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Lousiana Museum of Modern
Art, Humlebaek, Denmark
Click
here for
enlargement. |
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Calder Alexander
(1898-1976). American-
French Artist. He was born in Lawton,
Pennsylvania into a well-known family of
artists. His father and grandfather, were also
Alexander Calder, both sculptors, and his mother
was a portrait artist. Calder received an
engineering degree. From 1923-25 he attended the
Art Students League in New York, studying
briefly with Thomas Hart Benton and John Sloan.
His first exhibition of paintings took place in
1926 at the Artist's Gallery in New York. Later
that year he went to Paris. He created small
movable figures made of wood and metal, which he
gathered into a miniature-circus with acrobats
and roaring lions. His popularity with "Circus
Calder" established contact with the Paris
avant-garde. In the |
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1930s,
influenced by the work of
Piet Mondrian,
he executed his epoch-making mobiles. At first
his abstract sculptures were provided with
engines, later his mobiles moved simply by the
wind. His moving sculptures were called mobiles,
the stationary stabiles.
In 1933 Calder returned to the US, where his
abstract-organic sculptures (mobiles and
stabiles) attracted attention. He exhibited with
the Abstraction-Création group in Paris in 1933. In 1943, the Museum of Modern Art, New York, gave him a solo
exhibition. Every year since 1950 he spent
several month in France. (Kinetic
Art)
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"Le
Guichet", (The Box Office), 1963,
standing in front of the New York Library
for the Performing Arts, Lincoln Center
Plaza, New York.
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"Têtes et Queue" (Heads and Tail), 1965,
Berlin.
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"Return of the
Bucintoro to the Molo on Ascension Day",
1732, Royal Collection, Windsor. |
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"The Grand Canal and the
Church of the Salute", 1730. |
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"The
Piazzetta". |
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"View of the Entrance to
the Venetian Arsenal",1732. |
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"Stonemason's Yard"/"Campo
S. Vidal and Santa Maria della Carità". 1726-30, National
Gallery, London. |
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"London: Northumberland
House", 1752,
Collection Duke of Northumberland. |
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"Westminster Bridge", 1747,
Yale Center for
British Art, New Haven, Connecticut. |
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Caravaggio,
Michelangelo Merisi da
(1573-1610).
Italian painter. Born in Caravaggio near Milan, Lombardy as the son of
the architect of the Marquis of Caravaggio, Fermo
Merisi. He
was left an orphan at 11 years of age. His short life became turbulent and
violent.
Caravaggio introduced powerful foreshortening and first and foremost the
clair-obscure effect (chiaroscuro), a dramatic contrasts of light and
dark - the darkness hide, the light reveal. He
painted secular and religious compositions - his
religious subjects emphasized melancholy, pain and death, in some ways his
paintings were similar to the Mannerists paintings with its twisted proportions
and long-limbed figures, however Caravaggio paintings contained
realistic aspects.
From 1584-88 Caravaggio was apprenticed to Simone Peterzano in Milan, a pupil of
Titian.
In 1592 he went to Rome, where he entered the employ of the painter
Giuseppe Cesari (Cavaliere d'Arpino).
Caravaggio was constantly under accusations of e.g. assaults and defamations,
and in 1606 he was involved in murder and he fled to Naples - later his violent
behaviour forced him to fled to Malta, Syracuse, Messina, Palermo and
again to Napel. The Pope pardoned him.
(Baroque)
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"Judith Beheading Holofernes", 1598-1599, Galleria
Nazionale d'Arte Antica, Rome. |
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"The
Crucifixion of Saint Peter", 1601. Cerasi Chapel, Santa
Maria del Popolo, Rome. Click
here for
enlargement. |
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"Medusa", 1598, Galleria degli Uffizi, Florence. |
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"Bacchus", 1597, Galleria degli Uffizi,
Florence. |
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"The Martyrdom of St. Matthew", 1600, San Luigi
dei Francesi, Rome.
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"The Calling of St. Matthew", 1600, San Luigi dei Francesi, Rome. |
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"Ecce Homo",
("Behold the Man"),
Christ wearing
the crown of thorns and the purple robe,
1600, Palazzo Rosso,
Genoa, Italy.
