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• Title: List of Short, Artist Biographys
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  • Altichiero (active 1372-84)
  • Hieronymus Bosch
  • Melchior Broederlam (active 1381-1409)
  • Thomas Cole (b. Feb. 1, 1801, Bolton-le-Moors, Lancashire,)
  • (Eugène-Henri-) Gauguin (b. June 7, 1848, Paris, Fr.--d. May 8, 1903, Atuona, Hiva Oa,)
  • Domenico Ghirlandaio
  • Matthias Grünewald (his real name was Mathis Neithart, otherwise Gothart, 1470/80-1528)
  • Nicholas Hilliard
  • Ando Hiroshige (1797-1858)
  • Katsushika Hokusai (1760-1849)
  • Gustav Klimt (1907-08; Osterreichische Galerie)
  • Laurent de La Hire
  • Alphonse Legros (b. May 8, 1837, Dijon, Fr.--d. Dec. 8, 1911, Watford, Hertfordshire, Eng.)
  • Egon Schiele
  • James Whistler (1834-1903)
• Title: Short Bio of Pieter Aertsen (1508/09-1575)
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  • Netherlandish painter, active in his native Amsterdam and in Antwerp.
  • like pure examples of these types, but which in fact have a religious
  • talented was his nephew and pupil Joachim Bueckelaer.
• Title: Short Bio of Albrecht Altdorfer
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  • Altdorfer, Albrecht (c. 1480-1538). German painter and graphic artist
  • working in Regensburg, of which town he was a citizen from 1505 onwards,
  • His training is unknown, but his early work was influenced by Cranach
  • and Dürer's art too was known to him through the
  • personal. Most of his paintings are religious works, but he was one of
  • Christ Taking Leave of His Mother (National Gallery, London) he
  • achieved a wonderful unity of mood between action and landscape, and two
  • pure landscape paintings (without any figures) by him are known (National
  • Gallery, London, and Alte Pinakothek, Munich). His patrons included the
  • celebrated Battle of Issus (Alte Pinakothek, Munich, 1529), which
  • From 1526 until his death Altdorfer was employed as town architect of
  • Regensburg. No architectural work by him is known, but his interest in
  • architecture and his skill in handling intricate problems of perspective
  • are demonstrated by his Birth of the Virgin (Alte Pinakothek, Munich).
• Title: Short Bio of Altichiero (active 1372-84)
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  • Altichiero
  • Altichiero
  • surviving example of his work in that town is a fresco in Sta Anastasia.
  • Most of his surviving work is in Padua, where he had a hand in fresco cycles
  • of St George (between 1377 and 1384), in the latter of which he
  • whose contribution to the work is uncertain. Altichiero's gravity and
  • the solidity and voluminousness of his figures clearly reveal his debt to
  • frescos in the Arena Chapel of Padua. But his pageant-like scenes with
  • their elaborate architectural views express the taste of the late 14th
  • Gothic
  • intricacy, while his naturalism in the study of plants and animals formed
  • the point of departure for a new style which is reflected in Pisanello.
• Title: Short Bio of Fra Angelico (c. 1400-55)
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  • (Ruskin), Angelico was in fact a highly professional artist, who
  • commissions. He probably began his career as a manuscript
  • illuminator, and his early paintings are strongly influenced by
  • International Gothic.
  • incluence is evident in the insistent perspective of the architecture.
  • For most of his career Angelico was based in S. Domenico in Fiesole
  • (he became Prior there in 1450), but his most famous works were painted
  • monastry which was taken over by his Order in 1436. He and his
  • In the last decade of his life Angelico also worked in Orvieto and
  • Minerva, where his tombstone still exists. His most important pupil was
  • and he had considerable influence on Italian painting. His particular
  • Fra Bartolommeo, who followed him into the Convento di S. Marco in
  • 1500, had something of his restraint and grandeur.
  • popularized the use of the name Angelico for him, but he says it is
  • the name by which he was always known, and it was certainly used as
  • but his beatification was not made official by the Vatican until 1984.
• Title: Short Bio of Rolf Armstrong
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  • was born in Bay City, Michigan in 1889, the son of Richard and Harriet
  • began to show an interest in art. His early sketches are of sailors, boxers,
  • cowboys and other macho types. Armstrong left Detroit for Chicago and the
  • renowned Art Institute of Chicago, where, to survive he taught boxing,
  • baseball and art while he studied. After Chicago Rolf arrived in New York,
  • ‘Dream Girl’, this name soon became synonymous with his work,
  • the ‘Flapper Girl’, and many of his paintings have a haughty,
  • art deco sophistication to them. Although he carried on painting throughout
• Title: Short Bio of Balthasar Ast (1593/94-1657)
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  • He worked in Utrecht before settling in Delft in 1632. His touch was less
  • exquisite that Bosschaert's, but his range was wider, his paintings often
  • was his pupil in Utrecht.
• Title: Short Bio of Zacharie Astruc (1833-1907)
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  • exhibition and also in the Exposition Universelle of 1900.
  • His defense of living art was consistent and whole-hearted;
  • paper for its duration, in which he lauded the participating
  • characters of this time'. In 1865 he hailed the genius of
  • and was responsible for introducing him to Manet.
  • exhibition that Manet arranged in a pavilion outside the
  • Astruc himself executed a bust of Manet and by the 1880s
  • was receiving recognition as a sculptor, his most popular
• Title: Short Bio of Hendrick Avercamp (1585-1634)
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  • His paintings are colorful and lively, with carefully observed skaters,
  • popularity and he sold his drawings, many of which are tinted with
  • His nephew and pupil
  • carried on his style in an accomplished manner.
• Title: Short Bio of Dirck Baburen
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  • where his style became strongly influenced by Caravaggio.
  • a few years after this he played a leading role, with Honthorst and Terbrugghen,
  • in establishing Utrecht as a stronghold of the Caravaggesque style. His
  • This picture is seen in the background of two paintings by Vermeer,
• Title: Short Bio of Hans Baldung
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  • Baldung Grien, Hans (1484/85-1545). German painter and graphic artist.
  • his brilliant color, expressive use of distortion, and taste for the gruesome
  • bring him closer in spirit to his other great German contemporary, Grünewald.
  • His output was varied and extensive, including religious works, allegories
  • a large body of graphic work, particularly book illustrations. He was active
  • where he worked on his masterpiece, the high altar for Freiburg Cathedral,
  • the centre panel of which is a radiant Coronation of the Virgin.
  • His most characteristic paintings, however, are fairly small in scale — erotic
  • times. Eroticism is often strongly present in his engravings, the best
  • known of which is The Bewitched Stable Boy (1544), which has been
• Title: Short Bio of Federico Barocci (c. 1535-1612)
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  • Barocci was born in Urbino and apart from two trips to Rome early in his
  • career was based there all his life. He is said to have abandoned his frescos
  • rivals were trying to poison him, and the hypersensitive temperament this
  • suggests comes out in his work. It consists mainly of religious paintings,
  • which combine the influence of
  • (also a native of Urbino) in a highly individual and sensitive manner.
  • His color harmonies are sharp but subtle and, although his paintings often
  • convey a feeling of intimate tenderness, his handling has great vigor.
  • Despite the fact that he worked away from the main centers of art, his work
  • was much sought after, his patrons including the emperor Rudolf II.
  • his time in central Italy; certain features of his work are thoroughly in
  • the Mannerist tradition (his rather indefinite treatment of space, for
  • example, and his delight in fluttering draperies), but in his directness
  • the pre-eminent biographer of the Baroque age, considered him the finest
  • Italian painter of his period and lamented that he had ‘languished in
• Title: Short Bio of Jacopo Bassano (1553-1613)
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  • in Venice, Jacopo worked in Bassano all his life. His father, Francesco
  • something of the peasant artist, even though the influence of, for example,
  • the fashionable etchings of Parmigianino is evident in his work.
  • genuine country types and portraying animals with real interest. In this
  • way he helped to develop the taste for paintings in which the genre or
  • subject. From around 1560 his work became vested with a more exaggerated
  • search for novel effects of light, taking on something of the iridescent
  • Bassano had four painter sons who continued his style — Francesco
  • by throwing himself out of a window) and Leandro both acquired some distinction
• Title: Short Bio of Frédéric Bazille (1841-70)
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  • his best-known work being the large
• Title: Short Bio of Giovanni Bellini (1430?-1516)
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  • about his family. His father, a painter, was a pupil of one of the leading
  • 15th-century Gothic revival artists. Giovanni and his brother probably began
  • In his early pictures, Bellini worked with tempera, combining a severe and
  • beginning he was a painter of natural light. In his earliest pictures the sky
  • is often reflected behind human figures in streaks of water that make
  • are all from this early period. Bellini's
  • which is still in the church of Santi Giovanni e Paolo in Venice, was painted
  • In his later work Bellini achieved a unique religious and emotional unity
  • of expression. His method of using oil paint brought not only a greater
  • maturity but an individual style. He achieved a certain richness by layering
  • In 1479 Bellini took his brother's place in continuing the painting of
  • great historical scenes in the Hall of the Great Council in Venice. During
  • that year and the next he devoted his time and energy to this project,
  • painting six or seven new canvases. These, his greatest works, were destroyed
  • As his career continued, Bellini became one of the greatest landscape
  • painters. His ability to portray outdoor light was so skillful that the
  • the day. Bellini lived to see his own school of painting achieve dominance
  • and acclaim. His influence carried over to his pupils, two of whom became
  • (1488?-1576). His
• Title: Short Bio of Abraham Beyeren
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  • in his day but now considered one of the greatest of still-life painters.
  • the 17th century he began to devote himself to sumptuous banquet tables
  • expensive table coverings of damask, satin, and velvet. Works of this kind,
  • in which he was rivalled only by Kalf, gave him ever greater opportunity
  • than his fish pieces to demonstrate his ability to show the play of light
  • composition. He worked in various towns before settling in Overschie in
• Title: Short Bio of William Blake (1757-1827)
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  • a hindrance and not action." Thus William Blake — painter, engraver, and
  • poet — explained why his work was filled with religious visions rather than
  • with subjects from everyday life. Few people in his time realized that Blake
  • and original painters of his time.
  • Blake was born on Nov. 28, 1757, in London. His father ran a hosiery shop.
  • William, the third of five children, went to school only long enough to learn
  • saw the boy's talent for drawing, Blake's father apprenticed him to an
  • to help him in his work. They had no children. They worked together to
  • the books. The books sold slowly, for a few shillings each. Today a single
  • copperplate etchings to illustrate the Book of Job in the Old Testament.
  • However, he did much work for which other artists and engravers got the
  • his own choice rather than on those that publishers assigned him.
  • innocent children.
  • realization of pain and terror in the universe. This book contains his famous
• Title: Short Bio of Hieronymus Bosch
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  • Hieronymus Bosch
  • Late Gothic Painting
  • — Carl Gustav Jung, on Hieronymus Bosch
  • Hieronymus, or Jerome, Bosch,
  • b. c.1450, d. August 1516, spent his entire
  • artistic career in the small Dutch town of Hertogenbosch, from which he
  • derived his name.
  • At the time of his death, Bosch was internationally celebrated as an
  • torments of hell. During his lifetime Bosch's works were in the inventories
  • all of which are now lost. The artist probably never went far from home,
  • although records exist of a commission in 1504 from Philip the Handsome
• Title: Short Bio of Sandro Botticelli (Alessandro di Moriano Filipepi, 1444/5-1510)
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  • Renaissance. His ecclesiastical commissions included work for all the
  • major churches of Florence and for the Sistine Chapel in Rome. His
  • name is derived from his elder brother Giovanni, a pawnbroker, who was
  • for centuries after his death. Then his work was rediscovered late in the
  • Lippi. He spent all his life in Florence except for a visit to Rome in
  • of his paintings are those illustrating Greek and Roman legends. The best
• Title: Short Bio of François Boucher (1703-1770)
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  • (1703-1770), French painter, noted for his pastoral
  • delicate style of his contemporary
  • won the Prix de Rome; he studied in Rome from 1727 to 1731. After his
  • Works. His success was encouraged by his patron, Marquise de
  • considered him the most fashionable painter of his day. Examples of
  • his work are the paintings
• Title: Short Bio of Eugène Boudin (1824-1898)
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  • His numerous beach scenes form a
• Title: Short Bio of Dirk Bouts
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  • where he was city painter from 1468. His major commissions there were the
  • Apart from these, there are no documented works, but his style is highly
  • distinctive and a convincing oeuvre has been built up for him.
  • His static figures are exaggeratedly slender and graceful, and often set
  • of feeling. Sources for his work have been sought in the mysterious
  • any model. His style was highly influential and was continued by his two
• Title: Short Bio of Marie Bracquemond
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  • made his early reputation as a lithographer and etcher,
  • the techniques of which he taught
  • and in 1863 his engravings of Erasmus figured in the Salon des Refusés.
