Rembrandt

Dutch painter and etcher Rembrandt Harmenszoon van Rijn 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.

The Polish Rider

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. Rembrandt sadly passed away on 4th October 1669) but 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.”

Gustav Klimt

Austrian symbolist painter Gustav Klimt was born July 14, 1862, he was one of the most prominent members of the Vienna Secession movement and is noted for his paintings, murals, sketches, and other art objects. Klimt’s primary subject was the female body. Born in Baumgarten, near Vienna in Austria-Hungary he displayed artistic talent early on but lived in poverty while attending the Vienna School of Arts and Crafts (Kunstgewerbeschule), where he studied architectural painting until 1883.He revered the foremost history painter of the time, Hans Makart and readily accepted the principles of a conservative training and his early work may be classified as academic.

In 1888, Klimt received the Golden order of Merit from Emperor Franz Josef I of Austria for his contributions to murals painted in the Burgtheater in Vienna. He also became an honorary member of the University of Munich and the University of Vienna. He also became one of the founding members and president of the Wiener Sezession (Vienna Secession) in 1897 where he remained until 1908. The group’s goals were to provide exhibitions for unconventional young artists, to bring the best foreign artists’ works to Vienna, and to publish its own magazine to showcase members’ work.The group declared no manifesto and did not set out to encourage any particular style—Naturalists, Realists, and Symbolists all coexisted. The government supported their efforts and gave them a lease on public land to erect an exhibition hall. The group’s symbol was Pallas Athena, the Greek goddess of just causes, wisdom, and the arts—and Klimt painted his radical version in 1898.

In 1894, Klimt was commissioned to create three paintings to decorate the ceiling of the Great Hall in the University of Vienna. Not completed until the turn of the century, his three paintings, Philosophy, Medicine and Jurisprudence, were criticized for their radical themes and material and caused a public outcry from all quarters—political, aesthetic, and religious. As a result, they were not displayed on the ceiling of the Great Hall. as a result This was the last public commission accepted by the artist for some time.In 1902, Klimt finished the Beethoven Frieze for the 14th Vienna Secessionist exhibition, which was intended to be a celebration of the composer and featured a monumental, polychromed sculpture by Max Klinger. Meant for the exhibition only, the frieze was painted directly on the walls with light materials. After the exhibition the painting was preserved, although it did not go on display until 1986. The face on the Beethoven portrait resembled the composer and Vienna Court Opera director Gustav Mahler.

Klimt’s ‘Golden Phase’ was met by positive critical reaction and success. Many of his paintings from this period used gold leaf; the prominent use of gold can first be traced back to Pallas Athene (1898) and Judith I (1901), although the works most popularly associated with this period are the Portrait of Adele Bloch-Bauer I (1907) and The Kiss (1907–1908). Klimt travelled little but made trips to Venice and Ravenna, as they were both famous for their beautiful mosaics, this most likely inspired his gold technique and his Byzantine imagery. In 1904, he collaborated with other artists on the lavish Palais Stoclet, the home of a wealthy Belgian industrialist, which was one of the grandest monuments of the Art Nouveau age. Klimt’s contributions to the dining room, including both Fulfillment and Expectation, were some of his finest decorative work, and as he publicly stated, “probably the ultimate stage of my development of ornament.

Between 1907 and 1909, Klimt painted five canvases of society women wrapped in fur. His apparent love of costume is expressed in the many photographs of Flöge modeling clothing he designed.In 1911 his painting Death and Life received first prize in the world exhibitions in Rome. In 1915 his mother Anna died. Klimt died three years later in Vienna on February 6, 1918, having suffered a stroke and pneumonia due to the influenza epidemic of that year and was buried at the Hietzinger Cemetery in Hietzing, Vienna. Numerous paintings were left unfinished. However those he did finish before his untimely demise have brought some of the highest prices recorded for individual works of art. In November 2003, Klimt’s Landhaus am Attersee sold for $29,128,000, and plenty of other examples of his work have also fetched vast sums of money at auction.

