text stringlengths 0 3.13k |
|---|
In 1473 he began directing the work to be done in the ducal chapel in the Castello Sforzesco. Only a few of the frescoes in the ducal chapel still survive today. It is difficult to determine the precise role Bembo played in the decoration of the chapel because he worked alongside several other artists, which would beco... |
Authorship |
Art historians believe his style improved over the years as he learned how to accurately represent space. Despite having a considerable number of works attributed to him, only the portraits of the Sforza family are surely his. There has been much debate over the authenticity of his works due to some of his earlier work... |
Tarot cards |
One of Bonifacio's best known works is the deck of tarot cards he painted for Bianca Maria Visconti and Francesco Sforza in the mid fifteenth-century, probably after 1455. This deck is known as the Visconti-Sforza, or "Colleoni Tarot". |
Tarot cards began to appear a little before the mid-fifteenth century, making Bembo one of the first artists to paint a deck of them. Bianca Maria and her husband chose to have Bembo paint the cards because he was their favorite painter. In all, Bembo and his workshop must have painted seventy-eight cards of the full d... |
The deck is composed of four main suits known as Swords (spade), Cups (coppe), Coins (denari), and Staves (bastoni). In addition the deck had a fifth suit of twenty-one trumps and a wild card known as the Fool. Bembo and his assistants hand painted each individual card with skill, managing to incorporate the Visconti m... |
Given their beauty and elegance, the cards were very rarely played with, if at all, by the Sforza family, based on the relative wear and tear on the cards compared to other decks the family owned. Even today the beauty of the cards has an impact on people. Italo Calvino wrote a novel titled The castle of crossed destin... |
References |
Sources |
Ticozzi, Stefano (1830). Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d'ogni età e d'ogni nazione. Vol. 1. Milan: Gaetano Schiepatti. p. 140. |
Cesar Pietersz, or Cesar Boetius van Everdingen (1616/17 – buried 13 October 1678), older brother of Allart van Everdingen and Jan van Everdingen, was a Dutch Golden Age portrait and history painter. |
Biography |
He was born in Alkmaar and educated in Utrecht, where he learned to paint from Jan Gerritsz van Bronckhorst. Caesar became a member of the painter's guild in Alkmaar in 1632. His first known painting dates from 1636. In 1648 he moved to Haarlem, where he joined the Haarlem Guild of St. Luke and the civic guard (or sch... |
Works |
Many of his pictures are to be seen in the museums and private houses of the Netherlands, with several on display at the Stedelijk Museum Alkmaar. His pupils were Jan Theunisz Blanckerhoff, Adriaen Dekker, Hendrik Graauw, and Thomas Heeremans. Houbraken also lists two other pupils; Adriaen Warmenhuizen, and Laurens Oos... |
Gallery |
References |
External links |
Media related to Caesar van Everdingen at Wikimedia Commons |
Caesar van Everdingen on Artnet |
Cesar van Everdingen at Artcyclopedia |
Biography at Web Gallery of Art |
Works and literature at PubHist |
Jacob Abraham Camille Pissarro ( piss-AR-oh; French: [kamij pisaʁo]; 10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Im... |
In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by v... |
Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, Cézanne, Seurat, Gauguin, and van Gogh. |
Early years |
Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St. Thomas to Frederick Abraham Gabriel Pissarro and Rachel Manzano-Pomié. His father was of Portuguese Jewish descent and held French nationality. His mother was from a French-Jewish family from St. Thomas. His father was a merchant who came to t... |
When Pissarro was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris. While a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a strong grounding in drawing and painting and suggested he draw from nat... |
After his schooling, Pissarro returned to St. Thomas at the age of sixteen or seventeen, where his father advocated Pissarro to work in his business as a port clerk. Nevertheless, Pissarro took every opportunity during those next five years at the job to practice drawing during breaks and after work. |
Visual theorist Nicholas Mirzoeff claims that the young Pissarro was inspired by the artworks of James Gay Sawkins, a British painter and geologist who lived in Charlotte Amalie, St. Thomas circa 1847. Pissarro may have attended art classes taught by Sawkins and seen Sawkins's paintings of Mitla, Mexico. Mirzoeff state... |