  • Although his paintings attracted considerable approval at the Salon,
  • his friendship with Manet and other
  • led him to participate in the Impressionist exhibitions of 1874, 1879
  • which was largely concerned with engraving. It was in this medium
  • that his real achievements lay, and the 200 or so plates that
  • with his experiments in the medium. In 1879 he planned with
  • dedicated to graphic art; but nothing came of it, largely because
  • The paintings of his wife Marie were both a good deal closer to the
  • general ideas of Impressionism and mode interesting than his,
  • a fact of which he seems to have been conscious; their son Pierre,
  • achievement, seldom showed her works to viewing artists and resented
  • any criticisms she might venture about his paintings.
  • She was something of a recluse, and many of her finest works
  • and she exhibited at the exhibitions of 1879, 1880 and 1886.
• Title: Short Bio of Melchior Broederlam (active 1381-1409)
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  • Melchior Broederlam
  • Broederlam, Melchior
  • Netherlandish painter, court painter to Philip the Bold, Duke of Burgundy,
  • from 1387. Documents show that he was a busy and versatile artist, but his
  • International Gothic,
• Title: Short Bio of Agnolo Bronzino
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  • painter, the pupil and adopted son of Pontormo, who introduced his portrait
  • as a child into his painting Joseph in Egypt (National Gallery,
  • The origin of his nickname is uncertain, but possibly derived from his
  • his style was heavily indebted to his master. However, Bronzino lacked
  • painter to Duke Cosimo I de Medici for most of his career, and his work
  • cultured, and unemotionally analytical, his portraits convey a sense of
  • Bronzino was also a poet, and his most personal portraits are perhaps
  • those of other literary figures (Laura Battiferri, Palazzo Vecchio,
  • Florence, c.1560). He was less successful as a religious painter, his lack
  • of S. Lorenzo (S. Lorenzo, Florence, 1569), in which almost every one
  • and Time (National Gallery, London), which conveys strong feelings
  • or eroticism under the pretext of a moralizing allegory. His other major
  • for the Palazzo Vecchio.
  • of the Accademia del Disegno, of which he was a founder member in 1563.
  • His pupils included Alessandro Allori, who — in a curious mirroring of his
  • own early career — was also his adopted son.
• Title: Short Bio of Ford Brown
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  • England in 1846, he became a friend of the Pre-Raphaelites and — with his
  • studied briefly with him in 1848 and Brown's Chaucer at the Court of
  • His best-known picture, The Last of England (City Art Gallery,
  • Work (Manchester City Art Gallery, 1852-63), shows his dedicated
  • craftsmanship and brilliant coloring, but is somewhat swamped by its social
  • for which he designed stained glass and furniture. The major work of the
  • later part of his career is a cycle of paintings (1878-93) in Manchester
  • Town Hall on the history of the city. Brown was an individualist and a
• Title: Short Bio of Pieter Bruegel (about 1525-69)
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  • Bruegel the Elder to distinguish him from his elder son, was the first in a
  • family of Flemish painters. He spelled his name Brueghel until 1559, and his
  • architect, and designer of tapestry and stained glass. Bruegel traveled to
  • 1563. His association with the van Aelst family drew Bruegel to the artistic
  • traditions of the Mechelen (now Malines) region in which allegorical and
  • peasant themes run strongly. His paintings, including his landscapes and
• Title: Short Bio of Hans Burgkmair
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  • After learning his trade under Schongauer in Colmar, he had settled
  • in his native Augsburg by 1498. Before then he is presumed to have been
  • to Italy, for his paintings, with their warm glow of color, their decorative
  • he transformed his late Gothic heritage with
  • of characterization, which is typical of all his works, not least his incisive
  • the Younger. His son, Hans Burgkmair the Younger (c.1500-59), was
• Title: Short Bio of Sir Burne-Jones (1833-1898)
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  • the purity of form, stylization, and high moral tone of medieval
  • painting and design. His paintings, inspired by medieval, classical,
  • led by his Oxford friend the poet and artist William Morris. For
  • tapestries. His windows can be seen in many English churches,
• Title: Short Bio of Alexandre Cabanel (1823-89)
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  • (Musee d'Orsay, Paris) is his best-known work and typical of the slick and
  • titillating (but supposedly chaste) nudes at which he excelled.
  • It was the hit of the official Salon of 1863, the year of the
• Title: Short Bio of Gustave Caillebotte
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  • in 1874 and helped organize the first impressionist exhibition in
  • works in a more realistic style than that of his friends. Caillebotte's most
  • boulevards were painted from high vantage points and were populated with
  • to the French government on his death. With considerable reluctance the
• Title: Short Bio of Canaletto (Giovanni Antonio Canal)
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  • He began work painting theatrical scenery (his father's profession),
  • by strong contrasts of light and shade and free handling, this phase of
  • his work culminating in the splendid Stone Mason's Yard
  • Meanwhile, partly under the influence of Luca Carlevaris, and largely
  • in rivalry with him, Canaletto began to turn out views which were more
  • topographically accurate, set in a higher key, and with smoother, more
  • precise handling — characteristics that mark most of his later work.
  • which ultimately formed an important part of his work.
• Title: Short Bio of Alonso Cano (1601-67)
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  • Spanish sculptor, painter, architect, and draughtsman,
  • because of the diversity of his talents.
  • His movements were partly dictated by his tempestuous character, for more
  • (once for the suspected murder of his wife).
  • In spite of his violent temperament, his work tends to be serene and
  • was his fellow-student) and sculpture with
  • painter to the Count-Duke Olivares and was employed by Philip IV to
  • in his later paintings; they are much softer in technique than his earlier
  • pictures, which are strongly lit in the manner of Zurbarán.
  • architecture. He was ordained a priest in 1658, as this was necessary for him
  • to further his career at Granada Cathedral. The cathedral has several of
  • (1655) that is sometimes considered his masterpiece.
• Title: Short Bio of Michelangelo Caravaggio (1573-1610)
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  • (1573-1610). Probably the most revolutionary artist of his time,
  • of artists before him. They had idealized the human and religious experience.
  • As an adult he would become known by the name of his birthplace. Orphaned at
  • as an assistant to painters of lesser skill. About 1595 he began to sell his
• Title: Short Bio of Lewis; Caroll
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  • for his work in
  • and his illustrations for
• Title: Short Bio of Antoine Caron
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  • He is one of the few French painters of his time with a distinctive
  • artistic personality, and his work reflects the refined but unstable atmosphere
  • to Catherine de Médicis, wife of Henry II of France. His few surviving
  • works include historical and allegorical subjects in the manner of court
  • under the Triumvirate (1566) in the Louvre, his only signed and dated
  • painting. His style is characterized most obviously by extremely elongated,
  • He had a penchant for gaudy colors and bizarre architectural forms. Some
  • of the works attributed to him may be by other hands, however, for French
  • painting of his period is such an obscure area that Caron's name is liable
  • to be attached to anything similar to his known oeuvre.
• Title: Short Bio of Carracci (1557-1602)
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  • in Bologna (c.1583-84). In the early 1580s they opened a private teaching
  • academy, which soon became a center for progressive art. It was originally
  • (Academy of the Progressives). In their teaching they laid special emphasis
  • on drawing from the life (all three were outstanding graphic artists) and
  • clear draughtsmanship became a quality particularly associated with artists
  • of the Bolognese School, notably Domenichino and Reni, two of the leading
  • They continued working in close relationship until 1595, when Annibale,
  • Cardinal Odoardo Farnese to carry out his masterpiece, the decoration of
  • unambiguous character of High Renaissance decoration,
  • work became accepted as a fundamental part of composing any ambitious history
  • painting. In this sense, Annibale exercised a more profound influence than
  • his great contemporary Caravaggio, for the
  • latter never worked in fresco, which was still regarded as the greatest
  • test of a painter's ability and the most suitable vehicle for painting
  • Annibale's other works in Rome also had great significance in the history
  • him on the whole language of gesture in painting. He developed landscape
  • in which he was followed by Domenichino (his favorite pupil), Claude,
  • is Annibale's masterpiece in this genre. In his last years Annibale was
  • When he died he was buried accordingly to his wished near Raphael in the
  • Pantheon. It is a measure of his achievement that artists as great and
  • Maximum number of matches per file exceeded.
• Title: Short Bio of Mary Cassatt (1844-1926)
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  • exhibited with the Impressionists.
  • ancestry had endowed him with a passion for that country,
  • Philadelphia, and then travelled extensively in Europe, finally
  • with whom she was to be on close terms throughout his life.
  • His art and ideas had a considerable influence on her own work;
  • and she participated in the exhibitions of 1879, 1880, 1881 and 1886,
  • By persuading him to buy works by
  • she made him the first important collector of such works in America.
  • mixed exhibitions in the USA, were very favourably received by the
  • of his style, retaining her own very personal idiom throughout
  • her career. From him, and other Impressionists, she acquired an interest
  • with a special emphasis on the mother and child theme in the 1890s
  • (The Bath, 1891; Art Institute of Chicago).
  • the 1890s, largely as a consequence of the exhibition of Japanese prints
  • held in Paris at the beginning of that decade, her draughtsmanship
  • The exhibition also confirmed her predilection for print-making
  • techniques, and her work in this area must count amongst the most
• Title: Short Bio of Pietro Cavallini (active 1273-1308)
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  • have been the leading artist of his day. His two major surviving works
  • and a fragmentary fresco cycle, the most important part of which is a
• Title: Short Bio of Paul Cézanne (1839-1906)
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  • art, misunderstood and discredited by the public during most of his
• Title: Short Bio of Jean-Baptiste-Siméon Chardin (1699-1779)
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  • domestic interiors. His muted tones and ability to evoke textures are seen in
  • His unusual abstract compositions had
  • Like them, he devoted himself to simple
  • subjects and common themes. His lifelong work in this style contrasted
  • sharply with the heroic historical subjects and lighthearted rococo scenes
  • Chardin's technical skill gave his paintings an uncannily realistic texture.
  • He rendered forms by means of light by using thick, layered brushstrokes and
  • thin, luminous glazes. Called the grand magician by critics, he achieved a
  • XV. He later gained a wider popularity when engraved copies of his works
  • were produced. He turned to pastels in later life when his eyesight began to
  • fail. Unappreciated at the time, these pastels are now highly valued.
• Title: Short Bio of William Chase
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  • most important American teacher of his generation. He taught at the Art
  • Students’ League of New York and then at his own Chase School of Art, founded
  • his example. His pupils (whom he encouraged to paint in the open air) included
  • Demuth, O'Keefe, and Sheeler. Chase was a highly prolific artist (his output
  • and landscapes), and his work is represented in many American museums.
• Title: Short Bio of Théodore Chassériau (1819-56)
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  • His chief work was the decoration of the Cour des Comptes in the Palais
  • of his decorative work, however, in various churches in Paris.
• Title: Short Bio of Petrus Christus
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  • his death in 1444 (e.g.
  • and his copies and variations of his work helped to spread the Eyckian
  • style. Christus's work is more summary than van Eyck's, however, his
• Title: Short Bio of Giovanni Cima
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  • painter, named after the town of his birth, and active mainly in nearby
  • Venice. His paintings are mostly quiet devotional scenes, often in landscape
  • has been called ‘the poor man's Bellini', but because of his calm and weighty
  • ‘the Venetian Masaccio'. Nine of his works are in the National Gallery,
• Title: Short Bio of Clouet
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  • c.1460. Almost nothing is known for certain of his life and works. The
  • his son. He was celebrated in his lifetime, but no documented works survive.
  • Musée Condé, Chantilly) are attributed to him on fairly strong circumstantial
  • dominated French portraiture at this time, but the drawings are more personal
  • and often of very high quality. They have often been compared to those
  • with which they share a keenness of observation; whereas Holbein's drawings
  • and shade with a delicate system of hatching that recalls Leonardo,
  • Jean's son, François (c. 1510-72), succeeded him as court painter
  • in 1541. His work is somewhat better documented than his father's, but
  • his career is still very obscure (they used the same nickname, ‘Janet',
  • which has caused much confusion, and one of the finest works attributed
  • to him, the celebrated portrait of Francis I in the Louvre, showing the
  • too, was mainly a portraitist, his signed works including Pierre Quthe
  • (Louvre, Paris, 1562), much more Italianate than any of his father's paintings,
  • and Lady in Her Bath (National Gallery, Washington, c.1570). This
  • are also attributed to him.
• Title: Short Bio of Thomas Cole (1801-1848)
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  • (b. Feb. 1, 1801, Bolton-le-Moors, Lancashire,
• Title: Short Bio of John Constable (1776-1837)
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  • Although he showed an early talent for art and began painting his
  • native Suffolk scenery before he left school, his great originality
  • matured slowly. He committed himself to a career as an artist only in
  • one vote. In 1816 he became financially secure on the death of his
  • father and married Maria Bicknell after a seven-year courtship and in
  • His wife died in 1828, however, and the remaining years of his life
  • Constable developed his own original treatment from
  • Just as his contemporary William Wordsworth rejected what he called the
  • ‘poetic diction’ of his predecessors, so Constable turned away from
  • clouds across the sky, and his excited delight at these phenomena,
  • brickwork, I love such things. These scenes made me a painter.’
  • He never went abroad, and his finest works are of the places he knew
  • 1821. To render the shifting flicker of light and weather he abandoned
  • fine traditional finish, catching the sunlight in blobs of pure white
  • records him as saying: ‘I like de landscapes of Constable; he is always
  • Constable worked extensively in the open air, drawing and sketching in
  • oils, but his finished pictures were produced in the studio.