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"St. John the Baptist", 1602, The
Capitoline Museums (Musei Capitolini), Rome. |
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Detail
from "The Flagellation of Christ", 1607,
Museo di Capodimonte, Naples, Italy. |
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Ottavio
Leoni:
"Portrait of Michelangelo
Meresi da
Caravaggio",
c. 1621.
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"Supper at Emmaus", 1601,
The National Gallery, London. |
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"Narcissus",
1590,
Galleria Nazionale d'Arte Antica, Rome. |
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"St.
Catherine of Alexandria", c. 1597,
Museum Thyssen-
Bornemisza,
Madrid.
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"The Cardsharps",
c. 1594, Kimbell Art Museum, Fort Worth, Texas. |
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| "Death of the Virgin",
1601-1606, Louvre, Paris. |
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"The Raising of Lazarus", 1609, Museo Regionale, Messina. |
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"Boy with a Basket
of Fruit", c. 1593, Galleria Borghese,
Rome. |
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John the Baptist", 1608, Oratory of the St John's
Co-Cathedral, Valletta. |
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"Five
O'Clock Tea", 1880. Museum of Fine Arts, Boston.
Click here for
enlargement. |
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Cassatt, Mary
(1844-1926) was born in Pennsylvania in the US. At the age of
seven her family left for Paris. After a few years the family
returned to the US, and Mary, impressed by all the art she had
seen in Europe, surprised her parents by the wish to become an
artist. Becoming an artist in the 19th century was difficult for
a woman. Mary visited the "Pennsylvania Academy of the Fine
Arts" and in 1866 she went back to Paris and copied the old
masters in the Louvre. She got to know
Edgar
Degas, an
artist from the group of Impressionists, they were refused by
the "Salon" and had established their own show, the "Salon des
Refuses". Edgar Degas introduced her to
Claude
Monet,
Auguste
Renoir,
Camille Pissaro
and other rebels of the Impressionist
movement. Mary Cassatt's favorite subjects became children (she never had
children of her own) and women with children in ordinary scenes. The
artist's artistic breakthrough came in 1892, when she received a commission for a mural for the Woman's Building at the Chicago World's
Fair. The mural painting got lost after the fair and has not shown up
until today. Mary Cassatt was also a printmaker. Between 1889 and 1890
she created a set of twelve wonderful dry-points. From 1890 to
1891 she made a serios of ten color prints, know as "The Ten".
(Impressionism)
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"Self-portrait", c. 1878, Metropolitan Museum of Art, New
York. |
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"Portrait of Mary Cassat", c. 1880-84, National Portrait
Gallery, The Smithsonian Institution, Washington, DC. by Edgar
Degas. |
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"Lady at the Tea
Table", c. 1884, Metropolitan Museum of Art, New York.
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"At the Window", 1889,
Musée du Louvre, Paris.
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"The Child's Bath", 1893,
Art Institute of Chicago. |
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"Nurse Reading to a
Little Girl", 1895,
The National Gallery of Art,
Washington, DC.
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"Elsie in a Blue Chair", 1880.
Private Collection.
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"Little Girl in a Blue
Armchair", 1878, The National
Gallery of Art, Washington, DC.
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"The
Boating Party", 1893–94,
The National Gallery of Art,
Washington, DC. |
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"The Loge", 1882,
The National
Gallery of Art, Washington, DC.
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"Summertime", c. 1894, The
Armand Hammer Museum of Art and Cultural Center, Los
Angeles. |
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"Lilacs in a Window",
1880, The
National Gallery of Art, Washington, DC.
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"Children on the Beach",
1884, The National Gallery of Art, Washington, DC. |
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"Mother and Child". |
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"Young
Mother", 1888, Art Institute of
Chicago. |
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"On
a Balcony", c.
1878, Art Institute of
Chicago. |
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"Breakfast in Bed", 1897, Huntington Library
and Art Collection.
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"Child in a Straw Hat", c.
1886, The National Gallery of Art, Washington, DC. |
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César
(César Baldaccini) (1921-1998).
