Benoît B. Mandelbrot

French American mathematician Benoît B. Mandelbrot Sadly died in a hospice in Cambridge, Massachusetts, on 14th October 2010 from pancreatic cancer, at the age of 85. He was born 20 November 1924 in Poland, but moved to France with his family when he was a child. Mandelbrot spent much of his life living and working in the United States, and he acquired dual French and American citizenship. Mandelbrot worked on a wide range of mathematical problems, including mathematical physics and quantitative finance, but is best known as the popularizer of fractal geometry. He coined the term fractal and described the Mandelbrot set. Mandelbrot also wrote books and gave lectures aimed at the general public. Mandelbrot spent most of his career at IBM’s Thomas J. Watson Research Center, and was appointed as an IBM Fellow. He later became a Sterling Professor of Mathematical Sciences at Yale University, where he was the oldest professor in Yale’s history to receive tenure. Mandelbrot also held positions at the Pacific Northwest National Laboratory, Université Lille Nord de France, Institute for Advanced Study and Centre National de la Recherche Scientifique.From 1951 onward, Mandelbrot worked on problems and published papers not only in mathematics but in applied fields such as information theory, economics, and fluid dynamics. He became convinced that two key themes, fat tails and self- similar structure, ran through a situation of problems encountered in those fields.

Mandelbrot found that price changes in financial markets did not follow a Gaussian distribution, but rather Lévy stable distributions having theoretically infinite variance. He found, for example, that cotton prices followed a Lévy stable distribution with parameter α equal to 1.7 rather than 2 as in a Gaussian distribution. “Stable” distributions have the property that the sum of many instances of a random variable follows the same distribution but with a larger scale parameter.Mandelbrot also put his ideas to work in cosmology. He offered in 1974 a new explanation of Olbers’ paradox (the “dark night sky” riddle), demonstrating the consequences of fractal theory as a sufficient, but not necessary, resolution of the paradox. He postulated that if the stars in the universe were fractally distributed (for example, like Cantor dust), it would not be necessary to rely on the Big Bang theory to explain the paradox. His model would not rule out a Big Bang, but would allow for a dark sky even if the Big Bang had not occurred.

In 1975, Mandelbrot coined the term fractal to describe these structures, and published his ideas in Fractals: Form, Chance and Dimension.While at Harvard University in 1979, Mandelbrot began to study fractals called Julia sets that were invariant under certain transformations of the complex plane. Building on previous work by Gaston Julia and Pierre Fatou, Mandelbrot used a computer to plot images of the Julia sets of the formula z2 − μ. While investigating how the topology of these Julia sets depended on the complex parameter μ he studied the Mandelbrot set fractal that is now named after him. (Note that the Mandelbrot set is now usually defined in terms of the formula z2 + c, so Mandelbrot’s early plots in terms of the earlier parameter μ are left– right mirror images of more recent plots in terms of the parameter c.) In 1982, Mandelbrot expanded and updated his ideas in The Fractal Geometry of Nature. This influential work brought fractals into the mainstream of professional and popular mathematics, as well as silencing critics, who had dismissed fractals as “program artifacts”.

Mandelbrot left IBM in 1987, when IBM decided to end pure research in his division. He joined the Department of Mathematics at Yale, and obtained his first tenured post in 1999, at the age of 75. At the time of his retirement in 2005, he was Sterling Professor of Mathematical Sciences. His awards include the Wolf Prize for Physics in 1993, the Lewis Fry Richardson Prize of the European Geophysical Society in 2000, the Japan Prize in 2003, and the Einstein Lectureship of the American Mathematical Society in 2006.The small asteroid 27500 Mandelbrot was named in his honor. In November 1990, he was made a Knight in the French Legion of Honour. In December 2005, Mandelbrot was appointed to the position of Battelle Fellow at the Pacific Northwest National Laboratory. Mandelbrot was promoted to Officer of the Legion of Honour in January 2006. An honorary degree from Johns Hopkins University was bestowed on Mandelbrot in the May 2010 commencement exercises.

Although Mandelbrot coined the term fractal, some of the mathematical objects he presented in The Fractal Geometry of Nature had been previously described by other mathematicians. Before Mandelbrot, they had often been regarded as isolated curiosities with unnatural and non-intuitive properties. Mandelbrot brought these objects together for the first time and turned them into essential tools for the long-stalled effort to extend the scope of science to non-smooth objects in the real world. He highlighted their common properties, such as self-similarity (linear, non-linear, or statistical), scale invariance, and a (usually) non-integer Hausdorff dimension.He also emphasized the use of fractals as realistic and useful models of many “rough” phenomena in the real world. Natural fractals include the shapes of mountains, coastlines and river basins; the structures of plants, blood vessels and lungs; the clustering of galaxies; and Brownian motion. Fractals are found in human pursuits, such as music, art, architecture, and stock market prices. Mandelbrot believed that fractals, far from being unnatural, were in many ways more intuitive and natural than the artificially smooth objects of traditional Euclidean geometry.

