Posted in Art

Henri Rousseau

French Post-Impressionist painter Henri Julien Félix Rousseau was born May 21, 1844 He was also known as Le Douanier (the customs officer), a humorous description of his occupation as a toll collector.Ridiculed during his lifetime, he came to be recognized as a self-taught genius whose works are of high artistic quality. Henri Rousseau was born in Laval, France in 1844 into the family of a plumber; he 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 at the high school but won prizes for drawing and music. He worked for a lawyer and studied law, but “attempted a small perjury and sought refuge in the army,”serving for four years, starting in 1863. With 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 (above) 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. Following 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.The Dream (1910), Rousseau exhibited his final painting, The Dream, at the 1910 Salon des Independantsa few months before his death on 2 September 1910 in the Hospital Necker in Paris.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.

Posted in Art

Albrecht Dürer

German painter, engraver, printmaker, mathematician, and theorist Albrecht Dürer was born 21 May 1472. His high-quality wood cuts established his reputation and influence across Europe when he was still in his twenties, and he is regarded as one of the greatest artist of theNorthern Renaissance. His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known prints include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I(1514). Hiswatercolours also mark him as one of the first European landscape artists, and his ambitious woodcuts were revolutionary. Dürer’s introduction of classical motifs into Northern art, secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.

In 1472 his godfather Anton Koberger, left goldsmithing to become a printer and publisher and quickly became the most successful publisher in Germany, eventually owning twenty-four printing-presses and having many offices in Germany and abroad. Koberger’s most famous publication was the Nuremberg Chronicles, published in 1493 which contained 1,809 woodcut illustrations and this is where Dürer worked as an of apprentice until 1490, and in early 1492 Dürer travelled to Basel to stay with another brother of Martin Schongauer, the goldsmith Georg. Very soon after his return to Nuremberg, on 7 July 1494, Dürer married Agnes Frey and opened his own workshop. Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Dürer’s father died in 1502, and his mother died in 1513. His best works in the first years of the workshop were his religious woodcut prints, and scenes such as The Men’s Bath House (ca. 1496). These were larger and more finely-cut than the great majority of German woodcuts and far more complex and balanced in composition. During an outbreak of plague in Nurenburg Dürer left for Italy and painted watercolour sketches as he traveled over the Alps.

He also travelled to Venice to study its more advanced artistic world and learned how to make prints in drypoint and design woodcuts in the German style, based on the works of Martin Schongauer and the Housebook Master. He was also influenced by Giovanni Bellini. In 1496 he produced his famous series of sixteen great designs for the Apocalypse, the engraving of St. Michael Fighting the Dragon and the first seven scenes of the Great Passion. A little later, he also produced a series of eleven on the Holy Family and saints. The Seven Sorrows Polyptych, commissioned by Frederick III of Saxony in 1496. Around 1503–1505 he produced the first seventeen of a set illustrating the Life of the Virgin, which he did not finish for some years. Dürer made large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the Betende Hände, a study for an apostle in the Heller altarpiece. He also continued to produce watercolours, including a number of still lifes of meadow sections or animals, including his Young Hare (1502) and the Great Piece of Turf (1503,The Venetian artist Jacopo de’ Barbari, whom Dürer had met in Venice, visited Nuremberg in 1500, and Dürer said that he learned much about the new developments in perspective, anatomy, and proportion from him.

A series of extant drawings show Dürer’s experiments in human proportion, leading to the famous engraving of Adam and Eve (1504), which shows his subtlety while using the burin in the texturing of flesh surfaces.Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artistsIn Italy, he returned to painting, at first producing a series of works executed in tempera on linen. These include portraits and altarpieces, notably, the Paumgartner altarpiece and the Adoration of the Magi. In early 1506, he returned to Venice and stayed there until the spring of 1507. By this time Dürer’s engravings had attained great popularity and were being copied. In Venice he was given a valuable commission from the emigrant German community for the church of San Bartolomeo. This was the altar-piece known as the Adoration of the Virgin or the Feast of Rose Garlands. It includes portraits of members of Venice’s German community, but shows a strong Italian influence. It was subsequently acquired by the Emperor Rudolf II and take to Prague. Other paintings Dürer produced in Venice include The Virgin and Child with the Goldfinch, Christ Disputing with the Doctors. From 1512, Maximilian I became Dürer’s major patron. His commissions included The Triumphal Arch

Dürer produced some of his most celebrated paintings: Adam and Eve(1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris(1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), andAdoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Dürer’s development of chiaroscuro modelling effects,[9] creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.Self-portrait, 1508Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Dürer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus’s treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century.

