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Bache,
Otto
(1839-1927) Danish
painter. At the age of 10 he became a
pupil of the painter
Wilhelm
Marstrand
at the Royal Danish Academy of Fine Arts
in Copenhagen. In the beginning he
produced paintings that look almost
identical to those produced by his elder
colleagues, Julius Exner and Frederik Vermeren,
who painted peasants in a realistic
and often romantic idyllic way. He
received the Academy's traveling
scholarship and went to the Netherlands
and Belgium, where he became acquainted
with the modern Flemish history
painting, and to Paris where he became a
pupil of
Gerôme.
The French
realist painters of mid-19th-century had
a great influence on his style as well
as the working people in the city and
animals did have, he never became a
plein air painter. Back in Denmark he
began painting animal- and history
paintings and portraits, furthermore he
became interested in descriptions of
everyday life, and was the first "Street
Life"-painter in Copenhagen. He became
professor and director at the
Royal Danish Academy of Fine Arts.
(Realism) |
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To the left.
Bache,
1882: "Marshal
Stig and the Conspirators Ride from Finderup Barn
after the Murder of Erik Klipping at St. Caecilia's
Night 1286",
The Museum of Frederiksborg, Hilleroed, Denmark.
Click
here
for enlargement. |
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To the right. "A String of
Horses outside an Inn",
1878. The painting belongs to the Danish Royal Family. |
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Bacon,
Francis (1909-1992).
Self-taught artist. Born in Dublin to English parents. In 1925
he left Ireland and moved to London and later to Berlin and Paris. In
1929 he returned to London and make a living as furniture- and interior
designer, he exhibited furniture, rugs and paintings in his studio. In
1933 his work was included in a group exhibition in London at the Mayor
Gallery, and the following year he organized his own solo exhibition at
Sunderland House, London. In 1944 he began to paint intensively. From 1947-48 he did
not paint at all. After 1947 he mainly lived in Monte Carlo, where he spent
much of his time indulging his passion for gambling. In 1949 his first major solo exhibition took place at
the Hanover Gallery in London. During World War II he joined the Civil
Defence Corps. In the period 1950-52 he traveled to South Africa. |
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In
1953 his first solo exhibition outside England was held at the Durlacher
Brothers, New York. In 1954 he visited Italy - his work was exhibited at
the Venice Biennale. In 1955 his first retrospective was held at the
Institute of Contemporary Art, London. In
1959 he was given a solo
exhibition at the Sào Paolo Bienal, Brazil. In 1962 the Tate Gallery,
London, organized a major retrospective of his work. Other exhibitions
of his work were held at the Solomon R. Guggenheim Museum, New York,
1963, at the Grand Palais in Paris, 1971, and at the Metropolitan Museum
of Art, New York, 1975.
He was influenced by
Picasso until the 1940s, from the mid 1940s to the
1950s by the surrealists, and in the 1950s by e.g.
Velàzquez
and
van
Gogh.
His
paintings, often distortion of the human figures and self-portraits,
expressed satire, horror, pain, vulnerability and loneliness.
(Fauvism)
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"Girl Running on a
Balcony", 1912. |
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Balla, Giacomo
(1871-1958).
Italian artist. He was born in Turin, and he died in Rome. In
1891 he studied at Accademia Albertina di Belle Arti and
the Liceo Artistico in Turin, the
following year he studied at the
university in Turin. In 1895 he moved to
Rome, where he worked as an illustrator,
caricaturist and portrait-painter. He
represented Italy at the Venice Biennale
in 1899. In 1900 Balla spent seven month
in Paris assisting the illustrator
Serafino Macchiati. From 1903 he took part
in several exhibitions, in 1909 his works
were represented at Salon d'Automne in
Paris. In 1910 he joined the futurists and
was signatory to the second Futurist
Manifesto,
Technical Manifesto of Futurist Painting
(The Founding Manifesto of Futurism was published in
1909). In 1912 he made journeys to London
and
Düsseldorf,
where he began painting abstract works. In 1914 he experimented with
sculptures, and the Galleria Sprovieri in Rome showed his
results. Balla has also designed furniture an clothes. In 1915,
together with Fortunato Depero, Balla wrote the manifesto
"Ricostruzione futurista
dell'universo" (about remodelling the
world) - 21 Futurist manifestoes have been
published in the period 1909-31, dealing
with art forms e.g. sculpture, painting,
architecture, literature, theatre,
set design, film and also women,
noise and the futurist kitchen. Balla's
first solo exhibition was held in Rome in
1915, and the following years solo
exhibitions of his works were held in e.g.
the USA. |
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By
the 1920's, the novelty of Futurism had worn
off, the style became associated with Fascism
and in the 1930s Balla turned towards
abstraction.
(Futurism)
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"Abstract Speed + Sound", 1913-1914,
Solomon R. Guggenheim Museum, New York. |
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"Dynamism
of a Dog on a Leash"
(Dinamismo di un
cane al guinzaglio),
1912,
Albright-Knox Art Gallery, Buffalo,
New York.
Balla's futurists paintings showed motion
through repetition. In "Dynamism of a Dog
on a Leash", the dynamics result from the dog's whirl of legs, the repetition of the
leash, and the many-footed woman. |
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"Forme
grido viva l’Italia", Oil on Canvas,
1915,
Galleria nazionale d’arte moderna, Rome.
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Linee-forza del Pugno de Boccioni", a
metal sculpture, 1918-1919, private
collection. |
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Baselitz,
Georg (1938). Born as Hans-Georg Kern in Deutschbaselitz in Saxony, the later East Germany.
He made his paintings appear from a different angle as the traditional,
he turned his subjects upside down. Just like
Jackson Pollock
he used his whole body to paint.
In 1956 Baselitz moved to East Berlin, where he studied painting at the "Hochschule für bildende und angewandte Kunst"
(College of Fine and Applied Arts), he got expelled
from college. From 1957-62 he studied at the "Hochschule der bildenden Künste" (Academy of Fine Arts) in West Berlin. He
became interested in the writings of
Kandinsky,
Malevitsch and Nay, and he became friend with A. R. Penck.