Mandelbrot has been called a visionary and a maverick. His informed & passionate style of writing and his emphasis on visual and geometric intuition (supported bythe inclusion of numerous illustrations) made The Fractal Geometry of Nature accessible to non-specialists. The book sparked widespread popular interest in fractals and contributed to chaos theory and other fields of science and mathematics.When visiting the Museu de la Ciència de Barcelona in 1988, he told its director that the painting The Face of War had given him “the intuition about the transcendence of the fractal geometry when making intelligible the omnipresent similitude in the forms of nature”. He also said that, fractally, Gaudí was superior to Van der Rohe. The mathematician Heinz-Otto Peitgen said Mandelbrot’s impact inside mathematics, and applications in the sciences, made him one of the most important figures of the last 50 years.

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Rembrandt van Rijn

Dutch painter and etcher Rembrandt Harmenszoon van Rijn sadly passed away on 4th October 1669. He was born 15 July 1606. His contributions to art came during a period of great wealth and cultural achievement that historians call the Dutch Golden Age which was very different to the Baroque style that dominated Europe, he was extremely prolific and innovative. As a boy he attended Latin school and was enrolled at the University of Leiden, although according to a contemporary he had a greater inclination towards painting and was soon apprenticed to a Leiden history painter, Jacob van Swanenburgh, with whom he spent three years. After a brief but important apprenticeship of six months with the famous painter Pieter Lastman in Amsterdam, Rembrandt opened a studio in Leiden in 1624 or 1625, which he shared with friend and colleague Jan Lievens. In 1627, Rembrandt began to accept students, among them Gerrit Dou. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, the father of Dutch mathematician and physicist Christiaan Huygens, who procured commissions from the court of The Hague. As a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646.

The Polish Rider

In 1631 Rembrandt moved to Amsterdam, then rapidly expanding as the new business capital of the Netherlands, and began work as a professional portrait artist with great success. Throughout his career the themes of portraiture, landscape and narrative painting were his primary subjects and he produced over 600 paintings, nearly 400 etchings and 2,000 drawings including a number of biblical works, including The Raising of the Cross, Joseph Telling His Dreams and The Stoning of Saint Stephen, he was especially praised by his contemporaries, who extolled him as a masterly interpreter of biblical stories for his skill in representing emotions and attention to detail.During Rembrandt’s Leiden period (1625–1631) his Paintings were rather small, but rich in details (for example, in costumes and jewelry). Religious and allegorical themes were favored. In 1626 Rembrandt produced his first etchings, the wide dissemination of which would largely account for his international fame In 1629 he completed Judas Repentant, Returning the Pieces of Silver and The Artist in His Studio, works that evidence his interest in the handling of light and variety of paint application, and constitute the first major progress in his development as a painter.

Between 1632 and 1636 Rembrandt painted dramatic biblical and mythological scenes in high contrast and of large format (The Blinding of Samson, 1636, Belshazzar’s Feast, c. 1635 Danaë, 1636), seeking to emulate the baroque style of Rubens. With the occasional help of assistants in his workshop, he painted numerous portrait commissions both small (Jacob de Gheyn III) and large (Portrait of the Shipbuilder Jan Rijcksen and his Wife, 1633, Anatomy Lesson of Dr. Nicolaes Tulp, By the late 1630s Rembrandt had produced a few paintings and many etchings of landscapes. Often these landscapes highlighted natural drama, featuring uprooted trees and ominous skies (Cottages before a Stormy Sky, and The Three Trees. From 1640 his work became less exuberant and more sober in tone, possibly reflecting personal tragedy. Biblical scenes were now derived more often from the New Testament than the Old Testament, as had been the case before. In 1642 he painted The Night Watch and in the decade following the Night Watch, Rembrandt’s paintings varied greatly in size, subject, and style. The previous tendency to create dramatic effects primarily by strong contrasts of light and shadow gave way to the use of frontal lighting and larger and more saturated areas of color.

However these graphic works of natural drama eventually made way for quiet Dutch rural scenes and by the 1650s, Rembrandt’s style changed again. Colors became richer and brush strokes more pronounced. With these changes, Rembrandt distanced himself from earlier work and current fashion, which increasingly inclined toward fine, detailed works. In later years biblical themes were still depicted often, but emphasis shifted from dramatic group scenes to intimate portrait-like figures (James the Apostle, 1661). In his last years, Rembrandt painted his most deeply reflective self-portraits, and several moving images of both men and women in love, in life, and before God.Although he achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters.

