Artist Biography
Jacques-Laurent Agasse (1767-1849), French
Agasse was Born in Geneva in 1767. Agasse was the son of one of the oligarchic families who governed the republic. He experienced a privileged upbringing spending his childhood summers on their estate in Crevin. While at the estate he developed his love for horses and farm animals and spent his days sketching and drawing. He decided to enroll in the Ecole du Calabri and later studied under David in Paris.
After briefly returning to Geneva, he moved to England in 1802 where he lived until his death in 1849. He is often referred to as the Swiss Stubbs because of his ability to re-create the anatomy of animals. His pictures are sensitive to the subjects and are very naturalistic. His work is regarded among the finest of this period.
Jacques-Laurent Agasse Oil Paintings Reproductions
Dec 23, 2007
Edwin Austin Abbey
Edwin Austin Abbey (1852-1921), American
Abbey is an American painter and illustrator, active in England. He began his artistic training in 1866, studying drawing with the Philadelphia portrait and landscape painter Isaac L. Williams (1817--95). In 1868 he attended evening classes in drawing at the Pennsylvania Academy of the Fine Arts under Christian Schussele (1824--79). In the same year Abbey began to work as an illustrator for the Philadelphia publishers Van Ingen & Snyder. In 1870 Harper's Weekly published the Puritans' First Thanksgiving, and in 1871 Abbey moved to New York to join the staff of Harper & Brothers, thus inaugurating his most important professional relationship. Throughout the 1870s Abbey's reputation grew, both for his detailed exhibition watercolors and for his elegant line drawings, which, translated to wood-engravings in numerous periodicals, illustrated both factual and fictional events of the past and present. The influences on him were mainly English, in particular the works of the Pre-Raphaelite Brotherhood and illustrations in the English press, which he studied avidly. The success of his illustrations to some of Robert Herrick's poems, such as Corinna's Going A-Maying in Harper's New Monthly Magazine (May 1874), prompted Harper & Brothers in 1878 to send Abbey to England to do a complete series of drawings for an illustrated gift-book, Selections from the Poetry of Robert Herrick (New York, 1882). On his arrival in England, Abbey found his spiritual home, and except for a few trips, he never left. Abbey, a small, handsome, athletic man, had a genius for forging long-lasting and often profitable friendships. In 1877 he helped to found the Tile Club, which included among its members the architect Stanford White, Augustus Saint-Gaudens and Winslow Homer, whose activities resulted in gift-books and lengthy magazine articles. Abbey's most intense friendship was with the English landscape painter and illustrator Alfred Parsons (1847--1920). The two artists shared studios and gallery exhibitions, travelled together widely and collaborated on several projects, most notably the gift-books Old Songs (New York, 1889) and The Quiet Life (New York, 1890). Abbey derived much of the inspiration for these from his long sojourns in the English countryside, especially, from 1885 to 1889, as one of the central figures in the artists' colony at Broadway (Hereford & Worcs), along with Parsons, Frank Millet (1846--1912) and John Singer Sargent. Abbey undertook illustrative commissions throughout his life (his illustrations to Shakespeare's plays being especially noteworthy), but from 1889 on he devoted more time to mural projects and oil paintings. In 1890 he sent his first major oil, May Day Morning (New Haven, CT, Yale U. A.G.), based on one of the Herrick illustrations, to the Royal Academy Summer Exhibition, where it was favourably received. Until 1910 Abbey exhibited there frequently, and he was elected ARA in 1896 and RA in 1898. His exhibited works were usually based on Shakespearean, troubadour or Renaissance themes. Large and richly coloured, the paintings reflect Abbey's fascination with the stage, particularly in the arrangement of the figures, their poses and sumptuously coloured costumes (Abbey designed the costumes for John Hare's Tosca (1889) and Sir Henry Irving's Richard II (1898), among other productions). Although he received many honours and awards, the signal event of Abbey's career was the commission in 1902 to paint Edward VII's coronation (London, Buckingham Pal., Royal Col.). The major projects of Abbey's later life were commissions for murals. He decorated the delivery room of McKim, Mead & White's Boston Public Library with a 15-panel series (1890--1901) based on the Quest for the Holy Grail (see fig.). Works for the Royal Exchange, London, and other commissions followed. In 1902 Abbey began the decorations for the Pennsylvania State Capitol at Harrisburg. An allegory of the state's history and its resources, Abbey's work here departed from the schematic narrative of his other murals and adopted a full-blown rhetorical style related to the work of Kenyon Cox and Edwin Howland Blashfield.