In 1515 he produced woodblocks for the first western printed star charts and portraits in tempera on linen in 1516.On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and aSacra Conversazione, though neither was completed. This may have been due in part to his declining health, but perhaps also because of the time he gave to the preparation of his theoretical works on geometry and perspective, the proportions of men and horses, and fortification.Having secured his pension, Dürer finally returned home in July 1521, having caught an undetermined illness—perhaps malaria. As for engravings, Dürer’s work was restricted to portraits and illustrations for his treatise. However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist. In painting, there was only a portrait of Hieronymus Holtzschuher, a Madonna and Child (1526), Salvator Mundi (1526), and two panels showing St. John with St. Peter in background and St. Paul with St. Mark in thebackground. Dürer also painted, the Four Apostles

Dürer died in Nuremberg at the age of 56, leaving an estate and workshop where his widow lived until her death in 1539 this is a prominent Nuremberg landmark and is now a museum. He is buried in the Johannisfriedhof cemetery. Dürer’s final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck. Dürer’s intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, especially on painters in the 19th and 20th century who desired a more dramatic portrait style andhas never fallen from critical favour, and has exerted a huge influence on the artists of succeeding generations, especially in printmaking, His success in spreading his reputation across Europe through prints were undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, all of whom collaborated with printmakers in order to promote and distribute their work.

Posted in Art, Events

International Museum Day

International Museum Day takes place annually around May 18. The purpose of International Museum Day is to raise public awareness on the important role museums play in the development of society at an international level. Museums are non-profit, permanent institution in the service of society which are open to the public, and acquire, conserve, research, communicate and exhibit the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.

International Museum Day is coordinated by the International Council of Museums (ICOM), a non-governmental organisation which was Created in 1946, to maintain formal relations with UNESCO and consultative status with the United Nations Economic and Social Council. ICOM also partners with entities such as the World Intellectual Property Organizatio INTERPOL, and the World Customs Organization in order to carry out its international public service missions, which include fighting illicit traffic in cultural goods and promoting risk management and emergency preparedness to protect world cultural heritage in the event of natural or man-made disasters. Members of the ICOM get the ICOM membership card, which provides free entry, or entry at a reduced rate, to many museums all over the world

International Museum Day also provides the opportunity for museum professionals to meet the public and alert them as to the challenges that museums face. The ICOM, (The International Council of Museum) are the main organisation of museums and museum professionals and have a global scope, and are committed to the promotion and protection of natural and cultural heritage, present and future, tangible and intangible.

Each year, International Museum Day highlights a different theme which is considered important to the international museum community. Museums around the world are invited to participate in International Museum Day to promote the role of museums, and to create, enjoyable and free activities around a different theme each year to advertise their work using a theme chosen by the ICOM.

Since it was created in 1977, International Museum Day has gained increasing attention. In 2009, International Museum Day attracted the participation of 20,000 museums hosting events in more than 90 countries. In 2010, 98 countries participated in the celebration, with 100 in 2011, and 30,000 museums in 129 countries in 2012. In 2011, the official IMD poster was translated into 37 languages. In 2012, this number Increased to 38. ICOM’s commitment to culture and knowledge promotion is reinforced by its 31 International Committees dedicated to a wide range of museum specialities, who conduct advanced research in their respective fields for the benefit of the museum community. The organisation is also involved in fighting illicit trafficking, assisting museums in emergency situations, and more. ICOM created International Museum Day in 1977.