Peter Paul Rubens

German born Flemish Baroque painter Peter Paul Rubens was Born 28th June 1577. He was a prolific artist and was a proponent of extravagant Baroque style that emphasised movement, colour, and sensuality, he was known for his Counter Reformation altarpieces, portraits, landscapes, and history paintingso mythological and allegorial sujects.In addition to running a studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV, King of Spain, and Charles I, King of England. Religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting .In Antwerp, Rubens studied Latin and classical literature. By fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the city’s leading painters, Adam van Noort and Otto van een. his earliest training involved copying woodcuts by Hans Holbein the Younger and Marcantonio Raimondi’s engravings. Rubens completed his education in 1598, and entered the Guild of St. Luke as an independent master. In 1600, Rubens travelled to Venice, Italy, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The style of Veronese and Tintoretto had an immediate effect on Rubens’s painting, and his later, mature style was profoundly influenced by Titian.

With financial support from the Duke, Rubens travelled to Rome via Florence in 1601. There, he studied classical Greek and Roman art and copied works of the Italian masters, the Hellenistic sculpture Laocoön and his Sons was especially influential on him, as was the art of Michelangelo, Raphael, Leonardo da Vinci and Caravaggio. He later made a copy of Caravaggio’s Entombment of Christ. He recommended that his patron, the Duke of Mantua, purchase The Death of the Virgin and was instrumental in the acquisition of The Madonna of the Rosary for the Dominican church in Antwerp. Whilst invRome, Rubens completed his first altarpiece commission, St. Helena with the True Cross for the Roman church of Santa Croce in Gerusalemme. Rubens travelled to Spain on a diplomatic mission in 1603, delivering gifts from the Gonzagas to the court of Philip III. In Spain he studied the extensive collections of Raphael and Titian that had been collected by Philip II. He also painted an equestrian portrait of the Duke of Lerma during his stay . He returned to Italy in 1604, and stayed for the next four years, first in Mantua and then in Genoa and Rome. In Genoa, Rubens painted numerous portraits, such as the Marchesa Brigida Spinola-Doria and the portrait of Maria di Antonio Serra Pallavicini. He also began a book illustrating the palaces in the city, which was published in 1622 as Palazzi di Genova.

Rubens

Rubens returned to Antwerp in 1608 during a period of renewed prosperity in the city, he was appointed as court painter by Albert VII, Archduke of Austria and Infanta Isabella Clara Eugenia of Spain, sovereigns of the Low Countries. In 1610, Rubens moved into a new house and studio that he designed. Now the Rubenshuis Museum, in the centre of Antwerp, it accommodated his workshop and made the most of his extensive collection of paintings, and his personal art collection and library,. During this time he created.Altarpieces such as The Raising of the Cross (1610) and The Descent from the Cross (1611–1614) for the Cathedral of Our Lady which were particularly important in establishing Rubens as Flanders’ leading painter . The Raising of the Cross also demonstrates the artist’s synthesis of Tintoretto’s Crucifixion for the Scuola Grande di San Rocco in Venice, Michelangelo’s dynamic figures, and Rubens’s own personal style. The Spanish Habsburg rulers also entrusted Rubens with a number of diplomatic missions, Between 1627 and 1630, Rubens’s diplomatic career was particularly active, and he moved between the courts of Spain and England in an attempt to bring peace between the Spanish Netherlands and the United Provinces. He also made several trips to the northern Netherlands as both an artist and a diplomat. It was during this period that Rubens was twice knighted, first by Philip IV of Spain in 1624, and then by Charles I of England in 1630. He was awarded an honorary Master of Arts degree from Cambridge University in 1629.

In 1621, the Queen Mother of France, Marie de’ Medici, commissioned Rubens to paint two large allegorical cycles celebrating her life and the life of her late husband, Henry IV, for the Luxembourg Palace in Paris. The Marie de’ Medici cycle was installed in 1625 Rubens’s reputation with collectors and nobility grew during this decade, and his workshop continued to paint monumental paintings for local patrons in Antwerp. Such as The Assumption of the Virgin Mary for the Cathedral of Antwerp. Rubens’s last decade was spent in and around Antwerp. He continued to paint Major works for foreign patrons stsuch as the ceiling paintings for the Banqueting House at Inigo Jones’s Palace of Whitehall. In 1630, he married 16-year-old Hélène Fourment who inspired the voluptuous figures in many of his paintings from the 1630s, including The Feast of Venus, The Three Graces and The Judgment of Paris . In an intimate portrait of her, Hélène Fourment in a Fur Wrap, also known as Het Pelsken Rubens’s wife is even partially modelled after classical sculptures of the Venus Pudica, such as theMedici Venus. In 1635, Rubens bought an estate outside of Antwerp, the Steen, where he spent much of his time. Landscapes, such as his Château de Steen with Hunter and Farmers Returning from the Fields, reflect the more personal nature of many of his later works. He also drew upon Pieter Bruegel the Elder for inspiration in later works like Flemish Kermis.