  • For his most ambitious works — ‘six-footers’ as he called them — he
  • these even more highly than the finished works because of their freedom
  • is in the V&A, London, which has the finest collection of Constable's
  • Maximum number of matches per file exceeded.
• Title: Short Bio of John Copley (1738-1815)
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  • of colonial America, John Singleton Copley painted portraits and historical
  • subjects. His Boston portraits show a thorough knowledge of his New England
  • models, and his talent as a draftsman and colorist produced pictures of
  • arrived from Ireland. He began to paint in about 1753. His earliest works
  • show the influence of his stepfather, an engraver, and the Boston artist John
  • objects associated with his daily life — that gave his work a distinction not
  • Eager to expand his reputation beyond New England, Copley sent his
  • who urged him to come to London. He did so in 1774 and painted his
  • there in 1778. In this painting
  • Although he remained in England the rest of his life and was moderately
  • successful, his historical paintings never had the vitality or realism of his
  • help in this section.
• Title: Short Bio of Correggio (Antonio Allegri)
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  • Little is known of his life, but his paintings suggest under whom he may
  • have formed his style. Echoes of
  • manner in many of his early paintings indicate that he may have studied
  • altarpiece (Gemäldegalerie, Dresden, 1514), his first documented work,
  • Correggio may well have visited Rome early in his career, although
  • could be accounted for by drawings and prints which were known all over Italy.
  • He was probably in Parma, the scene of his greatest activity, by 1518.
  • His first large-scale commission there was for the decoration of the
  • paintings in which Correggio developed the
  • Evangelista in 1520. The twelve Apostles sit on clouds round the base, while
  • High Renaissance
  • and they were highly influential on the development of
• Title: Short Bio of Piero Cosimo
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  • no signed, documented, or dated works by him, and reconstruction of his
  • is one of Vasari's most entertaining biographies, for he portrays Piero
  • as a highly eccentric character who lived on hard-boiled eggs, ‘which he
  • cooked while he was boiling his glue, to save the firing'. The paintings
  • for which he is best known are appropriately idiosyncratic — fanciful mythological
  • of animals and the dog in this picture, depicted with a mournful dignity,
  • is one of his most memorable creations. Piero also painted portraits, the
  • finest of which is that of Simonetta Vespucci (Musée Condé, Chantilly),
  • in which she is depicted as Cleopatra with the asp around her neck. His
  • and Frederick Hartt (A History of Italian Renaissance Art, 1970)
  • has written that ‘His whimsical Madonnas, Holy Families, and Adorations
  • in early Cinquecento Florence'. One of his outstanding religious works
  • is the Immaculate Conception (Uffizi, Florence), which seems to
  • by his pupil Andrea del Sarto.
• Title: Short Bio of Gustave Courbet (1819-77)
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  • artists. In 1844 his self-portrait,
  • was accepted by the Salon, an annual public exhibition of art
  • exhibited successfully in 1849. That same year he visited his family in the
  • countryside and produced one of his greatest paintings,
  • exhibition, Courbet boldly displayed his work himself near the exhibition
• Title: Short Bio of Thomas Couture (1815-79)
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  • (1815-79). French historical and portrait painter, a pupil of
  • He is chiefly remembered for his vast ‘orgy’ picture
  • which was the sensation of the Salon of 1847.
  • Like other ‘one-picture painters', his reputation has sunk with that of
  • his big work, which now if often cited as the classic example of the worst
  • false in overall effect. His more informal works, however, are often much
• Title: Short Bio of Lucas Cranach (1472-1553)
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  • He takes his name from the small town of Kronach in South Germany, where
  • he was born, and very little is known of his life before about 1500-01,
  • associated with the newly founded university. His stay in Vienna was brief
  • (he left in 1504), but in his period there he painted some of his finest
  • a lecturer at the university, and his wife
  • (Reinhart Collection, Winterhur), and several religious works in which he
  • The finest example of this manner is perhaps the
  • (Staatliche Museen, Berlin), which shows the Holy Family resting in the
• Title: Short Bio of Jasper Cropsey
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  • Jasper Cropsey was born on his father's farm in Rossville, Staten
  • periods of poor health. During these periods, while absent from school,
  • Cropsey taught himself to draw. His early drawings were architectural
  • sketches and landscapes drawn on notepads and in the margins of his
  • His artistic skills improved rapidly as Jasper mimicked whatever paintings,
  • drawings, and architectural renderings he could find. At the age of
  • fourteen, Cropsey entered an architectural model in a contest and won
  • Jasper Cropsey began a five-year apprenticeship for Joseph Trench,
  • architect. Trench realized young Jasper's artistic ability and provided
  • him with studio space and art supplies in order to develop his artistic
• Title: Short Bio of Cuyp
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  • Cuyp. The name of a family of Dutch painters of Dordrecht, of which
  • as a portrait painter — his portraits of children are particularly fine — but
  • in old biographies is lauded principally for his views of the countryside
  • He is noted principally for paintings of biblical and genre scenes which
  • of Jacob Gerritsz. Cuyp. His early works also show the influence of Jan
  • ascribed to him, but his oeuvre poses many problems. He often signed
  • his paintings but rarely dated them, and a satisfactory chronology has
  • to him are now given to Abraham Calraet (1642-1722), who signed himself
  • after his death. Late 18th-century English collectors are credited with
  • rediscovering his merits, and he is still much better represented in English
  • collections, public and private, than in Dutch museums. His finest works — typically
  • more closely in spirit than any of his countrymen who travelled to Italy.
• Title: Short Bio of Edward d'Ancona
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  • Although he was a prolific pin-up artist who produced hundreds of enjoyable images, almost nothing is known about his background. He sometimes signed his paintings with the name "D'Amarie", but his real name appears on numerous calendar prints published from the mid 1930s through the mid 1950s, and perhaps as late as 1960.
  • The first company to publish d'Ancona pin-ups, about 1935 to 1937, was Louis F. Dow in St Paul. d'Ancona worked in oil on canvas and his originals from that time usually measured about 30 x 22 inches. His early work is comparable in quality to that of the young Gil Elvgren, who had begun to work for Dow in 1937. Because d'Ancona produced so much work for Dow, one might assume that he was born in Minnesota and lived and worked in the St Paul, Minneapolis area. It is known that he supplied illustrations to the Goes Company in Cincinnati and to several soft-drink firms, which capitalized on his works similarity to the Sundblom/Elvgren style, which was so identified with Coca-Cola. During the 1940s and 1950s, d'Ancona's superb use of primary colors, masterful brushstrokes, and painterly style elevated him to the ranks of the very best artist in pin-up and glamour art. His subject matter at this time resembled Elvgren's. Both enjoyed painting nudes and both employed situation poses a great deal. d'Ancona also painted a fair amount of evening-gown scenes, as did Elvgren, Frahm, and Erbit.
  • By 1960, d'Ancona had moved into the calendar art field. Instead of doing pin-ups and glamour images, however, he specialized in pictures on the theme of safety in which wholesorne policemen helped children across the street in suburban settings that came straight out of Norman Rockwell.
• Title: Short Bio of Honoré Daumier
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  • In his lifetime he was known chiefly as a political and social satirist,
  • but since his death recognition of his qualities as a painter has grown.
• Title: Short Bio of Gerard David
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  • in 1494. At this time the economic importance of Bruges was declining, but it
  • important role in the flourishing export trade in paintings that it
  • His work — extremely accomplished, but conservative and usually rather
  • bland — was very popular and his stately compositions were copied again
  • and again. Among his followers were
  • who carried on his tradition until the middle of the 16th century.
  • Most of his work was of traditional religious themes, but his best-known
  • (Groeningemuseum, Bruges, 1498), a gory subject to which his reflective
• Title: Short Bio of Stuart Davis (1894-1964)
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  • He grew up in an artistic environment, for his father
  • was art director of a Philadelphia newspaper, who had employed
  • which was associated with the
  • and exhibited watercolors in the
  • which made an overwhelming impact on him.
  • basing himself on its Synthetic rather than its Analytical phase.
  • Whitney Museum, New York, 1931).
  • He later went over to pure abstract patterns, into which he often
  • Whitney Museum, 1951).
  • The zest and dynamism of such works reflect his interest in jazz.
  • created a distinctive American style, for however abstract his works
• Title: Short Bio of Edgar Degas (1834-1917)
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  • Degas, (Hilaire-Germain-) Edgar
  • others. He is perhaps best known for his paintings, drawings, and
• Title: Short Bio of Eugène Delacroix (1798-1863)
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  • Postimpressionist painters. His inspiration came chiefly from
  • historical or contemporary events or literature, and a visit to
  • Morocco in 1832 provided him with further exotic subjects.
  • school. His remarkable use of color was later to
  • 1822 Delacroix submitted his first picture to the important Paris Salon
  • exhibition:
  • A technique used in this work — many
  • later be used by the impressionists. His next Salon entry was in 1824:
  • Massacre at Chios.
  • pictured an incident in which 20,000 Greeks were killed by Turks on the
  • island of Chios. The French government purchased it for 6,000 francs.
• Title: Short Bio of Billy DeVorss
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  • to pursue his career in both pin-up art and advertising.
  • While his work does not have the almost photographic quality of Vargas, it is
  • his use of colour that make Billy DeVorss's work stand out. He worked almost
  • exclusively in pastels, due to both the speed at which he could work and the
• Title: Short Bio of Gustave Doré (1832-83)
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  • century. Doré became very widely known for his illustrations to such books
  • he employed more than forty blockcutters. His work is characterized by
  • a rather naïve but highly spirited love of the
  • Alexandre Dumas in the Place Malesherbes in Paris, erected in 1883, is his
• Title: Short Bio of Dosso Dossi
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  • His early life and training are obscure, but Vasari's assertion that
  • Ferrara, where he spent most of the rest of his career, combining with
  • for the part played in his work by landscape, in which he continues the
  • he must have been in Venice early in his career. Dosso's work, however,
  • c.1523). His brother Battista Dossi (c.1497-1548) often collaborated
  • with him, but there is insufficient evidence to know whether he made an
• Title: Short Bio of Peter Driben
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  • His first known Pin-Up was the cover to Tattle Tales in October 1934, and
  • Night Life and Caprice. His career went from strength to strength in the
  • late thirties with covers for Silk Stocking Stories, Gay Book, Movie
  • His career was not limited to magazine covers, he also worked in
  • advertising and for Hollywood, perhaps his most famous work being the
  • as many as six or seven of his covers being published every month.
  • poses are designed to show as much leg as possible. In his later years Peter
  • Driben turned, like many of his colleagues, to portrait and fine-art work,
  • including a portrait of Dwight Eisenhower. His wife, Louise Driben, organised
  • these works into several successful exhibitions. Peter Driben died in 1975,
  • his wife in 1984.
• Title: Short Bio of Albrecht Dürer
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  • artist. His vast
  • portraits and self-portraits, and copper engravings. His woodcuts,
  • Gothic flavour than the rest of his work.
  • theorist. Born in Nürnberg as the third son of the Hungarian goldsmith
  • Albrecht Dürer. Began as an apprentice to his father in 1485, but his earliest
  • known work, one of his many self portraits, was made in 1484. Died in Nürnberg
• Title: Short Bio of Thomas Eakins
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  • of the 19th century and by many as the greatest his country has yet
• Title: Short Bio of Adam Elsheimer
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  • active mainly in Italy. Although he died young and his output was small
  • and moved to Italy in 1598. In Venice he worked with his countryman Rottenhammer,
  • then settled in Rome in 1600. His early Mannerist style gave way to a more
  • direct manner in which he showed great sensitivity to effects of light;
  • his nocturnal scenes are particularly original, bringing out the best in
  • his lyrical temperament, and he is credited with being the first artist
  • in which figures predominate, but generally they are fused into a harmonious
  • Elsheimer achieved fame during his lifetime and there are numerous contemporary
  • copies of his works. His paintings were engraved by his pupil and patron,
  • himself made a number of etchings. In spite of his popularity he was personally
  • was a friend of Elsheimer and after his death lamented his ‘sin of sloth,
  • by which he has deprived the world of the most beautiful things'; he also
  • wrote ‘I have never seen his equal in the realm of small figures, of landscapes,
  • inspired by Elsheimer's masterpiece, and his influence is apparent in the
• Title: Short Bio of Gil Elvgren
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  • architecture but soon realised that he loved painting more, for this reason
  • he moved to Chicago with his young wife to study at the American Academy of
  • advertising agency, working under Haddon Sundblom (famous for his Coca Cola
  • Elvgren started producing pin-up girls in 1937 for the publishing company
  • $1000 per pin-up, substantially more than he was getting at Dow. His contract
• Title: Short Bio of Jan Eyck
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  • Gothic Innovation in the North
  • painting. His naturalistic panel paintings, mostly portraits and
  • symbols. His masterpiece is the altarpiece in the cathedral at Ghent,
• Title: Short Bio of Henri Fantin-Latour (1836-1904)
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  • He is best known for his luxurious flower pieces, but he also painted several
  • group portraits that are important historical documents and show his
  • friendship with leading avant-garde artists.