French sculptor and object artist. He was born in Marseille, and
he died in Paris. From 1935-39 he studied at Ecole des Beaux-Arts
in Marseille, and from 1943-47 at
Ecole Nationale Supérieure des Beaux-Arts in Paris, where
he met among others
Picasso
and
Giacometti.
In 1952 he, for the first time, experimented with sculptures made of
welded steel.
From 1956 César created monumental sculptures, half figurative and half
abstract, welded together from pieces of iron and scrap metal (scrap-sculptures/assemblages).
In the 1960s he began creating his "Compressions
dirigées" - the so-called compressions, which were
compressions of all sorts of objects to three-dimensional art
works - also the César Award, named after
him, is a
compression. In
1970 he started on his Plexiglas compressions, and the same year
he was appointed professor at Ecole Nationale des Beaux-Arts in
Paris. César created giant thumbs, the 2 metres high "Thumb"
in Tate Modern is supposed to have been modelled after César own
thumb. Already in 1844 a gigantic thumb could be
seen in art, it
was a drawing called "Gods Finger" made by the French
caricaturist and illustrator Jean-Jacques
Grandville, whose work
was reproduced since the 1930s - presumably César had knowledge of Grandville's drawing and got influenced by it.
(Pop
Art)
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"The
Thumb", 1965, Tate Modern, London. |
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"The
French cinema award statuette, César" (Acedemie
des arts et techniques du cinema), 1976. |
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"The Thumb",
the Ludwig Museum in Koblenz, Germany. |
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Cézanne,
Paul (1839-1906). French painter, the father of
modern art, born in Aix-en-Provence in Southern France, and he died in
his home in Aix-en-Provence. In 1858, he graduated from the Collège Bourbon, where
he got to know Emile Zola, the later critics and
founder of the
Naturalist movement in literature. In 1859 Cézanne
entered the law school of the University of Aix, he abandoned his studies to join Zola in
Paris,
where he met
Camille
Pissarro, and became influenced by his style, and began
friendships with
Pierre-August
Renoir and
Claude
Monet. In 1863 Cézanne's paintings were exhibited in Salon des
Refusés (an art exhibition held in 1863 for works that had been
rejected from the official Paris Salon). In 1874 he participated in the first Impressionist exhibition. From 1879 Cézanne lived in Aix-en-Provence. In 1882, the Salon accepted his work for the first and only time. In 1890 he
exhibited in Brussels with Les Vingt ("The
Society of the Twenty", group of artists who exhibited together in
Belgium during the years 1891–93, having been brought together by a
common interest in Symbolist painting). In 1894 he traveled to Giverny to visit
Monet. His first solo exhibition was held in 1895 at galerie
Ambroise-Vollard in Paris. In 1899, he participated in the Salon
des Indépendants in Paris for the first time.
Cézanne had a great influence on the Fauvist (the French
Expressionist movement) and the Cubist. In Paris he had joined the
Impressionist, and he became Impressionist in his youth. In his
later still lifes, figure compositions and landscapes were seen a
simplified and tight composition close to the later Cubism.
Cézanne was the first Cubist. The Nonfigurative artists were
influenced by his latest paintings.
Absolutely central in his
works were repetitions of selected motifs like the mountain Mont
Sainte-Victoire near Aix-en-Provence, bathing figures and still
lifes with apples and and pears.
(Postimpressionism)
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"Large Bathers",
1899-1906, Philadelphia Museum of Art.
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"La
maison du pendu à
Auvers"
(The House of the Hanged
Man in Auvers), 1873, Musee d'Orsay, Paris.
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"The Card Players", 1890-92, the Louvre Museum,
Paris. |
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"Cour
de ferme à Auvers",
1879 or 1880, Musee d'Orsay, Paris. |
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"Self portrait", c. 1875,
Musee d'Orsay, Paris. |
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"Mardi Gras" (Shrove Tuesday, carnival period between
Epiphany or Twelfth Night and Ash Wednesday), 1888, Pushkin
Museum, Moscow.
