Price range ≤ Rp. 200.000
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Born: 23 January 1832; Paris, France
Died: 30 April 1883; Paris, France
Active Years: 1849 - 1883
Field: painting, printmaking
A pivotal figure in the transition from Realism to Impressionism, Edouard Manet was an influential painter who left his own unique mark on the art world. As a child, his father was a judge, who wanted him to pursue a career in law, but his uncle, recognizing little Edouard’s talents, encouraged his interest in art, often taking him the Louvre. It was not until Manet failed two entrance exams into the French Navy that his father relented to his son’s wishes and allowed him to start art lessons under the academic painter Thomas Couture, who had him copy the works of the great masters in the Louvre. The young artist was also influenced by Frans Hals, Diego Velazquez, and Francisco Goya.
In 1856, in his early thirties, Manet opened his own studio. He began painting in a quasi-realist style, which transitioned to a more Impressionist style when he met the painter Berthe Morisot, who exposed him to her circle of Impressionist painter friends, including Claude Monet, Pierre-Auguste Renoir, and Edgar Degas, and their plein air painting techniques. Many of Manet’s works revolved around depictions of leisure activities, including observations of social life in all of the classes, from bourgeois horse racing to prostitutes drinking, to the streets of Paris and boating scenes, many of which were made from sketches done on the spot.
Although his work was Impressionistic, he resisted involvement with any specific style of painting, and thus preferred to present his works to the Salon of Paris rather than the many Impressionist Exhibitions. In 1875, some of his paintings were included in a book-length edition of Edgar Allen Poe’s The Raven and in 1881, he was awarded the Legion of Honor by the French government. Manet died eleven days after the amputation of his left foot due to gangrene, from complications of syphilis and rheumatism, which had been so bad as to cause partial paralysis in the years leading up to his death. show less
Born: 14 January 1841; Bourges, France
Died: 02 March 1895; Paris, France
Art Movement: Impressionism
Berthe Marie Pauline Morisot (French: [mɔʁizo]; January 14, 1841 – March 2, 1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists. She was described by Gustave Geffroy in 1894 as one of "les trois grandes dames" of Impressionism alongside Marie Bracquemond and Mary Cassatt.
In 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by Academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar.
Early life and education
Morisot was born in Bourges, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect (senior administrator) of the department of Cher. Her mother, Marie-Joséphine-Cornélie Thomas, was the great-niece of Jean-Honoré Fragonard, one of the most prolific Rococo painters of the ancien régime. She had two older sisters, Yves (1838–1893) and Edma (1839–1921), plus a younger brother, Tiburce, born in 1848. The family moved to Paris in 1852, when Morisot was a child.
It was common practice for daughters of bourgeois families to receive art education, so Berthe and her sisters Yves and Edma were taught privately by Geoffroy-Alphonse Chocarne and Joseph Guichard. In 1857 Guichard introduced Berthe and Edma to the Louvre gallery where they could learn by looking, and from 1858 they learned by copying paintings. He also introduced them to the works of Gavarni.
As art students, Berthe and Edma worked closely together until Edma married Adolphe Pontillon, a naval officer, moved to Cherbourg, had children, and had less time to paint. Letters between the sisters show a loving relationship, underscored by Berthe's regret at the distance between them and Edma's withdrawal from painting. Edma wholeheartedly supported Berthe's continued work and their families always remained close. Edma wrote “… I am often with you in thought, dear Berthe. I’m in your studio and I like to slip away, if only for a quarter of an hour, to breathe that atmosphere that we shared for many years…”.
Morisot registered as a copyist at the Louvre where she befriended other artists and teachers including Camille Corot, the pivotal landscape painter of the Barbizon School who also excelled in figure painting. In 1860, under Corot's influence she took up the plein air (outdoors) method of working. By 1863 she was studying under Achille Oudinot, another Barbizon painter. In the winter of 1863–64 she studied sculpture under Aimé Millet, but none of her sculpture is known to survive.[4
Morisot's first appearance in the Salon de Paris came at the age of twenty-three in 1864, with the acceptance of two landscape paintings. She continued to show regularly in the Salon, to generally favorable reviews, until 1873, the year before the first Impressionist exhibition. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1878 when her daughter was born.
Morisot's mature career began in 1872. She found an audience for her work with Durand-Ruel, the private dealer, who bought twenty-two paintings. In 1877, she was described by the critic for Le Temps as the "one real Impressionist in this group." She chose to exhibit under her full maiden name instead of using a pseudonym or her married name. In the 1880 exhibition, many reviews judged Morisot among the best, including Le Figaro critic Albert Wolff.
Born: 10 July 1830; Charlotte Amalie, Virgin Islands, U.S.