More National and International holidays and events happenning on 18 May 

  • I Love Reese’s Day
  • Accounting Day
  • Emergency Medical Services for Children Day
  • Mother Whistler Day
  • National Cheese Soufflé Day
  • National Employee Health and Fitness Day
  • National No Dirty Dishes Day
  • National Visit Your Relatives Day
  • Turn Beauty Inside Out Day
Posted in Art

Notre Dame

I have recently completed a painting of Notre-Dame de Paris (Our Lady of Paris”), using Veraxen Paint-by-numbers. Notre Dame s a medieval Catholic cathedral on the Île de la Cité in the 4th arrondissement of Paris. The cathedral was consecrated to the Virgin Mary and considered to be one of the finest examples of French Gothic architecture. Its was constructed using the rib vaultand flying buttress, it has enormous and colourful rose windows, as well as the naturalism and abundance of its sculptural decorations and includes one of the world’s largest organs and its immense church bells.

The cathedral’s construction began in 1160 under Bishop Maurice de Sully and was largely complete by 1260, though it was modified frequently in the following centuries. In the 1790s, Notre-Dame suffered desecration during the French Revolution; much of its religious imagery was damaged or destroyed. In the 19th century, the cathedral was the site of the coronation of Napoleon I and the funerals of many Presidents of the French Republic.

Popular interest in the cathedral blossomed soon after the publication, in 1831, of Victor Hugo’s novel Notre-Dame de Paris (better known in English as The Hunchback of Notre-Dame). This led to a major restoration project between 1844 and 1864, supervised by Eugène Viollet-le-Duc. The Allied liberation of Paris in 1944 was celebrated within Notre-Dame with the singing of the Magnificat. Beginning in 1963, the cathedral’s façade was cleaned of centuries of soot and grime. Another cleaning and restoration project was carried out between 1991 and 2000.[6]

The cathedral is one of the most widely recognized symbols of the city of Paris and the French nation. As the cathedral of the Archdiocese of Paris, Notre-Dame contains the cathedra of the Archbishop of Paris (Michel Aupetit). In 1805, Notre-Dame was given the honorary status of a minor basilica. Approximately 12 million people visit Notre-Dame annually, making it the most visited monument in Paris. The cathedral was renowned for its Lent sermons, founded by the Dominican Jean-Baptiste Henri Lacordaire in the 1830s. In recent years, an increasing number have been given by leading public figures and state-employed academics.

The cathedral has been progressively stripped of its original decoration and works of art. Several noteworthy examples of Gothic, Baroque, and 19th-century sculptures and a group of 17th- and early 18th-century altarpieces remain in the cathedral’s collection. Some of the most important relics in Christendom, including the Crown of Thorns, a sliver of the true cross and a nail from the true cross, are preserved at Notre-Dame.

Antonieta Rivas Mercado shot herself at the altar of Notre-Dame on 11 February 1931 with a pistol that was the property of her lover Jose Vasconcelos. Unfortunately While undergoing renovation and restoration, the roof of Notre-Dame caught fire on the evening of 15 April 2019. Burning for around 15 hours, the cathedral sustained serious damage, including the destruction of the flèche (the timber spirelet over the crossing) and most of the lead-covered wooden roof above the stone vaulted ceiling. Contamination of the site and the nearby environment resulted Following the fire, many proposals were made for modernizing the cathedral’s design. However, on 16 July 2019, the French Parliament passed a law requiring that it be rebuilt exactly as it appeared before the fire. Stabilizing the structure against possible collapse is expected to continue until the end of 2020, with reconstruction beginning in 2021. The government of France hopes the reconstruction can be completed by Spring 2024, in time for the opening of the 2024 Olympics in Paris.

Posted in Art

More Veraxen Artwork

Recently I have found that I am having trouble connecting to the Internet due to the sheer volume of traffic caused by recent events (I am sure a lot of people are having the same issue). This is not a problem for me as I have both Ibis Paint X and Veraxen paint-by-numbers to keep me busy, whilst listening to an audiobook, plus I can watch the Joy of painting to inspire me. (I am also painting the Dresden Frauenkirsche v-e-r-y S-l-o-w-l-y). I am also thinking of doing Bran Castle and Neuschwanstein Schloss. Anyway here is the latest.