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"Maison et ferme du Jas de Bouffan"
(House and Farm at Jas de Bouffan),
1889-90, Narodni Galerie, Prague. |
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"Still Life With Curtain And Flowered
Pitcher", c.
1899,
The Hermitage Museum, Leningrad. |
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"The Basket of Apples", c. 1893, Helen Birch Bartlett
Memorial Collection, Art Institute of Chicago. |
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"Me
and my Village",
1911, Museum of Modern Art,
New York. |
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Chagall,
Marc
(Mark Zakharovich Shagal)
(1887-1985), Russian-born French painter and stained
glass artist, born in Vitebsk, Russia, into a Jewish
working-class family. From 1907-10 he studied
painting at the "Imperial Society for the
Encouragement of the Arts" in St. Petersburg.
He moved to Paris in
1910, where he associated with the poet Guillaume
Apollinaire and painters such as
Robert Delauney, Georges
Braque,
Pablo Picasso,
Fernand Léger
and
Amedeo Modigliani,
he discovered Fauvism and Cubism, and was in briefly
touched by Futurism. He participated in the "Salon
des Indépendants" and the "Salon d’Automne" in 1912.
His first solo exhibition was held in 1914 at "Galerie
der Sturm" in Berlin.
Chagall visited Russia in
1914, and was prevented from returning to Paris
because of the outbreak of Word War One. He settled
in Vitebsk, where he married Bella Rosenberg. He was
appointed Commissar for Art in 1918. He founded the
"Vitebsk Popular Art School" and directed it until
disagreements with the
Suprematists
resulted in his resignation in 1920. He moved to
Moscow and executed his first stage designs for the
"State Jewish Chamber Theater".
In 1923 Chagall returned to
France, where he met the publisher Ambroise Vollard
through whom, he received commissions to illustrate
various publications. In Paris he met Paul Eluard,
Max Ernst
and Gala, the muse and
wife of Salvador Dali, who
want him to join the Surrealist movement, but
Chagall refused. During the 1930s, he traveled to
Palestine, the Netherlands, Spain, Poland, and
Italy. In 1933, the "Kunsthalle Basel" held a
retrospective exhibition of his work.
During World War II, Chagall
fled to the US, where he had been invited to settle.
In 1945 he executed the scenery and costumes for
Stravinsky's "Firebird" for presentation by the
Ballet Theatre of New York. In 1946 he was given a
retrospective exhibition at "The Museum of Modern
Art" in New York. In 1948 he settled permanently in
France. In 1951 he visited Israel and executed his
first sculptures. During the 1960s, Chagall traveled
widely, often in association with large-scale
commissions he received, among these were stained
glass windows for the Synagogue of the
Hadassah-Hebrew University Medical Center in
Jerusalem (1962), the ceiling for "The Paris
National Opera" (1964), a stained glass window for
the United Nations building, New York (1964), two
huge panels for "The Lincoln Centre", New York
(1966), murals for the Metropolitan Opera House, New
York (1967), stained glass windows for the gothic
cathedral of Metz, France (1968), a stained glass
window for the gothic Cathedral in Rheims, France
(1974). Chagall died in Saint-Paul-de-Vence in
France. The house in Vitebsk, in which he was born,
is now "The Marc Chagall museum", opened in 1997.
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Chagall's stained glass windows in the
Synagogue of the Hadassah-Hebrew
University Medical Center, Jerusalem,
1962 |
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| Benjamin |
Reuben |
Asher |
Gad |
Judah |
Dan |
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Levi |
Zebulun |
Joseph |
Naphtali |
Issachar |
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Chaissac,
Gaston (1910-1964).
French artist. (Abstract) |
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"Red
Face"
(Visage Rouge) |
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"Carafe, Silver Goblet and Fruit", c.
1728, Staatliche Kunsthalle, Karlsruhe,
Germany. |
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Chardin,
Jean-Baptiste-Siméon,
(1699-1779). French painter. He was born in
Paris, and he died almost blind in Paris.