  • (Musée d'Orsay, Paris, 1864) shows Fantin-Latour himself, with
  • Whistler,
  • and others in Manet's studio. In spite of his associations with such
  • progressive artists, Fantin-Latour was a traditionalist, and his portraits
  • particularly are in a precise, detailed style. Much of his later career
  • imaginative lithographs illustrating his music and that of other
• Title: Short Bio of Robert Feke
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  • Nothing is known of his life until 1741 when he executed a large portrait
  • Isaac Royall and his Family
  • He was active from that time in Newport and Philadelphia until 1750, when his
  • portraits from his hand and about fifty more are reasonably attributed to him.
  • His works are somewhat lacking in characterization, but their strength and
  • clarity of design and delicacy of touch five them a high place among
• Title: Short Bio of Master Flémalle (active 1406-44)
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  • (active 1406-44), who was the leading painter of his day in Tournai but
  • While there is still doubt about the Master of Flémalle's identity,
  • there is no argument about his achievement, for he made a radical break
  • International Gothic
  • the paintings given to him is dated — with the exception of the wings of
  • seems likely that his earliest works antedate any surviving picture by
  • This still has the decorative gold background of medieval tradition,
  • the Master of Mérode. However, the attribution of this painting has also been
  • questioned. Among the other works generally accepted as his are
  • The Virgin and Child before a Firescreen
  • (National Gallery, London), which shows the homely detail and down-to-earth
  • naturalism associated with the artist (the firescreen behind the Virgin's
  • of Flémalle. In spite of the many problems that still surround him,
• Title: Short Bio of Jean Fouquet (c. 1420-c. 1481)
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  • of this Italian journey, the influence of which can be detected in the
  • essays and Classical architecture of his subsequent works, but
  • the strongly scrulptural character of his painting, which was deeply rooted
  • in his native tradition, did not succumb to Italian influence.
• Title: Short Bio of Jean-Honoré Fragonard (1732-1806)
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  • for a short while and also of
  • High Renaissance,
  • at Tivoli, memories of which occur in paintings throughout his career.
  • with his historical picture in the
  • Coroesus Sacrificing himself to Save Callirhoe
  • (Louvre, Paris). He soon abandoned this style, however, for the erotic
  • canvases by which he is chiefly known
  • After his marriage in 1769 he also painted children and family scenes.
  • He stopped exhibiting at the
  • in 1767 and almost all his work was done for private patrons. Among them was
  • works that are often regarded as his masterpieces — the four canvases
  • unsuccessfully to adapt himself to the new
  • Fragonard was a prolific painter, but he rarely dated his works and it is not
  • easy to chart his stylistic develop;ent. Alongside those of Boucher, his
  • paintings seem to sum up an era. His delicate coloring, witty
  • characterization, and spontaneous brushwork ensured that even his most
  • erotic subjects are never vulgar, and his finest work has an irresistible
• Title: Short Bio of Art Frahm
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  • Art Frahm, yet another Chicago area artist and a likely Sundblom-shop graduate, compares favorably with such master technicians in oil as Elvgren. But his significance comes out of his defining roles in two seemingly opposite pin-up categories.
  • Many of his works were outstanding examples of the glamour genre. His perfectly coifed, daring decolletage dressed beauties glowed in the midst of romantic soft focus settings.
  • Frahm, whose commercial art ranged from magazine cover illustration to zany "hobo" calendar paintings, excelled in (and perhaps created) the "ladies in distress" series for the Joseph C. Hoover & Sons calendar company, in which a lovely girl is literally caught with her panties down, her lacy undies slipping to her ankles while she's in the process of bowling, walking the dog or changing a tire.
• Title: Short Bio of Lucian Freud
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  • his parents in 1931, and acquired British nationality in 1939. His earliest
  • invalided out of the Merchant Navy in 1942. In 1951 his
  • painters. Portraits and nudes are his specialities, often observed in
  • arresting close-up. His early work was meticulously painted, so he has
  • Superrealist), but the subjectivity and intensity of his work has always
  • set him apart from the sober tradition characteristic of most British
  • figurative art since the Second World War. In his later work (from the
  • late 1950s) his handling became much broader.
• Title: Short Bio of Caspar Friedrich
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  • renderings of trees, hills, harbors, morning mists, and other light effects
  • mysticism. In 1808 he exhibited one of his most controversial paintings, The
  • Cross in the Mountains (Gemaldegalerie, Dresden), in which — for the first
  • landscape. The cross, viewed obliquely from behind, is an insignificant
  • evening sun, which the artist said depicted the setting of the old,
  • pre-Christian world. The mountain symbolizes an immovable faith, while the
  • compositions in which crosses dominate a landscape.
  • meanings, clues to which are provided either by the artist's writings or
  • those of his literary friends. For example, a landscape showing a ruined
  • the Reformation and the transitoriness of earthly things.
• Title: Short Bio of Pearl Frush
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  • Gulf Coast of Mississippi when she was still a child. She enrolled in art
  • instruction courses New Orleans before moving on to study in Philidelphia
  • and New York. By this time her family had moved to Chicago, where she joined
  • them after enrolling at the Chicago Art Institute.
  • Frush opened her Chicago studio in the early 1940's, doing freelance
  • work and working for the Sundblom, Johnson and White Studio. By 1943 she
• Title: Short Bio of Henry Fuseli
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  • Ambassador in Berlin, who had been impressed by his drawings. Reynolds
  • encouraged him to tape up painting, and he spent the years 1770-78 in Italy,
  • elevated style he sought to emulate for the rest of his life. On his return
  • he exhibited highly imaginative works such as The Nightmare (Detroit
  • Institute of Arts, 1781), the picture that secured his reputation when
  • throes of a violently erotic dream, this painting shows how far ahead of
  • his time Fuseli was in exploring the murky areas of the psyche where sex
  • and fear meet. His fascination with the horrifying and fastastic also comes
  • out in many of his literary subjects, which formed a major part of his
  • in 1799 he followed this example by opening a Milton Gallery in Pall Mall
  • with an exhibition of forty-seven of his own paintings.
  • Fusely was a much respected and influential figure in his lifetime,
  • but his work was generally neglected for about a century after his death
  • saw in him a kindred spirit. His work can be clumsy and overblown, but
  • at its best has something of the imaginative intensity of his friend Blake,
• Title: Short Bio of Thomas Gainsborough
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  • and in 1752 he set up as a portrait painter at Ipswitch. His work at this
  • small portrait groups in landscape settings which are the most lyrical
  • of all English conversation pieces (Heneage Lloyd and his Sister,
  • Fitzwilliam, Cambridge). His patrons were the merchants of the town and
  • the neighboring squires, but when in 1759 he moved to Bath, his new sitters
  • Royal Family, even though his rival Reynolds was appointed King's Principal
  • Gainsborough sometimes said that while portraiture was his profession
  • landscape painting was his pleasure, and he continued to paint landscapes
  • made drawings which he varnished. He also, in later years, painted fancy
  • City Art Gallery, 1782). Gainsborough's style had diverse sources. His
  • painting; at Bath his change of portrait style owed much to a close study
  • of van Dyck (his admiration is most clear in The
  • Blue Boy, Huntingdon Art Gallery, San Marino, 1770); and in his later
  • an independent and original genius, able to assimilate to his own ends
  • what he learnt from others, and he relied always mainly on his own resources.
  • With the exception of his nephew Gainsborough Dupont, he had no assistants
  • and unlike most of his contemporaries he never employed a drapery painter.
  • sober-minded and the complete professional, Gainsborough (even though his
  • his commissions, writing that ‘painting and punctuality mix like oil and
  • unlike Reynolds, had no interest in literary or historical themes, his
  • Maximum number of matches per file exceeded.
• Title: Short Bio of (Eugène-Henri-) Gauguin (1848-1903)
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  • (b. June 7, 1848, Paris, Fr.--d. May 8, 1903, Atuona, Hiva Oa,)
  • (b. June 7, 1848, Paris, Fr. — d. May 8, 1903, Atuona, Hiva Oa,
  • expressiveness through colour. From 1891 he lived and worked in Tahiti
  • and elsewhere in the South Pacific. His masterpieces include the early
• Title: Short Bio of Aert Gelder
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  • Gelder, Aert de (1645-1727). Dutch painter, active mainly in his
  • pupils, but also one of his most devoted followers, for he was the only
  • Dutch artist to continue working in his style into the 18th century. His
  • untypical of Rembrandt, and his palette was in general lighter. One of
  • his best-known works, Jacob's Dream (Dulwich College Picture Gallery,
• Title: Short Bio of Gentile (c. 1370-1427)
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  • (c. 1370-1427). Italian painter named after his birthplace, Fabriano
  • of his day, but most of the work on which his great contemporary reputation
  • In between he worked in Florence, Siena, and Orvieto. His major surviving
  • painted for the church of Sta Trinità in Florence, which places him alongside
  • Ghiberti
  • International Gothic style
• Title: Short Bio of (Jean-Louis-André-) Géricault (1791-1824)
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  • art in France. Géricault was a fashionable dandy and an avid horseman
  • whose dramatic paintings reflect his colourful, energetic, and
• Title: Short Bio of Jean-Léon Gérôme
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  • a pupil of Paul Delaroche and inherited his highly finished academic style.
  • His best-known works are his oriental scenes, the fruit of several visits
• Title: Short Bio of Domenico Ghirlandaio
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  • Domenico Ghirlandaio
  • Ghirlandaio, Domenico (1449-94). Florentine painter. He trained
  • with Baldovinetti and possibly with Verrocchio. His style was solid, prosaic,
  • and rather old-fashioned (especially when compared with that of his great
  • in Florence. This he ran in collaboration with his two younger brothers,
  • Benedetto (1458-97) and Davide (1452-1525). His largest undertaking
  • This was commissioned by Giovanni Tornabuoni, a partner in the Medici bank,
  • and Ghirlandaio depicts the sacred story as if it had taken place in the
  • home of a wealthy Florentine burgher. It is this talent for portraying
  • the life and manners of his time (he often included portraits in his religious
  • works) that has made Ghirlandaio popular with many visitors to Florence.
  • and a certain grandeur of conception that sometimes hints at the High Renaissance.
  • Ghirlandaio worked on frescos in Pisa, San Gimignano, and Rome (in the
  • Sistine Chapel) as well as in Florence, and his studio produced numerous
  • altarpieces. He also painted portraits, the finest of which is Old Man
  • and his Grandson (Louvre); this depicts the grandfather's diseased
  • Ghirlandaio's son and pupil Ridolfo (1483-1561) was a friend of
  • His most famous pupil, however, was Michelangelo.
• Title: Short Bio of Luca Giordano
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  • nicknamed ‘Luca Fa Presto’ (Luke work quickly) because of his prodigious
  • He began in the circle of Ribera, but his style became much more colorful
  • works he saw on his extensive travels. Indeed, he absorbed a host of influences
  • and was said to be able to imitate other artists’ styles with ease. His
  • in Florence and Venice, and his work had great influence in Italy. In 1692
  • in Madrid, Toledo, and the Escorial. His last work when he returned to
  • Naples was the ceiling of the Treasury Chapel of S. Martino. In his
  • and light luminous colors of his work, Giordano presages such great 18th-century
• Title: Short Bio of Giotto (c. 1267-1337)
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  • Florentine painter and architect.
  • Outstanding as a painter, sculptor, and architect,
  • the village of Vespignano, near Florence. His father was a small landed
  • supposedly saw the 12-year-old boy sketching one of his father's sheep on a
  • flat rock and was so impressed with his talent that he persuaded the father
  • to let Giotto become his pupil. Another story is that Giotto, while
  • and the scenes expressive of the gentle spirit of this patron saint of
  • Giotto with a request for samples of his work. Giotto dipped his brush in red
  • messenger that the worth of this sample would be recognized. When the pope
  • his time."
  • and high churchmen. In the Bargello, or Palace of the Podesta (now a museum),
  • in Florence is a series of his Biblical scenes. Among the bystanders in the
  • paintings is a portrait of his friend the poet Dante. The Church of Santa
  • Magister (Great Master) and appointed him city architect and superintendent
  • of public works. In this capacity he designed the famous campanile (bell
  • He was married and left six children at his death. Unlike many of his fellow
  • artists, he saved his money and was accounted a rich man. He was on familiar
  • terms with the pope, and King Robert of Naples called him a good friend.