Abbey is an American painter and illustrator, active in England. He began his artistic training in 1866, studying drawing with the Philadelphia portrait and landscape painter Isaac L. Williams (1817--95). In 1868 he attended evening classes in drawing at the Pennsylvania Academy of the Fine Arts under Christian Schussele (1824--79). In the same year Abbey began to work as an illustrator for the Philadelphia publishers Van Ingen & Snyder. In 1870 Harper's Weekly published the Puritans' First Thanksgiving, and in 1871 Abbey moved to New York to join the staff of Harper & Brothers, thus inaugurating his most important professional relationship. Throughout the 1870s Abbey's reputation grew, both for his detailed exhibition watercolors and for his elegant line drawings, which, translated to wood-engravings in numerous periodicals, illustrated both factual and fictional events of the past and present. The influences on him were mainly English, in particular the works of the Pre-Raphaelite Brotherhood and illustrations in the English press, which he studied avidly. The success of his illustrations to some of Robert Herrick's poems, such as Corinna's Going A-Maying in Harper's New Monthly Magazine (May 1874), prompted Harper & Brothers in 1878 to send Abbey to England to do a complete series of drawings for an illustrated gift-book, Selections from the Poetry of Robert Herrick (New York, 1882). On his arrival in England, Abbey found his spiritual home, and except for a few trips, he never left. Abbey, a small, handsome, athletic man, had a genius for forging long-lasting and often profitable friendships. In 1877 he helped to found the Tile Club, which included among its members the architect Stanford White, Augustus Saint-Gaudens and Winslow Homer, whose activities resulted in gift-books and lengthy magazine articles. Abbey's most intense friendship was with the English landscape painter and illustrator Alfred Parsons (1847--1920). The two artists shared studios and gallery exhibitions, travelled together widely and collaborated on several projects, most notably the gift-books Old Songs (New York, 1889) and The Quiet Life (New York, 1890). Abbey derived much of the inspiration for these from his long sojourns in the English countryside, especially, from 1885 to 1889, as one of the central figures in the artists' colony at Broadway (Hereford & Worcs), along with Parsons, Frank Millet (1846--1912) and John Singer Sargent. Abbey undertook illustrative commissions throughout his life (his illustrations to Shakespeare's plays being especially noteworthy), but from 1889 on he devoted more time to mural projects and oil paintings. In 1890 he sent his first major oil, May Day Morning (New Haven, CT, Yale U. A.G.), based on one of the Herrick illustrations, to the Royal Academy Summer Exhibition, where it was favourably received. Until 1910 Abbey exhibited there frequently, and he was elected ARA in 1896 and RA in 1898. His exhibited works were usually based on Shakespearean, troubadour or Renaissance themes. Large and richly coloured, the paintings reflect Abbey's fascination with the stage, particularly in the arrangement of the figures, their poses and sumptuously coloured costumes (Abbey designed the costumes for John Hare's Tosca (1889) and Sir Henry Irving's Richard II (1898), among other productions). Although he received many honours and awards, the signal event of Abbey's career was the commission in 1902 to paint Edward VII's coronation (London, Buckingham Pal., Royal Col.). The major projects of Abbey's later life were commissions for murals. He decorated the delivery room of McKim, Mead & White's Boston Public Library with a 15-panel series (1890--1901) based on the Quest for the Holy Grail (see fig.). Works for the Royal Exchange, London, and other commissions followed. In 1902 Abbey began the decorations for the Pennsylvania State Capitol at Harrisburg. An allegory of the state's history and its resources, Abbey's work here departed from the schematic narrative of his other murals and adopted a full-blown rhetorical style related to the work of Kenyon Cox and Edwin Howland Blashfield.