Posted in Art

Thomas Gainsborough

English portrait and landscape painter Thomas Gainsborough was christened 14 May in 1727. in Sudbury, Suffolk, the youngest son of John Gainsborough, a weaver and maker of woollen goods, and his wife, the sister of the Reverend Humphry Burrough One of Gainsborough’s brothers, Humphrey, had a faculty for mechanics and was said to have invented the method of condensing steam in a separate vessel, which was of great service to James Watt; another brother, John, was known as Scheming Jack because of his passion for designing curiosities. The artist spent his childhood at what is now Gainsborough’s House, on Gainsborough Street (he later resided there, following the death of his father in 1749). The original building still survives and is now a dedicated House to his life and art. During childhood he impressed his father with his drawing and painting skills, and he almost certainly had painted heads and small landscapes by the time he was ten years old, including a miniature self-portrait.

In 1740, he left home to study art in London with Hubert Gravelot, Francis Hayman, and William Hogarth. He assisted Francis Hayman in the decoration of the supper boxes at Vauxhall Gardens, and contributed to the decoration of what is now the Thomas Coram Foundation for Children. In 1746, he married Margaret Burr, and the couple became the parents of two daughters. He moved to Bath in 1759 where fashionable society patronised him, he studied portraits by van Dyck and was eventually able to attract a fashionable clientele. In 1761, he began to send work to the Society of Arts exhibition in London (now the Royal Society of Arts, of which he was one of the earliest members); and from 1769 he submitted works to the Royal Academy’s annual exhibitions. He selected portraits of well-known or notorious clients in order to attract attention. The exhibitions helped him acquire a national reputation.

In 1769, he became a founding member of the Royal Academy, but his relationship with the organisation was thorny and he sometimes withdrew his work from exhibition. Gainsborough moved to London in 1774, and painted portraits of the King and Queen, but the King was obliged to name as royal painter Gainsborough’s rival Joshua Reynolds. In his last years, Gainsborough painted relatively simple landscapes and is credited (with Richard Wilson) as the originator of the 18th century British landscape school. In 1774, Gainsborough and his family moved to London to live in Schomberg House, Pall Mall. A commemorative blue plaque was put on the house in 1951. In 1777, he again began to exhibit his paintings at the Royal Academy, including portraits of contemporary celebrities, such as the Duke and Duchess of Cumberland. Exhibitions of his work continued for the next six years. Gainsborough began experimenting with printmaking using the then-novel techniques of aquatint and soft-ground etching.

During the 1770s and 1780s Gainsborough developed a type of portrait in which he integrated the sitter into the landscape. A splendid example of this is his portrait of Frances Browne, Mrs John Douglas (1746-1811) which can be seen at Waddesdon Manor. The sitter has withdrawn to a secluded and overgrown corner of a garden to read a letter, her pose recalling the traditional representation of Melancholy. Gainsborough emphasised the relationship between Mrs Douglas and her environment by painting the clouds behind her and the drapery billowing across her lap with similar silvery mauves and fluid brushstrokes. This portrait was included in his first private exhibition at Schomberg House in 1784. Gainsborough sadly passed away from the effects of cancer in 1788 and is interred at St. Anne’s Church, Kew, Surrey. However he has left the world with some wonderful paintings most of which are characterised by a light palette and easy strokes. He preferred landscapes to portraits. There have also been many films based on his life and Cecil Kellaway portrayed him in the 1945 film Kitty.

Posted in Art, Uncategorized

Salvador Dali

Prolific Spanish surreallist Painter Salvador Dalí was Born Salvador Domingo Felipe Jacinto Dalí i Domènech, Marqués de Dalí de Púbol on 11 May 1904 in Figueres, Catalonia, Spain. When he was five, Dalí was taken to his brother’s grave and told by his parents that he was his brother’s reincarnation, a concept which he came to believe Images of his long-dead brother appeared in his later works, including Portrait of My Dead Brother (1963). Dalí also had a sister, Anna Maria, who was three years younger. In 1949, she published a book about her brother, Dalí As Seen By His Sister. His childhood friends included future FC Barcelona footballers Sagibarba and Josep Samitier. Dalí attended drawing school. In 1916, he also discovered modern painting on a summer holiday to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris. The next year, Dalí’s father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theatre in Figueres in 1919, a site he would return to decades later. Sadly In February 1921, when Dalí was 16 years old. Dalí’s mother died of breast cancer. After her death, Dalí’s father married his deceased wife’s sister.