Died: 13 November 1903; Paris, France
Early life and work
Jacob-Abraham-Camille Pissarro was born in Charlotte Amalie, St. Thomas, to Abraham Gabriel Pissarro, a Portuguese Sephardic Jew, and Rachel Manzana-Pomie, from the Dominican Republic. Pissarro lived in St. Thomas until age 12, when he went to a boarding school in Paris. He returned to St. Thomas where he drew in his free time. Pissarro was attracted to political anarchy, an attraction that may have originated during his years in St. Thomas. In 1852, he traveled to Venezuela with the Danish artist Fritz Melbye. In 1855, Pissarro left for Paris, where he studied at various academic institutions (including the Ecole des Beaux-Arts and Academie Suisse) and under a succession of masters, such as Jean-Baptiste-Camille Corot, Gustave Courbet, and Charles-Francois Daubigny. Corot is sometimes considered Pissarro's most important early influence; Pissarro listed himself as Corot's pupil in the catalogues to the 1864 and 1865 Paris Salons.
His finest early works (See Jalais Hill, Pontoise, Metropolitan Museum of Art, New York) are characterized by a broadly painted (sometimes with palette knife) naturalism derived from Courbet, but with an incipient Impressionist palette.
Pissarro married Julie Vellay, a maid in his mother's household. Of their eight children, one died at birth and one daughter died aged nine. The surviving children all painted, and Lucien, the oldest son, became a follower of William Morris.
The London years
The Franco-Prussian War of 1870-71 compelled Pissarro to flee his home in Louveciennes in September 1870; he returned in June 1871 to find that the house, and along with it many of his early paintings, had been destroyed by Prussian soldiers. Initially his family was taken in by a fellow artist in Montfoucault, but by December 1870 they had taken refuge in London and settled at Westow Hill in Upper Norwood (today better known as Crystal Palace, near Sydenham). A Blue Plaque currently marks the site of the house on the building at 77a Westow Hill.
Through the paintings Pissarro completed at this time, we can glimpse back to the days when Sydenham was a small satellite town recently connected to the capital by the arrival of the railway. One of the most appreciated of these paintings is a view of St Bartholomew's Church at the end of Lawrie Park Avenue, commonly known as The Avenue, Sydenham, in the collection of the London National Gallery. Twelve oil paintings date from his stay in Upper Norwood and are listed and illustrated in the catalogue raisonne prepared jointly by his fifth child Ludovic-Rodolphe Pissarro and Lionello Venturi and published in 1939. These paintings include Norwood Under the Snow, and Lordship Lane Station, views of The Crystal Palace relocated from Hyde Park, Dulwich College, Sydenham Hill, All Saints Church, and a lost painting of St. Stephen's Church.
Whilst in Upper Norwood, Pissarro was introduced to the art dealer Paul Durand-Ruel, who bought two of his 'London' paintings. Durand-Ruel subsequently became the most important art dealer of the new school of French Impressionism.
In 1890 Pissarro returned to England and painted some ten scenes of central London. He came back again in 1892, painting in Kew Gardens and Kew Green, and also in 1897, when he produced several oils of Bedford Park, Chiswick. For more details of his British visits, see Nicholas Reed, "Camille Pissarro at Crystal Palace" and "Pissarro in West London", published by Lilburne Press.
Art and legacy
Known as the "Father of Impressionism", Pissarro painted rural and urban French life, particularly landscapes in and around Pontoise, as well as scenes from Montmartre. His mature work displays an empathy for peasants and laborers, and sometimes evidences his radical political leanings. He was a mentor to Paul Cezanne and Paul Gauguin and his example inspired many younger artists, including Californian Impressionist Lucy Bacon.
Pissarro's influence on his fellow Impressionists is probably still underestimated; not only did he offer substantial contributions to Impressionist theory, but he also managed to remain on friendly, mutually respectful terms with such difficult personalities as Edgar Degas, Cezanne and Gauguin. Pissarro exhibited at all eight of the Impressionist exhibitions. Moreover, whereas Monet was the most prolific and emblematic practitioner of the Impressionist style, Pissarro was nonetheless a primary developer of Impressionist technique.
Pissarro experimented with Neo-Impressionist ideas between 1885 and 1890. Discontented with what he referred to as "romantic Impressionism," he investigated Pointillism which he called "scientific Impressionism" before returning to a purer Impressionism in the last decade of his life.
In March 1893, in Paris, Gallery Durand-Ruel organized a major exhibition of 46 of Pissarro's works along with 55 others by Antonio de La Gandara. But while the critics acclaimed Gandara, their appraisal of Pissarro's art was less enthusiastic.
Pissarro died in Eragny-sur-Epte on either November 12 or November 13, 1903 and was buried in Pere Lachaise Cemetery in Paris. On his tomb it reads 12 November 1903.
During his lifetime, Camille Pissarro sold few of his paintings. By 2005, however, some of his works were selling in the range of U.S. $2 to 4 million.