  • In common with other artists of his day, Giotto lacked the technical
  • followed him. He had a grasp of human emotion and of what was significant in
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• Title: Short Bio of Hugo Goes
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  • Nothing is known of his life before 1467, when he became a master in
  • An account of his illness by Gaspar Ofhuys, a monk at the priory, survives;
  • Ofhuys was apparently jealous of Hugo and his description has been called
  • No paintings by Hugo are signed and his only securely documented work
  • is his masterpiece, a large triptych of the Nativity known as the Portinari
  • Altarpiece (Uffizi, Florence, c.1475-76). This was commissioned by
  • but this is combined with lucid organization of the figure groups and a
  • grandeur of conception with keep observation is his psychological penetration
  • His last work is generally thought to be the Death of the Virgin
• Title: Short Bio of Vincent Gogh (1853-90)
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  • in modern art. His work, all of it produced
  • a mental illness that eventually resulted in suicide. Among his
• Title: Short Bio of Nuño Gonçalves
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  • 1463 as court painter to Alfonso V (1437-81). No works certainly by his
  • of highly individualized portraits of members of the court, including a
• Title: Short Bio of Francisco Goya
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  • reflected contemporary historical upheavals and influenced important
  • 19th- and 20th-century painters. The series of etchings
  • the Napoleonic invasion. His masterpieces in painting include
  • For the bold technique of his paintings, the
  • haunting satire of his etchings, and his belief that the artist's vision is
  • moderns." His uncompromising portrayal of his times marks the beginning of
  • continue his study of art. On returning to Saragossa in 1771, he painted
  • children, but only one — a son, Xavier — survived to adulthood.
  • factory in Madrid. This was the most important period in his artistic
  • development. As a tapestry designer, Goya did his first genre paintings, or
  • The experience helped him become a keen observer of human behavior. He was
  • also influenced by neoclassicism, which was gaining favor over the rococo
  • style. Finally, his study of the works of
  • At the same time, Goya achieved his first popular success. He became
  • by his deafness, he became increasingly occupied with the fantasies and
  • inventions of his imagination and with critical and satirical observations of
  • a series of etchings satirizing human folly and
  • weakness. His portraits became penetrating characterizations, revealing their
  • subjects as Goya saw them. In his religious frescoes he employed a broad,
  • as court painter to the French. He expressed his horror of armed conflict in
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• Title: Short Bio of El Greco (1541-1614)
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  • Cretan-born painter, sculptor, and architect who settled in Spain and
  • He was known as El Greco (the Greek), but his real name was
  • Domenikos Theotocopoulos; and it was thus that he signed his paintings
  • throughout his life, always in Greek characters, and sometimes followed
  • Little is known of his youth, and only a few works survive by him in
  • met there, described him as a pupil of
  • influenced him most, and
  • impact on his development was also important.
• Title: Short Bio of Jean-Baptiste Greuze
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  • success at the 1755 Salon with his Father Reading the Bible to His Children
  • and melodramatic genre scenes. His work was praised by Diderot as ‘morality
  • in paint', and as representing the highest ideal of painting in his day.
  • He also wished to succeed as a history painter, but his Septimius Severus
  • Reproaching Caracalla (Louvre, 1769) was rejected by the Salon, causing
  • him acute embarrassment. Much of Greuze's later work consisted of titillating
  • pictures of young girls, which contain thinly veiled sexual allusions under
  • With the swing of taste towards Neoclassicism his work went out of fashion
  • his career he received a commission to paint a portrait of Napoleon (Versailles,
  • 1804-05), but he died in poverty. His huge output is particularly well
  • Fabre in Montpellier, and in the museum dedicated to him in Tournus, his
• Title: Short Bio of Juan Gris
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  • Juan Gris was the Third Musketeer of Cubism, and actually
  • pushed Cubism further to its logical conclusion until his ultimely death in
  • 1927 at the age of 39. His pictures are a joy to look at!
• Title: Short Bio of Antoine-Jean Gros
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  • his father, a miniaturist and then with Jacques-Louis
  • David. Although he revered David and became one of his favorite pupils,
  • to the Neoclassical purity of his master.
  • his official battle painter. He followed Napoleon on his campaigns, and
  • his huge paintings such as The Battle of Eylau (Louvre, Paris, 1808)
  • his studio, and tried to work in a more consciously Neoclassical style.
  • He never again approached the quality of his Napoleonic pictures, however
  • he drowned himself in the Seine.
  • Romanticism; the color and drama of his work
  • and his pupil Bonington amongst others.
• Title: Short Bio of Matthias Grünewald (his real name was Mathis Neithart, otherwise Gothart, 1470/80-1528)
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  • Matthias Grünewald
  • (his real name was Mathis Neithart, otherwise Gothart, 1470/80-1528)
  • Late Gothic Painting
  • This page thanks to
  • Matthias Grünewald, c.1475-1528, whose real name was Mathis Gothart,
  • 13 of his paintings and some drawings survive. His present worldwide
  • reputation, however, is based chiefly on his greatest masterpiece, the
  • (c.1513-15), which was long believed to have been painted
  • his ability to create dazzling light effects. The painting depicts Christ
  • thick-bodied, soft, and fleshy, done in a manner suggestive of the Italian
  • High Renaissance. Elements of the work also show Grünewald's assimilation of
  • Dürer, specifically his Apocalypse series. Different from High Renaissance
  • portray violence and tragedy, thin fluttering drapery, highly contrasting
  • areas of light and shadow (CHIAROSCURO), and unusually stark and iridescent
  • color. It is these elements, already in evidence in this early work, that
  • fully realized in his Isenheim Altarpiece.
• Title: Short Bio of Francesco Guardi
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  • of a family of artists. He is now famous for his views of Venice, indeed
  • of his brother Gianantonio (1699-1760).
  • studio, of which Gianantonio was head and which handled commissions of
  • in poverty. Recognition of his genius came in the wake of Impressionism, when his vibrant and rapidly painted views were seen as
  • Francesco was enormously prolific and his work is in many public collections
  • the authorship of paintings representing The Story of Tobit that
  • of the Guardi brothers, and it was possibly through his influence that
  • was not elected until 1784, during the presidency of his nephew Giandomenico
• Title: Short Bio of Willem Heda
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  • of ontbijt (breakfast piece) painting in the Netherlands. His overall
  • but Heda's work was usually more highly finished and his taste was more
  • and after 1629 never included a herring in his pictures. His son Gerrit
  • (d. 1702) was his most important pupil.
• Title: Short Bio of Jan Heem
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  • was born at Utrecht and his rare early pictures are in the style of
  • who taught him there. Later he worked in Leiden and showed
  • Antwerp, became a citizen of that city in 1637, and spent most of his very
  • which he is most renowned and are very different in spirit from his earlier
  • tables which breathe all the opulent exuberance of Flemish
  • painting. His work formed a link between the Dutch and Flemish still-life
  • of painters and his many followers in Flanders and Holland included his
• Title: Short Bio of Velino Shije Herrera
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  • Velino Shije Herrera
  • Herrera, Velino Shije
  • the trends in art for the pueblos. His "Buffalo Dancer" is a much copied
  • oriole (red bird) and bad egg. This is the name by which he signed paintings.
  • Accused of betraying his tribe when he was said to have given the sun
• Title: Short Bio of Nicholas Hilliard
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  • Nicholas Hilliard
  • Hilliard, Nicholas (1547-1619). The most celebrated of English
  • also worked for James I, but after the turn of the century his position
  • as the leading miniaturist in the country was challenged by his former
  • and dominated the limning of their era. Hilliard's reputation extended
  • to France, which he visited c.1577-78. In his treatise The Arte of Limning
  • (written in about 1600 but not published until 1912) Hilliard declared
  • himself as a follower of Holbein's manner of limning.
  • In particular he avoided the use of shadow for modelling and in his treatise
  • he records that this was in agreement with Queen Elizabeth's taste — ‘for
  • lyne showeth nothing'. But while for Holbein a miniature was always a painting
  • reduced to a small scale, Hilliard developed in the miniature an intimacy
  • and subtlety peculiar to that art. He combined his unerring use of line
  • and a unique realization of the individuality of each sitter. His miniatures
  • a hand reaching from a cloud); yet this literary burden usually manages
  • to heighten the vividness with which the sitter's face is impressed. Apart
  • from the Queen herself, many others of the great Elizabethans sat for him,
  • including Sir Francis Drake, Sir Walter Raleigh, and Sir Philip Sidney.
  • The finest collection of his miniatures is in the Victoria and Albert
  • paintings attributed to him are portraits of Elizabeth I in the National
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• Title: Short Bio of Ando Hiroshige (1797-1858)
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  • Ando Hiroshige
  • Hiroshige
  • known especially for his landscape prints.
  • lyrical scenes that made him even more successful than his contemporary,
  • Ando Hiroshige was born in Edo (now Tokyo) and at first,
  • like his father, was a fire warden. The prints of Hokusai are said
  • to have first kindled in him the desire to become an artist,
  • and he entered the studio of Utagawa Toyohiro, a renowned painter,
  • as an apprentice. In 1812 Hiroshige took his teacher's name
  • (a sign of graduation), signing his work Utagawa Hiroshige.
  • His career falls roughly into three periods.
  • as a landscape artist, reaching a peak of success and achievement in
  • 1833 when his masterpiece, the print series
  • (scenes on the highway connecting Edo and Kyoto), was published.
  • He maintained this high level of craftmanship in other travel series,
  • Sixty-nine Stations on the Kiso Highway.
  • The work he did during the third period, the last years of his life,
  • With Hokusai, Hiroshige dominated the popular art of Japan
  • in the first half of the 19th century. His work was not as bold or
  • at different times. His total output was immense, some 5400 prints in all.
• Title: Short Bio of Meindert Hobbema
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  • in his native Amsterdam, where he was the friend and only documented pupil
  • of Jacob van Ruisdael. Some of his pictures are very like Ruisdael's, but
  • his range was more limited and he lacked the latter's power to capture
  • to have painted only in his spare time. His most famous work, however,
  • Hobbema has been a popular artist in England (his influence is clear
• Title: Short Bio of David Hockney (1937- )
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  • Royal College of Art, Hockney had achieved international success by
  • the time he was in his mid-20s, and has since consolidated his position
  • as by far the best-known British artist of his generation.
  • His phenomenal success has been based not only on the flair, wit, and
  • versatility of his work, but also on his colorful personality, which has
  • made him a recognizable figure even to people not particularly interested
  • in art: a film about him entitled A Bigger Splash (1974)
• Title: Short Bio of Katsushika Hokusai (1760-1849)
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  • Katsushika Hokusai
  • Hokusai, full name Katsushika Hokusai
  • Hokusai entered the studio of his countryman Katsukawa Shunsho
  • The free curved lines characteristic of his style gradually
  • and grace to his work, as in Raiden, the Spirit of Thunder.
  • In his late works Hokusai used large, broken strokes and a method
  • of coloring that imparted a more somber mood to his work,
  • as in his massive
  • Among his best-known works are the 13-volume sketchbook
  • Thirty-Six Views of Mount Fuji
• Title: Short Bio of Hans Holbein (1465?-1524)
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  • Holbein, like his brother Sigmund, painted richly colored religious works in
  • the late Gothic style. In addition to the altar paintings that are his
  • portrait drawings that foreshadow the work of his famous son. His later
  • Gothic to the
  • received his first lessons in art from his father. In 1515 the younger
  • Holbein went to Basel, Switzerland, with his brother, Ambrosius. Among the
  • Erasmus, who befriended the young artist and asked him to illustrate his
  • addition he painted pictures and portraits and, like his father, designed
  • painted portraits and murals for the town hall. In 1532 he left his wife and
  • children there and traveled once again to London.
  • chiefly as a painter of portraits. His services were much in demand. The more
  • provide a remarkable document of that colorful period. An old account of his
  • bookbindings. In 1539, when Henry was thinking of marrying Anne of Cleves, he
• Title: Short Bio of Pieter Hooch
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  • Delft school, noted for his interior scenes and use of light.
• Title: Short Bio of Johan Jongkind
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  • while also stimulating the development of
• Title: Short Bio of Wassily Kandinsky (1866-1944)
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  • avant-garde exhibitions, he founded the influential Munich group Der
  • painting. His forms evolved from fluid and organic to geometric and,
  • finally, to pictographic ( e.g., Tempered Élan, 1944).
  • Kandinsky, himself an accomplished musician, once said
  • piano with many strings. The artist is the hand that plays, touching
  • The concept that color and musical harmony are linked has a long history,
  • in a highly theoretical way associating tone with timbre (the sound's
• Title: Short Bio of Ken Kelly
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  • Throughout a career spanning over 30 years, Ken Kelly has achieved an
• Title: Short Bio of Anselm Kiefer
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  • (born 1945), German painter, born in Donaueschingen; 1966 left
  • Karlsruhe, Dusseldorf; made huge paintings using symbolic photographic images
  • to deal ironically with 20th-c. German history; developed array of visual
  • symbols commenting on tragic aspects of German history and culture,
  • themes to include references to ancient Hebrew and Egyptian history.
• Title: Short Bio of Ron Kitaj
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  • American painter and graphic artist, active mainly in England, where he
  • widely (he was a merchant seaman, then served in the US army) and his
  • wide cultural horizons gave him an influential position among his
  • Allen Jones), particularly in holding up his own preference for figuration
  • to take up pastel, which he has used for much of his subsequent work.
  • as has a preoccupation with his Jewish identity, and he has said:
• Title: Short Bio of Paul Klee
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  • A Swiss-born painter and graphic artist whose personal, often gently
  • and children's art all seem blended
  • into his small-scale, delicate paintings, watercolors, and drawings. Klee
  • grew up in a musical family and was himself a violinist. After much
  • Academy in 1900. There his teacher was the popular symbolist and society
  • Klee's early works are mostly etchings and pen-and-ink drawings. These
  • and James Ensor, both of whom Klee admired. Two of his
  • best-known etchings, dating from 1903, are
  • Two Men Meet, Each Believing the Other to Be of Higher Rank.