In 1961 he visited
Paris and became intensely interested in the works of Moreau und Picabia - the same
year he took his last name Baselitz after his native town. In searching
for alternatives to Socialist Realism in art he became interested in the
art of mentally ill persons. |
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In 1963 he had his first solo exhibition at "Galerie Werner & Katz" in
Berlin, it caused a scandal, several paintings were confiscated because
of impropriety. In 1965 he spent six month in Villa Romana in Florence,
the first of his yearly visits to Italy.
In 1966 he moved to Osthofen
near Worms and started making woodcuts, and did his first upside down
painting. In 1975 he moved to Derneburg near Hildesheim, and for the
first time he traveled to New York and to Brazil to the São Paulo
Biennale. In 1976 a retrospective exhibition of his works was held at "Staatsgalerie
Moderner Kunst" in Munich, and he established a studio in
Florence, which he used until 1981. From 1978-83 he was professor at "Staatliche Akademie der Bildenden
Künste" (State Academy of Fine
Arts) in Karlsruhe. In 1980 he was chosen as Germany's representative
at the Venice Biennale. During the 1980s and in the early 1990s his
paintings were often exhibited at the New York Gallery "Michael Werner".
In 1983 he left the academy in Karlsruhe to assume a professorship at
the "Hochschule der Künste" (Academy of
Fine Arts), Berlin, which he gave up in 1988 but returned to in
the early 1990s.
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Bayeux
Tapestry
(1073-83)
housed in "Musée de la Tapisserie de Bayeux"
(Museum of the Bayeux Tapestry), Bayeux, Normandy, France.
The tapestry is a
70 metres long and 0,5 metres wide embroidery frieze
(pictorial panels and Latin text), stitched in wool on linen,
it supposed to be commissioned by Bishop Odo of Bayeux (Earl
of Kent), the half-brother of William the Conqueror, for The
Cathedral of Bayeux.
From a Norman point of view, the tapestry tells the story of
William the Conqueror and his invasion of England including
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the Battle of Hastings on October 14, 1066.
The 58 scenes portray in detail the progress of William I of
England to the throne.
The style of the needlework indicates that the tapestry was
made in England, probably in Kent and probably by nuns. In
France the tapestry was known as "La Tapisserie de la
Reine Mathilde" (Queen Matilda's Tapestry) - made by The
Queen Matilda, the wife of William, and her
ladies-in-waiting.
The tapestry contains a representation of a comet which is
similar to Halley's Comet.
The embroidery could be looked at as a comic strip of the
past.
During the French revolution the Tapestry has been used as
tarpaulin by the revolutionaries.
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1 |
William's
men hurry to Beaurain. |
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William
and his lords celebrate at a banquet. |
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William
crosses over the sea. |
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The
fleet sails under the protection of the pope and lands
at Pevensey. |
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The
Battle of Hastings 1066. A
set of eight stamps issued 1966 by Great Britain to
commemorate the 900th anniversary of the Battle. |
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"A Tobacco Party", 1828. Wilhelm
Bendz himself is to the left of the
pipesmoking man, who stands in front
of the window. |
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Bendz,
Wilhelm Ferdinand
(1804-1832). Danish painter, known for
his portraits, genre paintings and
interior paintings.
He was born in Odense. In 1820 |
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Bendz was
admitted to
The Royal Danish Academy of Fine
Arts in Copenhagen, where
he,
among others,
was
apprenticed
under
Eckersberg,
who together with the Munich
school got great influence on his
art. The Munich School consisted of
German romantic painters who
gathered in Munich during the
nineteenth century. Wilhelm Leibl
and Franz von Lenbach gave the
Munich School its international
reputation, and Karl von Piloty was
the founder of the school, he
introduced, as teacher at the Munich
Royal Academy, the romantic realism.
The representational subjects of the
Munich School painters range from
landscapes, genre painting,
portraits to historical, religious
and allegorical paintings. From
1831-32 Bendz lived in Munich - in
1832
on his journey to Rome he died in
Vincenza, Italy. He exhibited at
Charlottenborg in Copenhagen eleven
times in the period 1824-32.
(Realism) |
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Lithograph by Peter Gemzöe, c1830,
showing the painters Wilhelm Bendz
(to the left) and Chr. Holm. Belongs
to The Royal Library, Copenhagen. |
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"Ecstasy of St Theresa",
1645-52, S. Maria della Vittoria, Rome.
Click
here
for enlargement. |
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"Elephant Obelisk", 1667.
Click
here for enlargement. |
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"Pluto
and Proserpina"/
"The Rape of Proserpine", 1621-22,
Galleria Borghese, Rome.
Click
here for enlargement. |
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Bernini's
Colonade, St. Peters Square, Rome and Equestrian
Statue of King Louis XIV, Versailles. |
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Equestrian
Statue of King Louis XIV. |
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Bernini,
Gian/Giovanni Lorenzo (1598-1680).
Italian sculptor,
architect and painter, generally considered
the greatest artist of the Roman Baroque.
Bernini was born in Naples, and he died in
Rome. In 1906 he went to Rome with his
father Pietro Bernini, his teacher and a
talented sculptor of the time.
Quite a few of
Bernini's early statues, e.g. "Pluto and
Proserpina"/"The Rape of Proserpina",
1621-22, and "David", 1623-24, were executed
for one of the most important patron of art
Cardinal Scipione Borghese - Bernini was
also patronized by the powerful Barberini
family.
Bernini worked mainly
in Rome, partly for private patrons and
partly at St. Peters Basilica, where he was
the leading architect and sculptor for
alternating popes.
In St. Peters
Basilica Bernini was responsible for the
majority of the Baroque interior e.g.: The
bronze
tabernacle/baldachin
over the high altar built to fill the
space beneath the cupola. The Throne of St.
Peter/The Chair of Saint Peter in the apse.
The Scala Regia (a magnificent staircase
connecting St. Peters Basilica to the papal
apartments. The equestrian statue
of Constantine. Saint Peter's Square and the
Colonnade.
Some of Bernini's
most famous sculpture groups are: "The
Ecstasy of Saint Teresa"
1645-52, Cappella Cornaro in the baroque
church Santa Maria della Vittoria, Rome. The
Fountain with Elephant and Obelisk, 1667-69,
Piazza Minerva. "The
Fountain of the Four Rivers"
Piazza Navona, 1648-51, representing the
four continents known at the time and their rivers, The Danube
(Europe), The Ganges River (Asia),
The Nile
River (Africa), The River Plate/Río de la Plata, (America) - the
fountain was a co-operation between artists - Bernini their
supervisor.