Descendants and family
Camille's great-grandson, Joachim Pissarro, is currently the Head Curator of Drawing and Painting at the Museum of Modern Art in New York City. His great-granddaughter, Lelia, is a successful painter and resides in London. From the only daughter of Camille, - Jeanne Pissarro, other painters include Henri Bonin-Pissarro also known as BOPI (1918-2003) and Claude Bonin-Pissarro (born 1921), who is the father of Frederic Bonin-Pissarro (born 1964). (From Wikipedia)
Born: 14 November 1840; Paris, France
Died: 05 December 1926; Giverny, France
Art Movement: Impressionism
Claude Monet (1840 – 1926), the founder of Impressionism, was one of the most influential landscape painters in the history of art. Born in Paris, Monet was enrolled in the studio of Glenyre, where he met Renoir, Sisley, and Bazille, who became the core of the Impressionist group. Painting outdoors, he broke the tradition of portraying a subject literally by conveying the fleeting effects of atmosphere, time of day, and season upon color and light. Eliminating black and gray from his palette, he represented natural color like a prism, breaking it down into its individual components, often painting a series of the exact same view under different light and weather conditions. Monet brought the study of the transient effects of natural light to its most refined expression, ultimately becoming a forerunner of 20th century modernism.
Claude Monet was in almost every sense the founder of French Impressionist painting, the term itself coming from one of his paintings, Impression, Sunrise. As a child, his father wanted him to go into the grocery business, but his heart was in the profession of artistry, and at age 11, he entered Le Havre secondary school of the arts. During his stay at the secondary school, he was known for the caricatures he would draw for the locals for ten to twenty francs each. Five years later, he met artist Eugene Bouldin, who taught him the techniques of “en plein air” painting and became his mentor. At the age of 16, Monet left school for Paris, where instead of studying the great artworks of the masters, he sat by the window and painted what he saw outside.
When he was twenty-one years old, he joined the First Regiment of African Light Calvary in Algeria, for a seven year tour. But his stay was cut short after two years when he was hit by a bout of typhoid fever, and his aunt arranged for his release, as long as he continued his art studies. Upon his return to Paris, he studied the “en plein air” methods, along with Pierre-Auguste Renoir, Frederic Bazille, and Alfred Sisley, and developed the painting style that would soon be known as Impressionism. Upon the outbreak of the Franco-Prussian War, Monet fled to England, also traveling to the Netherlands before his return to Paris, after which he exhibited many of his works in 1874, at the first Impressionist Exhibition.
Upon the death of his wife Camille to tuberculosis after the birth of their second child, Monet was resolved never to life in poverty again, and was determined to create some of the best artworks of the 19th century. By 1890, he was prosperous to buy a large house and garden, where he would continue to paint for the rest of his life.
As a painter of controlled nature, Monet’s garden was one of his biggest sources of inspiration. As such, he wrote precise instructions for his gardeners, with specific designs and color layouts, and amassed a large collection of botanical books. At one time, he employed seven gardeners at once. After his death of lung cancer, his only surviving child, Michel, was heir to the Monet family property, which has since been restored and opened to the public, including the vast gardens.
Born: 19 July 1834; Paris, France
Died: 27 September 1917; Paris, France
Field: painting, sculpture, drawing
Art Movement: Impressionism
One of the founders of the Impressionist movement, Edgar Degas was a prominent artist in the last half of the 19th century. Born to wealthy family, he began his schooling with a baccalaureate in literature in 1853. Due to the wishes of his father, who wanted him to go to law school, he enrolled at the University of Paris in 1853 to pursue a law degree, where he made little effort. Degas, who at age 18 had transformed one of the rooms is his house into a studio, and was a registered copyist at the Louvre by 1853, left law school after two years, and a year later traveled to Italy studying the art of the great masters.
His paintings were exhibited at the Paris Salon beginning in 1865, but they attracted little attention, and his subject matte slowly transitioned from history paintings to more contemporary subjects. In 1870, at the outbreak of the Franco-Prussian War, he enrolled as a member of the National Guard, but his eyesight, which was found defective during rifle training, was troublesome and so he could not serve. Three years later, in 1873, Degas’ father died, revealing a massive amount of business debt held by his brother, Rene. Degas was forced to sell the family home and many family paintings in order to cover the debt, and for the first time, had to rely on the income from his paintings for survival. It was in 1874 that he began producing his most successful works.
Although he is considered one of the founders of Impressionism, and he indeed worked with impressionist artists, such as Edouard Manet and Pierre-Auguste Renoir, he rejected the label “Impressionist.” He detested the scandals brought about by their Impressionist Exhibitions, and he mocked them for painting outdoors. His personal life was outwardly uneventful, due to his belief that an artist should live private lives of solitude. He thus lived a life of solitude, and eventually broke with all of his Jewish friends, due to his anti-Semitic beliefs and argumentative nature. He never married, opposed social change and technological innovations, always painted indoors, and ceased painting by 1912, at which he time he was nearly blind. He died wandering the streets of Paris in 1917.