Carl Frederic Aagaard
Keyword: american oil painting,fine art print,oil painting reproductions
Carl Frederic Aagaard (1833-1895), American
Aagaard left his small town for Denmark’s capital to study drawing at the Danish Royal Academy; Copenhagen was the center of a spectacular resurgence of the arts. By the middle of the 19th century such great figures as Hans Christian Andersen, the philosopher Søren Kierkegaard, and the physicist H. C. Orsted had come out of Copenhagen. The art of the first half of the 19th century in Copenhagen was perhaps the greatest achievement of Denmark’s Golden Age. The sculptor Bertel Thorvaldsen and the painter Eckersberg led an artistic renaissance during the Golden Age that produced, with the establishment of an academy in Charlottenborg in 1754, the artists Christen Købke, Jens Juel, Constantin Hansen, Martinus Rørbye, J. Lundbye, Wilhelm Bendz, and Emanuel Larsen to name a few. The Royal Collections, what was later to become the National Collection after the peaceful transition to a constitutional monarchy, actively supported these new artists, buying these ‘modern’ pictures the moment they were exhibited. In the face of such disasters as the overwhelming defeat of their famed navy by the British in 1801, the English bombardment of Copenhagen in 1807 that destroyed hundreds of buildings in the small city and damaged over a thousand, and the declaration of national bankruptcy in 1813 and subsequent loss of Norway, Danish culture flourished with a willful energy and a unique character. Aagaard began his career towards the end of this great period in Denmark but was instructed by the country’s great artists while at the Academy. In addition to studying drawing, Aagaard assisted his older brother, a glass engraver at his professional studio. Aagaard next apprenticed in the studio of Hilker, a painter. Aagaard collaborated with Hilker on work at the University and other public monuments. He was then briefly associated with the painter Heinr. It was his final teacher though, the landscape painter Peter Kristian Skoovgaard, that was to be the most influential. In 1857 Aagaard exhibited for the first time to great success. He continued to exhibit and trips to Switzerland and Italy helped to perfect his style.
Carl Frederic Aagaard (1833-1895), American
Aagaard left his small town for Denmark’s capital to study drawing at the Danish Royal Academy; Copenhagen was the center of a spectacular resurgence of the arts. By the middle of the 19th century such great figures as Hans Christian Andersen, the philosopher Søren Kierkegaard, and the physicist H. C. Orsted had come out of Copenhagen. The art of the first half of the 19th century in Copenhagen was perhaps the greatest achievement of Denmark’s Golden Age. The sculptor Bertel Thorvaldsen and the painter Eckersberg led an artistic renaissance during the Golden Age that produced, with the establishment of an academy in Charlottenborg in 1754, the artists Christen Købke, Jens Juel, Constantin Hansen, Martinus Rørbye, J. Lundbye, Wilhelm Bendz, and Emanuel Larsen to name a few. The Royal Collections, what was later to become the National Collection after the peaceful transition to a constitutional monarchy, actively supported these new artists, buying these ‘modern’ pictures the moment they were exhibited. In the face of such disasters as the overwhelming defeat of their famed navy by the British in 1801, the English bombardment of Copenhagen in 1807 that destroyed hundreds of buildings in the small city and damaged over a thousand, and the declaration of national bankruptcy in 1813 and subsequent loss of Norway, Danish culture flourished with a willful energy and a unique character. Aagaard began his career towards the end of this great period in Denmark but was instructed by the country’s great artists while at the Academy. In addition to studying drawing, Aagaard assisted his older brother, a glass engraver at his professional studio. Aagaard next apprenticed in the studio of Hilker, a painter. Aagaard collaborated with Hilker on work at the University and other public monuments. He was then briefly associated with the painter Heinr. It was his final teacher though, the landscape painter Peter Kristian Skoovgaard, that was to be the most influential. In 1857 Aagaard exhibited for the first time to great success. He continued to exhibit and trips to Switzerland and Italy helped to perfect his style.