In 1922, Dalí moved into the Residencia de Estudiantes (Students’ Residence) in Madrid and studied at the Real Academia de Bellas Artes de San Fernando where he drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English aesthetes of the late 19th century. At the Residencia, he met Pepín Bello, Luis Buñuel, and Federico García Lorca. However it was his paintings, in which he experimented with Cubism, that earned him the most attention from his fellow students. His only information on Cubist art had come from magazine articles and a catalog given to him by Pichot, since there were no Cubist artists in Madrid at the time. In 1924, the still-unknown Salvador Dalí illustrated a book for the first time. It was a publication of the Catalan poem Les bruixes de Llers (“The Witches of Llers”) by his friend and schoolmate, poet Carles Fages de Climent. Dalí also experimented with Dada, which influenced his work throughout his life.

Dalí was expelled from the Academy in 1926, shortly before his final exams after being accused of causing unrest. His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread. In 1926. he made his first visit to Paris, where he met Pablo Picasso, whom the young Dalí revered. Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who introduced him to many Surrealist friends. As he developed his own style over the next few years, Dalí made a number of works heavily influenced by Picasso and Miró. Dalí was influenced by many styles of art, including academically classic and cutting-edge avant-garde. His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer and Velázquez. He used both classical and modernist techniques. Dalí grew a flamboyant moustache, influenced by 17th-century Spanish master painter Diego Velázquez. The moustache became an iconic trademark of his appearance for the rest of his life. In 1929, Dalí collaborated with surrealist film director Luis Buñuel on the short film Un Chien Andalou (An Andalusian Dog). Dalí also met his lifelong and primary muse, inspiration, and future wife Gala (Elena Ivanovna Diakonova) aRussian immigrant ten years his senior, who at that time was married to surrealist poet Paul Éluard. Dalí also officially joined the Surrealist group in the Montparnasse quarter of Paris.

However Dalí’s father Don Salvador Dalí y Cusi strongly disapproved of his son’s romance with Gala, and considered Surrealism a bad influence on his morals. This relationship disintegrated totally when Dali exhibited a drawing of the Sacred Heart of Jesus Christ, with a provocative inscription: “Sometimes, I spit for fun on my mother’s portrait”. Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was evicted from his home in 1929. His father disinherited him and forbid him to set foot in Cadaqués again.

The following summer, Dalí and Gala bought a small fisherman’s cabin in a nearby bay at Port Lligat. In 1931, Dalí painted The Persistence of Memory, featuring surrealistic image of soft, melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. Dalí and Gala married in 1934 in a semi-secret civil ceremony. They later remarried in a Catholic ceremony in 1958. Aside from inspiring many artworks Gala also became Dalí’s business manager, supporting their extravagant lifestyle. She also seemed to tolerate Dalí’s dalliances with younger muses, secure in her own position as his primary relationship. This relationship become the subject of an opera, Jo, Dalí (I, Dalí) by Catalan composer Xavier Benguerel.

In 1934 Dalí was introduced to the United States by art dealer Julien Levy at an exhibition in New York of Dalí’s works, including Persistence of Memory. Dalí and Gala also attended a masquerade party in New York, while dressed as the Lindbergh baby and his kidnapper. The resulting uproar in the press was so great that Dalí apologized. When he returned to Paris, the Surrealists confronted him about his apology for a surrealist act. A majority of Surrealist artists became associated with leftist politics, however Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist André Breton accused Dalí of defending the “new” and “irrational” in “the Hitler phenomenon”. Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism. So in 1934, Dalí was formally expelled from the Surrealist group.