Eugene de Blaas
Born: 24 July 1843; Albano, Italy
Died: 10 February 1932; Venice, Italy
Art Movement: Academic Art
The artist Eugene de Blaas also known as Eugenio De Blaas or Eugen von Blaas,was born on July 24th in the Italian village of Albano, near Rome in 1843, to Austrian parents. His career was enriched by a talented and artistic family. His father, Carl von Blaas (1815-1894), was one of the most notable portrait painters of Roman society, a successful history,portrait and fresco painter of the late Biedermeier period. It was in Venice that Eugene de Blaas established himself as the leading painter of Venetian genre. Painter of portraits, women, nudes, balcony-and genre scenes, children in the Realist and Romanticism style. Native Italian artists like Antonio Paolettu, Antonio Rotta and Eugene de Blaas, as well as Englishmen such as Luke Fildes and William Logsdail depicted the lives of Venetian fisher folk, gondoliers and Venetian beauties. Eugene de Blaas died on the 10th Febuary in the Italian city of Venice in 1932.
Born: 14 July 1862; Baumgarten, Austria
Died: 06 February 1918; Vienna, Austria
School or Group: Vienna Secession
Gustav Klimt was an Austrian symbolist painter, whose primary subject was the female body. His paintings, murals, and sketches are marked by a sensual eroticism, which is especially apparent in his pencil drawings. Klimt attended the Vienna University of Arts and Crafts in 1876, and formed the “Company of Artists” with his two brothers and a friend, after which he was awarded the Golden Order of Merit from the Emperor of Vienna. In 1892, his father and one of his brothers died, leaving him responsible for their families. The family tragedy also affected his artistic vision, which helped him develop his own personal style.
Throughout his life, although he was a controversial painter due to his subject matter, he was made an honorary member of the Universities of Vienna and of Munich. He was also a founding member and president of the Vienna Secession, which sought to create a platform for new and unconventional artists, bring new artists to Vienna, and created a magazine to showcase its member’ work.
Klimt lived a simple, cloistered life, in which he avoided other artists and café society. He often wore a long robe, sandals, and no undergarments. He also had many discreet affairs with women, and fathered at least 14 children. This may be an indication of his passion for women, their form and sexuality, which was the main focus of many of his works. The majority of his paintings were characterized by golden or colored swirling designs, spirals, and phallic shapes, depicting dominant women in erotic positions.
Klimt died in the influenza epidemic of 1918, leaving behind a posthumous legacy that few artists can rival. His paintings have brought in the highest amounts ever paid at auction. show less
Born: (baptised); Amsterdam, Netherlands
Died: (buried); Kampen, Netherlands
Active Years: 1607 - ........
Hendrick Barentsz. Avercamp was a non-verbal (and probably deaf) artist known as 'the Mute of Kampen' (de stom van Campen). He specialised in painting winter scenes. His paintings must have appealed to Dutch patriots as representing the landscape and life of the newly formed Republic of the United Provinces of the Netherlands.
Avercamp was born in Amsterdam, and trained there probably with Pieter Isaacsz. His manner was based in the first place on that of the Flemish followers of Pieter Bruegel the Elder. He presumably came into contact with one of Bruegel's followers who had settled in Amsterdam, such as David Vinckboons.His nephew Barent Avercamp (1621-79) imitated his style of painting. Others followed his approach, for example, Arent Arentsz.
His carefully characterised groups of small figures are drawn together in the paintings through subtly graduated colour. His pictures were composed in the studio from acutely observed watercolour drawings.
Born: 05 August 1860; Toulouse, France
Died: 12 November 1943; Labastide-du-Vert, France
Art Movement: Post-Impressionism
Born in Toulouse to a French cabinet maker and a mother of Italian descent, Martin successfully persuaded his father to permit him to become an artist. He began his career in 1877 at the Toulouse School of the Fine Arts, where he was under the tutelage of Jules Garipuy (he was also a pupil of Henry-Eugéne Delacroix). In 1879, Martin relocated to Paris and with the help of a scholarship, was able to study in Jean-Paul Laurens' studio. Four years later, he received his first medal at the Paris Salon, where he would hold his first exhibition three years later in 1886.
The year after he won his first medal, Martin was awarded a scholarship for a tour in Italy, where he studied the work of veterans such as Giotto and Masaccio. His 1889 canvas submission to the Salon earned him the gold medal for work that has been described as Pointillist. That same year he became a member of the Legion of Honour. At the 1900 World Fair, he was awarded the Grand Prize for his work. During this period, he became friends with Auguste Rodin.