(Rococo) |
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| "Self-Portrait with an Eye-Shade", 1775. Musée du Louvre,
Paris. |
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| "Grapes and Pome-granates", 1763, Musée du Louvre,
Paris. |
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| "Woman Peeling Turnips", c. 1738,
Alte Pinakothek, Munich, Germany. |
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| "Portrait of Auguste Gabriel Godefroy", 1738, Musée du
Louvre, Paris. |
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| "The
Laundress", 1733, National-museum, Stockholm, Sweden. |
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"The Skate",
c. 1725-1726,
Musée du Louvre, Paris. |
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"Hector
and Andromache", 1973, Midosuji
Boulevard, Osaka, Japan. |
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Chirico, Giorgio de (1888-1978).
Italian painter, the inventor of Metaphysical
Painting, Pittura Metafisica. He was born in Volos,
located at the foot of the peninsula of Pelion at
the centre of Greece, and he died in Rome. In 1900
he began studying at the Polytechnic Institute of
Athen and took life drawing classes in the evenings.
About 1906 he moved to Munich, where he attended
classes at the Academy of Fine Arts and became
interesting in the art of Arnold Böcklin and Max
Klinger and in the books by Friedrich Nietzsche and
Arthur Schopenhauer. I 1909 De Chirico moved to
Milan and in 1910 to Florence. From 1911-15 he lived in Paris and
exhibited at Salon d’Automne in 1912 and 1913 and at
Salon des Indépendants in 1913 and 1914. De Chiroco
joined Guillaume Apollinaire's weekly gatherings, where
he met among others Brancusi,
Derain
and Max Jacob. During World War I (1914-18), he left
France for Italy, where he met Pilippo de Pisis, Morandi
and Carlo Carrà. From 1917-19 De Chirico and Carrá
founded and developed the concept for the Italian art
movement Pittura Metafisica,
later called Scuola
Metafisica, their purpose was
to portray an alternative reality - they created new
compositions of various well-known objects. The motifs
showed the mysterious, the dreamlike, a frozen unreal
reality with unnaturalistic colours and light, the human
figures often looked like wooden artist's mannequins.
De Chirico's paintings were characterized by an
imaginative abstract art with elements from antique
architecture and sculptures. Metaphysical painting was
an reaction against both Cubism and Futurism during the
period of the Italian Fascism. In spite of the fact that
the movement lived short, the style created the premises
for Surrealism particularly by using well-known elements
in unrealistic compositions.
In 1918 De Chirico moved to Rome, where his first solo
exhibition was held the same year at Casa d’Arte
Bragaglia. In 1918-19 he was one of the leaders of the
art group Gruppo Valori Plastici, with whom he exhibited
in Berlin. From 1920-24 he lived alternately in Rome and
Florence. In 1921 a solo exhibition of his works was
held at Galleria Arte in Milan. In 1924 he participated
in the Venice Biennale for the first time. In 1925 he
returned to Paris, where exhibited at Léonce Rosenberg's
Galerie l'Effort Moderne. In 1928 solo exhibitions were
held at Arthur Tooth Gallery in London and in New York
at the Valentine Gallery. In 1929 he designed pieces of
scenery and costumes for
Sergei Diaghilev’s ballet production "Le
Bal", and his book "Hebdomeros, the
Metaphysician" was published. The following years he
designed for ballets and operas and continued exhibiting
his works in Europe, Japan, the US and Canada. After
1930 he was engaged in naturalistic painting and later,
out of a neoclassical understanding, he became a
fanatical opponent of modern art. From 1940 De Chirico
lived permanently in Italy. In 1945 the first part of
his memoirs "Memorie della mia vita" was published.
(Scuola
Metafisica) |
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"The Disquieting
Muses", 1916, University of Iowa Museum of
Art. |
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CoBrA
1948-1951
art movement
established in 1948 and dissolved in 1951, named after
the home cities of the members
Copenhagen,
Brussels
and
Amsterdam.
The art movement began in Denmark. The Danish founders
were Asger Jorn, Carl-Henning Pedersen,
Egill Jacobsen, Henry Heerup, Ejler Bille, Mogens Balle
and Erik Thommesen.
The artistic expression was spontaneous and imaginative
and influenced of folk art, ancient Nordic art, Danish
murals and African masks.
