I have recently finished virtually Painting Sydney using the Veraxen paint-by-numbers app. It’s very relaxing and therapeutic.
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 theKnight, 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 DoctorsFrom 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, 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.
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.
English Poet, illustrator and translator Dante Gabriel Rossetti was Born 12 May 1828 . Like all his siblings, he aspired to be a poet and attended King’s College School, in its original location near the Strand. He also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass’s Drawing Academy from 1841 to 1845 when he enrolled at the Antique School of the Royal Academy, leaving in 1848. After leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he retained a close relationship throughout his life. Following the exhibition of William Holman Hunt’s painting The Eve of St. Agnes, Rossetti sought out Hunt’s friendship. The painting illustrated a poem by the little-known John Keats. Rossetti’s own poem, “The Blessed Damozel”, was an imitation of Keats, and he believed Hunt might share his artistic and literary ideals. Together they developed the philosophy of the Pre-Raphaelite Brotherhood which they founded along with John Everett Millais. The group’s intention was to reform English art by rejecting what they considered to be the mechanistic approach first adopted by the Mannerist artists who succeeded Raphael and Michelangelo and the formal training regime introduced by Sir Joshua Reynolds. Their approach was to return to the abundant detail, intense colours, and complex compositions of Quattrocento Italian and Flemish art. For the first issue of the brotherhood’s magazine, The Germ, published early in 1850, Rossetti contributed a poem, “The Blessed Damozel”, and a story about a fictional early Italian artist inspired by a vision of a woman who bids him combine the human and the divine in his art.Rossetti was always more interested in the medieval than in the modern side of the movement, working on translations of Dante and other medieval Italian poets, and adopting the stylistic characteristics of the early Italians.
He started out painting in oils with water-colour brushes, as thinly as in water-colour, on canvas which he had primed with white till the surface was a smooth as cardboard, and every tint remained transparent. I saw at once that he was not an orthodox boy, but acting purely from the aesthetic motive. The mixture of genius and dilettantism of both men shut me up for the moment, and whetted my curiosity. Stung by criticism of his second major painting, Ecce Ancilla Domini, exhibited in 1850, and the “increasingly hysterical critical reaction that greeted Pre-Raphaelitism”, Rossetti turned to watercolours. Although his work subsequently won support from John Ruskin. For many years, Rossetti worked on English translations of Italian poetry including Dante Alighieri’s La Vita Nuova . These and Sir Thomas Malory’s Le Morte d’Arthur inspired his art of the 1850s. He created a method of painting in watercolours, using thick pigments mixed with gum to give rich effects similar to medieval illuminations. He also developed a novel drawing technique in pen-and-ink. His first published illustration was “The Maids of Elfen-Mere” (1855), for a poem by his friend William Allingham. Rossetti also painted the upper wall of the Oxford Union debating-hall with scenes from Le Morte d’Arthur and to decorate the roof between the open timbers. Seven artists were recruited,and the work was hastily begun and they are now barely visible. Rossetti also contributed two illustrations to the 1857 edition of Alfred, Lord Tennyson’s Poems and illustrations for works by his sister Christina Rossetti.His visions of Arthurian romance and medieval design also inspired William Morris and Edward Burne-Jones who were much influenced by his works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Promoted his ideas about art and poetry.
Around 1860, Rossetti returned to oil painting, abandoning the dense medieval of the 1850s in favour of powerful close-up images of women in flat pictorial spaces characterised by dense colour. These paintings became a major influence on the development of the European Symbolist movement. Rossetti’s depiction of women became almost obsessively stylised. He portrayed his new lover Fanny Cornforth as the epitome of physical eroticism, whilst Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess. “As in Rossetti’s previous reforms, the new kind of subject appeared, These new works were based on the Italian High Renaissance artists of Venice, Titian and Veronese.In 1861, Rossetti became a founding partner in the decorative arts firm, Morris, Marshall, Faulkner & Co. with Morris, Burne-Jones, Ford Madox Brown, Philip Webb, Charles Faulkner and Peter Paul Marshall.Rossetti contributed designs for stained glass and other decorative objects. Sadly Rossetti’s wife Elizabeth Siddal died of an overdose of laudanum in 1862, shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and on the death of his beloved Lizzie, buried the bulk of his unpublished poems with her at Highgate Cemetery, though he later had them dug up. He idealised her image as Dante’s Beatrice in a number of paintings, such as Beata Beatrix. Rossetti lived in Chelsea for 20 years surrounded by extravagant furnishings and a parade of exotic birds and animals and was fascinated with wombats, frequently visiting the “Wombat’s Lair” at the London Zoo in Regent’s Park. In September 1869 he acquired the first of two pet wombats, which he named “Top”. Rossetti’s fascination with exotic animals continued throughout his life, culminating in the purchase of a llama and a toucan.