Dec 20, 2007
Refine Art Gallery Introduction
About Refine Art Gallery
-- oil painting factory,Oil painting company,china oil painting,oil paintings,Oil painting wholesale, portrait from hoto
Our goal is to "Decorative Your Life Wonderfully" by our products and services about oil paintings. We are a professional painting manufacturer and supplier with our production base in China. We can keep in touch with our customers, give them best services and provide them high quality oil paintings at very low price. We are dedicated to bring customers exquisite and highly-attractable artworks including oil painting, watercolor painting, printed painting. We also offer framing and mounting service.
Refine Art Gallery is one of leading manufacturers of hand painted oil paintings in the world, supplies a broad range of decorative artwork includes hand-made oil paintings on canvas or on board, watercolor paintings, frame, printed paintings, portrait paintings and etc. We can also create painting from photo to various styles. So the customer portrait created from your photo can be the most personal and unique gift you can give to your loved ones for their anniversary, wedding, birthday or any moment you would like to turn into a special one.
Refine Art Gallery offers various styles of oil painting, including impressionism, abstractionism, classicism, portraiture, nude, landscape, still life, contemporary, flower piece and master-works reproduction. Refine Art Gallery is also able to create relative paintings according to your specific requirements and ideas. Our art team consists of hundreds of experienced and well-trained painters with professional background, so we can fast respond to the customer's large quantity demand on high quality products.
Our Products & Services: 100% Hand-made original oil painting, 100% Hand made oil painting reproduction, Oil painting from photo, Watercolor Painting, oil painting Printed on canvas, watercolor painting, Oil painting from photo, Painting for personal use,wooden frame,metal frame,poster frame,picture frame,wooden picture frame,picture wooden frames.
Business Type: Manufacturer, Supplier and Art gallery
Year Started: 1998
Number of Artist: 100Focus
Markets: North America; South America; Western Europe; Eastern Asia; Southeast Asia; Middle Asia; Australia
Website: http://www.refinegallery.com
Fine Portrait Painting on Canvas
Fine Oil Portrait Painting on Canvas Wholesale from China
Refine Art Gallery have many Portrait Artist,Portrait Painter to paint fine portrait paintings on canvas, all portrait paintings are hand painted. We have finished many fine portrait paintings and have nice Evaluation from worldwide art lovers. As a professional art gallery, we have an excllent art team to Guarantee the paintings quality.
Refine Art Gallery have many Portrait Artist,Portrait Painter to paint fine portrait paintings on canvas, all portrait paintings are hand painted. We have finished many fine portrait paintings and have nice Evaluation from worldwide art lovers. As a professional art gallery, we have an excllent art team to Guarantee the paintings quality.
watercolor painting from chinese arg gallery
Refine Art Gallery is a professional Art Gallery. We can not only paint fine oil paintings such as landscapes oil paintings ,hunter paintings oil paintings ,seascapes oil paintings ,flowers oil paintings ,animals oil paintings ,peoples oil paintings,decorative oil paintings,snowscape oil paintings ,christmas oil paintings,oil painting copies of famous artist, but also animal watercolors,
landscape watercolors,portrait watercolors,still life watercolors,seascape watercolors, fruit watercolors etc. We exporte a large volumn watercolors from china to worldwide every year.
landscape watercolors,portrait watercolors,still life watercolors,seascape watercolors, fruit watercolors etc. We exporte a large volumn watercolors from china to worldwide every year.