In Belgium the founders were
Pierre Alechinsky, Christian Dotremont and Joseph Noiret
and in the Netherlands Constant, Karel Appel and
Corneille.
In Amstelveen in the Netherlands
exists a collection of the works by the Cobra artists in
"Cobra Museum of Modern art".
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The Danish artists
Asger Jorn (1914-1973).
Egill Jacobsen
(1910-1998). Mogens Balle
(1921-1989).
Ejler Bille
(1910-2004).
Sonja Ferlov Mancoba
(1911-1985).
Henry Heerup
(1907-1993). Erik Ortvad
(1917). Carl-Henning
Pedersen
(1913)
married to
Else Alfelt
(1910-1974).
Serge Vandercam
(1924). A recurring subject in his work was the peat bog
corpse "Tollundmanden" (350 BC, found in 1950, in the
prehistoric collection at Silkeborg Museum, Denmark).
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The Dutch artists
Karel Appel (1921).
Corneille
(Cornelis van Beverloo)
(1922). Constant Nieuwenhuys
(1920). Eugene Brands
(1913-2002). Jef Diederen
(1920). Lotti-van-der Gaag
(1923-1999). Gerrit Kouwenaar
(1923). Lucebert
(Lubertus Jacobus Swaanswijk) (1924-1994).
Jan Nieuwenhuijs
(1922-1968). Anton Rooskens
(1906-1976). Theo Wolvecamp (1925-1992)
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The Belgian artists
Christian Dotremont (1922-1979).
Pierre Alechinsky
(1927).
Reinhoud d'Haese
(1928). Luc de Heusch
(his pseudonym Luc Zangrie) (1927), he made the
Cobra-film "Persephone" in 1951. The script was written
together with Dotremont and Pierre Alechinsky.
.
The Dutch-Belgian artist
Jan Cox (1919-1980)
.
The American-Dutch artist
Shinkichi Tajiri (1923)
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The Scottish artist
Stephen Gilbert
(1910)
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The Icelandic artist
Svavar Gudnason
(1919-1988)
.
The Swedish artists
C.O. Hultén (1916).
Max Walter Svanberg
(1912-1994).
Anders Österlin
(1926)
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Belgian postage
stamp comme-morating
the 50th
anniversary
of Cobra
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Souvenir Sheet issued on November 10th 2006.
Click on the stamps for enlargement. |
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Asger Jorn
"Untitled", 1951. |
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Pierre Alechinsky,
"Nouvelle peau", 1950. |
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Else Alfelt, "Night Landscape", 1950. |
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Egill Jacobsen,
"The Olive Eater", 1951. |
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"The
Hay Wain", 1821, The National Gallery,
London. |
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Constable,
John (1776-1837). English landscape painter. He was
born in Suffolk, he died in London. His father, a wealthy miller, was
not very enthusiastic about his son's dreams of being an artist - a
lacking enthusiasm Constable met later in life, e.g. when he in 1828
became a member of the Royal Academy in London, where he had been
reminded that his membership was a special honour because landscape
painting was not considered high status (history painting ranked
highest), and his paintings were unpopular in his native country - there
was an unaccustomed spontaneity and boldness in his way of painting,
however his mode of expression became epoch-making in the European art.
One painting, "The Hay-Wain", shown at the Paris Salon in 1824,
attracted special attention. He became one of the founders of modern landscape painting, he
influenced the Barbizon School and the French Impressionists, he
himself was influenced by Ruisdael and
Lorrain
- Constable was against fantasy flight, he showed great interest
in painting the sky and executed a number of air
studies - he worked in the open air. Constable
avoided picturesque motifs (contrary to other
romantic painters) and saw it as his task to paint
the humble and anonymous nature.