Due to his introverted temperament, Martin decided to move away from Paris. After a decade of searching for an ideal home, Martin bought Marquayrol, a mansion overlooking La Bastide du Vert, near Cahors. He performed his best work in the new tranquil environment, and died there in 1943.
John Atkinson Grimshaw
Born: 06 September 1836; Leeds, United Kingdom
Died: 13 October 1893; Leeds, United Kingdom
John Atkinson Grimshaw is a remarkable painter who is less widely appreciated than he should be, for many reasons: little is known of his life, he worked mainly in the north of England, most of his paintings are in private collections and he was unfashionably versatile yet he became one of the worlds artist.
John Atkinson Grimshaw first began painting while working as a clerk for the Great Northern Railway. He encountered bitter opposition from his parents, but after his marriage in 1858 to a cousin of T.S. Cooper, he was able to devote himself full time to painting. Self-taught, Grimshaw started exhibiting in Leeds in the 1860's with minutely observed still life's. By 1870, he was successful enough to rent a 17th century mansion, following the death of three of his children at his Leeds home. He called it Castle by the Sea, perched on a cliff top, it has magnificent views of both the north and south bays. The name of his Scarborough house came from a poem by Longfellow. The move to the coast inspired much of the artist's most attractive work, throughout his career he was always attracted by ships, the sea and docks, in fact all things maritime.
In the 1870's he experimented with a looser technique and with classical subjects in the manner of Lawrence Alma-Tadema, historical subjects and contemporary ladies in the manner of Tissot, these last were particularly successful. But the real breakthrough at that time was the night-time scenes the 'moonlights' with which he is usually associated today. In the middle of the decade he took a second house in Scarborough, and there are many paintings of seascapes at night. He also traveled to Liverpool and London in search of material and diversified yet again into 'literary' subjects. Grimshaw painted mostly for private art patrons, and exhibited only 5 works at the Royal Academy between 1874 and 1886 and one at the Grosvenor Gallery. The towns and docks that he painted most frequently were Glasgow, Liverpool, Leeds, Scarborough, Whitby and London.
Grimshaw's style and subject matter changed little during his career; he strove constantly to perfect his own very individual vision. He was interested in photography, and sometimes used a camera obscura to project outlines on to oil canvas, enabling him to repeat compositions several times. He also mixed sand and other ingredients with his paint to get the effects he wanted. Although he established no school, Grimshaw's oil paintings were forged and imitated in his lifetime. Although his moonlit town views are his most popular works, he also painted landscapes, portraits, interiors, fairy pictures and neo-classical subjects.
Around 1880 Grimshaw suffered some unknown financial crisis and retrenched, returning to Leeds and boosting his output to around fifty paintings a year. Certain elements of social realism come into his paintings around that time, night being a good time to record less respectable forms of life. The output of moonlights continued during the 1880's, particularly of street and dockside scenes, but there were also continuing experiments. He tried painting over photographs, shocking some modern art historians. He tried much less precise, almost naive, paintings, which reflected his friendship with that other nocturnal creature, Whistler, who, in a rare outbreak of generosity, had ceded to Grimshaw priority in the 'moonlight' oil painting genre. Grimshaw also tried fairy painting, especially the various versions of Iris which are popular posters today.
During his early period he signed "J.A. Grimshaw" but 1867 dropped the John and signed himself Atkinson Grimshaw. He usually signed his pictures on the front and the back. Two of his sons, Arthur and Louis, were also oil painters. It is difficult to know what this innovative and resourceful painter might have tried next, had he not died of cancer at the age of 57. (From The Worlds Artist.com)
John William Godward
Born: 09 August 1861; London, United Kingdom
Died: 13 December 1922; London, United Kingdom
Art Movement: Neoclassicism
John William Godward (9 August 1861 – 13 December 1922) was an English painter from the end of the Neo-Classicist era. He was a protégé of Sir Lawrence Alma-Tadema, but his style of painting fell out of favour with the arrival of painters such as Picasso. He committed suicide at the age of 61 and is said to have written in his suicide note that "the world is not big enough for myself and a Picasso".
His already estranged family, who had disapproved of his becoming an artist, were ashamed of his suicide and burned his papers. No photographs of Godward are known to survive.
Life and Carreer
He was born at Albano, near Rome, to Austrian parents. His father Karl, also a painter, was his teacher. The family moved to Venice when Karl became Professor at the Academy in Venice. He often painted scenes in Venice, but also portraits and religious paintings. He became professor in the Academy of Venice.
Among his works are La forma nuziale in sacrestia ; La tombola in Campielo a Venezia; Una scena di burattini in un educanciatu; and La Ninetta. The art critic Luigi Chirtani, when the painting was displayed at the Mostra Nazionale di Venezia, described it as Beautiful, flattering, pretty, caressed, cleaned, polished, laundress in a painting by Mr. Blaas, the favorite portraitist of great Venetian aristocrats, dressed in gala satins, shining jewelry, hairstyles of the rich. 