Sadly Rubens died 30 May 1640 from heart failure, brought on by his chronic gout. He was interred in Saint Jacob’s church, Antwerp. The artist had eight children, three with Isabella and five with Hélène; his youngest child was born eight months after his death. Rubens was a prolific artist. His commissioned works were mostly religious subjects, “history” paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems. His fondness of painting full-figured women gave rise to the terms ‘Rubensian’ or ‘Rubenesque’ for plus-sized women.Rubens was a great admirer of Leonardo da Vinci’s work. Using an engraving done 50 years after Leonardo started his project on the Battle of Anghiari, Rubens did a masterly drawing of the Battle which is now in the Louvre in Paris.

M. C. Escher

Best known for his mathematically-inspired woodcuts, lithographs, and mezzotints many of which features mathematical objects and operations including impossible objects, explorations of infinity, reflection, symmetry, perspective, truncated and stellated polyhedra, hyperbolic geometry, and tessellations, the Dutch graphic artist Maurits Cornelis Escher was born on 17 June 1898 in Leeuwarden, Friesland, the Netherlands. In 1903, the family moved to Arnhem, where he attended primary and secondary school until 1918. Known to his friends and family as “Mauk”, he was a sickly child and was placed in a special school at the age of seven; he failed the second grade. He excelled at drawing,and He took carpentry and piano lessons until he was thirteen years old. In 1918, he went to the Technical College of Delft. From 1919 to 1922, Escher attended the Haarlem School of Architecture and Decorative Arts, learning drawing and the art of making woodcuts. He briefly studied architecture, but switched to decorative arts, studying under the graphic artist Samuel Jessurun de Mesquita

Early in his career, he drew inspiration from nature, making studies of insects, landscapes, and plants such as lichens, all of which he used as details in his artworks. In 1922, Escher traveled through Italy, visiting Florence, San Gimignano, Volterra, Siena, and Ravello. He also visited Madrid, Toledo, and Granada in Spain and was impressed by the Italian countryside and, in Granada, by the Moorish architecture of the fourteenth-century Alhambra. The intricate decorative designs of the Alhambra, based on geometrical symmetries featuring interlocking repetitive patterns in the coloured tiles or sculpted into the walls and ceilings, triggered his interest in the mathematics of tessellation and became a powerful influence on his work. Escher returned to Italy and lived in Rome from 1923 to 1935. While in Italy, Escher met Jetta Umiker – a Swiss woman, like himself attracted to Italy – whom he married in 1924. The couple settled in Rome where their first son, Giorgio (George) Arnaldo Escher, named after his grandfather, was born. Escher and Jetta later had two more sons – Arthur and Jan.

He also visited Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935. The townscapes and landscapes of these places feature prominently in his artworks. In 1936, Escher travelled back to Spain, revisiting the Alhambra and spending days at a time making detailed drawings of its mosaic patterns and became fascinated with tessellation and The sketches he made in the Alhambra formed a major source for his work. He also studied the architecture of the Mezquita, the Moorish mosque of Cordoba. He also interacted with the mathematicians George Pólya, Roger Penrose, Harold Coxeter and crystallographer Friedrich Haag, and conducted his own research into tessellation.

After 1937, his artworks were created in his studio rather than on location. His art correspondingly changed sharply from being mainly observational, with a strong emphasis on the realistic details of things seen in nature and architecture, to being the product of his geometric analysis and his visual imagination.

By 1935, the fanatical political climate in Italy (under Mussolini caused the family to leave Italy and they moved to Château-d’Œx, Switzerland, where they remained for two years. In 1935 The Netherlands post office had Escher design a semi-postal stamp for the “Air Fund”, and in 1949 he designed Netherlands stamps. These were for the 75th anniversary of the Universal Postal Union; a different design was used by Surinam and the Netherlands Antilles for the same commemoration. Escher, had been inspired by the landscapes in Italy, but was decidedly unhappy in Switzerland. In 1937, the family moved again, to Uccle (Ukkel), a suburb of Brussels, Belgium. However World War II forced them to move in January 1941, this time to Baarn, Netherlands, where Escher lived until 1970. After 1953, Escher lectured widely and the illustrations and text for the lectures were later published as part of the book Escher on Escher. He was awarded the Knighthood of the Order of Orange-Nassau in 1955 and later made an Officer in 1967.