Rossetti also maintained Fanny Cornforth (described delicately by William Allington as Rossetti’s “housekeeper” inher own establishment nearby in Chelsea, and painted many voluptuous images of her.In 1865 he discovered auburn-haired Alexa Wilding, a dressmaker and would-be actress who was engaged to model for him on a full-time basis and sat for The Blessed Damozel and other paintings. Rossetti also used Jane Morris,as a model for the Oxford Union murals he painted with William Morris and Edward Burne-Jones in 1857, and she also sat for him during these years, she “consumed and obsessed him in paint, poetry, and life”. Rossetti was prevailed upon by Charles Augustus Howell, to exhume his poems from his wife’s grave which he did, collating and publishing them in 1870 in the volume Poems by D. G. Rossetti. This included the poems Nuptial Sleep, the House of Life and The Ballad of Dead Ladies which all created offence and controversy With their eroticism and sensuality but became Rossetti’s most substantial literary achievement. In 1881, Rossetti published a second volume of poems, Ballads and Sonnets, which included the remaining sonnets from The House of Life sequence. Unfortunately The savage reaction of critics to Rossetti’s first collection of poetry contributed to a mental breakdown in June 1872. After he recovered he began creating a soulful series of dream-like portraits featuring Alexa Wilding and Jane Morris
He spent his last days at Cheyne Walk battling deppression , exacerbated by his drug addiction to chloral hydrate and increasing mental instability, until finally On Sunday 9 April 1882 he died at the country house of a friend, where he had gone in a vain attempt to recover his health, which had been destroyed by chloral as his wife’s had been destroyed by laudanum. He died of Brights Disease, a disease of the kidneys from which he had been suffering for some time. He is buried at Birchington-on-Sea, Kent, England. His work influenced went on to influence many including the European Symbolists and the Aesthetic movement. Rossetti’s art was characterised by its sensuality and its medieval revivalism. His early poetry was influenced by John Keats. Among his most famous paintings are he Girlhood of Mary Virgin (1849) and Astarte Syriaca (1877). He also created art to illustrate poems such as Goblin Market by his sister, the celebrated poet Christina Rossetti.
Spanish Painter Salvador Domingo Felipe Jacinto Dalí i Domènech, Marqués de Dalí de Púbol was born 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. Unfortunately 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 1960, Dalí began work on his Theatre and Museum in his home town of Figueres and continued to indulge in publicity stunts and self-consciously outrageous behavior. To promote his 1962 book The World of Salvador Dalí, he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure. In 1968, Dalí filmed a humorous television advertisement for Lanvin (fr) chocolates. In 1969, he designed the Chupa Chups logo, in addition to facilitating the design of the advertising campaign for the 1969 Eurovision Song Contest and creating a large on-stage metal sculpture that stood at the Teatro Real in Madrid. In 1968, Dalí bought a castle in Púbol for Gala; and starting in 1971 she would retreat there alone for weeks at a time. By Dalí’s own admission, he had agreed not to go there without written permission from his wife. His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health. In 1980 at age 76, Dalí’s health took a catastrophic turn. His right hand trembled terribly, with Parkinson-like symptoms. His near-senile wife allegedly had been dosing him with a dangerous cocktail of unprescribed medicine that damaged his nervous system, thus causing an untimely end to his artistic capacity.
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.
n 1984, a fire broke out in his bedroom and 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. On the morning of 23 January 1989, while his favorite record of Tristan and Isolde played, Dalí died of heart failure at Figueres at the age of 84. He is 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.
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. .Sadly 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 hiswork also influenced that of the French Avante Garde such as Pablo Picasso and Henri Matisse
Cartoonists’ Day takes place on 5 May. A cartoon is a type of illustration, possibly animated, typically in a non-realistic or semi-realistic style. It was founded by the National Cartoonists Society on 5 May 1990 to commemorate the date of 5 May 1895 when a man named Richard F. Outcault first introduced a small bald kid in a yellow nightshirt to the world in an incredibly popular publication called, the New York World. The Yellow Kid was an archetype of the world, rather than a particular person and was Based on people Outcault encountered as he walked the slums of the city on his rounds, he would discover the kid walking out of houses, or sitting and hanging about on doorsteps. The archetypical “kid” was always warm and sunny, friendly, generous, and free of malice and selfishness. Although the paper itself was derided by so-called ‘real’ journalists, the yellow kid was embraced by people everywhere and led to a revolution in how stories were told and presented in sequential art pieces (Frames) and became a new standard piece of content for newspapers everywhere.
The concept originated in the Middle Ages, and first described a preparatory drawing for a piece of art, such as a painting, fresco, tapestry, or stained glass window. In the 19th century, beginning in Punch magazine in 1843, cartoon came to refer – ironically at first – to humorous illustrations in magazines and newspapers. In the early 20th century, it began to refer to animated films which resembled print cartoons. In print media, a cartoon is an illustration or series of illustrations, usually humorous in intent. This usage dates from 1843, when Punch magazine applied the term to satirical drawings in its pages, particularly sketches by John Leech. The first of these parodied the preparatory cartoons for grand historical frescoes in the then-new Palace of Westminster. The original title for these drawings was Mr Punch’s face is the letter Q and the new title “cartoon” was intended to be ironic, a reference to the self-aggrandizing posturing of Westminster politicians.
Cartoons can be divided into gag cartoons, editorial cartoons, comic strips and single-panel gag cartoons. Editorial cartoons are found almost exclusively in news publications and news websites. Although they also employ humor, they are more serious in tone, commonly using irony or satire. The art usually acts as a visual metaphor to illustrate a point of view on current social or political topics. Editorial cartoons often include speech balloons and sometimes use multiple panels. Editorial cartoonists of note include Herblock, David Low, Jeff MacNelly, Mike Peters, and Gerald Scarfe.
Comic strips, also known as cartoon strips in the United Kingdom, are found daily in newspapers worldwide, and are usually a short series of cartoon illustrations in sequence. In the United States, they are not commonly called “cartoons” themselves, but rather “comics” or “funnies”. Nonetheless, the creators of comic strips—as well as comic books and graphic novels—are usually referred to as “cartoonists”. Although humor is the most prevalent subject matter, adventure and drama are also represented in this medium. Some noteworthy cartoonists of humorous comic strips are Scott Adams, Steve Bell, Charles Schulz, E. C. Segar, Mort Walker and Bill Watterson. Other Well known cartoonists include Mel Calman, Bill Holman, Gary Larson, George Lichty, Fred Neher, Peter Arno, Charles Addams, Charles Barsotti, Chon Day, Bill Hoest, Jerry Marcus, Richard Thompson, Chester “Chet” Brown and Virgil Patch.