His colorful and rather theatrical period images of Venetian society, e.g. On the Balcony (1877; Private Collection), were quite different compared to delicate pastels and etchings of the courtyards, balcony and canals of modern Venice.
Eugene de Blaas' paintings were exhibited at the Royal Academy, Fine Art Society, New Gallery and Arthur Tooth and Sons Gallery in London, and also at the Walker Art Gallery in Liverpool.
Nationality : French
Birth Year : 1858
Death Year : 1941
Place of Birth : Paris, France
Place of Death : Paris, France
A painter, lithographer and draftsman, Maximilien Luce was born into a poor family in Paris on March 13, 1858. After an initial training as a wood carver at the Ecole des Arts décoratifs, he began to study engraving in 1872 and took evening courses to deepen his knowledge. In 1876 he entered the shop of the engraver Eugène Froment (1844-1900), with whom he traveled to London in 1877. After his return to Paris in 1879 Luce began his 4-year military service. During his service and later, up to 1885, he studied at the Académie Suisse and the studio of Carolus-Duran (1837-1917) at the Ecole des Beaux-Arts. In his painting, he became influenced by Impressionism. In the 1880s he met and established friendly contacts with many Parisian painters, including Camille Pissarro (1830-1903), Georges Seurat (1859-1891) and Paul Signac (1863-1935). Together with them he was one of the founders of Neo-Impressionism (Pointillism).
Through Camille Pissarro Luce came under the influence of Anarchist ideas and formed friendships with the Anarchist writers and journalists Jules Christophe, Jean Grave, Georges Darien and Emile Pouget. In 1894 he became involved in the Trial of the Thirty and served a short term of imprisonment.
Until 1904 Luce lived in Montmartre, the streets of which he liked to paint. During 1904-1924, he lived in Auteuil, then moved back to Paris. Besides street scenes, factories and wharfs, he painted numerous landscapes on his travels through the Etampes, Normandy and Brittany. During the First World War he also painted war scenes, wounded and homecoming soldiers. In 1934, Maximilien Luce was elected President of the Société des Artistes Indépendants after Signac’s retirement, but soon resigned in a protest against society's policy to restrict the admission of Jewish artists.
Maximilien Luce died in Paris in 1941. He remains an important artist in Pointillism and social realism.
Born: 19 January 1839; Aix-en-Provence, France
Died: 22 October 1906; Aix-en-Provence, France
Art Movement: Post-Impressionism
Paul Cezanne was a post-impressionist painter who created the bridge between impressionism and cubism, and is said to be the artistic father of both Matisse and Picasso. Although he was dissuaded by his father at an early age to pursue his passions in painting, he left his hometown of Provence for Paris, in 1861. It was there that he met Camille Pisarro, a popular impressionist painter, who served as his mentor and guide. He began painting in the impressionistic style, but later began to structurally order what he saw and painted into simple forms and planes of color. He also began to simplify the forms he painted into shapes, such as a tree into a column. Unlike many of the painters of his day, who focused on one or maybe two subject styles, Cezanne concentrated on still lifes, portraits, landscapes, and nude studies.
He began slowly in Paris, as all of his submissions to the Paris Salon between the years of 1864 and 1869 went rejected. He finally successfully entered a submission into the Paris Salon in 1882, which was also his last. In 1895, there was an exhibition held of all of his own works, signifying his growing success as an artist, but that same year he moved back to his hometown of Provence, where he continued to work in isolation.
Cezanne was early depicted as a rude, shy, angry man, given to bouts of depression, and later in his life he withdrew into his paintings, spending long periods of time a recluse, painting in solitude. Although his paintings were not well-received by the public, who supposedly reacted with hilarity, outrage and sarcasm, and laughed at his art, young artists held him in high esteem, and often sought after him. Cezanne’s legacy is that he developed the practice of fracturing forms, which most immediately influenced the development of cubism, and later the foundation of modern art. show less
Born: 11 November 1863; Paris, France
Died: 15 August 1935; Paris, France
Art Movement: Post-Impressionism
School or Group: Société des Artistes Indépendants (Society of Independent Artists)
Paul Signac was born in Paris on November 11, 1863. He followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter. He sailed around the coasts of Europe, painting the landscapes he encountered. He also painted scenes of cities in France in his later years.
In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colours and became Seurat's faithful supporter. Under his influence he abandoned the short brushstrokes of impressionism to experiment with scientifically juxtaposed small dots of pure colour, intended to combine and blend not on the canvas but in the viewer's eye, the defining feature of pointillism.
Many of Signac's paintings are of the French coast. He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends. In March 1889, he visited Vincent van Gogh at Arles. The next year he made a short trip to Italy, seeing Genoa, Florence, and Naples.