When Pissarro turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired him to take on painting as a full-time profession, becoming his teacher and friend. Pissarro then chose to leave his family and job and live in Venezuela, where he and Melbye spent the next two years working as artists in C... |
Life in France |
In 1855, Pissarro moved back to Paris where he began working as an assistant to Anton Melbye, Fritz Melbye's brother and also a painter. He also studied paintings by other artists whose style impressed him: Courbet, Charles-François Daubigny, Jean-François Millet, and Corot. He also enrolled in various classes taught b... |
Paris Salon and Corot's influence |
His initial paintings were in accord with the standards at the time to be displayed at the Paris Salon, the official body whose academic traditions dictated the kind of art that was acceptable. The Salon's annual exhibition was essentially the only marketplace for young artists to gain exposure. As a result, Pissarro w... |
In 1859 his first painting was accepted and exhibited. His other paintings during that period were influenced by Camille Corot, who tutored him. He and Corot shared a love of rural scenes painted from nature. It was by Corot that Pissarro was inspired to paint outdoors, also called "plein air" painting. Pissarro found ... |
Use of natural outdoor settings |
During this period Pissarro began to understand and appreciate the importance of expressing on canvas the beauties of nature without adulteration.: 12 After a year in Paris, he therefore began to leave the city and paint scenes in the countryside to capture the daily reality of village life. He found the French countr... |
"Work at the same time upon sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression." |
Corot would complete his paintings back in his studio, often revising them according to his preconceptions. Pissarro, however, preferred to finish his paintings outdoors, often at one sitting, which gave his work a more realistic feel. As a result, his art was sometimes criticised as being "vulgar," because he painted ... |
With Monet, Cézanne, and Guillaumin |
In 1859, while attending the free school, the Académie Suisse, Pissarro became friends with a number of younger artists who likewise chose to paint in the more realistic style. Among them were Claude Monet, Armand Guillaumin and Paul Cézanne. What they shared in common was their dissatisfaction with the dictates of the... |
Pissarro agreed with the group about the importance of portraying individuals in natural settings, and expressed his dislike of any artifice or grandeur in his works, despite what the Salon demanded for its exhibits. In 1863 almost all of the group's paintings were rejected by the Salon, and French Emperor Napoleon III... |
In subsequent Salon exhibits of 1865 and 1866, Pissarro acknowledged his influences from Melbye and Corot, whom he listed as his masters in the catalogue. But in the exhibition of 1868 he no longer credited other artists as an influence, in effect declaring his independence as a painter. This was noted at the time by a... |
"Camille Pissarro is one of the three or four true painters of this day ... I have rarely encountered a technique that is so sure." |
Another writer tries to describe elements of Pissarro's style: |
"The brightness of his palette envelops objects in atmosphere ... He paints the smell of the earth.": 35 |
And though, on orders from the hanging Committee and the Marquis de Chennevières, Pissarro's paintings of Pontoise for example had been skyed, hung near the ceiling, this did not prevent Jules-Antoine Castagnary from noting that the qualities of his paintings had been observed by art lovers. At the age of thirty-eight,... |
In the late 1860s or early 1870s, Pissarro became fascinated with Japanese prints, which influenced his desire to experiment in new compositions. He described the art to his son Lucien: |
"It is marvelous. This is what I see in the art of this astonishing people ... nothing that leaps to the eye, a calm, a grandeur, an extraordinary unity, a rather subdued radiance ...": 19 |
Marriage and children |
In 1871 in Croydon, England, he married his mother's maid, Julie Vellay, a vineyard grower's daughter, with whom he had seven children, six of whom would become painters: Lucien Pissarro (1863–1944), Georges Henri Manzana Pissarro (1871–1961), Félix Pissarro (1874–1897), Ludovic-Rodo Pissarro (1878–1952), Jeanne Bonin... |