Rembrandt’s greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt’s knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam’s Jewish population, his legacy lives on in the form of many wonderful paintings and because of his empathy for the human condition, he is also sometimes referred to as “one of the great prophets of civilization.”

Roy Lichtenstein

American pop artist Roy Fox Lichtenstein sadly died 29 September 1997. He was born October 27, 1923 . During the 1960s he became a leading exponent of Pop Art along with Andy Warhol, Jasper Johns, and James Rosenquist. Favoring the comic strip as his main inspiration, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. His work was heavily influenced by popular advertising and the comic book style.His paintings were exhibited at the Leo Castelli Gallery in New York City and Drowning Girl ,Whaam! and Look Mickey are regarded as his most influential works and The painting “Woman with Flowered Hat” holds the record for highest Lichtenstein auction price.

Lichtenstein Studied at the Ohio State University. However His studies were interrupted by a three-year stint in the army between 1943 and 1946 where he trained in languages, engineering, and pilot training, Before serving as an orderly, draftsman, and artist. Lichtenstein was discharged from the army with eligibility for the G.I. Bill and returned to Ohio State University, Where he studied under Hoyt L. Sherman. After graduating from Ohio State he was hired as an art instructor and received a Master of Fine Arts degree. In 1951 Lichtenstein had his first solo exhibition at the Carlebach Gallery in New York an moved to Cleveland commuting frequently to New York. In between painting he undertook jobs as varied as a draftsman to a window decorator. His work fluctuating between Cubism and Expressionism. In 1954, his first son, David Hoyt Lichtenstein, now a songwriter, was born. His second son, Mitchell Lichtenstein, was born in 1956.

In 1957, Lichtenstein moved to New York and in 1958 he began teaching at the State University of New York in Oswego, adopting the Abstract Expressionism style and incorporating hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into his abstract works. In 1960, he started teaching at Rutgers University, where he was influenced by fellow teacher Allan Kaprow. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey, and he produced six other paintings that year, Leo Castelli also started displaying Lichtenstein’s work at his gallery in New York And Lchtenstein had his first one-man show at the Castelli gallery in 1962; The entire collection being bought by influential collectors before the show even opened. A group of paintings produced between 1961-1962 focused on solitary household objects such as sneakers, hot dogs, and golf balls and in September 1963 he took a leave of absence from his teaching position at Douglass College at Rutgers. Lichtenstein began to find worldwide fame and moved back to New York where he resigned fromRutgers University in 1964 to concentrate on his painting.

On of Lichtenstein best known works, drowning Girl (1963), was appropriated from the lead story in DC Comics’ Secret Hearts #83. And features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction.Lichtenstein’s work was reproduced the way the mass media portrays them. He would never take himself too seriously unlike many Art Critics who challenged his paintings originality and criticized them as vulgar and empty. Another of Lichtenstein’s most celebrated image is Whaam!, one of the earliest known examples of pop art, adapted acomic-book panel from a 1962 issue of DC Comics’ All-American Men of War The painting depicts a fighter aircraft firing a rocket into an enemy plane, with a red-and-yellow explosion. The cartoon style is heightened by the use of the onomatopoeic lettering “Whaam!” and the boxed caption “I pressed the fire control… and ahead of me rockets blazed through the sky…” Whaam! follows the comic strip-based themes of some of his previous paintings and is part of a body of war-themed work created between 1962 and 1964. It is one of his two notable large war-themed paintings. Around 1964 Lichtenstein began experimenting with sculpture, producing Head of Girl (1964), and Head with Red Shadow (1965), collaborating with a ceramicist To create the same sort of graphic motifs that he used in his paintings; the application of black lines and Ben-Day dots to three-dimensional objects resulting in a flattening of the form. Most of Lichtenstein’s best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965.

Although he would still occasionally incorporate comics panels originally drawn by such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti into his work, without giving credit. This also attracted more criticism from those who Saw Lichtenstein’s use of comic-book imagery and art pieces as endorsement of a patronizing view of comics by the art mainstream and engendered a widespread debate about their merits .In the early 1960s, Lichtenstein reproduced masterpieces by Cézanne, Mondrian and Picasso before embarking on the Brushstroke series in 1965. Lichtenstein continued to revisit this theme later in his career with works such asBedroom at Arles that derived from Vincent van Gogh’s Bedroom in Arles.

ln 1970, Lichtenstein was commissioned by the Los Angeles County Museum of Art to make a film. With the help of Universal Film Studios, and he produced, Three Landscapes, a film of marine landscapes, directly related to a series of collages with landscape themes he created between 1964 and 1966. Lichtenstein originally planned on producing 15 short films, however the three-screen installation turned out to be the artist’s only film. In 1970, Lichtenstein purchased a former carriage house in Southampton, Long Island, built a studio on the property, Lichtenstein then began a series of Mirrors paintings in 1969. By 1970, while continuing on the Mirrors series, he started work on the subject of entablatures which consisted of a first series of paintings from 1971–72, followed by a second series in 1974-76, and the publication of a series of relief prints in 1976. He produced a series of “Artists Studios” which incorporated elements of his previous work. A notable example being Artist’s Studio, which incorporates five other previous works, fitted into the scene.