In July 1969 he finished his last work, a large woodcut with threefold rotational symmetry called Snakes, in which snakes wind through a pattern of linked rings. These shrink to infinity toward both the center and the edge of a circle. It was exceptionally elaborate, being printed using three blocks, each rotated three times about the center of the image and precisely aligned to avoid gaps and overlaps, for a total of nine print operations for each finished print. The image encapsulates Escher’s love of symmetry; of interlocking patterns; and, at the end of his life, of his approach to infinity. In 1970 Escher moved to the Rosa Spier Huis in Laren an artists’ retirement home in which he had his own studio. He died in a hospital in Hilversum on 27 March 1972, aged 73. He is buried at the New Cemetery in Baarn.

John Constable

English Romantic painter John Constable was Born 11th June in 1776 in East Bergholt, Suffolk, He is known principally for his landscape paintings of Dedham Vale, the area surrounding his home—now known as “Constable Country”—which he invested with an intensity of affection. “I should paint my own places best”, he wrote to his friend John Fisher in 1821, “painting is but another word for feeling”. During his youth, Constable embarked on many amateur sketching trips in the surrounding Suffolk and Essex countryside that was to become the subject of a large proportion of his art.

In 1799, Constable persuaded his father to let him pursue art, and Golding even granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections as well as studying and copying Old Masters. Among works that particularly inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van Ruisdael. He also read widely among poetry and sermons, and later proved a notably articulate artist. By 1803, he was exhibiting paintings at the Royal Academy. In 1802 he refused the position of drawing master at Great Marlow Military College, a move which Benjamin West (then master of the RA) counselled would mean the end of his career. In that year, Constable wrote a letter to John Dunthorne in which he spelled out his determination to become a professional landscape painter. His early style has many of the qualities associated with his mature work, including a freshness of light, colour and touch, and reveals the compositional influence of the Old Masters he had studied, notably of Claude Lorrain.

Constable’s usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. Constable quietly rebelled against the artistic culture that taught artists to use their imagination to compose their pictures rather than nature itself. Although Constable produced paintings throughout his life for the “finished” picture market of patrons and R.A. exhibitions, constant refreshment in the form of on-the-spot studies was essential to his working method, and he never satisfied himself with following a formula. “The world is wide”, he wrote, “no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world; and the genuine productions of art, like those of nature, are all distinct from each other.”

Constable painted many full-scale preliminary sketches of his landscapes in order to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public. The oil sketches of The Leaping Horse and The Hay Wain, for example, convey a vigour and expressiveness missing from Constable’s finished paintings of the same subjects. Possibly more than any other aspect of Constable’s work, the oil sketches reveal him in retrospect to have been an avant-garde painter, one who demonstrated that landscape painting could be taken in a totally new direction. Constable’s watercolours were also remarkably free for their time: the almost mystical Stonehenge, 1835, with its double rainbow, is often considered to be one of the greatest watercolours ever painted. When he exhibited it in 1836, Constable appended a text to the title: “The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period.”

John Constable sadly passed away on 31st March 1837 and Although his paintings are now among the most popular and valuable in British art such as Dedham Vale of 1802 and The Hay Wain of 1821 he was never financially successful and did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. He sold more paintings in France than in his native England. He could never have imagined how influential his honest techniques would turn out to be. Constable’s art inspired not only contemporaries like Géricault and Delacroix, but the Barbizon School, and the French impressionists of the late nineteenth century.

Henri Gauguin

Leading French Post-Impressionist artist Eugène Henri Paul Gauguin was born 7 June 1848. As a child he lived for four years in Lima with Paul’s uncle and his family. The imagery of Peru would later influence Gauguin in his art. It was in Lima that Gauguin encountered his first art. His motherdmired Pre-Columbian pottery, He was collectng Inca pots that some colonists dismissed as barbaric. After attending a couple of local schools he was sent to a Catholic boarding school in La Chapelle-Saint-Mesmin, which he hated. He spent three years at the school. At seventeen, Gauguin sined on as a pilot’s assistant in the merchant marine to fulfill his required military service Three years later, he joined the French navy in which he served for two years. 1873, he married a Danish woman, Mette-Sophie Gad (1850–190). Over their next ten years, they had five children: Émile (1874–1955); Aline (1877–1897); Clovis (1879–1900); Jean René (1881–1961); and Paul Rollon (1883–1961). By 1884, Gauguin had moved with his family to Copenhagen, Denmark. Around 1873, he became a stockbroker, And also began painting in his free time. His Parisian life centred on the 9th arrondissement.