In the period 1658-1670 Bernini designed three churches: San
Tommaso di Villanova in Castel Gandolfo, a small town in the Alban
Hills outside Rome dominated by the Papal summer residence, Santa
Maria dell'Assunzione in Ariccia south east of Rome and
Sant'Andrea al Quirinale in Rome.
In 1665 Bernini was invited to Paris by Louis 14 to finish
designing the Louvre, his plans were not approved. He executed an
equestrian statue of the Sun King (le Roi Soleil), 1669-70, not a
very elegant equestrian statue, the horse is chocked up
under
the belly and appears more down-to-earth than presumably
originally intended.
Back in Rome Bernini continued his work at St. Peters Basilica.
Bernini's sculptures are identical with expressive energy, the
theatrical ("The
Ecstasy of Saint Teresa"), dynamics, monumentality,
strength, temperament - the great feelings.
Bernini also wrote comedies and executed a series of paintings
among
these several self-portraits.
(Baroque) |
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The Throne of St. Peter, 1657-66,
St. Peter's Basilica. |
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The
Baldachin, 1624-33, St. Peter's Basilica. |
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The
Colonnade of St. Peter's Basilica,
1656-67.
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The
Scala Regia at the Vatican Palace, 1664. |
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The
Scala Regia at the Vatican Palace,
c. 1835. Drawing by W.L. Leitch, engraving by E. Challis. |
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"David", c.1623, for Cardinal Scipione
Borghese,
Galleria Borghese, Rome.
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"The
Fountain of the Four Rivers"
Piazza Navona, Rome.
Click
here
for enlargement. |
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Beuys, Joseph (1921-1986). German Conceptual Artist (installations,
performances, sculptures, video art), member of Fluxus*. He transformed essentially worthless
materials into artistic objects e.g. felt, fat
(Chair
with Fat), honey, blood, wax, copper. Beuys believed
that defence of nature was
defence of man himself, he has called many of his sculptures "social
sculptures" (the installation The
Pack, 1969) to underline that art
includes much more than aesthetics,
and he formulated the statement "Everyone is an artist" - he was a humanist, an influential teacher and a political
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activist - the German
Green Party ("die Grünen") was
founded by environmentalists and peace activists including Beuys. Beuys was born in Krefeld in the Federal State of North Rhine-Westphalia
(NRW)
in western Germany, and he died in Düsseldorf. In his school days in Rindern
and Kleve am Niederrhein, Beuys got knowledge of the Flemish sculptor and painter Achilles Moortgat (1881-1957), he often
visited his studio, and got influenced by sculptures executed by the German
sculptor Wilhelm
Lehmbruck (1881-1919). In 1940 Beuys began to study medicine,
interrupted his studies to join the Air Force as a fighter pilot.
During a mission in 1943 he was seriously contused, when his plane crashed
in a desert region of southern Russia, that experience influenced his
later works. After the war, he decided to devote his life to art. From 1947-51
he studied at Staatliche Kunstakademie Düsseldorf. In 1953
his patrons, the brothers Franz Joseph
and Hans van der Grinten, organized his first solo exhibition in their
house in Kranenburg. In 1959 Beuys married the art educator Eva Wurmbach.
In 1961 Beuys was appointed professor in the Department of Sculpture at Staatliche Kunstakademie
Düsseldorf.
In 1962 Beuys joined the Fluxus movement. In 1963 he was co-organizer of Festum Fluxorum Fluxus
at Staatliche Kunstakademie Düsseldorf, and in 1964 he exhibited for the
first time at Documenta in Kassel. I 1967 Beuys founded the German Student
Party (Deutschen Studentenpartei, DSP). In 1972 he was dismissed from
Staatliche Kunstakademie - he had allowed more than 50 students, who has not
been offered admission at the Academy, to join his lessons. In 1973 he
founded "Freien Internationalen
Hochschule für Kreativität und interdisziplinäre Forschung, FIU. In 1976
he ran for election to the
German Bundestag. I 1978 he became a member of the Academy of fine Arts in
Berlin. In the 1970s were held a great number of exhibitions of his works
in Europe and the US. In 1976 and 1980 Beuys represented Germany at the
Venice Biennale. In 1979 a retrospective was held at the Guggenheim
Museum in New York, and he met
Andy Warhol for the first time in
Düsseldorf. In 1980 he became member of Stockholm Royal Academy of Fine
Arts, the same year he has been nominated to run for the German Green Party in
North Rhine-Westphalia. (Joseph Beuys,
"Election
poster for "die Grünen",
1979–1980). At Documenta 7 in Kassel, 1982, Beuys participated with a
plant action "7000 Oaks", at the opening he himself planted the
first oak trees, and the following year he repeated the tree planting action in other cities.
Just two weeks before he died in January 1986, he received the Vilhelm
Lehmbruck Prize in Duisburg.
Hessisches Landesmuseum Darmstadt contains "Beuys-Block", the
largest collection of his works assembled under one roof, all in all 270 works from the
years 1949-72.
In 1982 Beuys said to the Norwegian newspaper Dagbladet:
"We have to realize that human abilities, like creativity are capital
not money. A lot of people are doing something creative, it is
essential to the whole, the totality".
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*Fluxus (means "a flow") was an international art movement, consisting of
artist from the USA, Europe and Japan, representing various art forms:
music, visual art and poetry. The concept of "Fluxus" was
first put forward in USA in 1962 by the Lithuanian-American artist
George Maciunas. Fluxus-art was more ethical than aesthetic,
it was barrier-breaking art,
fleeting, flowing, unpredictable and emotional expressions in objects, ready-mades, collages, performance and happenings, it was "total
art" which involved the spectators. The first
exhibition in 1962, "Fluxus International Festspiele", was
held at Wiesbaden in Germany. |
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Bille,
Ejler
(1910-2004).