During a trip to Los Angeles in 1978, Lichtenstein became fascinated by lawyer Robert Rifkind’s collection of German Expressionist prints and illustrated books And began to produce works that borrowed stylistic elements found in Expressionist paintings such as The White Tree (1980) And Dr. Waldmann (1980) Lichtenstein also painted more surreal works such as Pow Wow. A major series of Surrealist-Pop paintings from 1979–81 is based on Native American themes Such as Amerind Figure (1981), and Amerind Landscape (1979). These took their themes, like the other parts of the Surrealist series, from contemporary art and other sources, including books on American Indian design from Lichtenstein’s small library. Lichtenstein’s Still Life paintings, sculptures and drawings cover a variety of motifs and themes, including fruit, flowers, and vases and Interiors. He was also inspired by the monochromatic prints of Edgar Degas featured in a 1994 exhibition at the Metropolitan Museum of Art in New York, using Ben Day dots and hard edged Block colours. The nude is a recurring element in Lichtenstein’s work of the 1990s, such as in Collage for Nude with Red Shirt. Lichtenstein also made over 300 prints, mostly in screen printing and in 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector’s Pop Art bedroom suite at the Palace Hotel in St. Moritz. During the 1980s, Lichtenstein received major commissions for works in public places: such as the sculptures Lamp, Mermaid, Brushstrokes in Flight andthe five-storey high Mural with Blue Brushstroke at the Equitable Center, New York; and El Cap de Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural that now hovers over pedestrians in the Times Square subway station.In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third instalment in the BMW Art Car .

Sadly Though Lichtenstein died of pneumonia in 1997 at New York University Medical Centre, where he had been hospitalised for several weeks. He was survived by his second wife, Dorothy Herzka, and by his sons, David and Mitchell, from his first marriage. After the artist’s death in 1997, the Roy Lichtenstein Foundation was established in 1999. In 2011, the foundation’s board decided the benefits of authenticating did not outweigh the risks of protracted lawsuits and In late 2006, the foundation sent out a holiday card featuring a picture of Electric Cord (1961), a painting that had been missing since 1970 after being sent out to art restorer Daniel Goldreyer by the Leo Castelli Gallery. The card urged the public to report any information about its whereabouts, luckily it was subsequently found in 2012 in a New York City warehouse.

Edgar Degas

Famous for his work in painting, sculpture, printmaking and regarded as one of the founders of Impressionism, the French artist Edgar Degas sadly died 27 September 1917. he was Born 19th July 1834 in Paris, France. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas, a banker. His maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas began his schooling in 1845 enrolling in the Lycée Louis-le-Grand. His mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth. Degas began to paint early in life and became a superb draftsman.

He graduated from the Lycée with a baccalauréat in literature in 1853, at the age of 18, and turned a room in his home into an artist’s studio. Upon graduating, he registered as a copyist in The Louvre Museum, but his father expected him to go to law school. Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853. In 1855 he met Jean-Auguste-Dominique Ingres, whom Degas revered and whose advice he never forgot: “Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist” in 1855 Degas was admitted to the École des Beaux-Arts. He studied drawing there with Louis Lamothe. Early in his career, he wanted to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classic art.

Degas

In July 1856, Degas traveled to Italy and In 1858, while staying with his aunt’s family in Naples, he made the first studies for his early masterpiece The Bellelli Family. He also drew and painted numerous copies of works by Michelangelo, Raphael, Titian, and other Renaissance artists. Degas returned to France in 1859, and moved into a large Paris studio And began painting The Bellelli Family, intended for exhibition in the Salon. He also began work on several history paintings: Alexander and Bucephalus and The Daughter of Jephthah, Sémiramis Building Babylon and Young Spartans.

In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy, and made the earliest of his many studies of horses. He exhibited at the Salon for the first time in 1865, exhibiting the painting Scene of War in the Middle Ages and continued to exhibit paintings at the Salon for the next five years including “Steeplechase—The Fallen Jockey”. Degas then abruptly changed subject matter bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. This was inspired in part by Édouard Manet, whom Degas had met in 1864 (while both were copying the same Velázquez portrait in the Louvre. During the Franco-Prussian War Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. Sadly his eyesight hindered him. In 1872 Degas visited New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, including A Cotton Office in New Orleans, many depicted family members.