Signac loved sailing and began to travel in 1892, sailing a small boat to almost all the ports of France, to Holland, and around the Mediterranean as far as Constantinople, basing his boat at St. Tropez, which he "discovered". From his various ports of call, Signac brought back vibrant, colourful watercolors, sketched rapidly from nature. From these sketches, he painted large studio canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny, variegated dots previously used by Seurat.
Signac himself experimented with various media. As well as oil paintings and watercolours he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots. The neo-impressionists influenced the next generation: Signac inspired Henri Matisse and Andre Derain in particular, thus playing a decisive role in the evolution of Fauvism.
As president of the Societe des Artistes Independants from 1908 until his death, Signac encouraged younger artists (he was the first to buy a painting by Matisse) by exhibiting the controversial works of the Fauves and the Cubists.
On November 7, 1892 Signac married Berthe Robles at the town hall of the 18th district in Paris; witnesses at the wedding were Alexandre Lemonier, Maximilien Luce, Camille Pissarro and Georges Lecomte.
In November 1897, the Signacs moved to a new apartment in the Castel Beranger, built by Hector Guimard, and a little later, in December of the same year, acquired a house in Saint-Tropez called La Hune; there the painter had a vast studio constructed, which he inaugurated on August 16, 1898.
In September 1913, Signac rented a house at Antibes, where he settled with Jeanne Selmersheim-Desgrange, who gave birth to their daughter Ginette on October 2, 1913. In the meantime Signac had left La Hune as well as the Castel Beranger apartment to Berthe: they remained friends for the rest of his life.
On April 6, 1927, Signac adopted Ginette, his previously illegitimate daughter.
At the age of seventy-two, Paul Signac died on August 15, 1935 in Paris from septicemia. His body was cremated and, three days later, August 18, buried at the Pere Lachaise Cemetery.
Some of his well known paintings are: The Pine, Saint Tropez and Port St. Tropez.
Signac left several important works on the theory of art, among them From Eugene Delacroix to Neo-Impressionism, published in 1899; a monograph devoted to Johan Barthold Jongkind (1819-1891), published in 1927; several introductions to the catalogues of art exhibitions; and many other still unpublished writings. Politically he was an anarchist, as were many of his friends, including Felix Feneon and Camille Pissarro. (From Wikipedia)
Born: 25 February 1841; Limoges, France
Died: 03 December 1919; Cagnes-sur-Mer, France
Art Movement: Impressionism
Pierre Auguste Renoir was a French artist, and was a leading painter of the Impressionist style. As a young boy, he worked in a porcelain factory. His drawing skills were early recognized, and he was soon employed to create designs on the fine china. He also painted decorations on fans before beginning art school . He moved to Paris in 1862 to study art, where he met Frederic Bazille, Claude Monet, and Alfred Sisley, all great impressionist painters. By 1864, he was exhibiting works at the Paris Salon, but his works went largely unnoticed for the next ten years, mostly in part to the disorder caused by the Franco-Prussian War.
Later, during the Paris Commune on 1871, Renoir was painting on the banks of the Seine River, when he was approached by a number of members from the commune, who thought he was a spy. They threatened to throw in into the rive, but he was saved by the leader of the commune, Raoul Rigault, whom he had protected on an earlier occasion. He experienced his first artistic success in 1874, at the first Impressionist Exhibition, and later in London of the same year. In 1881, Renoir began his world travels, voyaging to Italy to see the works of the Renaissance masters, and later to Algeria, following in the footsteps of Eugene Delacroix. It was in Algeria where he encountered a serious bout with pneumonia, leaving him bed ridden for six weeks, and permanently damaging his respiratory system.
In the later years of his life, not even severe rheumatoid arthritis, which left him confined to a wheelchair and limited his movement, could deter Renoir from painting. His arthritis eventually got so bad as to leave a permanent physical deformity of his hands and shoulder, which required him to change his painting technique to adapt to his physical limitations. Before his death in 1919, Renoir traveled to the Louvre to see his paintings hanging in the museum alongside the masterpieces of the great masters. He was a prolific artist, created several thousands artworks in his lifetime, and include some of the most well-known paintings in the art world. show less
Vincent van Gogh
Born: 30 March 1853; Zundert, Netherlands
Died: 29 July 1890; Auvers-sur-Oise, France
Active Years: 1880 - 1890
Art Movement: Post-Impressionism
Vincent Van Gogh, a 19th century Dutch painter, made his mark on history as one of the most famous artists that ever lived. He had a large impact on modern art and his paintings are known for the amazing colors, emotions and styles. Van Gogh starts his artist career at very late in his life, and most of his work was not recognized during his lifetime. But in just a decade, between his twenty-seventh and thirty-seventh years, Van Gogh created one of the most important legacies of painting ever.
