Τετάρτη, 27 Οκτωβρίου 2010

Henry Fuseli (1741-1825)

Henry Fuseli (or in German Johann Heinrich Füssli ) was a British painter, draughtsman and writer of German-Swiss origin. He was born in Switzerland and his father was also a painter of landscapes and portraits. He went to the Caroline college of Zurich, where he received classical education. In 1761 Fuseli was forced to leave his country and in 1765 visited England, where he became acquainted with Sir Joshua Reynolds to whom showed his drawings and was advised to devote himself on art. In 1770 went to Italy where remained until 1778 and changed his name from Füssli to Fuseli. In 1779 he returned to England taking in Zürich on his way. There he found a comission waiting for him from Alderman Boyell  and Fuseli painted a number of pieces for the  Shakespeare Gallery. In 1788 Fuseli married to Sophia Rawlins and soon after became associated with the Royal Academy. In 1799 Fuseli exhibited a series of paintings by the works of John Milton, 47 paintings, but the exhibition, which closed in 1800, proved a commercial failure. At the same year Fuseli  was also appointed professor of painting to the Academy. Fuseli painted more than 200 pictures, but he exhibited only a minority of them. His sketches or designs numbered about 800; they have admirable qualities of invention and design, and are frequently superior to his paintings.  Fuseli, after a life of uninterrupted good health, died at Putney Hill, at the age of eighty-four in 1825 comparatively rich.




                                                                Queen Catherine's dream


                                                                          nightmare


                                                                              nightmare


                                                                    the shepherd's dream
                                                                                 silence


                                                          Sir John's vision of the seven candles


                                                    Hugo and Amanda with the dead Alphonso


                                          Percival delivering Belisane from the Enchantments of Urma

                                                          the apotheosis of Penelope Boothby



source : http://en.wikipedia.org/wiki/Henry_Fuseli
http://www.artrenewal.org/pages/artist.php?artistid=185
http://www.museumsyndicate.com/artist.php?artist=121

Art & Poetry artaumonde.blogspot.com

Σάββατο, 16 Οκτωβρίου 2010

Edmund Blair Leighton (1853-1922)

Edmund Blair Leighton also known as Edward Blair Leighton was a painter of historical genre pictures, mainly of medieval times, but also regency. He is now one of the most popular of the painters on this web site, his pictures being amongst the most frequently reproduced as posters. Rather like Waterhouse, and Herbert Draper, Leighton the man has virtually disappeared. The reasons for the continuing popularity of the artist’s work are not difficult to understand, as they are similar to those in his lifetime, namely nostalgia for an elegant chivalrous past. Leighton was also a fastidious craftsman, producing highly- finished, beautifully painted, decorative pictures. It would appear that he left no diaries, and I have been unable to locate any mention of him in biographies, and though he exhibited at the Royal Academy for over forty years, he was never an Academician or an Associate. I set out below such information as I have been able to accumulate on the elusive Leighton.
Edmund Blair Leighton was born on the 21st September 1853, the son of the artist Charles Blair Leighton. He was educated at University College School, before becoming a student at the Royal Academy Schools. Leighton married Katherine Nash in 1885; they had a son and daughter. He exhibited annually at the RA from 1878 to 1920. Leighton was, as might be expected from his historic genre paintings a collector of old musical instruments, art, and furniture. He lived at 14 Priory Road, Bedford Park, London, and died on the 1st September 1922.




                                                                alain chartier


                                         call to arms                        

                                                                  
                                                                            God speed!


                                                                       the accolate


                                                       the charity of st.Elizabeth of Hungury


                                                                                 duty


                                                                     the hostage


                                                                               the piano lesson




source: http://www.artrenewal.org/pages/artist.php?artistid=844

Art & Poetry artaumonde.blogspot.com

Τρίτη, 5 Οκτωβρίου 2010

John Melhuish Strudwick (1849-1937)

Strudwick was one of the most accomplished of Edward Burne-Jones
followers. He painted some thirty paintings of legendary and symbolic subjects with a lapidary technique and a style that derives from the Italian quattrocento. Despite this, he never visited Italy.
He was born in London, studied, rather unsuccessfully, at the Royal Academy Schools, and in the late 1860s attempted to paint in the fluent style of the Scottish genre painter, John Pettle. His art was transformed in the early 1870s, when he was briefly studio assistant to Burne-Jones. Then he developed his distinctive style which never altered. Like most artists in Burne-Jones's circle, he exhibited chiefly at the Grosvenor Gallery and the New Gallery, but his output was very small because his technique was so meticulous. In 1909 he contributed to the final exhibition of the New Gallery. This seems to have marked the end of his artistic career although he lived for almost thirty more years. Tastes had changed and the period had ended in which he enjoyed the patronage of important figures such as the shipowners William Imrie and George Holt. The end of his exhibiting career coincides with his sixtieth birthday, so it is possible that he had been purchasing an annuity with a view to retirement.
His final artistic statement was the painting 'When Sorrow comes in Summer Days', which remained in the artist's family until 1983, and which Strudwick deliberately left unfinished (personal communication from the owners of the painting [the artist's family] to Peter Nahum, circa 1978). This gesture, together with the title, reflects the disillusionment he felt.
In 1891 he was the subject of an article by George Bernard Shaw in the Art Journal (pages 97-101). At this date Shaw was only known as a critic -- is first play was produced the following year. Strudwick's works have also appeared in recent mixed exhibitions, notably at the Last Romantics (Barbican Art Gallery, London, 1989). However no modern study of his work has yet appeared. 




                                                              Isabella and the pot of basil



 

                                                                             symphony



                      Isabella



the music of a bygone age



                                evening song



                 
                                                             the music faintly falling, dies away



                                                                     when apples were golden......



an angel



source : http://www.victorianweb.org/painting/strudwick/index.html
http://www.artrenewal.org/pages/artist.php?artistid=547

Art & Poetry artaumonde.blogspot.com