In 1873 Degas returned to Paris sadly though his father died in 1874. Degas also learned that his brother René had amassed enormous business debts. To preserve his family’s reputation, Degas sold his house and an art collection he had inherited, and used the money to pay off his brother’s debt. In 1874 joined a group of young artists including Monet, who were organizing an independent exhibiting society. The group soon became known as the Impressionists. Between 1874 and 1886 they mounted eight art shows, known as the Impressionist Exhibitions. However Degas deeply disliked being associated with the term “Impressionist”, which the press had coined and popularized, and insisted on including non-Impressionist artists such as Jean-Louis Forain and Jean-François Raffaëlli in the group’s exhibitions and The group was disbanded in 1886. Degas also began collecting works by artists he admired: such as El Greco, Manet, Pissarro, Cézanne, Gauguin, Van Gogh, Édouard Brandon, Ingres, Delacroix, and Daumier. In the late 1880s, Degas also developed a passion for photography. Photographing many of his friends, including Renoir and Mallarmé. He also photographed dancers and nudes, which he used for reference in some of his drawings and paintings.

Much of Degas works depict dancers. These display his mastery in the depiction of movement, as do his racecourse subjects and female nudes. His portraits are notable for their psychological complexity and depiction of human isolation. Some of Degas’s work was controversial, but was generally admired for its draftsmanship. His La Petite Danseuse de Quatorze Ans, or Little Dancer of Fourteen Years, which he displayed at the sixth Impressionist exhibition in 1881, was probably his most controversial piece. The suite of pastels depicting nudes that Degas exhibited in the eighth Impressionist Exhibition in 1886 produced “the most concentrated body of critical writing on the artist during his lifetime however The overall reaction was positive and Degas soon joined forces with the Impressionists, and rejected the rigid rules, judgements, and elitism of the Salon In favour of the the experimentalism of the Impressionists.

Degas held the view that a painter could have no personal life, Consequently Degas became isolated. Then The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he broke with all his Jewish friends this together with his argumentative nature alienated him from most of his friends. Between 1907 and 1910 he Continued working in pastel and making Sculptures but he ceased working in 1912, when the impending demolition of his longtime residence on the rue Victor Massé forced him to move to quarters on Boulevard de Cliche. He spent the last years of his life, nearly blind, restlessly wandering the streets of Paris.

During Degas’ life, public reception to his work ranged from admiration to contempt. As a promising artist in the conventional mode, Degas had a number of paintings accepted in the Salon between 1865 and 1870. These works received praise from Pierre Puvis de Chavannes and the critic, Jules-Antoine Castagnary And his dynamic paintings and sketches of everyday life and activities, and his bold color experiments, served to finally tie him to the Impressionist movement as one of its greatest artists and Degas is now considered “one of the founders of Impressionism”. Though his work crossed many stylistic boundaries, his involvement with the other major figures of Impressionism and their exhibitions. His paintings, pastels, drawings, and sculptures are on prominent display in many museums and he also greatly influenced several important painters, most notably Jean-Louis Forain, Mary Cassatt, and Walter Sickert and Henri de Toulouse-Lautrec.

Henri Toulouse Lautrec

Post impressionist French painter, printmaker, draughtsman and illustrator Henri Marie Raymond de Toulouse-Lautrec-Monfa Sadly passed away 9 September 1901 at the age of 36 from complications due to alcoholism and syphilis. He was born 24 November 1864. Henri’s parents, the Comte and Comtesse, were first cousins (Henri’s two grandmothers were sisters) and unfortunately Henri suffered from congenital health conditions sometimes attributed to a family history of inbreeding. At the age of 13 Henri fractured his right thigh bone and, at 14, the left. The breaks did not heal properly. Modern physicians attribute this to an unknown genetic disorder, possibly pycnodysostosis (also sometimes known as Toulouse-Lautrec Syndrome), or a variant disorder along the lines of osteopetrosis, achondroplasia, or osteogenesis imperfecta. Rickets aggravated with praecox virilism has also been suggested. His legs ceased to grow, so that as an adult he was extremely short. He had developed an adult-sized torso, while retaining his child-sized legs. He is reported to have had hypertrophied genitals.

Physically unable to participate in many activities Toulouse-Lautrec immersed himself in art. He became an important Post-Impressionistpainter, art nouveau illustrator, and lithographer, and recorded in his works many details of the late-19th-century bohemian lifestyle in Paris. Toulouse-Lautrec contributed a number of illustrations to the magazine Le Rire during the mid-1890s.After failing college entrance exams, Henri passed at his second attempt and completed his studies. During a stay in Nice his progress in painting and drawing impressed Princeteau, who persuaded his parents to let him return to Paris and study under the acclaimed portrait painter Léon Bonnat. Henri’s mother had high ambitions and, with the aim of Henri becoming a fashionable and respected painter, used the family influence to get him into Bonnat’s studio.Toulouse-Lautrec was drawn to Montmartre, the area of Paris famous for its bohemian lifestyle and the haunt of artists, writers, and philosophers. Studying with Bonnat placed Henri in the heart of Montmartre, an area he rarely left over the next 20 years.