In 1936, Dalí took part in the London International Surrealist Exhibition. Delivering His lecture, titled Fantômes paranoiaques authentiques, while wearing a deep-sea diving suit and helmet to illustrate how he was “plunging deeply’ into the human mind.” In 1936, Dalí, was also featured on the cover of Time magazine. At the premiere screening of Joseph Cornell’s film Rose Hobart at Julien Levy’s gallery in New York City, Dalí became famous for another incident. Levy’s program of short surrealist films was timed to take place at the same time as the first surrealism exhibition at the Museum of Modern Art, featuring Dalí’s work. Dalí was in the audience at the screening, but halfway through the film, he knocked over the projector in a rage Claiming that Cornell had stolen his ideas.

Dalí’s main patron was Edward James Who had purchased many of Dali’s works and collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa. In 1938, Dalí met Sigmund Freud thanks to Stefan Zweig. Dalí started to sketch Freud’s portrait. Salvador Dalí was also invited by Gabrielle Coco Chanel to her house “La Pausa” in Roquebrune on the French Riviera. There he painted numerous paintings which were exhibited at Julien Levy Gallery in New York. “La Pausa” was also partially replicated at the Dallas Museum of Art. Dalí also unveiled Rainy Taxi, a three-dimensional artwork, consisting of an actual automobile with two mannequin occupants. This was displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surréalisme, organised by André Breton and Paul Éluard and designed by artist Marcel Duchamp.

At the 1939 New York World’s Fair, Dalí debuted his Dream of Venus surrealist pavilion, located in the Amusements Area of the exposition. It featured bizarre sculptures, statues, and live nude models in “costumes” made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes and Murray Korman. In 1939, André Breton coined the derogatory nickname “Avida Dollars”, an anagram for “Salvador Dalí”, a phonetic rendering of the French phrase avide à dollars, meaning “eager for dollars” as a derisive reference to the increasing commercialization of Dalí’s work, and the perception that Dalí sought self-aggrandizement through fame and fortune. The Surrealists, many of whom were closely connected to the French Communist Party at the time, expelled him from their movement

In 1940, Dalí and Gala retreated to the United States, where they lived for eight years splitting their time between New York and Monterey, California. Dalí’s arrival in New York was one of the catalysts in the development of that city as a world art center in the post-War years. During World War II Dalí designed jewelry, clothes, furniture, stage sets for plays and ballet, and retail store display windows. In 1939, while working on a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he shoved a decorative bathtub through a plate glass window. Dali spent the winter of 1940-41 in at Hampton Manor, the residence of bra designer and patron of the arts Caresse Crosby, near Bowling Green in Caroline County, Virginia. In 1941, Dalí drafted a film scenario for Jean Gabin called Moontide. In 1942, he published his autobiography, The Secret Life of Salvador Dalí. He wrote catalogs for his exhibitions, such as that at the Knoedler Gallery in New York in 1943. He also wrote a novel, published in 1944, about a fashion salon for automobiles. This resulted in a drawing by Edwin Cox in The Miami Herald, depicting Dalí dressing an automobile in an evening gown.

In The Secret Life, Dalí suggested that he had split with Luis Buñuel because the latter was a Communist and an atheist. Buñuel was fired (or resigned) from his position at the Museum of Modern Art (MOMA), and went back to Hollywood where he worked in the dubbing department of Warner Brothers from 1942 to 1946. In his 1982 autobiography Mon Dernier soupir (My Last Sigh, 1983), Buñuel wrote that, over the years, he had rejected Dalí’s attempts at reconciliation. An Italian friar, Gabriele Maria Berardi, claimed to have performed an exorcism on Dalí while he was in France in 1947.

In 1948 Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués. And spent most of his time there painting, taking time off and spending winters with his wife in Paris and New York. His acceptance and implicit embrace of Franco’s dictatorship were strongly disapproved of by other Spanish artists and intellectuals who remained in exile. In 1959, André Breton organized an exhibit called Homage to Surrealism, celebrating the fortieth anniversary of Surrealism, which contained works by Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell.

Dalí experimented with many unusual or novel media and processes Such as bulletist artwork, optical illusions, negative space, visual puns, pointillism, , enlarged half-tone dot grids (a technique which Roy Lichtenstein would later use), stereoscopic images, holography and trompe l’œil visual effects. Dalí also developed a keen interest in natural science and mathematics and painted many of his subjects as composed of rhinoceros horn shapes. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. He linked the rhinoceros to themes of chastity and to the Virgin Mary. Dalí was also fascinated by DNA and the tesseract (a 4-dimensional cube); an unfolding of a hypercube is featured in the painting Crucifixion (Corpus Hypercubus).