Danish painter, graphics artist, sculptor and writer. Bille was
one of the pioneers of Danish abstract art, and one of the most
important artists in the 20th century. He was co-founder of the
artistic
group "Linien" (the Line), 1934, an artist union working
in abstract and surrealistic styles. Later Bille became member of
the
CoBrA
movement. On the whole Bille was self-taught apart from one year
of study at the School of Sculpture at
The
Royal Danish Academy of Fine Arts in Copenhagen. Together with
Richard
Mortensen he visited Berlin in 1931, where he studied
the works of e.g.
Kandinsky,
the same year he exhibited for the first time at
The
Autumn Exhibition
for Painters
in Copenhagen. In the mid 1930s,
together with Richard Mortensen and Egill Jacobsen,
he
introduced the expressionistic, abstract style into Danish art. In the 1930s he used
abstract-surrealistic forms in his painting and executed organic
sculptures. Bille experienced an
artistic breakthrough while living in Paris (1938-39), which
became of crucial importance to his artistic career,
henceforward he mainly worked with paintings and created
abstractions existing of a vast number of e.g. masks and bird-like
beings - a warm shining colouring emphasized the harmonic
and poetic characters of the |
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compositions. In
1945 Bille published
"Picasso,
surrealisme, abstrakt kunst" (Picasso, Surrealism, Abstract
Art). In 1960 he received the
Eckersberg
Medal, and in 1969 the
Thorvaldsen
Medal, in 1981 he became honorary member of
The
Royal Danish Academy of Fine Arts. His works have been shown
in several countries and are represented in Denmark at Louisiana
Museum of Modern Art in Humlebaek, North Zealand, The National
Gallery in Copenhagen, Holstebro Art Museum, Jutland and North
Jutlands Museum of Art, Aalborg.
(Abstract,
Cobra)
*Danish
"Stamp Art", issued October 15, 1998. The
motifs are made for stamps by four Danish artists - the stamps
themselves are the works of art.
Mogens Andersen ("Alfa"/"Alpha"),
Per
Kirkeby ("Dansk efteraar"/"Danish Autumn"),
Ejler
Bille ("Billedtegn"/"Painting idioms") and
Carl-Henning
Pedersen ("Himmelhest"/"Heaven Horse").
Engraver: Arne Kühlmann (the work of Per Kirkeby).
Typography: Austin Grandjean. |
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Bindesboell,
Thorvald
(1846-1908). Danish architect, designer and
ceramic artist. His decorative style
anticipated Art Nouveau.
He was born in Copenhagen, his father Michael
Gottlieb Bindesboell was
the
architect, who created the design for
Thorvaldsens Museum.
Thorvald Bindesboell was
educated as an architect at
The Royal Danish Academy of Fine Arts in
Copenhagen,
and furthermore he pass an examination in
chemistry.
As architect he is best known for designing the
fish
warehouses in the Skaw,
1907.
About 1880 he became interested
in ceramics. His ceramic works were a
cooperation with e.g.
Copenhagen Pottery
in Valby, where he worked as a ceramic designer
from
1891-1904. I 1887, together
with other craftsmen, he founded the "Decoration
Society" - the members were against mass
production, and strong proponents of unique
forms, an interaction between art and
handicraft. From 1900 he designed silver for the
court jeweller Peter Hertz in Copenhagen and
pieces of jewellery for Holger Kyster
in Kolding, Jutland. Bindesboell
became particularly known as ceramic artist and
designer of e.g. |
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Old Carlsberg lager, 1897.
The beer labels are reproduced with permission of
Flemming Birck. |
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Light tax-free from Carlsberg, 1902-1919. |
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Carlsberg Lager, 1904. The swastika, an old universal
symbol of fortune, is later replaced by a cross with
arms of equal length, which did not call attention to
Hitlers Nazi Germany.
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embroidery patterns, bindings, silver jewelry and the logo for
Carlsberg lager, less successful was his furniture design. In the 1880s Bindesboell executed exhibition catalogues,
jubilee publications and beer labels for Old Carlsberg
Brewery
and New
Carlsberg Brewery. Bindesboell's Carlsberg logo from 1904 has been Carlsberg's distinctive
mark for over one hundred years, the logo received the Danish
Design Prize 2000. The organic
ornamentation of his decorative design was
influenced by
Japanese art.
Bindesboell
greatly influenced Danish artists such as Joakim and Niels
Skovgaard, Elise Konstantin
Hansen, August Jerndorff and Theodor Philipsen.
In addition to his ceramic works, Bindesboel was also known for e.g. the Dragon
Fountain
on the Town Hall Square
in Copenhagen. (Jugendstyle)
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Thorvald
Bindesboell,
"Dragon
Fountain"
in bronze and granite on the Town Hall Square
in Copenhagen, 1903 - constructed in cooperation with the artist Joakim
Skovgaard. |
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Boccioni, Umberto, (1882-1916). Italian sculptor and painter. He
was one of the founders and most important figures in Futurism - he
adapted the ideas of Futurism for sculptures - the sculpture ought to
reproduce the unending space and motions and create a whole of an object
and its surroundings. Boccioni was
born in
the
Calabria
region
(Italy's
"boot
tip"),
and he
died in
Northern
Italy
near
Verona. |
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In 1901 he moved
to Rome, where
he studied
design and took
lessons at the
Academy of Fine
Arts. In Rome
Balle taught
Boccioni and
Severine
the technique of
divisionism/pointillism.
In 1902 Boccioni
went to Paris,
where he studied
the
Impressionists
and
Postimpressionists
way of painting.
In 1906 he
visited Russia,
and he spent the
winter of
1906-07 in
Venice, where he
took lessons in
life drawing at
the Academy. In
1907 he settled
in Milan. In
1910 Boccioni
was one of the
writers of the
manifestos
"Manifesto
dei pittori
futuristi" and
"Manifesto
tecnico della
pittura
futurista", the
same year his
first solo
exhibition was
held in
Venice. In 1911
he moved to
Paris, where he
met
Picasso
and Apollinaire,
the following
year the first
futurist
exhibition was
held in Paris at
Galerie
Bernheim-Jeune -
Boccioni's
paintings were
shown together
with the
paintings by
Serverini, Carrá
and Russolo -
the exhibition
later moved on
to London,
Berlin and
Brussels - also
in 1912 Boccioni
began
concentrating on
sculpture, and
his manifesto
"Manifesto
tecnico della
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"Unique Forms of Continuity in
Space", 1913, Museum of Modern Art,
New York. |
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scultura futurista" was published. Boccioni wrote articles for
the futurist journal "Lacerba"(1913-15) - a huge number of
manifestos characterized Futurism, theywere published in the journal. In
1913 a solo exhibition of his sculptures and paintings were held at Galerie de la Boétie in
Paris,
and his sculptures were included at the opening exhibition at Galleria Futurista Permanente in
Rome. His book "Pittura scultura futuriste - dinamismo plastico"
was published in 1914.