After Bonnat took a new job, Henri moved to the studio of Fernand Cormon in 1882 and studied for a further five years and established the group of friends he kept for the rest of his life. At this time he met Émile Bernard and Van Gogh. Cormon, whose instruction was more relaxed than Bonnat’s, allowed his pupils to roam Paris, looking for subjects to paint. In this period Toulouse-Lautrec had his first encounter with a prostitute (reputedly sponsored by his friends), which led him to paint his first painting of prostitutes in Montmartre, a woman rumoured to be called Marie-Charlotte.La Toilette. in 1887 he participated in an exposition in Toulouse using the pseudonym “Tréclau”, an anagram of the family name ‘Lautrec’. He later exhibited in Paris with Van Gogh and Louis Anquetin. The Belgian critic Octave Maus invited him to present eleven pieces at the Vingt (the Twenties) exhibition in Brussels in February. Vincent van Gogh’s brother, Theo bought ‘Poudre de Riz’ (Rice Powder) for 150 francs for the Goupil & Ciegallery.

From 1889 until 1894, Henri took part in the “Independent Artists’ Salon” on a regular basis. He made several landscapes of Montmartre, painting a series of pleasant plein-air paintings of Carmen Gaudin, the red-head model who appears in The Laundress (1888) in the garden of Monsieur Pere Foret.Toulouse-Lautrec was also commissioned to produce a series of posters for the Moulin Rouge. Other artists looked down on the work, but Henri was so aristocratic he did not care. The cabaret reserved a seat for him and displayed his paintings. Among the well-known works that he painted for the Moulin Rouge and other Parisian nightclubs are depictions of the singer Yvette Guilbert; the dancer Louise Weber, known as the outrageousLa Goulue (“The Glutton”), who created the “French Can-Can”; and the much more subtle dancer Jane Avrill. Toulouse-Lautrec also travelled to London. Making posters in London led him to making the ‘Confetti’ poster, and the bicycle advert ‘La Chaîne Simpson’.While in London he met and befriended Oscar Wilde. When Wilde faced imprisonment in Britain, Henri was a very vocal supporter of Wilde. Toulouse-Lautrec’s portrait of Wilde was painted the same year as Wilde’s trial.

Throughout his career, Toulouse-Lautrec created 737 canvases, 275 watercolours, 363 prints and posters, 5,084 drawings, some ceramic and stained glass work, and an unknown number of lost works. His debt to the Impressionists, in particular the more figurative painters Manet and Degas, is apparent. His style was influenced by the classical Japanese woodprints which became popular in art circles in Paris. In his works can be seen parallels to Manet’s detached barmaid at A Bar at the Folies-Bergère and the behind-the-scenes ballet dancers of Degas. He excelled at capturing people in their working environment, with the colour and the movement of the gaudy night-life present but the glamour stripped away. He was masterly at capturing crowd scenes in which the figures are highly individualized. At the time that they were painted, the individual figures in his larger paintings could be identified by silhouette alone, and the names of many of these characters have been recorded. His treatment of his subject matter, whether as portraits, scenes of Parisian night-life, or intimate studies, has been described as both sympathetic and dispassionate.

Toulouse-Lautrec’s painting style is highly linear and gives great emphasis to contour. He often applied the paint in long, thin brushstrokes which would often leave much of the board on which they are painted showing through. Many of his works may best be described as drawings in coloured paint. Due to his illness Lautrec was rather short and was mocked for his short stature and physical appearance, which led him to drown his sorrows in alcohol.At first this was beer and wine, but his tastes expanded. He was one of the notable Parisians who enjoyed American-style cocktails, France being a nation of wine purists. He had parties at his house on Friday nights and forced his guests to try them. The invention of the cocktail “Earthquake” or Tremblement de Terre is attributed to Toulouse-Lautrec: a potent mixture containing half absinthe and half cognac (in a wine goblet, 3 parts Absinthe and 3 parts Cognac, sometimes served with ice cubes or shaken in a cocktail shaker filled with ice).In 1893 Lautrec’s alcoholism began to take its toll, and as those around him realized the seriousness of his condition there were rumours of a syphilis infection. In 1899 his mother and some concerned friends had him briefly institutionalised. He even had a cane that hid alcohol so that a drink was always available.