Dalí also had a glass floor installed in a room near his studio in Lligat. He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings. In many of his paintings, Dalí used anamorphosis, a form of eccentric and exaggerated perspective which distorts objects beyond recognition; however, when seen from a particular skewed viewpoint, a legible depiction emerges. He used the power of this technique to conceal “secret” or “forbidden” images in plain sight.

Following World War II Dalí became interested in optical effects, science, and religion. He became an increasingly devout Catholic, while at the same time being inspired by the shock of Hiroshima and the dawning of the “atomic age”. Therefore, Dalí labeled this period “Nuclear Mysticism” and painted The Madonna of Port Lligat (first version, La Gare de Perpignan, The Hallucinogenic Toreador, and Corpus Hypercubus, which combine Christian iconography with images of material disintegration inspired by nuclear physics.

In 1982, King Juan Carlos bestowed on Dalí the title of Marqués de Dalí de Púbol. The title was in first instance hereditary, but on request of Dalí changed to life only in 1983. Gala died on 10 June 1982, at the age of 87. After Gala’s death, Dalí lost much of his will to live. He deliberately dehydrated himself, possibly as a suicide attempt, with claims stating he had tried to put himself into a state of suspended animation as he had read that some microorganisms could do. He moved from Figueres to the castle in Púbol, which was the site of her death and her grave. In May 1983, Dalí revealed what would be his last painting, The Swallow’s Tail, a work heavily influenced by the mathematical catastrophe theory of René Thom.

Sadly In 1984, a fire broke out in his bedroom luckily Dalí was rescued by friend and collaborator Robert Descharnes and returned to Figueres, where a group of his friends, patrons, and fellow artists accommodated him at the Theatre-Museum. In November 1988, Dalí entered the hospital with heart failure; a pacemaker had been implanted previously. On December 5, 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí. Dalí gave the king a drawing (Head of Europa, which would turn out to be Dalí’s final drawing) after the king visited him on his deathbed. Dali tragically died on 23 January 1989, from heart failure at the age of 84 and was buried in the crypt below the stage of his Theatre and Museum in Figueres, just across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and near to the house where he was born. The Gala-Salvador Dalí Foundation currently serves as his official estate. The US copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society.

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Henri Gauguin

Leading French Post-Impressionist artist Eugène Henri Paul Gauguin Sadly died 8 May 1903. He 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. 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.

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Edouard Manet

Prolific French painter Édouard Manet Sadly died 30 April 1883 in Paris After contracting gangrene, Rheumatism, syphilis and Locomotor Ataxia. He was born 23 January 1832 at his ancestral hôtel particulier (mansion) on the rue Bonaparte. His father, Auguste Manet, was a French judge who expected Édouard to pursue a career in law. However His uncle, Edmond Fournier, encouraged him to pursue painting and took young Manet to the Louvre. In 1841 he enrolled at secondary school, the Collège Rollin and in 1845, he enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts and subsequent lifelong friend. in 1848 he sailed on a training vessel to Rio de Janeiro, but twice failed the examination to join the Navy. Instead From 1850 to 1856, Manet studied under the academic painter Thomas Couture. In his spare time, Manet copied the old masters in the Louvre and From 1853 to 1856, visited Germany, Italy, and the Netherlands, and was influenced by the Dutch painter Frans Hals, and the Spanish artists Diego Velázquez and Francisco José de Goya.

In 1856, Manet opened a studio Where he painted The Absinthe Drinker (1858–59), beggars, singers, Gypsies, people in cafés, and bullfights. He rarely painted religious, mythological, or historical subjects; apart from Christ Mocked, now in the Art Institute of Chicago, and Christ with Angels, in the Metropolitan Museum of Art, New York. Manet had a portrait of his Mother and Father and The Spanish Singer, displayed at the Salon in 1861. In 1862 he painted Music in the Tuileries (See below), and in 1863 he painted The Luncheon on the Grass (Le déjeuner sur l’herbe) which was exhibited at Salon des Refusés (Salon of the Rejected) and also painted Olympia, both of which caused great controversy. In 1868 he painted Berthe Morisot with a Bouquet of Violets and also became friends with impressionists Berthe Morisot, Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cézanne and Camille Pissarro, Morisot also became his sister-in-law when she married his brother, Eugene in 1874. Unfortunately Manet was excluded from the International Exhibition of 1867 at the Paris Salon, so he set up his own exhibition.