In 1915 Boccioni joined the Italian Army as a volunteer together with
other futurist painters, he died in a horse riding accident.
(Futurism)
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Bonnard,
Pierre
(1867-1947). French painter, graphics artist and book illustrator, born in
Fontenay-aux-Roses near
Paris, he was the second son of Eugéne Bonnard, official in the Ministry of War, and Elisabeth Mertzdorff
(Marzdorf) - at an early age he began to draw and paint encouraged by his
grandmother. Bonnard died in Le Cannet near Cannes in the South of France.
From 1886-88, according to his father's wish, he studied law, and at the
same time he attended evening classes at Académie Julian, where his fellow students
were Maurice Denis, Henri Gabriel Ibels, Paul Ranson and Paul Sérusier. In 1888
Bonnard began studying art at Ecole des Beaux-Arts, where he established
lifelong friendship with Ker-Xavier Roussel and Edouard Vuillard. Bonnard
gave up law to become an artist, and after a short military service, he,
in 1889, joined a group of
young Symbolists painters, the Nabis (Nabiim,
Hebrew for prophet) founded by Paul Sérusier
and including
Henri Gabriel
Ibels,
Ker-Xavier Roussel,
Edouard
Vuillard, Paul
Ranson
and Maurice
Denis. The
Nabis were
influenced
by
Gauguin
and Japanese |
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"Corner
of the Dining Room", 1932, Musee National
d'Art Moderne, Paris. |
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France-Champagne,
poster, 1889. |
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woodcuts, they developed a style characterized by flat areas
of boldly juxtaposed but muted colours and heavily outlined surface
patterns. They were unified by the decorative character of their work and
their dislike of Impressionism - their motifs were scenes from everyday life. Furthermore they designed
posters, theatre decorations, stained glass patterns and book
illustrations. In 1890 Bonnard began working with chromolithograph. In
1891 he met
Toulouse-Lautrec, and he exhibited for the first time at
Salon des Indépendants
and at the Nabis' first exhibition at Galerie Le Barc de Boutteville - he exhibited with the Nabis until
the group dissolved in 1900. Under the influence of
Degas
and Toulouse-Lautrec Bonnard
moved away from Symbolist painting and developed a sophisticated style, where everything were happy harmony and sunny glowing
colours.
He
worked in a variety of mediums e.g. he often designed posters and
illustrations to the literary magazine La Revue Blanche. In 1893 he met Maria Boursin
(aka Marthe de Méligny), she became his model - they got married in 1925. The same year he
met the publisher, art dealer and collector
Ambroise Vollard, who published many of his lithographs, e.g. in 1899
the album "Quelques aspects de la vie de Paris" (Some Aspects of Paris Life)
illustrated with Bonnard lithographs, and also in
1893 he met
Louis Comfort
Tiffany,
American Art Nouveau stained glass
artist, who exhibited a series of stained glass pictures, one of
them "Maternity", was executed after a
drawing by Bonnard. In 1896 his first solo show were held at Galeries
Durand-Ruel in
Paris, he exhibited paintings, posters and lithographs. In 1898 Bonnard
designed puppets for Théâtre des Pantins (puppet theatre). About
1900 he once again turned towards Impressionism. In 1903 he participated in the
first
Salon
d’Automne and in the Vienna Secession in Austria. In 1925 he moved to Le
Cannet in the South of France, where he bought a hillside villa, which he named "Le Bosquet". In 1933 Art Institute of Chicago
organized a great exhibition of the works of Bonnard and Vuillard, and
solo shows were held of Bonnard's works at Galerie Bernheim-Jeune and Galerie Braun in Paris.
From 1933-38 he often traveled in Normandy (Deauville, Trouville,
Bénervill-sur-Mer),
where he first and foremost painted seascapes. In 1939 he was given a solo
exhibition in Stockholm.
Few month after his dead in 1947
Musée de l’Orangerie in Paris
organized a great exhibition of his paintings. In 1948 MoMA
presented its first exhibition of Bonnard,
in the exhibition catalogue he was described as an artists who
"wished to paint only happy
paintings". The following year Bonnard exhibitions were held in
Copenhagen, Amsterdam and Stockholm.
Bonnard's contribution to the development of abstract art has in the course of time
been accepted by the critics - in his lifetime the critics and some of his artist
colleagues described his paintings as old-fashioned
because of his interest in figurative painting and his restricted choice
of subjects.
Bonnard has illustrated book by e.g.
Paul Verlaine
and André Gide. (Symbolism) |
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Bosch,
Hieronymus
(1450/60-1516).
Bosch's paintings belonged to the Late Gothic style which was known as the
northern counterpart of the Early Renaissance. He was born in Hertogenbosch in
Brabant, and he died in Hertogenbosch. Dutch painter and graphics artist. Bosch,
whose last name derived from the name of his native town, probably was the
son of Laurents van
Aeken.
Very little is known about his life, he is supposed to had lived his whole life
in Hertogenbosch, where his was a highly respected citizen and received commissions from
the Brotherhood of Our Lady of Hertogenbosch, and he also painted several compositions for the cathedral. The Austrian
archduke Philip I, called Philip the Handsome (the farther of Charles V),
king of Castile, the ruler of Spain
and the Netherlands, was a keen collector of Bosch's works. A great triptych "Garden of Earthly Delights"
c.1504, Museo del Prado, Madrid, was commissioned by the king. Bosch's most
renowned works exist in Spain and Portugal. Bosch's intensive art,
a fantastic demonic motif world, are a mixture of mockery, irony,
anxiety and painful longing for beauty, he got great influence on
Pieter
Bruegel the elder, and he got a wealth of imitators
and popularizers henceforward - in the 20th century he
influenced the Surrealists.