The London years |
After the outbreak of the Franco-Prussian War of 1870–71, having only Danish nationality and being unable to join the army, he moved his family to Norwood, then a village on the edge of London. However, his style of painting, which was a forerunner of what was later called "Impressionism", did not do well. He wrote to ... |
Pissarro met the Paris art dealer Paul Durand-Ruel, in London, who became the dealer who helped sell his art for most of his life. Durand-Ruel put him in touch with Monet who was likewise in London during this period. They both viewed the work of British landscape artists John Constable and J. M. W. Turner, which confi... |
Paintings |
Through the paintings Pissarro completed at this time, he records Sydenham and the Norwoods at a time when they were just recently connected by railways, but prior to the expansion of suburbia. One of the largest of these paintings is a view of St. Bartholomew's Church at Lawrie Park Avenue, commonly known as The Avenu... |
Returning to France, Pissarro lived in Pontoise from 1872 to 1884. In 1890 he again visited England and painted some ten scenes of central London. He came back again in 1892, painting in Kew Gardens and Kew Green, and also in 1897, when he produced several oils described as being of Bedford Park, Chiswick, but in fact ... |
French Impressionism |
When Pissarro returned to his home in France after the war, he discovered that of the 1,500 paintings he had done over 20 years, which he was forced to leave behind when he moved to London, only 40 remained. The rest had been damaged or destroyed by the soldiers, who often used them as floor mats outside in the mud to ... |
He soon reestablished his friendships with the other Impressionist artists of his earlier group, including Cézanne, Monet, Manet, Renoir, and Degas. Pissarro now expressed his opinion to the group that he wanted an alternative to the Salon so their group could display their own unique styles. |
To assist in that endeavour, in 1873 he helped establish a separate collective, called the "Société Anonyme des Artistes, Peintres, Sculpteurs et Graveurs," which included fifteen artists. Pissarro created the group's first charter and became the "pivotal" figure in establishing and holding the group together. One writ... |
Impressionist exhibitions that shocked the critics |
The following year, in 1874, the group held their First Impressionist Exhibition, which shocked and "horrified" the critics, who primarily appreciated only scenes portraying religious, historical, or mythological settings. They found fault with the Impressionist paintings on many grounds: |
The subject matter was considered "vulgar" and "commonplace," with scenes of street people going about their everyday lives. Pissarro's paintings, for instance, showed scenes of muddy, dirty, and unkempt settings; |
The manner of painting was too sketchy and looked incomplete, especially compared to the traditional styles of the period. The use of visible and expressive brushwork by all the artists was considered an insult to the craft of traditional artists, who often spent weeks on their work. Here, the paintings were often done... |
The use of color by the Impressionists relied on new theories they developed, such as having shadows painted with the reflected light of surrounding, and often unseen, objects. |
A "revolutionary" style |
Pissarro showed five of his paintings, all landscapes, at the exhibit, and again Émile Zola praised his art and that of the others. In the Impressionist exhibit of 1876, however, art critic Albert Wolff complained in his review, "Try to make M. Pissarro understand that trees are not violet, that sky is not the color of... |
According to Rewald, Pissarro had taken on an attitude more simple and natural than the other artists. He writes: |
"Rather than glorifying—consciously or not—the rugged existence of the peasants, he placed them without any 'pose' in their habitual surroundings, thus becoming an objective chronicler of one of the many facets of contemporary life.": 20 |
In later years, Cézanne also recalled this period and referred to Pissarro as "the first Impressionist". In 1906, a few years after Pissarro's death, Cézanne, then 67 and a role model for the new generation of artists, paid Pissarro a debt of gratitude by having himself listed in an exhibition catalogue as "Paul Cézann... |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.