  • titles are characteristic of Klee and give his works an added dimension of
  • After his marriage in 1906 to the pianist Lili Stumpf, Klee settled in
  • exhibited his etchings for the first time. His friendship with the painters
  • and August Macke prompted him to join Der Blaue Reiter (The
  • A turning point in Klee's career was his visit to Tunisia with Macke and
  • this blessed moment. Color and I are one. I am a painter."
  • on his Italian sojourn. The watercolor
  • Red and White Domes (1914;
  • Collection of Clifford Odets, New York City) is distinctive of this period.
  • Klee often incorporated letters and numerals into his paintings, as in
  • visible," and he pursued this goal in a wide range of media using an
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• Title: Short Bio of Gustav Klimt (1862-1918)
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  • embodies the high-keyed erotic, psychological, and aesthetic
• Title: Short Bio of Charles de La Fosse (1636-1716)
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  • Fr. — d. Dec. 13, 1716, Paris), painter whose decorative historical and
  • allegorical murals, while continuing a variant of the stately French
  • The greatest influence on La Fosse's painting was the work of his
  • and Paolo Veronese, which he
  • studied during his five-year stay in Rome and Venice (from 1658). In
  • 1689-91 La Fosse decorated Montagu House in London. His greatest work
  • Paris (1705), while the
  • Sacrifice of Iphigenia in the Salon de Diane
  • Sunrise in the Salon d'Apollon are his most
  • later artists, however, are his smaller works, such as
• Title: Short Bio of Laurent de La Hire
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  • Laurent de La Hire
  • La Hire, Laurent de, La Hire also spelled LA HYRE (b. Feb. 27, 1606,
• Title: Short Bio of Nicolas Lancret (1690-1743)
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  • society of his time.
• Title: Short Bio of Nicolas Largillière (1656-1746)
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  • historical and portrait painter who excelled in painting likenesses of
  • the wealthy middle classes. Most artists of his time took as their
  • on drawing, while some broke away in favour of the style of
  • modern course. Highly honoured in his lifetime, he was made chancellor
• Title: Short Bio of Charles Le (1619-90)
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  • decades during the reign of Louis XIV. Under his direction French
  • and in 1663 he was made director of the reorganized Academie, which he
  • of art. His lectures came to be accepted as providing the official standards
  • creation can be reduced to teachable rule and precept. In 1698 his small
  • was posthumously published; in this, again following theories of Poussin,
  • Despite the Classicism of his theories, Lebrun's own talents lay rather
  • Among the most outstanding of his works for the king were the
  • His importance in the history of French art is twofold: his contributions to
  • the magnificence of the Grand Manner of Louis XIV and his influence in laying
  • generation trained in his studio. Lebrun was a fine portraitist and an
• Title: Short Bio of Alphonse Legros (1837-1911)
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  • (b. May 8, 1837, Dijon, Fr.--d. Dec. 8, 1911, Watford, Hertfordshire, Eng.)
  • (b. May 8, 1837, Dijon, Fr. — d. Dec. 8, 1911, Watford, Hertfordshire, Eng.)
  • chiefly for his graphics on macabre and fantastic themes. An excellent
• Title: Short Bio of Claude Lorrain (1600-1682)
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  • of light, was particularly influential, not only during his lifetime
• Title: Short Bio of Earl MacPherson
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  • pinup artwork, was born in August, 1910. He was born on his grandparents'
  • farm and his father, who was short of money, apparently paid the country
  • doctor for the delivery with a pig. His father started to teach Earl to
  • Los Angeles. Before going on to complete his studies at the San Francisco
  • almost immediately after leaving his schooling, painting the portrait
  • of then-President Herbet Hoover's grandchildren. By the late 1930's
  • Carroll Girls. This brought him to the attention of the Kings of Pinup,
  • Brown and Bigelow, who moved him to their studio in St. Paul. Since
  • did not come into his own until 1943 when he created the first ‘Artist's
  • & Bigelow employees and clients rifling his wastebasket for unfinished
  • who offered him a bigger paycheque, his name above the title and the
  • year run of ‘The MacPherson Sketchbook’ calendar. During this
  • In 1951 MacPherson developed Polio and his assistant T. N. Thompson
  • / early 1960's, MacPherson started travelling again, moving to Tahiti
  • in 1960 and then travelling widely in the South Pacific. During this
• Title: Short Bio of Kasimir Malevich (1878-1935)
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  • (1926), on his theory; first to exhibit abstract geometric paintings; strove
  • White on White
  • which brought abstract art to a geometric simplicity more radical
  • than anything previously seen. He claimed that he made a picture
  • ‘consisting of nothing more than a black square on a white field’
  • in Moscow in 1915 and there is often difficulty in dating his work.
  • (There is often difficulty also in knowing which way up his paintings
  • should be hung, photographs of early exhibitions sometimes providing
• Title: Short Bio of Edouard Manet (1832-1883)
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  • French painter and printmaker who in his own work accomplished the
  • appearances of his own time and in stressing the definition of
  • its function as representation. Exhibited in 1863 at the Salon des
  • Refusés, his
  • young painters who later formed the nucleus of the Impressionists. His
• Title: Short Bio of Andrea Mantegna (1431?-1506)
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  • up his own workshop, declaring that he would no longer allow Squarcione to
  • profit by exploiting his talent.
  • were involved in this work, and his knowledge of the culture of ancient Rome
  • is apparent in his art. His paintings helped foster the growing interest in
  • Mantegna remained in Padua until 1459, when Ludovico Gonzaga persuaded him
  • to move to Mantua. He worked for the Gonzaga family for the rest of his life.
  • For them Mantegna created some of his greatest paintings. In one famous work,
  • women looking down from above. Rooms creating this sort of illusion became
  • 1486 shows his interest in imperial Rome. Mantegna died in Mantua in 1506 and
  • Andrea dedicated to his honor.
• Title: Short Bio of Franz Marc
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  • exhibitions with this name. He was a principal member of the First German
  • thirty-six, but not before he had created some of the most exciting
  • and touching paintings of the Expressionist movement.
• Title: Short Bio of Simone Martini (circa 1280-1344)
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  • Virgin and Child
  • Simone lived in Assisi for a time, where he produced one of his
  • palace and the cathedral. Among his works are
  • (National Gallery of Art, Washington, D.C.) and
  • achievements of the Sienese school.
• Title: Short Bio of Henri Matisse (1869-1954)
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  • Matisse pursued the expressiveness of colour throughout his career.
  • His subjects were largely domestic or figurative, and a distinct
  • was a born leader and taught and encouraged other painters, while Picasso,
  • inhibited them with his power: he was a natural czar.
  • Early on in his career Matisse was viewed as a Fauvist, and his
  • concentrated on reflecting the sensual color of his surroundings and
  • completed some of his most exciting paintings. In 1941 Matisse was
  • a wheelchair. It was in this condition that he completed the magnificent
  • Matisse's art has an astonishing force and lives by innate right in a
  • paradise world into which Matisse draws all his viewers. He gravitated to
  • He was a man of anxious temperament, just as Picasso, who saw him as his
  • their own fashion, dealt with these disturbances through the sublimation
  • of painting: Picasso destroyed his fear of women in his art, while Matisse
  • coaxed his nervous tension into serenity. He spoke of his art as being
  • brilliant man — but his art was a respite, a reprieve, a comfort to him.
  • inappropriate name for this gentlemanly intellectual: there was no wildness
  • in him, though there was much passion. He is an awesomely controlled artist,
  • and his spirit, his mind, always had the upper hand over the ‘‘beast'’
• Title: Short Bio of Hans Memling (1430?-94)
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  • established himself as a painter in Brussels. In style and composition his
  • painter. Because of this, Memling is thought to have studied under the older
  • In about 1466 Memling moved to Brugge, where his career prospered. Like
  • craftsmanship. Unlike most artists, his style varied little throughout his
  • depicting St. Ursula's journey to Rome, which he painted for the hospital's
• Title: Short Bio of Michelangelo (1475-1564)
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  • The High Renaissance
  • sculptor, painter, architect, and
• Title: Short Bio of Jean-François Millet (1814-75)
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  • of extreme penury. He exhibited at the Salon for the first
  • time in 1840, and married two years later. At this time,
  • the main influences on him were Poussin and Eustache Le Sueur,
  • mythological subjects or portraiture, at which he was especially
  • His memories of rural life, and his intermittent contacts with
  • Normandy, however, impelled him to that concern with peasant life
  • that was to be characteristic of the rest of his artistic career.
  • In 1848 he exhibited The Winnower (now lost) at the Salon,
  • and this was praised by Théophile Gautier and bought by
  • Devoted to this area as a subject for his work, he was one of
  • His paintings on rural themes attracted growing acclaim and between
  • Angélus (Musée d'Orsay), which 40 years later
  • Although he was officially distrusted because of his real or
  • imaginary Socialist leanings, his own attitude towards his chosen
  • his success partly stemmed from the fact that, though
  • compared with most of his predecessors and, indeed, his
  • he presented this reality in an acceptable form, with a religious
  • to become an artist, and his work certainly influenced the young
  • Although towards the end of his life, when he started using a lighter
  • palette and freer brushstrokes, his work showed some affinities
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• Title: Short Bio of Amedeo Modigliani
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  • Today his graceful portraits and lush nudes at once evoke his name, but
  • during his brief career few apart from his fellow artists were aware of his
  • (in his "blue
  • His friendship with Constantin Brancusi kindled Modigliani's interest in
  • sculpture, in which he would continue his very personal idiom, distinguished
  • Modern Art, New York City) exemplify his sculptural work, which consists
  • After 1915, Modigliani devoted himself entirely to painting, producing
  • some of his best work. His interest in African masks and sculpture remains
• Title: Short Bio of Piet Mondrian
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  • The 20th century is distinguished in art history for one invention above all:
  • abstraction. The Dutch artist Piet Mondrian (1872-1944) was a pioneer in this
  • development. His reputation rests on about 250 abstract paintings dating from
  • Mondrian named his style "neoplasticism." That is how he translated his own
  • Dutch phrase nieuwe beelding, which also means "new form" or "new image." The
• Title: Short Bio of Earl Moran
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  • many of his contempories Moran studied at the Chicago Art Institute, while
  • at the same time working for a large engraving house which specialised in
  • men's fashion illustrations. Moran studied in Chicago for two years before
  • In 1931 he moved back to Chicago and opened a small studio, specialising
  • with Brown and Bigelow and produced his first, and perhaps best known,
  • pin-up for the company: "Golden Hours" in 1933. This pin-up proved so popular
  • magazine ran an article on him in 1940, he was also well known as a cover
  • where also a time of some hardship for Moran following his bitter divorce
  • from his wife Mura. After the divorce had been settled he moved to Hollywood
  • and comenced painting film stars along with his calendar work for Brown and
  • Bigelow. One of his most famous models whilst in Hollywood was the young
  • Galleries and continued to paint for collectors until 1982 when his eyesight
  • His work can often be recognised by his heavy use of light and shadow.
• Title: Short Bio of Gustave Moreau (1826-1898)
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  • by his master's exotic
  • him in his feeling for the bizarre and developed a style that is highly
  • distinctive in subject and technique. His preference was for mystically
  • treated with an extraordinary sensuousness, his paint encrusted and
  • to court this as he had private means, and much of his life was spent
  • his pupils’ individual talents rather than trying to impose ideas on them.
  • His pupils included Marquet and
  • Matisse, but his favorite was
  • (the artist's house), which Moreau left to the nation on his death.
  • The bulk of his work is preserved there.
• Title: Short Bio of Berthe Morisot
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  • b. Jan. 14, 1841, d. Mar. 2, 1895, exhibited in all but one
  • later began her long friendship with
  • impressionists’ high-keyed palette and to abandon the use of black. Her own
  • Contributors to this page:
• Title: Short Bio of Rowena Morrill
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  • was born into a mobile military family in 1944 and had the opportunity to travel widely as a child. She absorbed a diversity of cultures in such places as Japan, Italy and many parts of the United States, to which she nows attributes much of her inspiration.
  • Rowena began painting at age of twenty-three due to her restlessness as a military wife, but it wasn't long before her painting evolved from a part-time avocation to a full-time occupation. In the course of the next ten years she brought together her diverse experience, vivid imagination, inspiration and talent and developed the style and technique for which she is now so well known.
  • Since 1975 she has lived and worked in New York and has become a celebrity to science fiction fans, artists and art students. Aside from illustrating book covers for more than a dozen publishers in both the United States and Europe, she has participated in gallery and museum exhibitions throughout the country, and her work is found in important private and museum collections worldwide.