(Renaissance)
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Triptych,
The Temptations of St. Anthony, "Flight and
Failure of St. Anthony", Left wing, c.1500,
Museu Nacional de Arte Antiga, Lisbon, Portugal. |
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Detail "Garden of Earthly Delights"
c.1504, Museo del Prado, Madrid. |
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"Garden of Earthly Delights"
c.1504, Museo del Prado, Madrid. Click
here
for enlargement. |
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"The
Birth of Venus", 1485. Galleria degli
Uffizi (The Uffizi Gallery), Florence.
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Botticelli,
Sandro
(Christian name
Alessandro di Mariano Filipepi) (1444/45-1510). Italian painter.
He was apprenticed to the Florentine Early Renaissance Painter
Fra Filippo
Lippi and influenced
by e.g. Andrea del Verrocchio. In 1470 Botticelli established his own workshop, one of his pupils
was Filippino Lippi, the son of
Filippo Lippi. He worked, as particularly
portrait painter, for the wealthy families of Florence, first and foremost the
Medici family and Lorenzo il Magnifico (the Magnificent).
He resided outside Florence from 1481-82 - he was commissioned
along with Ghirlandaio, Rosselli and Perugino by Pope Sixtus IV to
decorate the Sistine Chapel with frescos, and he went to Rome.
In the late 1480s he illustrated Dante
Alighieri's "Divina
Commedia" (Divine Comedy), the epic poem was written between 1265 and
1321.
The most famous of Botticelli's paintings were the
mythological scenes for the Medici Family "La Primavera",
("Spring"), 1477-78 and
"The Birth of Venus",
1485. Botticelli was, during his time in the
Medici court, influenced by Neoplatonism.
The philosopher Marselio Ficino
(1433-99),
was the chief ideologist of Neoplatonism, his "Theologia
Platonica", 1474, was the Bible of Neoplatonism. The
neoplatonic
philosophy
tried to made a synthesis of antique philosophy (Platon,
Virgil, Cicero), Christianity (Plotin, Augustin and Dante) and
antique astrology, alchemy and the theory of cosmic cycles/cosmic harmony.
Botticelli painted portraits, religious and mythological
subjects. The figures in his paintings expressed the
feminine beauty and grace - he loved draperies,
ornamentations and colours. Many of his paintings were
undated. During his last decade he did not kept up with |
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"La Primavera",
("Spring"), 1477-78, Galleria degli Uffizi (The Uffizi
Gallery), Florence . |
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Japanese
version of "The Birth of Venus",
1485. |
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Detail
from "La Primavera", The three
Graces. |
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Detail
from "La Primavera", Venus
Vulgaris. |
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Detail
from "La Primavera",
Cloris, the Earth Nymph. |
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Detail
from "Venus and the Three Graces
Presenting Gifts to a Young Woman",
1486. Louvre, Paris. |
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"The Virgin and the Child",
1492,
Fondation d'Ajaccio, The Musée Fesch
Ajaccio, Corsica, France. |
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Detail
from "Madonna del Libro", (Madonna
with the Child or Madonna with the Book), 1483, Museo Poldi
Pezzoli, Milan.
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the times, the High Renaissance
painters had eclipsed him. His works were rediscovered by
the Pre-Raphaelites (The Pre-Raphaelite Brotherhood -
members of a 19th century group of British painters who were
influenced by the style of painting of the 14th and 15th
centuries. The group was founded by painters, poets and
critics in London in 1848. The term signified a thorough
imitation of nature, brilliant colours, and lack of
shadows). (Renaissance)
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Brancusi,
Constantin
(1876-1957).
Romanian-French sculptor, French citizen in 1952. He was born in the
village Hobita in the Carpathians (The Transylvanian Alps) in Romania. He
died in Paris and was buried in the Montparnasse
cemetery.
From
1894-98
Brancusi studied at Scoala de Arte si Meserii (school of arts and crafts)
in Craiova, and from 1898-1901 he studied at Scoala Natzionala de Arte Frumoase
(national academy of fine arts) in Bucharest. In 1904 he moved to
Paris, and the following year he began studying at Ecole des
Beaux-Arts. In 1906 he exhibited for the first time in Paris at Salon d’Automne,
where he met
Auguste
Rodin. Brancusi made frequent visits to Bucharest, and he often
exhibited there. His artist colleagues and friends in Paris were e.g.
Duchamp,
Léger,
Matisse,
Modigliani,
Archipenko and
Rousseau.
In 1908 he executed his first version of "The Kiss", his works
became more abstract, however he never denied the visible world, he
transformed its elements into simple forms, e.g. the egg form. In
1913 five of his sculptures were exhibited at the "Armory Show" in New York
(an international exhibition of modern art). In 1914 his first solo
exhibition was held at gallery "291" in New York. In the early
1920s Brancusi cooperated with the dadaists e.g.
Francis Picabia and Tristan Tzara, however he never became a member of the
Dadaist group. In 1926 he visited the US twice to keep up to date with his solo exhibitions at Wildenstein Gallery and Brummer Gallery in New
York. In 1926 and in 1936 exhibitions of his works were held at
MoMa in
New York. Brancusi created a series of sculptures called
"Bird
in Space", and in 1927 Edward Steichen, |
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a Luxembourgian-American Photographer, bought a
bird-sculpture and tried to bring it into the US - according to
the US customs rules, a work of art could be imported free of
duty, however the customs officers classifiedit as a propeller blade,
and judges have to decide whether the "bird" was a sculpture or
and industrial object, and in 1928 the Court decided that
the "bird" was a works of art. In the 1930s Brancusi traveled to
many countries e.g. India and Egypt. In 1935 he was given the task of designing a war monument for a park in Targu Jiu in Romania - the complex
included gates and an
endless column. After 1939 Brancusi continued to
work in Paris.
Brancusi used plaster, marble, wood and various metals - some of
his plasterer were cast in bronze or he carved them in marble. The majority of his works
are in private collections in France, England, America and India. He has
influenced e.g. the abstract-surrealistic artist
Isamu
Noguchi.
.