He returned to Paris in 1885, Paul Gauguin’s last physical contact with his wife was in 1891 .In 1887, after visiting Panama, Gauguin spent several months near Saint Pierre in Martinique. While in Martinique, he produced between ten and twenty works and traveled widely and apparently came into contact with a small community of Indian immigrants, which later influenced his art through the incorporation of Indian symbols. Gauguin, along with Émile Bernard, Charles Laval, Émile Schuffenecker and many others, frequently visited the artist colony of Pont-Aven in Brittany. They encouraged a bold use of pure color and Symbolist choice of subject matter.

Disappointed with Impressionism, Gauguin felt that traditional European painting had become too imitative and lacked symbolic depth. By contrast, the art of Africa and Asia seemed to him full of mystic symbolism and vigour. There was a vogue in Europe at the time for the art of other cultures, especially that of Japan (Japonism). He was invited to participate in the1889 exhibition .Under the influence of folk art and Japanese prints, Gauguin’s work evolved towards Cloisonnism, a style given its name by the critic Édouard Dujardin in response to Émile Bernard’s method of painting with flat areas of color and bold outlines, which reminded Dujardin of the Medieval cloisonné enamelling technique. Gauguin was very appreciative of Bernard’s art and of his daring with the employment of a style which suited Gauguin in his quest to express the essence of the objects in his art. the influence of the cloisonnist style, paved the way to Primitivism and the return to the pastoral. He was also an influential proponent of wood engraving and woodcuts as art forms

His works of that period are full of quasi-religious symbolism and an exoticized view of the inhabitants of Polynesia. In Polynesia, he sided with the native peoples, clashing often with the colonial authorities and with the Catholic Church. During this period he also wrote the book Avant et après (before and after), a fragmented collection of observations about life in Polynesia, memories from his life and comments on literature and paintings. He also used Primitivism , which was an art movement of late 19th century painting and sculpture; characterized by exaggerated body proportions, animal totems, geometric designs and stark contrasts. .

Sadly Gauguin died 8 May 1903, and amazingly his paintings were not well appreciated until after his death. however Gaugiuin’s bold experimentation with coloring led directly to the Synthetist style of modern art and his art became popular after his death. Many of his paintings were in the possession of Russian collector Sergei Shchukin And he was later recognized for his experimental use of colors and synthetist style that were distinguishably different from Impressionism and he was influential to the Symbolist movement as a painter, sculptor, print-maker, ceramist, and writer, and his work also influenced that of the French Avante Garde such as Pablo Picasso and Henri Matisse.

Tintoretto

Italian Renaissance artist Tintoretto sadly Died May 31, 1594. born 29 September 1518 in Venice. His real name was Jacopo Comin, and he was a notable exponent of theRenaissance school. For his phenomenal energy in painting he was termed Il Fuioso. His work is characterized by its musculr figures, dramatic gestures, and bold use of perspective in the Mannerist style, while maintaining color and light typical of the Venetian School. In his youth, Tintoretto was also known as Jacopo Robusti as his father had defended the gates of Padua in a way that others called robust, against the imperial troops during the War of the League of Cambrai (1509–1516). Tintoretto was the eldest of 21 children. His father, Giovanni, was a dyer, or tintore; hence the son got the nickname of Tintoretto, little dyer, or dyer’s boy, which is anglicized as Tintoret.

The family originated from Brescia, in Lombardy, then part of theRepublic of Venice. In childhood Jacopo, a born painter, began daubing on the dyer’s walls; his father, noticing his talent took him to the studio of Titian to see how far he could be trained as an artist. Tintoretto had only been ten days in the studio when Titian sent him home once and for all, Titian mayhave judged that young Jacopo, although he might become a painter, would never be properly a pupil.From this time forward the two always remained upon distant terms, Tintoretto being indeed a professed and ardent admirer of Titian, but never a friend, and Titian and his adherents turning the cold shoulder to him. His noble conception of art and his high personal ambition were evidenced in the inscription which he placed over his studio Il disegno di Michelangelo ed il colorito di Tiziano (“Michelangelo’s design and Titian’s color”).