Dec 14, 2007
Decoration Oil Paintings
keyword: Decoration Oil Paintings,abstract oil painting,oil painting reproduction,Decorative paintings 当家居环境越来越讲究个性氛围时，形形色色的装饰画便成了一道道亮丽的风景线。然而，有专家提醒，选择装饰画Decorative Paintings时，除了符合主人的审美品味外，也不要忽略它的环保性能。
据报道，前不久，南京市某室内环境监测研究中心在对一套200多平方米的公寓进行检测时发现，除书房甲醛超标3倍以外，各房间均达标。
主人很疑惑，每个房间使用的是同品牌家具、地板、乳胶漆，又用同样的方法做的污染治理，为何单单只有一个房间甲醛超标？当工作人员把墙上那幅0.8×1.5米大的油画取下来时，才找到根源：油画的画托使用的是中密度纤维板，且未经过任何贴面处理，也没有油漆过。
专家介绍，中密度纤维板、胶合板、细木工板和刨花板等人造板材对于室内空气的污染相当大。一般情况下，中密度纤维板都不能达到国家规定的E1级环保标准，在室内装修时通常会使用贴面覆盖，以防止甲醛挥发；而作为画托时，商家和消费者却都忽略了这个问题，导致整个房间的空气环境被污染。
家装饰品业内人士叶小姐告诉记者，目前市场上的装饰画Decoration Oil Paintings主要有三大类：一类是最常见的印刷品；一类是原木艺术画、手工贴画、标本画等实物装裱画；一类是水彩画、国画、油画等手绘作品。而装饰画对于家居环境的有害影响可能来自以下三方面：首先是画框材质不够安全，目前几乎所有的装饰画的画托都采用中密度纤维板，档次较低的甚至使用污染更为严重的低密度板，出现甲醛、苯超标3—4倍的情况不足为奇；其次是颜料的安全性，油画、水粉画、丙烯画的颜料中含有一定量的可溶锑、砷、钡、铅、汞、硒等元素，这些重金属元素如果被人体过量摄入，会严重危害健康。而且深色颜料中的金属含量往往较高，相对来说，印刷作品、水彩画、国画在这方面较为安全，购买时，应尽量选择这一类产品；第三是一些黏合材料中可能含有超标的甲醛、苯等，在选购实物装裱画时要特别留意。
消费者在挑选装饰画Decorative Oil Painting时，可以遵循以下几个简单的健康准则：用漆少，用胶少，重色染料较少。对于心仪的装饰画，购买时可留意是否散发强烈的刺鼻气味。买回家后，不要急于拿进屋挂上墙，可在通风好的地方存放一段时间再挂。
据报道，前不久，南京市某室内环境监测研究中心在对一套200多平方米的公寓进行检测时发现，除书房甲醛超标3倍以外，各房间均达标。
主人很疑惑，每个房间使用的是同品牌家具、地板、乳胶漆，又用同样的方法做的污染治理，为何单单只有一个房间甲醛超标？当工作人员把墙上那幅0.8×1.5米大的油画取下来时，才找到根源：油画的画托使用的是中密度纤维板，且未经过任何贴面处理，也没有油漆过。
专家介绍，中密度纤维板、胶合板、细木工板和刨花板等人造板材对于室内空气的污染相当大。一般情况下，中密度纤维板都不能达到国家规定的E1级环保标准，在室内装修时通常会使用贴面覆盖，以防止甲醛挥发；而作为画托时，商家和消费者却都忽略了这个问题，导致整个房间的空气环境被污染。
家装饰品业内人士叶小姐告诉记者，目前市场上的装饰画Decoration Oil Paintings主要有三大类：一类是最常见的印刷品；一类是原木艺术画、手工贴画、标本画等实物装裱画；一类是水彩画、国画、油画等手绘作品。而装饰画对于家居环境的有害影响可能来自以下三方面：首先是画框材质不够安全，目前几乎所有的装饰画的画托都采用中密度纤维板，档次较低的甚至使用污染更为严重的低密度板，出现甲醛、苯超标3—4倍的情况不足为奇；其次是颜料的安全性，油画、水粉画、丙烯画的颜料中含有一定量的可溶锑、砷、钡、铅、汞、硒等元素，这些重金属元素如果被人体过量摄入，会严重危害健康。而且深色颜料中的金属含量往往较高，相对来说，印刷作品、水彩画、国画在这方面较为安全，购买时，应尽量选择这一类产品；第三是一些黏合材料中可能含有超标的甲醛、苯等，在选购实物装裱画时要特别留意。
消费者在挑选装饰画Decorative Oil Painting时，可以遵循以下几个简单的健康准则：用漆少，用胶少，重色染料较少。对于心仪的装饰画，购买时可留意是否散发强烈的刺鼻气味。买回家后，不要急于拿进屋挂上墙，可在通风好的地方存放一段时间再挂。
What is a Giclee?