In 1879 he painted a self portrait and became influenced by the Impressionists, especially Monet and Morisot and also painted two portraits of the composer Emanuel Chabrier. Among Manet’s fans were Émile Zola, Stéphane Mallarmé, and Charles Baudelaire. In 1878 he painted The Cafe Concert, which was set in the Cabaret de Reichshoffen on the Boulevard Rochechouart, and went on to paint many other cafe scenes depicting the Bohemian social life in 19th-century Paris in which people were depicted drinking beer, listening to music, flirting, reading, or waiting. Manet also visited Pere Lathuilles a restaurant on the Avenue de Clichy and painted Chez le père Lathuille (At Pere Lathuille’s). In 1873 he painted Le Bon Bock and in 1864 he painted The Races at Longchamps and Masked Ball at the Opera and his 1868 painting The Luncheon was painted in Manet’s Dining Room.

Manet also painted War subjects including View of the International Exhibition, and the Battle of the Kearsarge and Alabama (1864), the Battle of Cherbourg (1864) and The Barricade. The French intervention in Mexico also interested him and he Painted The Execution of Emperor Maximilian, 1867, an action which raised concerns regarding French foreign and domestic policy and is currently at the Museum of Fine Arts, Boston. In January 1871, Manet traveled to Oloron-Sainte-Marie in the Pyrenees and his friends added his name to the “Fédération des artistes” of the Paris Commune. In 1973 He painted The Railway, widely known as The Gare Saint-Lazare, and In 1874 painted several boating subjects which are now in the Metropolitan Museum of Art, His last major work, was A Bar at the Folies-Bergère (Un Bar aux Folies-Bergère), and In 1875, he provided Lithographs for a book-length French edition of Edgar Allan Poe’s “The Raven”. Then in 1881,the French government awarded Manet the Légion d’honneur.Sadly Manet contracted syphilis in his forties, for which he received no treatment. He also suffered from rheumatism and developed locomotor ataxia, a known side-effect of syphilis, which caused him considerable pain. Then In April 1883, his left foot was amputated, sadly though the wound became infected causing his death eleven days later on 30 April 1883 in Paris, he is buried in the Passy Cemetery in the city.

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J. M. W Turner

Prolific English Romantic painter, printmaker and watercolourist. Joseph Mallord William Turner RA was born 23 April 1775 in Maiden Lane, Covent Garden, London, to a modest lower middle-class family. He lived in London all his life, retaining his Cockney accent and assiduously avoiding the trappings of success and fame.

He was A child prodigy, And studied at the Royal Academy of Arts from 1789, enrolling when he was 14, and exhibited his first work there at 15. During this period, he also served as an architectural draftsman. He earned a steady income from commissions and sales, which due to his troubled, contrary nature, were often begrudgingly accepted. He opened his own gallery in 1804 and became professor of perspective at the academy in 1807, where he lectured until 1828, although he was viewed as profoundly inarticulate. He traveled to Europe from 1802, typically returning with voluminous sketchbooks and became known for his expressive colourisations, imaginative landscapes and turbulent, often violent marine paintings.

Turner was Intensely private, eccentric and reclusive, and courted much controversy throughout his career. He did not marry, but fathered two daughters, Eveline (1801–1874) and Georgiana (1811–1843), by his housekeeper Sarah Danby. He became more pessimistic and morose as he got older, especially after the death of his father, after which his outlook deteriorated, his gallery fell into disrepair and neglect, and his art intensified. He lived in squalor and poor health between 1845 and 1851.

Turner sadly died in London on 19 December 1851 aged 76 and is buried in Saint Paul’s Cathedral, London. However He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He had been championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.