• Title: Short Bio of Edvard Munch (1863-1944)
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  • in the early 20th century. His
• Title: Short Bio of Bartolomé Murillo (1617-82)
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  • was the first Spanish painter to achieve renown throughout Europe. In
  • addition to the enormous popularity of his works in his native Seville,
  • Murillo was much admired in other countries, particularly England. Here his
  • Murillo was born in 1617 in Seville. His parents died when he was a child,
  • expected, Murillo's early works show Castillo's influence. Under him Murillo
  • At some point in his life, probably in the late 1640s, Murillo is believed
  • to have visited Madrid. In any case, after 1650 his use of color and light
  • and his natural, human portrayal of figures seems to show the influence of
  • his death seems to show these influences, too. Because Murillo did not put a
  • date on most of his paintings, these changes in his style are often used to
  • determine the order in which he painted them.
  • affectionate studies of the ragged boys and the flower girls of Seville. His
  • the walls of the Capuchin monastery there. He fell from the scaffold, and his
  • death on April 3, 1682, apparently resulted from his injuries. Murillo was
• Title: Short Bio of Pierre Patel (1605-1676)
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  • with whose paintings his own have sometimes been confused.
  • In his day he was well known for his panels set into the decoration of
  • His son,
  • (1648-1708), painted in his father's manner.
• Title: Short Bio of GeorgePetty
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  • Louisiana in 1894 and after the family moved to Chicago Petty started working
  • in his father's photography studio. After graduating from high school Petty
  • Laurens. Petty then returned to Chicago, working as a photo retoucher for a
  • that Petty opened his first studio in Chicago, by which time his client list
  • George Petty is best remembered for his pin-up creation ‘The Petty Girl’,
  • based on Petty's wife, although like Vargas and many artist's after him, Petty
  • Esquire in 1940, soon after they had hired Vargas, however he continued to work
• Title: Short Bio of Piero (1420?-92)
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  • geometry and mathematics and was known for his contributions in these fields.
  • Italy. His father was a well-to-do tanner and shoemaker, and Piero's varied
  • hospital of Santa Maria Nuova in Florence. His experience and contacts in
  • architects as Donatello, Brunelleschi, Masaccio, and
  • Piero was skilled in perspective, and his paintings are also known for the
  • care with which he rendered the landscapes that provide the backgrounds for
  • his figures. Throughout his life he maintained his ties with Sansepolcro, but
  • painting, that portrays the count and his wife and was probably done in honor
  • In the last years of his
  • mathematics. It is said, but not proved, that he lost his sight toward the
  • end of his life. Piero died in Sansepolcro on Oct. 12, 1492.
• Title: Short Bio of Ludovic Piette (1826-77)
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  • He participated in the third and fourth Impressionist exhibitions
  • during a period when his works were almost indistinguishable
  • from those of Pissarro, who often stayed with him in his house
  • at work, which later belonged to Camille, the painter's son;
• Title: Short Bio of Camille Pissarro (1830-1903)
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  • who endured prolonged financial hardship
  • trouble, his later years were his most prolific. The Parisian and
  • provincial scenes of this period include
• Title: Short Bio of Jackson Pollock (1912-56)
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  • since this way I can walk around in it, work from the four sides and be
  • and the ‘drip and splash’ style for which he is best known emerged with
  • his canvas to the floor or the wall and poured and dripped his paint from
  • or knives’ (to use his own words), sometimes obtaining a heavy impasto
  • This manner of Action painting had in common with Surrealist theories
  • style of painting which avoids any points of emphasis or identifiable
  • parts within the whole canvas and therefore abandons the traditional idea
  • of composition in terms of relations among parts. The design of his
  • painting which matured in the late 1940s and early 1950s.
• Title: Short Bio of Raphael
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  • The High Renaissance
  • painter and architect of the Italian High
  • Raphael is best known for his Madonnas and for his large
  • figure compositions in the Vatican in Rome. His work is admired for
  • achievement of the Neoplatonic ideal of human grandeur.
  • ‘‘While we may term other works paintings, those of Raphael are living things;
• Title: Short Bio of Odilon Redon (1840-1916)
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  • French painter and graphic artist, one of the outstanding figures of
  • He had a retiring life, first in his native Bordeaux, then from 1870 in
  • Paris, and until he was in his fifties he worked almost exclusively in
  • black and white, in charcoal drawings and lithographs. In these he
  • developed a highly distinctive repertoire of weird subjects (strange
  • perverse delights, collects Redon's drawings, and with his mention in this
  • as a colorist that had lain dormant. Much of his early life had been
  • and cheerful personality, expressing himself in radiant colors in
  • by the end of his life, although still a very private person.
• Title: Short Bio of Rembrandt (1606-69)
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  • etcher of the 17th century, a giant in the history of art. His
  • mastery of chiaroscuro. Numerous portraits and self-portraits exhibit
  • a profound penetration of character. His drawings constitute a vivid
• Title: Short Bio of Pierre-Auguste Renoir (1841-1919)
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  • movement. His early works were typically Impressionist
  • fresh colors that were to distinguish his Impressionist work
  • and also learning the importance of good craftsmanship.
  • His predilection towards light-hearted themes was also influenced
  • Gleyre and there formed a lasting friendship with
  • who met at the Café Guerbois. His relationship with Monet was
  • particularly close at this time, and their paintings of the beauty
  • much hardship early in his career, but he began to achieve success
  • Paul Durand-Ruel began buying his work regularly in 1881.
  • By this time Renoir had 'travelled as far as Impressionism could
  • take me', and a visit to Italy in 1881-82 inspired him to seek a
  • greater sense of solidarity in his work. The change in attitude
  • which was evidently begun before the visit to Italy and finished
  • feathery brush-strokes characteristic of his Impressionist manner,
  • he called his ‘manière aigre’ (harsh or sour manner) in the mid 1880s,
  • unspecific settings. As his style became grander and simpler he also
  • (The Judgement of Paris; Hiroshima Museum of Art; 1913-14),
  • (by which time he was world-famous) he lived in the warmth of the south
  • of France. The rheumatism eventually crippled him (by 1912 he was
  • of his life, and in his last years he also took up sculpture,
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• Title: Short Bio of Auguste Rodin (1840-1917)
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  • influence on 20th-century sculpture. His works are distinguished by their
  • of humanity, and his works confront distress and moral weakness as well as
  • make his living. Four years later the death of his sister Marie so
  • him to pursue his art. In 1864 Rodin met a seamstress named Rose Beuret. She
  • became his life companion and was the model for many of his works. That year
  • Rodin submitted his
  • impression on him. The trip inspired his sculpture
  • which
  • was exhibited at the Paris Salon in 1877. It caused a scandal because the
  • Arts. Although the work was unfinished at the time of his death, it provided
  • His statues
  • St. John the Baptist Preaching,
  • The Thinker
  • collection of his own works and other art objects he had acquired. They
• Title: Short Bio of Dante Rossetti
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  • winning acclaim for his poem
  • London. Although he won support from John Ruskin, criticism of his paintings
  • caused him to withdraw from public exhibitions and turn to watercolors, which
  • could be sold privately. Subjects taken from Dante Alighieri's Vita Nuova
  • (which Rossetti had translated into English) and Sir Thomas Malory's Morte
  • Darthur inspired his art in the 1850s. His visions of Arthurian romance and
  • medieval design also inspired his new friends of this time, William Morris
  • drawings, and his memory of her after she died (1862) is implicit in the
  • (1863; Tate Gallery, London). Toward the end of his life,
  • Rossetti sank into a morbid state, possibly induced by his disinterment
  • (1869) of the manuscript poems he had buried with his wife and by savage
  • critical attacks on his poetry. He spent his last years as an invalid
• Title: Short Bio of Henri Rousseau (1844-1910)
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  • His nickname refers to the job he held with the Paris Customs Office
  • (Customs Officer). Before this he had served in the army, and he later
  • claimed to have seen service in Mexico, but this story seems to be
  • a product of his imagination. He took up painting as a hobby and
  • accepted early retirement in 1893 so he could devote himself to art.
  • His character was extraordinarily ingenuous and he suffered much ridicule
  • them as praise) as well as enduring great poverty. However, his faith
  • in his own abilities never wavered.
  • but it was the innocence and charm of his work that won him the
  • gave a banquet, half serious half burlesque, in his honor.
  • Rousseau is now best known for his jungle scenes, the first of which is
  • imaginative power, in which he showed his extraordinary ability to retain
  • the utter freshness of his vision even when working on a large scale and
  • his experiences in Mexico, but in fact his sources were illustrated books
  • His other work ranges from the jaunty humor of
  • The Football Players (Philadelphia Museum of Art, 1908)
  • Rousseau was buried in a pauper's grave, but his greatness began to be
  • widely acknowledged soon after his death.
• Title: Short Bio of Peter Rubens
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  • 30, 1640 was the most renowned northern European artist of his day, and is
  • now widely recognized as one of the foremost painters in Western art history.
  • Rubens's upbringing mirrored the intense religious strife of his age — a
  • fact that was to be of crucial importance in his artistic career. His
  • escape religious persecution, but after his death (1587) the family moved
  • his early training as an artist and a courtier. By the age of 21 he was a
  • master painter whose aesthetic and religious outlook led him to look to Italy
  • as the place to complete his education. Upon arriving (1600) in Venice, he
  • Hopital du Petit-Paris, Grasse, France) and the Chiesa Nuova (1607; now in
  • Musee de Peinture et Sculpture, Grenoble, France), his first widely
  • acknowledged masterpieces. His reputation established, Rubens returned
  • (1608) to Antwerp following the death of his mother and quickly became the
  • In the mature phase of his career, Rubens either executed personally or
  • of painting and drawing. A devout Roman Catholic, he imbued his many
  • This aggressively religious stance, along with his deep involvement in public
  • sharply with the more private and secular paintings of his great Dutch
  • contemporary, Rembrandt. But if his roots lay in Italian classical art and
  • by injecting into his works a lusty exuberance and almost frenetic energy.
  • painters’ workshops, in which fully qualified artists executed paintings
  • works produced by this studio varied considerably from work to work. Among
  • Maximum number of matches per file exceeded.
• Title: Short Bio of Donald Rust
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  • Donald Rust was born in Erie, Pennsylvania in 1932. He began drawing and painting at a very early age and has never had the desire to be anything but a serious artist. His early work was directly influenced by his grandfather, Emil Rust, Gil Elvgren, Bob Toombs, and Norman Rockwell. However, he feels there has been no one single influence in his wildlife art and insists that all wildlife artists have affected his style.
  • For many years, Rusty's paintings concentrated on circus and portrait subjects; but recently, wildlife subjects have intrigued him more and more. His portraits include such prominent individuals as: Emmett Kelly Sr., Emmett Kelly Jr., Merle Evans (Ringling band leader), Norman Rockwell, and Molly Rockwell. In fact, D.L. Rust and Norman Rockwell used to correspond regularly and in one letter Rockwell emphasized that Rusty's artwork "is very good indeed."
  • Rust's paintings hang in the Ringling Museum of the Circus, Sarasota, Florida, the Norman Rockwell Museum, Philadelphia, Pennsylvania, and the National Portrait Gallery of the Smithsonian Institution, Washington D.C.
  • He has illustrated books for Valkyrie Press, A.S. Barnes & Co., and World of Yesterday Publications; and has provided illustrations for Reader's Digest and other magazines. His artwork has also appeared on collector's plates, appointment books, wall calendars, porcelain mugs, playing cards and jigsaw puzzles.
  • Rusty's ability to capture nature lies between fantasy and reality. Realism is his style, but he wants to take the collector's imagination one step further. He is an artist sensitive to nature and its surroundings. The beauty of his artistic documentation is distinctly his own. Rusty takes us not just to a creative visual, but to a place and a story.
  • Rusty is the father of five children and currently resides in Florida with his wife, Faith.
• Title: Short Bio of John Sargent (1856-1925)
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  • as a painter. After studying with Carolus-Duran, he achieved
  • a great reputation for his portraits, employing a style that
  • he came to know most of them, and they reacted to his work in varying
  • in sending his son to see him in London, where Sargent spent
  • the major part of his working life, described him as
  • he had a close and mutually profitable relationship.
  • superficiality. At this time he visited Monet at Giverny
  • on several occasions, painting two memorable portraits of him:
  • Claude Monet in his Bateau-Atelier
  • (1887; National Gallery of Art, Washington).
  • this was unjust, especially in relation to some of his works
  • was to be of use to Monet in his larger compositions.
  • Sargent persuaded Monet to exhibit at the New English Art Club,
• Title: Short Bio of Egon Schiele
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  • Egon Leo Adolf Schiele
  • Egon Leo Adolf Schiele, b. June 12, 1890,
  • d. Oct. 31, 1918, was at odds with art critics and society for most of his
  • Schiele made eroticism one of his major
  • themes and was briefly imprisoned for obscenity in 1912. His treatment of
  • in 1907, Schiele soon achieved an independent anticlassical style wherein his
  • as that of his father-in-law,
  • Museum, New York City), and a series of unflinching and disquieting
  • The Family (1918; Oesterreichische
• Title: Short Bio of Georges Seurat (1859-1891)
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  • Pointillism. Using this techique, he created huge compositions with
  • when looking at the entire work but making his paintings shimmer with
  • brilliance. Works in this style include
  • for most of this section.