(Romanticism)
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"The Hay Wain", 1821,
The National Gallery, London. |
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"Weymouth Bay", c. 1816,
The National Gallery, London. |
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"The Cornfield",
1826, The National Gallery, London. |
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"Dedham Vale", 1802, National Gallery of Scotland,
Edinburgh. |
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Constant
Anton
Nieuwenhuys
(1920). Dutch
artist and writer, born and educated in Amsterdam - a two-semester
student at Kunstnijverheidschool and from 1939-42 he was studying at the
State Academy of Fine Arts. He was influenced by
Cézanne,
the cubists and the expressionists and was co-founder of the
CoBrA
movement. Constant was intensely concerned about the relation between
art/society and his project "The New Babylon"
(1956-1974) - ideas for new values and ways of thinking and living - creativity
should be the human mission. Constant's proposal for urban planning
showed sketches and models of houses which could be prolonged
indefinitely as the Tower of Babel (the gate of God), whose top should
reach unto heaven.
(Abstract,
Cobra)
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Corneille
(Cornelis van Beverloo) (1922). Belgian painter and writer.
Studied at the "Academy of Art" in Amsterdam, in the
Netherlands. In 1948 he was one of the founders of the
movement "Reflex", and the following year one of the
founders of the movement "CoBrA". He was
influenced by
Miro
and
Klee.
In 1951 he went to Paris and started collecting primitive art and used the
sculptures as models for his paintings, which in general became more
abstract and imaginative.
(Abstract) |
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"Memory
of Montefontaine ", 1864,
Musée du Louvre, Paris. |
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"Self-portrait with
Palette", 1834. Galleria degli Uffizi, Florence. |
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"Ville d’Avray",
1865. |
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"La Rochelle", 1851. |
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"The Cathedral of
Mantes", 1865-69, Reims - Musée des Beaux-Arts, France. |
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"The Bridge at Narni", 1826,
Musée du Louvre, Paris. |
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"The Piazzetta seen from the Riva degli Schiavoni",
1835-1845, The Norton Simon Foundation, California, the USA. |
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"Woman with a Pearl".
Musée du Louvre, Paris. |
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Detail of "The Artist's
Studio, 1855". Click
here for full size image. |
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Courbet,
Gustave (1819-1877). French painter. He was born in Ornans, and he died in La Tour-de-Peilz in Switzerland. While growing up
Courbet was influenced by engagements in politics and human conditions.
Courbet was as artist influenced by the Spanish painter José de Ribera,
the Flemish painter Adriaen Brouwer and
Frans
Hals. His paintings mostly consisted of hunting paintings,
nature paintings, sceneries and portraits, his paintings were completely without passion and sentimentality, averting faces were often seen - he
had a special sense of colouristic possibilities and textural effects - he
became important to e.g.
Manet
and
Cézanne.
In 1839 Courbet began law study in Paris, meanwhile he became engaged in visual art
and attended classes at Académie Suisse. In 1844 he exhibited for the
first time at the official Salon. In 1945 he went on a study tour in the
Netherlands, where he came into contact with the country's art and nature. In the years before the February Revolution in 1848 (where king
Louis-Philippe "the Citizen King" abdicated) Courbet took part
in the growing interest in social problems, and he was attached to the philosopher Pierre-Joseph
Proudhon (one of the great socialist theorists), and the writer
Émile Zola (a major figure in the political liberalization of France). In
1949 Courbet received the Gold Medal at the Salon, meanwhile his success decreased,
when he represented some of his later chief works e.g.
"Funeral
at Ornans",
"The
Stone Breakers" and
"The
Painter's Studio" - choice of motifs which attracted attention,
the paintings were regarded as ugly and superficial. At the World
Exhibition of 1855 in Paris Courbet was not invited to exhibit, he opened
his own personal exhibition close to the main entrance, "Realism. Gustave
Courbet", he also published a catalogue - he had
formulated his ideas about Realism, e.g. the purpose of art was to describe the contemporary way of living
based on tradition, nature studies and the individuality of the artist.
Once more, at the World Exhibition of 1867, he protested against the establish
art world, he again exhibited on his own.
The years after 1855 he traveled in France, Belgium, Switzerland and
Germany.
In 1871 Courbet participated in the Paris Commune, the aim was to liberate
France from the occupying power, the Prussians, and the fall of capitalism, he became
art adviser to the communards - the Vendôme Column was pulled down on
May 16, 1871 by communards with Courbet as their leader, the column was
restored and re-erected in 1873 at Courbet's expense. The
Vendôme Column or the Austerlitz Column (1806-10) was designed by Lepère
and Gondoin, it was modelled after Trajan's Column in Rome to celebrate
the victory of Austerlitz.