Keyword: giclee,giclee print,giclee printing,oil painting on canvas,chinese giclee
A giclee (zhee-CLAY), is an individually produced, high-resolution, high-fidelity, high tech reproduction done on a special large format printer. Giclees are produced from digital scans of existing artwork. Also, since many artists now paint only digitally, there was no "original" that can be hung on a wall. Giclees solve that problem, while creating a whole new vibrant medium for art.
Giclees can be printed on any number of media, from canvas to watercolor paper to vinyl, to transparent acetates. Giclees are superior to traditional lithography in nearly every way. The colors are brighter, last longer, and are so high-resolution that they are virtually 'continuous tone', rather than tiny dots. The range, or "gamut" of color for giclees is far beyond that of lithography, and details are crisper.
Since giclee printers can use media in rolls, large print sizes are available, limited only by the length and width of the roll. Billboard sizes are possible. Giclees are typically sold by the square inch or square foot.
Lithography uses tiny dots of four colors--cyan, magenta, yellow and black--to fool the eye into seeing various hues and shades. Colors are "created" by printing different size dots of these four colors.
Giclees use inkjet technology, but far more sophisticated than your desktop printer. The process employs six colors--light cyan, cyan, light magenta, magenta, yellow and black (somteimes TWO blacks)--of lightfast (fade resistant,) pigmented inks and finer, more numerous, replaceable printheads resulting in a wider color gamut, and the ability to use various media to print on. The ink is sprayed onto the page, actually mixing the color on the page to create truer shades and hues.
They are priced midway between original art and regular limited edition lithographs. Limited edition litho prints are usually produced in editions of 500-1000 or more, all at once; but giclees rarely exceed 50-100 high-quality reproductions, one at a time.
Giclees were originally developed as a proofing system for traditional lithographic printing presses, but it soon became apparent that the presses were having a hard time delivering the quality and brilliant color of the giclee proofs. Giclees evolved into the new darlings of the art world. They are coveted by collectors for their fidelity and quality, and desired by galleries and artists alike because they don't have to be produced in huge quantities with their large layout of capital and storage.
In addition, Giclees are produced directly from a digital file, (which can be remotely uploaded,) saving generations of detail-robbing negatives and printing plates used with traditional litho printing. NOVASPACE has our own giclee printer and operator, allowing for more flexibility, experimentation, quick turnaround and lower costs (no middleman) to our customers.
A giclee (zhee-CLAY), is an individually produced, high-resolution, high-fidelity, high tech reproduction done on a special large format printer. Giclees are produced from digital scans of existing artwork. Also, since many artists now paint only digitally, there was no "original" that can be hung on a wall. Giclees solve that problem, while creating a whole new vibrant medium for art.
Giclees can be printed on any number of media, from canvas to watercolor paper to vinyl, to transparent acetates. Giclees are superior to traditional lithography in nearly every way. The colors are brighter, last longer, and are so high-resolution that they are virtually 'continuous tone', rather than tiny dots. The range, or "gamut" of color for giclees is far beyond that of lithography, and details are crisper.
Since giclee printers can use media in rolls, large print sizes are available, limited only by the length and width of the roll. Billboard sizes are possible. Giclees are typically sold by the square inch or square foot.
Lithography uses tiny dots of four colors--cyan, magenta, yellow and black--to fool the eye into seeing various hues and shades. Colors are "created" by printing different size dots of these four colors.
Giclees use inkjet technology, but far more sophisticated than your desktop printer. The process employs six colors--light cyan, cyan, light magenta, magenta, yellow and black (somteimes TWO blacks)--of lightfast (fade resistant,) pigmented inks and finer, more numerous, replaceable printheads resulting in a wider color gamut, and the ability to use various media to print on. The ink is sprayed onto the page, actually mixing the color on the page to create truer shades and hues.
