, and he had his first one man exhibition in 1928 at the club’s headquarters. He was an unremitting activist for the cause of wilderness and the environment. His black-and-white images sought an intensification and purification of the psychological experience of natural beauty. He created a sense of the sublime magnificence of nature that infused the viewer with the emotional equivalent of wilderness, often more powerful than the actual thing.
Born in New York City, Paul Cadmus spent nine decades honing a singular, remarkably complex style of aesthetic idealization and social critique in justly celebrated paintings, drawings and etchings of nude figures, fantastical scenes and supercharged allegories. After abandoning a career in advertising, Cadmus studied fine art, traveled throughout Europe in the early 1930s, and returned to the U.S. as an employee of the Public Works of Art Project.
Freleng simply made good cartoons, and kept making them year after year. He earned his studio three Academy Awards. Freleng's forte was musical cartoons. He animated the Pink Panther series. The diminutive and hotheaded Yosemite Sam was inspired by Freleng.
Roy was born in New York. He had his first one-man exhibition in 1951 and worked as a commercial artist until 1957. He painted parodies of American twenties' art such as Remington's cowboy-and-Indian scenes. He used elements of commercial art, comics and advertisements in his drawings and painting. He produced large format paintings for the New York State Pavilion at the World's Fair in New York.
Marcel Duchamp, a painter, sculptor and author, was associated with Cubism, Dadaism and Surrealism. Duchamp’s work is characterized by humor, a wide variety of media, and its incessant probing of the boundaries of art. His legacy includes the insight that art can be about ideas instead of objects.
Tracey's life and art are inextricably entwined. She is unflinchingly honest about details of her life, indulging people's voyeuristic greed. She was born in London, raped at 13, and, as promiscuous truant, had two abortions. In 1994 she exhibited a phial of a tissue from one of her abortions and a crumpled Benson & Hedges packet that her uncle had been holding when he was decapitated in a car crash.
The Millinery Shop, 1884/90
Oil on canvas 100 x 110.7 cm
With its unusual cropping and tilted perspective, this painting seems to depict an unedited glimpse of the interior of a small, 19th-century millinery shop, one that might be seen while window-shopping. The young shop girl leans back to examine her creation, her mouth pursed around a pin and her hands gloved to protect the delicate fabric of the hat. Totally absorbed, she seems absolutely unaware of the viewer. Edgar Degas scraped and repainted both the milliner’s hands and her hat-in-progress so that both appear to be moving—an intended contrast with the finished hats on display to her left.
Kandinsky was born in Moscow and paited in Munich. He contibuted to modern styles -- abstract, geometric and German expressionism, fantasy, and romantic superabundance, and movements -- Blue Rider and Bauhaus. He painted nonrepresentational watercolors. He published 'Concerning the Spiritual in Art', which examined the psychological effects of color and made comparisons between painting and music.
Gauguin was born in Paris but lived with his mother in Peru (1851-55). In 1871 he entered the firm of a Paris stockbroker. He painted on Sundays. Gauguin met Pissarro in 1875 and initially Gauguin’s work was close to the Impressionists in subject matter and color scheme. He exhibited with the group five times. By 1886 he had abandoned small, visible brush marks in favour of large areas of flat color and introduced an innovative color scheme that suggested a sense of heightened reality. Gauguin called this technique Synthetism and declared that he hoped painting would return to exploring the “interior life of human beings”. Starting in 1883 Gauguin had devoted himself solely to painting. His travels to Brittany in 1886 and, a year later, to Martinique and Panama, had led him to be inspired by primitive arts and he looked for ideas in Buddhist temple sculptures, Japanese prints, medieval tapestries, folk art and the architecture of Breton Churches. His work became concerned with dreams, myths and visions, influenced partly by his time in Tahiti, where he moved in 1891.
Italian art resource for artists, galleries and art lovers. A virtual gallery showing hundreds of artists, virtual art postcards, art search engine, news, exhibitions, articles, services and utilities for artists
Original art work in watercolours, oils, pastels,... from artist Darko Topalski,feturing landscapes,esoteric and metaphysical questions, signs… "For me art is the simpliest & purest way of communication. Moods, fears,emotions,ideas,all that can be found in a work of art."
Madonna dell Granduca c. 1505 Raphael Sanzio (1483-1520)
Oil on wood, 84 x 55 cm (33 x 21 1/2 in); Palazzo Pitti, Florence
Raphael's greatest paintings seem so effortless that one does not usually connect them with the idea of hard and relentless work. To many he is simply the painter of sweet Madonnas which have become so well known as hardly to be appreciated as paintings any more. For Raphael's vision of the Holy Virgin has been adopted by subsequent generations in the same way as Michelangelo's conception of God the Father.
Madonna and Child with Adoring Angel, c. 1468
Tempera on panel
35 x 26-3/4 in. (88.9 x 68 cm)
Norton Simon Art Foundation
Botticelli (1444-1510) was one of the most individual and influential painters in Florence at the end of the fifteenth century. His melodic, linear designs have been greatly admired and are readily apparent in this panel. This composition is unusually sculptural for the artist. Forms are substantial and their disposition leads the eye into a space firmly defined by the stone parapet and middle ground arcade. The rounded hills of the landscape in the background complete the plasticity of the design. In this work, lyricism is bound to the description of natural data and the suggestion of human grace. The subtle combination of function and decoration in Botticelli's use of line provides the poetry of his paintings.