. His immersion in the colourful and theatrical life of Paris in the late 1800s yielded a collection of exciting, elegant and provocative images of the modern and sometimes decadent life of those times. Toulouse-Lautrec – along with Cézanne, Van Gogh and Gauguin – is among the most well-known painters of the Post-Impressionist period. In a 2005 auction at Christie’s auction house, a new record was set when La blanchisseuse, an early painting of a young laundress, sold for $22.4 million U.S. Toulouse Lautrec was placed in a sanatorium shortly before his death and died at the family estate in Malromé He is buried in Verdelais, Gironde, a few kilometres from the Château Malromé, where he died. After His death, his mother, the Comtesse Adèle Toulouse-Lautrec, and Maurice Joyant, his art dealer, promoted his art. His mother contributed funds for a museum to be created in Albi, his birthplace, to house his works. The Toulouse-Lautrec Museum owns the world’s largest collection of works by the painter.

Henri Rouseau

French Post-Impressionist painter Henri Julien Félix Rousseau sadly died 2 September 1910 at the hospital Necker in Paris. He was born May 21, 1844 in Laval, France into the family of a plumber; and was forced to work there as a small boy. He attended Laval High School as a day student and then as a boarder, after his father became a debtor and his parents had to leave the town upon the seizure of their house. He was mediocre in some subjects but won prizes for drawing and music. He worked for a lawyer and studied law, but after committing perjury he Joined the army, in 1863 serving for four years. After his father’s death, Rousseau moved to Paris in 1868 to support his widowed mother as a government employee. In 1868, he married Clémence Boitard, his landlord’s 15 year-old daughter, with whom he had six children (only one survived). In 1871, he was appointed as a collector of the octroi of Paris, collecting taxes on goods entering Paris. His wife died in 1888 and he married Josephine Noury in 1898. He started painting seriously in his early forties, and by age 49 he retired from his job to work on his art full-time.

His best known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his army service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrated books and the botanical gardens in Paris, as well as tableaux of taxidermied wild animals. He had also met soldiers during his term of service who had survived the French expedition to Mexico, and he listened to their stories of the subtropical country they had encountered. To the critic Arsène Alexandre, he described his frequent visits to the Jardin des Plantes: “When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream.”Along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs.He claimed to have invented a new genre of portrait landscape, which he achieved by starting a painting with a view such as a favourite part of the city, and then depicting a person in the foreground.

In 1905, Rousseau’s large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited at the Salon des Indépendants near works by younger leading avant-garde artists such as Henri Matisse in what is now seen as the first showing of The Fauves. Rousseau’s painting may even have influenced the naming of the Fauves. When Pablo Picasso happened upon a painting by Rousseau being sold on the street as a canvas to be painted over, the younger artist instantly recognised Rousseau’s genius and went to meet him. In 1908 Picasso held a half serious, half burlesque banquet in his studio in Le Bateau-Lavoir in Rousseau’s honour. After Rousseau’s retirement in 1893, he supplemented his small pension with part-time jobs and work such as playing a violin in the streets. He also worked briefly at Le petit journal, where he produced a number of its covers. Rousseau exhibited his final painting, The Dream, at the 1910 Salon des Independantsa few months before his death. At his funeral, seven friends stood at his grave in the Cimetière de Bagneux: the painters Paul Signac and Manuel Ortiz de Zárate, the artist couple Robert Delaunay and Sonia Terk, the sculptor Brâncuşi, Rousseau’s landlord Armand Queval and Guillaume Apollinaire. During his life Rousseau was also known as Le Douanier (the customs officer), a humorous description of his occupation as a toll collector and although he was Ridiculed during his lifetime, he came to be recognized as a self-taught genius whose works are of high artistic quality.

Roger Dean

Known primarily for the dreamy, other-worldly fantasy scenes created for various bands including Yes, Asia and Anderson Bruford Wakeman Howe, the English fantasy artist, designer, and publisher William Roger Dean was born on 31 August 1944 in Ashford, Kent. His mother studied dress design at Canterbury School of Art before her marriage and his father was an engineer in the British Army. He has three siblings, brother Martyn and sisters Penny and Philippa. Much of Dean’s childhood was spent in Greece, Cyprus, and, from age 12 to 15, Hong Kong, so his father could carry out army duties. Dean was very keen on natural history as a child, and Chinese landscape art and feng shui became particular influences on him during his time in Hong Kong. He has cited landscape, “and the pathways through it”, as his greatest influence and source of inspiration for his exotic, fantasy landscapes.