Montparnasse Cemetery, Paris
"The
Kiss" at the tomb of T. Rachevskaia. |
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Brandes,
Sonia (1946). Danish self-taught artist, particularly known for her
papercuts - her decorative papercuts illustrates e.g. H. C.
Andersen's fairytales.
At H. C. Andersen's 200th birthday on 2nd April, 2005 Brandes received
the City of Odense's Hans Christian Andersen Prize, because she is a brilliant papercut artist, just
like the fairytale writer was. Her papercuts has been exhibited in
several countries.
She has illustrated the book "H.C.
Andersen og skytsenglen" (H. C. Andersen and the
Guardian Angel) published by The Danish Bible society. On the occasion of
the Hans Christian Andersen |
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"Harbinger
of spring" papercuttings, 1999. |
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jubilee the
Danish-German society in Kiel and Schleswig-Holstein
has arranged a travelling exhibition of her
illustrations to"The Travelling
Companion". Sonia Brandes has created the altarpiece for the church of
Southern Broby (Sdr. Broby), Funen, Denmark, it consists of cuttings in gold
foil placed between two pieces of clear glass, the motif is
"The Good shepherd". In 1999 Brandes designed Post Denmark's annual Easter Letter. |
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Braque,
Georges (1882-1963). French painter, sculptor and
co-inventor of Cubism and the collage. Braque was born in
Argenteuil-sur-Seine near Paris, and he died in Paris. He grew up
in Le Havre, his father, Charles Braque, was a house painter. 1897-1899
he took evening classes at Ecole Municipale des
Beaux-Arts in Le Havre after a full working day, he was an
apprentice learning house painting. In 1901 Braque moved to Paris,
where he the following years took art lessons. At Académie
Humbert, where he studied from 1902-04, he met Francis Picabia and
got influenced by the impressionistic way of painting. About 1906
he began to work in the style of Fauvism (French Expressionism),
after spending the summer in Antwerp with the French Fauvist
painter Othon Friesz. In 1907 Braque exhibited fauvistic paintings
at Salon des Indépendants in Paris. Together
Picasso
and Braque developed Cubism.
During a longer stay in Estaque in the South of France, Braque
created, influenced by
Cézanne,
a number of landscapes composed in strict geometrical
compositions, among these "Houses at Estaque" (Facet
Cubism) from 1908. Five out of seven works by Braque were rejected at Salon
d'Automne, and exhibited at Salon des Refugees (exhibition for the refused) - influenced
by Picasso's and Braque's paintings,
Matisse suggested the name Cubism (petits
cubes).
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"Black Fish", 1942, Musee national d'Art moderne, Centre
Georges Pompidou, Paris. |
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Braque's first solo exhibition was held at the art dealer Daniel-Henri
Kahnweiler's gallery in 1908. About 1911 Braque's and Picasso's style were very
similar, it can be difficult to distinguish between their paintings of that time. In 1912 they began using collage-elements in their paintings, their
artistic co-operation lasted until 1914. During World War I Braque did his
military service in the French Army and was wounded. In 1917 he established a close
friendship with
Juan Gris. After the War his works became more free and
less schematic. His fame grew in 1922 as a result of an exhibition at Salon
d’Automne in Paris. In the late 1920s he returned to a more realistic interpretation
of nature with aspects of Cubism. I 1922 his first important retrospective
exhibitions were held in Kunsthalle Basel. Contemporary with Picasso he lived through
the phases in the development of Cubism, in the 1920s he was influenced by
the Neoclassical style and returned to Cubism in the early 1930s. Well-known is a vast number
of
variations of still-lifes with e.g. table, fruit bowl, jug and guitar. During
World War II Braque stayed in Paris. His paintings were at that time mainly still-lifes
and interiors, he also created lithographs, engravings and sculptures, within
sculpture he created figures, heads, horses in bronze, tin and
painted plaster.
In the late 1940s he worked with themes like birds, landscapes and
seascapes. At the Venice Biennale in 1948 he received an award for his paintings.
In 1954 he painted stained glass windows for the Normandy church Varengeville-sur-mer
- Braque was buried at the cemetery at Varengeville-sur-mer.
In the last years of his life his health did not allowed him to take greater
commissions, he continued painting, executed lithographs and designed
jewelleries. (Cubism)
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"Tower
of Babel", Kunsthistorisches Museum, Vienna.
Click
here for enlargement. |
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Bruegel
(Brueghel,
Breugel or Bruegels),
Pieter the Elder (c.1525/28-1569). Flemish Northern
Renaissance Painter. He was born in Brueghel near Breda or near
Hertogenbosch,
and he died in Brussels. Until 1559 he spelled his name
Brueghel, his sons Jan and Pieter Brueghel kept the "h" in their
spelling of the name. Pieter Bruegel the Elder aka "Peasant Bruegel"
because his paintings were often scenes of
rural life, he was also known for his mastery of landscapes and architecture. Bruegel's first art teacher was an apprentice of
Hieronymus
Bosch, his name
is unknown, he discovered Bruegel's exceptional
abilities and sent him to the courtpainter
of King Charles V
Pieter
Coeck(e) van Aelst, and with him and the following teacher, the graphics artist Hieronymus
Cock, he got acquainted with the
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Italianised Dutch painting - an acquaintance
which did not change his interest for Bosch's
mode of expression - he gave new life to Bosch's style. At Bruegel's
time the North European art was influenced by the Italian
Mannerism, and Bruegel is often categorized as Mannerist,
presumably because of his human forms, which often
differed from the harmonic proportions of the Late
Gothic and particularly of the Renaissance, and the
Renaissance beauty did not exists in his paintings. In
1552-53 he travelled around Italy, in 1555 he became a
Master of the Painters' Guild of Antwerp, and in 1563,
after he had married
Maria
Coecke, the
daughter of his master, he moved to Brussels, where he spent the
rest of his life, in Brussels his two sons were born, Jan, known
as "Velvet", "Flower" and "Paradise"
Brueghel and Pieter, known as "Hell Brueghel". The choice of and consistently adhering to rural motifs and
peasant life, characterized his works. His landscapes and peasant
life were a melting together of figures and scenery, his compositions existed of
foreground, middle distance and background. In his way of
painting, he was related to
Hieronymus
Bosch, however Bosch described a world of fantasy, and Bruegel was
a realistic often satirical, but sharp observer of humans and he
painted first and foremost peasants and their activities. Bruegel's mode of expression was, from the early works for Hieronymus Cock's Antwerp publishing house, characterized by the
illustrative. Children's games, the parables or strong epic
passages in the Bible were
used, but particularly the old Flemish play on words
and proverbs with their rough humour and experiences of life were
great sources of inspiration to his art.