Seminole, Os-ce-o-lá, The Black Drink, a Warrior of Great Distinction, 1838,
Determined to record the "manners and customs" of Native Americans, Catlin, a lawyer turned painter, traveled thousands of miles from 1830 to 1836 following the trail of the Lewis and Clark expedition. Catlin visited 50 tribes living west of the Mississippi River from present day North Dakota to Oklahoma.
Janine Antoni was born in Freeport, Bahamas in 1964 and resides in New York. Antoni’s primary tool for making sculpture is her own body.
She has chiseled cubes of lard and chocolate with her teeth, and washed away the faces of soap busts made in her own likeness. She recieved several prestigious awards including a John D. and Catherine T. MacArthur Fellowship in 1998 and the Larry Aldrich Foundation Award in 1999.
Remington was born in Canton, New York. He briefly attended the Yale School of Art and the Art Students League of New York before heeding the call to "Go West." His dynamic representations of cowboys and cavalrymen, bronco busters and braves created a mythic image of the American West. Over the course of his career, he produced more than three thousand drawings and paintings, twenty-two bronze sculptures, a novel, a Broadway play, and over one hundred articles and stories.
Cassatt was born in Pittsburg and attended the Pennsylvania Academy of the Fine Arts in Philadelphia. She traveled extensively through Europe with her parents and siblings and in 1874 she settled permanently in Paris. Although she had several works accepted for exhibition by the tradition-bound French Salon, her artistic aims aligned her with the avant-garde painters of the time and in 1877 she joined the impressionists. Her innovative compositions explore the lives of women - attending the opera, drinking tea, writing letters, caring for children in a straightforward manner free from sentimentality. She created an ambitious mural representing modern woman for the 1893 World's Fair.
Diebenkorn is known for large-scale luminous abstractions devoted to the delicate balance between surface modulation and illusionistic depth; the establishment of structure and its dissolution in light and space. He grew up in San Francisco, studied at Stanford University, served in the Marines in WWII, and taught at the California School of Fine Arts and UCLA. From 1966 to 1988 he painted at his Ocean Park studio in Santa Monica.
Claes Oldenburg was born in Stockholm. He studied at Yale and the Art Institute of Chicago. He established himself in the early 1960s with a series of installations and performances on New York's Lower East Side. He installed Lipstick (Ascending) on Caterpillar Tracks on the Yale campus in 1969, which became a controversial focus for student protest, and Clothespin in downtown Philadelphia in 1976. His recent work, with Coosje van Bruggen, is the 144-foot-long, 64-foot-high Cupid's Span for Rincon Park on the Embarcadero in San Francisco.
Peter was born Eoyang Hsun in Shanghai in the summer of 1923 as the first of four children of Eoyang Keh. He received his Christian name, Peter, and his artistic name, Yin Ye in China in the mid 1930s. Eoyang Yin Ye appears on many of his works as applied by a seal.
Albert Bierstadt (1830-1902)
Valley of the Yosemite, 1864
Oil on paperboard 11 7/8 x 19 1/4 in.
The unspoiled grandeur of the West was an endless source of fascination for armchair travelers in the eastern United States. Bierstadt, a canny businessman as well as a gifted painter, made several trips to the West. Back in his New York studio, he used the oil sketches and photographs from these journeys to create hundreds of paintings that range from the tiny to the gargantuan. These images celebrate the West’s natural splendors, many of which would soon be altered forever by railroads, settlers, and tourists. The emotional charge that Americans found in the Western landscape was conveyed by Bierstadt’s companion on a trip to the recently discovered Yosemite Valley in 1864: “Far to the westward, widening more and more, it opens into the bosom of great mountain ranges,—into a field of perfect light, misty by its own excess,—into an unspeakable suffusion of glory created from the phoenix-pile of the dying sun.”
Claude Monet (1840-1926)
Monet was born in Paris, studied for one year at the Académie Suisse in Paris and completed a year’s military service in Algeria. He painted directly from nature and used quick brush stokes to record overall effect rather than detail. He and fellow artist, Renoir, did not use black or brown to describe shadows but instead contrasts of juxtapositioned colors.
Adolphe-William Bouguereau (1825-1905)
As a young man, Bouguereau put himself through the Ecole des Beaux-Arts and created drawings from memory. He made a careful study of form and technique, steeped himself in classical sculpture and painting and worked deliberately and industriously. Before beginning a painting he would master the history of his subject and complete numerous sketches. He portrays children and domestic scenes with tenderness, technical skill and rich color.
Henri Rousseau (1844-1910)
Henri, from Laval, France, and dubbed “Le Douanier” (customs officer) after his occupation found primitive art late in life. He at once mastered a landscape formula, and beginning after 1904 created more than twenty large fanatistic jungle paintings. They evidence his mastery of a formal language, oblivious of convention, that owes nothing to traditional methods. The images, smooth, vivid, and clearly defined, are flat and fluid against dense but dimensionless greenery, and although unreal and extraordinary, are rendered in meticulous botanical detail.
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