They are priced midway between original art and regular limited edition lithographs. Limited edition litho prints are usually produced in editions of 500-1000 or more, all at once; but giclees rarely exceed 50-100 high-quality reproductions, one at a time.
Giclees were originally developed as a proofing system for traditional lithographic printing presses, but it soon became apparent that the presses were having a hard time delivering the quality and brilliant color of the giclee proofs. Giclees evolved into the new darlings of the art world. They are coveted by collectors for their fidelity and quality, and desired by galleries and artists alike because they don't have to be produced in huge quantities with their large layout of capital and storage.
In addition, Giclees are produced directly from a digital file, (which can be remotely uploaded,) saving generations of detail-robbing negatives and printing plates used with traditional litho printing. NOVASPACE has our own giclee printer and operator, allowing for more flexibility, experimentation, quick turnaround and lower costs (no middleman) to our customers.
Dec 12, 2007
Oil Painting Reproductions
All Fine Oil Painting Reproductions in Refine Art Gallery
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Dec 6, 2007
Fernando Botero
The introduction about Fernando Botero
Fernando Botero, Colombian painter. In 1948, he started work as an illustrator. In 1950, he went to Europe, where he attended the Academy of San Fernando in Madrid, copied Velázquez and Goya in the Prado and admired the frescoes in Florence. He went on a long visit to Mexico in 1956-57 and the experience of Muralism significantly influenced his future direction. In his own work, he introduced inflated forms, puffing up to an exaggerated size human figures, natural features, and objects of all kinds, celebrating the life within them while mocking their role in the world. He combined the regional with the universal, constantly referring to his native Colombia and also creating elaborate parodies of works of art from the past - whether Dürer, Bonnard, Velázquez or David. Not without humour, the symbols of power and authority everywhere - presidents, soldiers and churchmen - are targeted in his attacks on a society still infantile in its behaviour.
Fernando Botero, Colombian painter. In 1948, he started work as an illustrator. In 1950, he went to Europe, where he attended the Academy of San Fernando in Madrid, copied Velázquez and Goya in the Prado and admired the frescoes in Florence. He went on a long visit to Mexico in 1956-57 and the experience of Muralism significantly influenced his future direction. In his own work, he introduced inflated forms, puffing up to an exaggerated size human figures, natural features, and objects of all kinds, celebrating the life within them while mocking their role in the world. He combined the regional with the universal, constantly referring to his native Colombia and also creating elaborate parodies of works of art from the past - whether Dürer, Bonnard, Velázquez or David. Not without humour, the symbols of power and authority everywhere - presidents, soldiers and churchmen - are targeted in his attacks on a society still infantile in its behaviour.
Fernando Botero
"Fernando Botero, Colombian painter. In 1948, he started work as an illustrator. In 1950, he went to Europe, where he attended the Academy of San Fernando in Madrid, copied Velázquez and Goya in the Prado and admired the frescoes in Florence. He went on a long visit to Mexico in 1956-57 and the experience of Muralism significantly influenced his future direction. In his own work, he introduced inflated forms, puffing up to an exaggerated size human figures, natural features, and objects of all kinds, celebrating the life within them while mocking their role in the world. He combined the regional with the universal, constantly referring to his native Colombia and also creating elaborate parodies of works of art from the past - whether Dürer, Bonnard, Velázquez or David. Not without humour, the symbols of power and authority everywhere - presidents, soldiers and churchmen - are targeted in his attacks on a society still infantile in its behaviour."
Sisley Alfred
The story of Sisley Alfred
Sisley Alfred (b. Oct. 30, 1839, Paris, Fr.--d. Jan. 29, 1899, Moret-sur-Loing), painter who was one of the creators of French Impressionism.
Sisley was born in Paris of English parents. After his schooldays, his father, a merchant trading with the southern states of America, sent him to London for a business career, but finding this unpalatable, Sisley returned to Paris in 1862 with the aim of becoming an artist. His family gave him every support, sending him to Gleyre's studio, where he met Renoir, Monet and Bazille. He spent some time painting in Fontainebleau, at Chailly with Monet, Bazille and Renoir, and later at Marlotte with Renoir. His style at this time was deeply influenced by Courbet and Daubigny, and when he first exhibited at the Salon in 1867 it was as the pupuil of Corot.