Van Gogh was born on March 30, 1853 and he struggled with a mental health disorder throughout his lifetime. The painter's life came to a tragic and sudden end when he was only 37 years old when he committed suicide in 1890.
Although Van Gogh gained a love of art during his early years, he lost interest in artwork after being rejected by a woman. He turned his attention away from art for a short period of time to focus on Biblical teaching and volunteering.
It was after his time working with coal miners as a volunteer in 1878 that Van Gogh renewed his interest in art. When he moved to Brussels in 1880, the artist decided to re-pursue his interest in art. He began learning about art and focusing on painting with the help of his younger brother.
The Van Gogh Museum explains that his art style is actually broken down into seven different themes. The themes show his changing interests and the type of artwork that he was studying at various times of his artistic career.
His first theme focused on learning. Initially, he worked on learning different styles of painting and creating artwork. It was a time when he was experimenting and practicing so that he would improve his artistic skills.
After practicing, Van Gogh developed a style that was unique to his paintings. He observed the styles and methods that other artists were using and there are clear signs of different styles in his early works. Ultimately, the artist developed a style that was unique to his own artwork. Part of his influence on modern art is related to the unique brush strokes and methods that he used to create his paintings.
Color is another aspect of Van Gogh's paintings that stand out from other artists of his time. Van Gogh's interest in color was related to his belief that colors could represent different emotions. He often painted with different shades of the same color to create a variety of effects. He experimented with color and created paintings that were vivid and bright. Along with the unique brush strokes, Van Gogh's use of colors and his portrayal of emotion has had an impact on modern artistic styles.
Van Gogh's artwork was influenced by simplicity as well as the unique colors and strokes that made his work unique. It is believed that Van Gogh was influenced by Japanese artwork and that he enjoyed the simplicity of the peasant theme. He considered himself a peasant and his artwork often reflects his ideas related to the simplicity and rebirth that is associated with peasants of his time period.
The portraits that Van Gogh painted were particularly interesting. The artist focused on portraying the personality and temperament of the individual. Instead of focusing solely on the physical appearance of the model, Van Gogh's portraits brought out the personality and the aspects of the person that made them unique.
Along with his paintings of people, Van Gogh often painted landscapes and nature. His connection to nature allowed him to look at it from a broad perspective and it reflects in his artwork. He was known to paint gardens that were overgrown, cornfields and other plant-life.
There are aspects and themes that set Van Gogh's artwork apart. Van Gogh's paintings are often studied for the vivid colors and unique brushstrokes, and his artwork has had a strong influence on modern art and current artistic styles.
A key area that is impacted by Van Gogh's artwork is the use of expression and emotion within the painting. Van Gogh was a master at expressing emotion through the use of creative color combinations and changes to the shape of the object or person. In modern art, the use of color is often a method of expressing emotions. Subtle changes to color combinations give a painting different meanings and many artists are influenced by that aspect of Van Gogh's paintings.
Along with the positive impact on emotional expression and color combinations, Van Gogh's influence on modern art is also related to the optical freedom that is available. Van Gogh did not necessarily give objects the exact shape that they have in reality. He often distorted the image to create a feeling that was unique.
Modern artists have a great deal of freedom when it relates to artistic expression. Since Van Gogh was not bound to the romantic images that were popular at previous times in art history, he was able to break away and create something new. Artistic freedom and creative artistic styles are partially related to the way that Van Gogh developed his paintings.
- Untuk Kado hadiah ulang tahun
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Sebelumnya kita simak terlebih dahulu pengertian, pendiri dan sejarah WPAP agar lebih mengetahui lebih dalam tentang maha karya seni pop art asli dari Indonesia yang sedang diminati banyak orang pada saat ini.
WPAP atau Wedha’s Pop Art Potrait adalah suatu gugus seni ilustrasi potret wajah yang bersaling-silang secara geometri dengan penggunaan kontradiksi warna-warna khusus. Dimensi dari gambar yang di-trace (gambar ulang dengan acuan) tidak berubah, sehingga penampakan akhir dari objek yang di transformasi jelas dan menyerupai aslinya sehingga mudah dikenali. Teknik melukis ini ditemukan oleh Wedha Abdul Rasyid, seniman grafis asal Pekalongan, Jawa Tengah, pada tahun 1990. Awal kepopuleran WPAP adalah ketika digunakan untuk mengilustrasi cerita-cerita karya Arswendo Atmowiloto dan Hilman Hariwijaya di majalah Hai. (wikipedia)
Bagi kamu yang ingin mengubah foto kamu tampak seperti lukisan, kamu bisa mencoba jasa yang kami tawarkan ini. Harga sangat terjangkau, hanya Rp. 150rb per kepala. Ukuran print maksimal A3 (tergantung kualitas gambar/foto), produk berupa file .psd (Photoshop file) dan gambar bitmap ukuran A3.