In 1959, the family returned to England, Dean attended Ashford Grammar School followed by his entry in 1961 to Canterbury School of Art studying silversmithing and furniture design and graduated with a National Diploma in Design. He also began studying industrial design. As the school was trying to become accredited in the subject, Dean bypassed its foundation level course but disliked the way the subject was taught and questioned the teachers as to why people had to live in “boxes” and their response in that “form follows function”. in 1965 Dean enrolled at the Royal College of Art in London. to study furniture design and became a student of Professor David Pye. Among his research was the “psychology of architecture” and what made people feel comfortable in buildings.He did a thesis about “producing a sense of tranquillity in domestic architecture”. He graduated from the college in 1968 with a masters with first degree honours, and won a silver medal for “work of special distinction”. He was inspired Rick Griffin’s artwork for Aoxomoxoa (1969) by The Grateful Dead as his “first big visual shock” and bought the album prior to owning a record player.

Yes -Fly From Here

Among Dean’s first successes was his sea urchin chair which compresses and fully adapts to the shape and size of the user. This was inspired by research at the Royal College is a predecessor to the bean bag. Dean was one of the few students picked from the Royal College to design and make objects in famed designer Cherrill Scheer’s factory. The chair remains one of Cherrill’s favourite pieces. It is now a part of the permanent collection at the Victoria and Albert Museum. In 1968, during his third year at the Royal College, Dean helped design a contemporary landscape seating area at the upstairs disco at Ronnie Scott’s Jazz Club in Soho. This led to the design of his first album cover, The Gun (1968) by rock band The Gun for which owner Ronnie Scott asked him to adapt a demonic-themed design that Dean originally made in his sketchbook for his thesis, for the album’s cover. He then decided to start producing album cover art design. He first began producing covers for various jazz artists for Vertigo Records. Dean also wanted to publish a book on architecture.

In 1970 Dean designed the logo to the independent label Fly Records and also worked on artwork for Marc Bolan. This involved typesetting the liner notes and lyrics by hand with the assistance of a graphic designer. Following this Dean also began handwriting the text for further Bolan singles. Dean also completed a design for Clear Blue Sky (1970) by Clear Blue Sky, involving a painting without typesetting.Following this Dean produced more handwriting, logo, and graphic work for rock bands. He also held a small exhibition of his work in Florence. Dean did the artwork for the cover of Osibisa (1971) by Afro-pop band Osibisa which Dean described as “credible African fairytale imagery” and features “flying elephants”. This was turned into a popular poster by the Big ‘O’ poster company.

Dean sent a portfolio to numerous executives including Phil Carson, the European General Manager of Atlantic Records who decided to use Dean’s artwork for rock acts like, Led Zeppelin and Yes, and hired Dean for the cover of Yes’s fourth album, Fragile. This features a planet which is breaking up, so the inhabitants build a space ark to find another planet to live on while towing the remains of the planet with them”. In 1972, he designed the band’s logo which he came up with during a journey on the Brighton Belle train. Yes guitarist Steve Howe stated, “There is a pretty tight bond between our sound and Roger’s art”. Dean also contributed to Martyn Dean’s stage set designs for the band. During his work for Yessongs (1973), Dean and his printers Tinsley Robor secured a patent for “a way of going from gatefold to any number of pages, folded out of one piece of card” For Yes’s album Relayer (1974), he painted the sleeve in pencil and coloured it with dirty water. Characteristic landscapes show graceful stone arches or floating islands, while many paintings portray organic-seeming habitats, with ornate calligraphic work, logos and titles to go with his paintings.

Dean had an idea for Living in the Third Millennium, a television show about the designs of the future. In 1981, Dean and his brother Martyn had their collaborative design, the Tectonic House, a futuristic and economic home built to last, displayed at the annual International Ideal Home Exhibition in Birmingham. The idea spawned from two ideas: Dean’s earlier designs for a bed and bedroom intended for the safety of children, and Martyn’s “retreat pod” from 1970 that was featured in the Stanley Kubrick film A Clockwork Orange. Dean also collaborated with comic artist Michael Kaluta for the video game The Black Onyx by Henk Rogers for which they produced an estimated 4,000 drawings including ideas for animation, story, music, and motion capture.

In 1985 Dean created cover artwork for some Psygnosis games, including Shadow of the Beast and Obliterator and did the cover art for Tetris Worlds as well as a redesign of the Tetris logo. In 2002 Dean received an honorary doctorate from the Academy of Art University in San Francisco and received an honorary fellowship from the Arts University Bournemouth in 2009. In 2004, Dean started his “Homes for Life” architectural idea, designing affordable futuristic homes that can be mass produced in factories and customised to the user’s tastes. The design is curved based and without right angles. In 2013, Dean filed a legal action in U.S. District Court New York claiming that film director James Cameron was inspired by 14 of his original images in the making the 2009 blockbuster film Avatar. Dean sought damages of $50m. The filmmakers admitted in court to being influenced by the artist’s work, and Dean’s case was dismissed in 2014. In 2013, Dean received a Gold Badge of Merit from the British Academy of Songwriters, Composers and Authors.