By this time, however, he had started to frequent the Café Guerbois, and was becoming more deeply influenced by the notions which were creating Impressionism. During the Franco-Prussian war and the period of the Commune, he spent some time in London and was introduced to Durand-Ruel by Pissarro, becoming part of that dealer's stable. In the mean time, his father had lost all his money as a result of the war, and Sisley, with a family to support, was reduced to a state of penury, in which he was to stay until virtually the end of his life.
He now saw himself as a full-time professional painter and part of the Impressionist group, exhibiting with them in 1874, 1876, 1877 and 1882. His work had by this time achieved complete independance from the early influences that had affected him. In the 1870s he produced a remarkable series of landscapes of Argenteuil, where he was living, one of which, The Bridge at Argenteuil (1872; Brooks Memorial Gallery, Memphis, USA) was bought by Manet. Towards the end of the decade Monet was beginning to have a considerable influence on him, and a series of landscape paintings of the area around Paris, including Marly, Bougival and Louveciennes (1876; Floods at Port-Marly, Musée d'Orsay), shows the way in which his dominent and evident lyricism still respects the demands of the subject-matter. From his early admiration for Corot he retained a passionate interest in the sky, which nearly always dominates his paintings, and also in the effects of snow, the two interests often combining to create a strangely dramatic effect (1880; Snow at Véneux; Musée d'Orsay). Naturally different, he did not promote himself in the way that some of his fellow Impressionists did, and it was only towards the end of his life, when he was dying of cancer of the throat, that he received something approaching the recognition he deserved.
Sisley Alfred (b. Oct. 30, 1839, Paris, Fr.--d. Jan. 29, 1899, Moret-sur-Loing), painter who was one of the creators of French Impressionism.
Sisley was born in Paris of English parents. After his schooldays, his father, a merchant trading with the southern states of America, sent him to London for a business career, but finding this unpalatable, Sisley returned to Paris in 1862 with the aim of becoming an artist. His family gave him every support, sending him to Gleyre's studio, where he met Renoir, Monet and Bazille. He spent some time painting in Fontainebleau, at Chailly with Monet, Bazille and Renoir, and later at Marlotte with Renoir. His style at this time was deeply influenced by Courbet and Daubigny, and when he first exhibited at the Salon in 1867 it was as the pupuil of Corot.
By this time, however, he had started to frequent the Café Guerbois, and was becoming more deeply influenced by the notions which were creating Impressionism. During the Franco-Prussian war and the period of the Commune, he spent some time in London and was introduced to Durand-Ruel by Pissarro, becoming part of that dealer's stable. In the mean time, his father had lost all his money as a result of the war, and Sisley, with a family to support, was reduced to a state of penury, in which he was to stay until virtually the end of his life.
He now saw himself as a full-time professional painter and part of the Impressionist group, exhibiting with them in 1874, 1876, 1877 and 1882. His work had by this time achieved complete independance from the early influences that had affected him. In the 1870s he produced a remarkable series of landscapes of Argenteuil, where he was living, one of which, The Bridge at Argenteuil (1872; Brooks Memorial Gallery, Memphis, USA) was bought by Manet. Towards the end of the decade Monet was beginning to have a considerable influence on him, and a series of landscape paintings of the area around Paris, including Marly, Bougival and Louveciennes (1876; Floods at Port-Marly, Musée d'Orsay), shows the way in which his dominent and evident lyricism still respects the demands of the subject-matter. From his early admiration for Corot he retained a passionate interest in the sky, which nearly always dominates his paintings, and also in the effects of snow, the two interests often combining to create a strangely dramatic effect (1880; Snow at Véneux; Musée d'Orsay). Naturally different, he did not promote himself in the way that some of his fellow Impressionists did, and it was only towards the end of his life, when he was dying of cancer of the throat, that he received something approaching the recognition he deserved.
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