Through his sons he was the forefather of a dynasty of painters,
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"Winter
Landscape with Skaters and Bird Trap", 1565,
Musées Royaux des Beaux-Arts, Brussels, Belgium.
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"The
Peasant Dance", 1565-67,
Kunsthistorisches Museum, Vienna, Austria. |
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Detail,
"The
Parable of the Blind", 1568
Galleria Nazionale, Naples, Italy. |
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"Children's Games", 1560,
Kunsthistorisches Museum, Vienna, Austria. |
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| "Summer",
1568. Kunsthalle, Hambourg, Germany.
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"The
Tower of Babel",
1563, Museum
Boijmans Van
Beuningen Rotterdam. |
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Selected works:
"The Hunters in the Snow", 1565, Kunsthistorisches Museum, Vienna
"The Numbering at Bethlehem", 1566, Royal Museum of Fine Arts, Antwerp
"The Peasant wedding", 1568, Kunsthistorisches Museum, Vienna.
(Renaissance)
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Broederlam,
Melchior
(1381-1409).
Flemish painter, one of the most important painters within the
International Style, he was active in Ypres in Belgium, where he probably
was born, and court painter in Dijon to Philip the Bold of
Burgundy (1363-1404). Documents of the period mentioned him as a
busy and versatile artist, however the only preserved works by Broederlam
are two wings of an altarpiece, executed 1394-99, for the Carthusian monastery of Champmol
belonging to
Musée des Beaux-Arts, Dijon. Each
wing contains two scenes or episodes from the Biblical History:
The
left wing: "The Annunciation" and "The Visitation of
Mary to Elizabeth". Virgin Mary, listening to the
angel's announcement, is sitting in an open Gothic architecture, an
entrance, a kind of lectern with an open book - the architectural elements
have a wealth of fine details, and the open architecture with slim columns
gives variety and lightness to the rigid building. The contrast to the stiffness of the building is the figures beauty and
the grandiose surrounding mountain scenery with its soft lines. The proportions are not realistic, the figures/the
episode is the most important, the architecture- and landscape-sceneries create the atmosphere.
Luke 1, 28-38, The Annunciation:
"Greetings,
favored one! The Lord is with you." But she was much perplexed by his
words and pondered what sort of greeting this might be. The angel said to
her, "Do not be afraid, Mary, for you have found favor with God. And
now, you will conceive in your womb and bear a son, and you will name him
Jesus. He will be great, and will be called the Son of the Most High, and
the Lord God will give to him the throne of his ancestor David. He will
reign over the house of Jacob forever, and of his kingdom there will be no
end." Mary said to the angel, "How can this be, since I am a
virgin?" The angel said to her, "The Holy Spirit will come upon
you, and the power of the Most High will overshadow you; therefore the
child to be born will be holy; he will be called Son of God. And now, your
relative Elizabeth in her old age has also conceived a son; and this is
the sixth month for her who was said to be barren. For nothing will be
impossible with God." Then Mary said, "Here am I, the servant of
the Lord; let it be with me according to your word." Then the angel
departed from her.
Luke 1, 39-45, The Visitation: In those days Mary arose and went
with haste into the hill country, to a city of Judah, and she entered the
house of Zechari'ah and greeted Elizabeth. And when Elizabeth heard the
greeting of Mary, the babe leaped in her womb; and Elizabeth was filled
with the Holy Spirit and she exclaimed with a loud cry, "Blessed are
you among women, and blessed is the fruit of your womb! And why is this
granted me, that the mother of my Lord should come to me? For behold, when
the voice of your greeting came to my ears, the babe in my womb leaped for
joy. And blessed is she who believed that there would be a fulfilment of
what was spoken to her from the Lord."
The right wing:
"The Presentation in the Temple" and
"The
Flight
into Egypt". The architecture are proscenium theatre-like,
the proportions between landscape and figures are incorrect,
however Broederlam has created a composition showing depth in greater
extent than seen in previous North European works, the painting has great
painterly qualities - round shapes, dark soft shadows, to create impressions of light and air.
The International style is characterized by its painterly qualities e.g.
loosely draped dresses and the
realism in the details e.g. the leafs, the flowers, the easel, Joseph
depicted as a peasant, Virgin Mary with aristocratic grace and long slim
fingers. Broederlam's interest in details make the painting look
like an enlarged miniature. The colours blue and gold is the colours of
Virgin Mary, the gold colour halo and the dress in blue - in Christianity
blue symbolizes piety and gold symbolizes purity, the Immaculate Conception.
Luke 2, 22-40 The Presentation in the Temple: "When the time
of their purification according to the Law of Moses had been completed,
Joseph and Mary took him to Jerusalem to present him to the Lord - as it
is written in the Law of the Lord, "Every firstborn male is to be
consecrated to the Lord" - and to offer a sacrifice in keeping with
what is said in the Law of the Lord: "a pair of doves or two young
pigeons"...
Matthew 2, 13-15, The Flight into Egypt: "Now after they had
left, an angel of the Lord appeared to Joseph in a dream and said,
"Get up, take the child and his mother, and flee to Egypt, and remain
there until I tell you; for Herod is about to search for the child, to
destroy him." Then Joseph got up, took the child and his mother by
night, and went to Egypt, and remained there until the death of Herod.
This was to fulfill what had been spoken by the Lord through the prophet,
"Out of Egypt I have called my son."
(International
Style) |
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Left
Wing panel:
"The Annunciation" and "The
Visitation", triptych c.1394, Musée
des Beaux-Arts, Dijon, France.
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Right
Wing panel:
"Presen-
tation in the Temple" and
"Flight
into Egypt".
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The
Stamp:
Detail "The Flight
into Egypt". |
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Details, right wing panel |
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