Courbet fled to Switzerland, where he lived in exile for the last years of
his life. (Realism)
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"The man with a
pipe (Self-portrait)", 1848-49,
Musée Fabre, Montpellier, France.
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Self-portrait. |
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Zélie Courbet, 1847.
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"The Stone-Breakers", 1849, (destroyed
1945), formerly in the Staatliche Kunstsammlungen Dresden.
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After Dinner at Ornans, 1849, Palais de
Beaux-Arts, Lille, France.
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"A Burial at Ornans",1849-1850, Musee
d'Orsay, Paris. |
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"Portrait of Countess Karoly", 1865. |
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"Jo, the Beautiful Irishwoman", 1866, Nationalmuseum
Stockholm. Jo aka Joanne Hiffernan (1843-1903), was an
Irish artist's model and muse, who was romantically
linked with Courbet and the American painter James
Abbott McNeill Whistler.
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"Sleep", 1866,
Petit Palais, Musée des Beaux-Arts de
la Ville de Paris.
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"The
Meeting or Bonjour, Monsieur Courbet",
1854, Musée Fabre, Montpellier, France. |
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"Portrait of
Charles Baudelaire", 1848-1849,
Musée Fabre, Montpellier, France.
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The
Vendome
Column, Paris. |
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Cox,
Jan (1919-1980). Dutch-Belgian painter. He was born in
the Hague, the Netherlands,
throughout his life Cox suffered from recurrent depressions, presumably
the reason why he committed suicide, he died in Antwerp, Belgium. He
spent the most of his life in the US and in Belgium.
In 1936 Cox moved to Antwerp, where he began studying at the "Hoger
Instituut voor Schone Kunsten" (Higher Institute of Fine Arts).
In 1945 he went to Brussels, and the same year he was one of the founders
of the group "Jeune Peinture Belge"
- the group got great influence on Belgian art. In 1950 he came into contact
with the
CoBrA movement,
he also contributed regularly to the periodical CoBrA and exhibited at the
last CoBrA show in Liege, 1951. 1950 was
also the year, where he moved to the US, he first resided in New York, and
after a short stay in Rome, he moved to Boston in |
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1956, where he became
the leader of the painting department at the School of the Museum of Fine
Arts in Boston - he executed his first important
painting cycle based on the Orpheus myth. In New York he exhibited at Curt Valentine's
gallery and at Catherine Viviano's gallery. In 1974 he returned to Antwerp,
where he devoted himself to painting. In 1975 he executed his
monumental
painting cycle based on Homer's "The Iliad", and in his later years he
painted subject based on Mozart's music e.g. the "The Magic
Flute". Cox considered technical competence to be of less importance for the
artistic quality, the artistic technique could be learned in few month,
quality of art had first and foremost to do with creativity.
In 1988 the Flemish documentary by Bert Beyens and Pierre de Clercp had
premiere "Jan Cox: a Painter's Odyssey" or "Jan Cox: l'odyssée d'un peintre".
(Abstract,
Cobra)
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Detail of "The Artist's
Studio, 1855".
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| 1 |
Self-portrait. |
| 2 |
"Portrait of a Princess of
Saxony", 1517, National Gallery of Art, Washington D.C. |
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"Venus Standing in a Landscape", 1529, Musée du Louvre,
Paris. |
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"Rest on the Flight into Egypt, 1504, Staatliche Museen zu
Berlin. |
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The Schneeberg Altarpiece, 1539, Saxony, Germany. |
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"Martin Luther", 1529,
Galleria degli
Uffizi, Florence. |
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"Cardinal Albrecht of Brandenburg as
St. Jerome in his Study", 1526,
The John and Mable Ringling Museum of
Art, Sarasota, Florida. |
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"Hunt in honour of Charles V at the Castle of Torgau", 1544,
Museo nacional del Prado, Madrid. |
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"Adam and Eve",
1526. Courtauld Gallery, London.
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Artists click on a letter |
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