He also studied from models of Michelangelo’s Dawn, Noon, Twilight and Night, and became expert in modelling in wax and clay method. The models were sometimes taken from dead subjects dissected or studied in anatomy schools; some were draped, others nude, and Tintoretto was to suspend them in a wooden or cardboard box, with an aperture for a candle. Now and afterwards he very frequently worked by night as well as by day. Tintoretto also helped the young painter Andrea Schiavone, in wall-paintings; . The two earliest mural paintings of Tintoretto are said to have been Belshazzar’s Feast and a Cavalry Fight. . The first work of his to attract some considerable notice was a portrait-group of himself and his brother playing a guitar. Another of Tintoretto’s early pictures is in the church of the Carmine in Venice, thePresentation of Jesus in the Temple. In the S. Benedetto is the painting Annunciation and Christ with the Woman of Samaria. Tintoretto also painted four subjects from Genesis For the Scuola della Trinity (the scuole or schools of Venice were more in the nature of hospitals or charitable foundations than of educational institutions). Two of these, now in the Venetian Academy, are Adam and Eve and the Death of Abel.

The Embarkation of St Helena in the Holy Land was one of a series of three paintings by Tintoretto, depicting the legend of St Helena And The Holy Cross. The Embarkation of St Helena was acquired by the V&A in 1865. Its sister paintings, The Discovery Of The True Cross and St Helen Testing The True Cross, are held in galleries in the USA.Towards 1546 Tintoretto painted three of his best known works – the Worship of the Golden Calf, thePresentation of the Virgin in the Temple, and the Last Judgment for the church of the Madonna dell’Orto, and settled down in a house by the church overlooking the Fondamenta de Mori, which is still standing. In 1548 he was commissioned for four pictures in the Scuola di S. Marco: the Finding of the body of St Mark, the St Mark’s Body Brought to Venice, St Mark Rescuing a Saracen from Shipwreck and the Miracle of the Slave. (these three are in Gallerie dell’Accademia in Venice). Having painted these He was financially secure and was able to marry Faustina de Vescovi , daughter of a Venetian nobleman who was the guardian grande of the Scuola Grande di San Marco, who bore him several children. Between 1565 and 1567, and again from 1575 to 1588, Tintoretto produced a large number of paintings for the walls and ceilings of the Scuola Grande di San Rocco .

In 1560 five painters, including Tintoretto and Paolo Veronese, were invited to send in trial-designs for the centre-piece in the smaller hall named Sala dell’Albergo, In 1565 he resumed work at the scuola, painting the magnificent Crucifixion, In 1576 he presented another centre-piece—that for the ceiling of the great hall, representing the Plague of Serpents; and completed this ceiling with pictures of the Paschal Feast and Moses striking the Rock . Next Tintoretto paintedthe entire scuola and of the adjacent church of San Rocco. In total the scuola and church contain fifty-two memorable paintings, such as Adam and Eve, the Visitation, the Adoration of the Magi, the Massacre of the Innocents, the Agony in the Garden, Christ before Pilate, Christ carrying His Cross, the Assumption of the Virgin. Tintoretto also did numerous paintings in the Doge’s Palace; including a portrait of the doge, Girolamo Priuli, the Excommunication of Frederick Barbarossa by Pope Alexander III, the Victory of Lepanto and The Deliverance of Arsenoe. Sadly though most were destroyed by a fire.

With help from Paolo Veronese, his colleague at the Sala dell Anticollegio, Tintoretto painted four masterpieces – Bacchus, with Ariadne crowned by Venus, the Three Graces and Mercury. He also painted, Minerva discarding Mars, the Forge of Vulcan, Queen of the Sea , theEspousal of St Catherine to Jesus , St George and St Nicholas, with St Margaret and St Jerome and St Andrew and nine large compositions, chiefly battle-pieces including the Capture of Zara from the Hungarians in 1346 amid a Hurricane of Missiles and arguably the crowning production of Tintoretto’s life, “Paradise” which is reputed to be the largest painting ever done upon canvas. A fter the completion of the Paradise Tintoretto rested for a while, and he never undertook any other work of importance. In 1592 he became a member of the Scuola dei Mercanti. In 1594, he developed severe stomach pains, and a fever, that prevented him from sleeping and eating much and was buried in the church of the Madonna dell’Orto by the side of his favorite daughter Marietta, who had died in 1590 at the age of thirty. Tradition suggests that as she lay in her final repose, her heart-stricken father had painted her final portrait.