  • ultimate example of the artist as scientist. He spent his life studying color
  • theories and the effects of different linear structures. His 500 drawings
  • alone establish Seurat as a great master, but he will be remembered for his
  • technique called pointillism, or divisionism, which uses small dots or
  • the Ecole des Beaux-Arts in 1878 and 1879. His teacher was a disciple of
  • After a year of military service at Brest, Seurat exhibited his drawing
  • at the official Salon in 1883. Panels from his painting
  • Bathing at Asnieres
  • other artists founded the Societe des Artistes Independants. His famous
  • centerpiece of an exhibition in 1886. By then Seurat was spending his winters
  • in Paris, drawing and producing one large painting each year, and his summers
  • on France's northern coast. In his short life Seurat produced seven
  • monumental paintings, 60 smaller ones, drawings, and sketchbooks. He kept his
  • private life very secret, and not until his sudden death in Paris on March
  • 29, 1891, did his friends learn of his mistress, who was the model for his
• Title: Short Bio of Joshua Shaw
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  • Joshua Shaw was born in Bellingborough, Lincolnshire, in northeast
  • England. Apprenticed in his youth to a sign and house painter, he
  • was primarily self-taught as an artist. During his residence in Bath
  • from 1805 to 1812 and later in London, he exhibited regularly at the
  • to Philadelphia. A key figure in the development of landscape painting
  • in America, he actively participated in the artistic life of his
  • executed after his arrival, is a prime example of his mature style.
  • this particular view projects a sense of man's harmony with a world
  • Jeffersonian audience. The setting, while not topographically accurate,
  • is the Avon Valley not far from the fashionable city of Bath. It was an
  • of shipping and more buildings increase this work's topographical flavor.
  • his British followers, especially Richard Wilson. While their influence
  • paintings by Shaw's older contemporaries — Julius Caesar Ibbetson, Philip
  • topographical views of mountainous landscapes, often populated with
  • cattle, bear a close resemblance to his conceptions. As exhibitors at
  • atmospheric clarity, achieved through subtle gradations of pink and
  • blue tones, touched with yellow, recall not only the effects achieved
  • Although Shaw drew on his American experience for inspiration, especially
  • in his depictions of Native Americans in historical settings, he
  • the end of his life, often including picturesque remnants of castles
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• Title: Short Bio of Paul Signac
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  • gave him financial independence. Unlike Seurat, he had virtually no formal
  • training; he taught himself to paint by studying the works of
  • of painting with dots — or "points" in French — of color, which led to the
  • Independants (1908-34), Signac encouraged younger artists by exhibiting the
• Title: Short Bio of Alfred Sisley
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  • 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,
  • His family gave him every support, sending him to Gleyre's studio,
  • Bazille and Renoir, and later at Marlotte with Renoir. His style
  • at this time was deeply influenced by
  • he first exhibited at the Salon in 1867 it was as the pupuil of
  • By this time, however, he had started to frequent the Café Guerbois,
  • and was becoming more deeply influenced by the notions which were
  • In the mean time, his father had lost all his money as a result of the war,
  • 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 was living, one of which,
  • (1872; Brooks Memorial Gallery, Memphis, USA)
  • influence on him, and a series of landscape paintings of the area
  • shows the way in which his dominent and evident lyricism still respects
  • the demands of the subject-matter. From his early admiration for Corot
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• Title: Short Bio of Yves Tanguy (1900-55)
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  • de Chirico
  • his life, marrying the American Surrealist painter
  • but his imagery is highly distinctive, featuring half marine and half
  • lunar landscapes in which amorphous nameless objects proliferate in a
• Title: Short Bio of Dorothea Tanning
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  • She attended Knox College in Galesburg, studied art in Chicago, and in
  • children's games and fantasies to experiments with different painting and,
• Title: Short Bio of James Tissot
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  • French painter and graphic artist. Early in his career he painted historical
  • of contemporary life, usually involving fashionable women. Following his
  • long, one can see a footman in silk stockings brushing and shining the
  • His pictures are distinguished most obviously by his love of painting
  • women's costumes: indeed, his work — which has a fashion-plate elegance
  • works on the history of costume than on the history of painting.
  • behavior. In 1882, following the death of his mistress Kathleen Newton
  • thereafter he devoted himself to religious subjects. He visited the Holy
  • Land in 1886-87 and in 1889, and his illustrations to the events of the
  • drawings were exhibited.
  • For many years after his death Tissot was considered a grossly vulgar
  • artist, bug there has been a recent upsurge of interest in him, expressed
  • in sale-room prices for his work as well as in numerous books and
  • exhibitions devoted to him.
• Title: Short Bio of Henri Toulouse-Lautrec (1864-1901)
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  • observed and captured in his art the Parisian nightlife of the period.
• Title: Short Bio of Jesse Trevino
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  • Jesse Treviño, who won his first art contest when he was in grade school,
  • Art Museum. In recent years Treviño has become known for his building-size
  • murals and his large photorealistic style paintings. His nine-story by
  • 40 feet mural, titled Spirit of Healing, on Santa Rosa Children's
  • in New York, and was about to go to Paris, when he received his draft
  • notice for Vietnam. There he lost his right arm in combat. While recovering
  • he turned again to his love of art. He enrolled in a drawing course at
  • San Antonio College and gradually learned to paint and draw with his
  • left hand. Treviño earned his bachelor's degree from Our Lady of the
  • Lake University and a master's degree from the University of Texas. His
• Title: Short Bio of Jean-François Troy (1679-1752)
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  • French Rococo painter known for his tableaux de mode, or scenes of
• Title: Short Bio of Joseph Turner (1775-1851)
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  • Turner, whose work was exhibited when he was still a teenager. His entire
  • life was devoted to his art. Unlike many artists of his era, he was
  • successful throughout his career.
  • 1775. His father was a barber. His mother died when he was very young. The
  • boy received little schooling. His father taught him how to read, but this
  • was the extent of his education except for the study of art. By the age of 13
  • he was making drawings at home and exhibiting them in his father's shop
  • Turner was 15 years old when he received a rare honor — one of his
  • paintings was exhibited at the Royal Academy. By the time he was 18 he had
  • his own studio. Before he was 20 print sellers were eagerly buying his
  • He quickly achieved a fine reputation and was elected an associate of the
  • visited he studied the effects of sea and sky in every kind of weather. His
  • early training had been as a topographic draftsman. With the years, however,
  • he developed a painting technique all his own. Instead of merely recording
  • expression of his own romantic feelings.
  • As he grew older Turner became an eccentric. Except for his father, with
  • watch him while he painted. He gave up attending the meetings of the academy.
  • None of his acquaintances saw him for months at a time. Turner continued to
  • travel but always alone. He still held exhibitions, but he usually refused to
  • sell his paintings. When he was persuaded to sell one, he was dejected for
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• Title: Short Bio of Diego Velázquez (1599-1660)
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  • supreme artists of all time. A master of technique, highly individual in
  • shortly before his baptism on June 6, 1599. His father was of noble
  • Portuguese descent. In his teens he studied art with Francisco Pacheco, whose
  • the first painter of common things than second in higher art." He learned
  • much from studying nature. After his marriage at the age of 19, Velasquez
  • went to Madrid. When he was 24 he painted a portrait of Philip IV, who became
  • his patron.
  • The artist made two visits to Italy. On his first, in 1629, he copied
  • Except for these journeys Velasquez lived in Madrid as court painter. His
  • Duties of Velasquez’ royal offices also occupied his time. He was
  • In 1660 Velasquez had charge of his last and greatest ceremony — the
  • wedding of the Infanta Maria Theresa to Louis XIV of France. This was a most
  • from which he died on August 6.
  • artists of his country." He was a master realist, and no painter has
  • surpassed him in the ability to seize essential features and fix them on
  • canvas with a few broad, sure strokes. "His men and women seem to breathe,"
  • it has been said; "his horses are full of action and his dogs of life."
  • development of art. Others who have been noticeably influenced by him are
  • James McNeill Whistler.
  • His famous paintings include
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• Title: Short Bio of Leonardo (c.1485-1532)
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  • The High Renaissance
  • sculptor, architect, and engineer whose genius, perhaps more than that
  • Renaissance humanist ideal. His
  • widely popular and influential paintings of the Renaissance. His
  • inventiveness that were centuries ahead of his time.
• Title: Short Bio of Jim Warren
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  • Born: Nov 24 1949 in Long Beach, CA to Don and Betty Warren. Jim's brother Rick was 2 and his sister Kathy was 5.
  • Beginnings: Started painting at age 1, like all children. Went through the usual string of career choices such as: artist, magician, artist, rock star, artist etc. I officially decided in high school in 1967 that an artist, a "Rich and Famous" one at that, was what I was going to be!
  • Tools: Traditional oil paint on stretched canvas which I coat with a gesso primer. Only paintbrushes are used to paint with and NO airbrush, as people have sometimes thought.
  • Art Training: "I'm basically self taught. I learned some basics in my high school art class. At college I attended several life-drawing classes, and always studied the great masters at museums."
  • Philosophy of Art: "To hell with the rules...paint what you like."
  • 1990: Painted "Earth...Love It or Lose It." This painting received critical acclaim, was featured on posters, magazines, billboards, t-shirts ect. and soon became the visual representation for the global environmental movement.
  • 1997: To celebrate Jim's first 30 years as an artist, his fans convince him to release his first book entitled "The art of Jim Warren: An American Original."
  • Currently: Jim lives in Clearwater, FL with his wife, Cindy, daughter Drew (born in 1992) and his son, Art (born in 1994). Jim's stepdaughter, Rebecca (born in 1974) lives in California. Jim feels that maintaining a close family with a demanding career is one of his greatest accomplishments, and thanks his family for all their support and assistance. His entire family helps with his art business, doubling as Art Director, Assistant (his wife) and Models (his children).
• Title: Short Bio of John Waterhouse (1849-1917)
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  • Early in his career he painted Greek and Roman subjects, but in the
  • but his handling of paint is quite different from theirs — rich and
  • sensuous. His work includes such classic Victorian anthology pieces as
• Title: Short Bio of Jean-Antoine Watteau (1684-1721)
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  • graceful paintings show his interest in theater and ballet, Antoine Watteau
  • is probably best known for his fetes galantes. These romantic and idealized
  • In 1702 he traveled to Paris, where he supported himself by turning out
  • for the stage, passed on to Watteau his love of the Italian theater and the
  • treasures at the Luxembourg Palace. This collection included a group of
  • first of three versions of the myth of Cythera, the island of love for which
  • a time in the residence of Crozat, but after a while he left to live in
  • seclusion. This began the period of his major paintings, including the fetes
  • In 1720 he returned to Paris and stayed with his friend
  • E.F. Gersaint, an art dealer. For him he did
  • The paintings of Watteau and his fellow rococo painters
  • fell from favor in the late 1700s. His work was not
• Title: Short Bio of Benjamin West (1738-1820,)
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  • historical, religious, and mythological subjects who had a profound
  • influence on the development of historical painting in Britain. He was
  • historical painter to George III (1772-1801), a founder of the Royal
  • help in this section.
  • and it was said that he got his first paints from his Indian friends. When he
  • was 16 his Quaker community approved art training for him. For a time West
  • studied in Philadelphia and New York City. He also served as a militia
  • III commissioned him to paint several pictures, and in 1772 he appointed West
  • historical painter to the king with an annual allowance of 1,000 pounds. By
  • West painted historical and religious subjects on huge canvases. Among his
  • painting in which he broke away from classical costumes;
  • which anticipated
  • figures as somewhat stiff, his colors harsh, and his themes uninspired, but
  • they respect his leadership and influence on later artists. West died on
• Title: Short Bio of James Whistler (1834-1903)
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  • James Whistler
  • Whistler, James Abbott McNeill
  • American-born painter and graphic artist, active mainly in England.
  • He spent several of his childhood years in Russia (where his father had
  • gone to work as a civil engineer) and was an inveterate traveller. His
  • training as an artist began indirectly when, after his discharge from
  • etching as a US navy cartographer. In 1855 he went to Paris, where he
  • and decoration in general. Through his friend
  • inspired much of his early work. The circles in which he moved can be
  • in which Whistler is portrayed alongside Baudelaire,
  • He settled in London in 1859, but often returned to France. His
  • was well received at the Royal Academy exhibition in 1860 and he soon
  • made a name for himself, not just because of his talent, but also on
  • account of his flamboyant personality. He was famous for his wit and
  • dandyism, and loved controversy. His life-style was lavish and he was
  • and Oscar Wilde were among his famous friends.
  • Whistler's art is in many respects the opposite to his often aggressive
  • personality, being discreet and subtle, but the creed that lay behind it
  • not to convey literary or moral ideas, and he often gave his pictures
  • appeal to the artistic sense of eye or ear, without confounding this with
  • Maximum number of matches per file exceeded.
• Title: Short Bio of Joseph Wright
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  • byname WRIGHT OF DERBY (b. Sept. 3, 1734, Derby, Derbyshire,
  • European painter of artificial light of his day.
  • of the Industrial Revolution, and his depictions of scenes lit by
  • moonlight or candlelight combine the realism of the new machinery with
  • science. His pictures of technological subjects, partly inspired by
  • was also noted for his portraits of English Midlands industrialists