British and European Art
Frederic Leighton was a distinguished British artist renowned for his contributions to painting and sculpture during the Victorian era. His works, characterized by their classical themes and meticulous detail, have garnered appreciation from art collectors and historians alike. Notable for being the first painter to receive a peerage, Leighton's legacy in the art world is significant.
Frederic Leighton's art, particularly his paintings like "Flaming June" and "The Return of Persephone," showcases his mastery in depicting classical and mythological subjects with a unique blend of realism and idealism. His sculptures, such as "An Athlete Wrestling with a Python" and "The Sluggard," played a pivotal role in initiating the New Sculpture movement, emphasizing naturalism and dynamic forms.
Despite his illustrious career, Frederic Leighton's personal life remained private, with ongoing debates about his relationships and sexuality. His London home, now the Leighton House Museum, offers a glimpse into his artistic world, housing many of his works and collections that influenced his creations.
For art collectors and experts, Frederic Leighton's oeuvre represents a blend of academic tradition and innovative expression, making his works highly sought after in the realms of art and antiques. To stay informed about exhibitions and auction events featuring Frederic Leighton's art, subscribing to updates can be a valuable resource for enthusiasts eager to explore and acquire pieces from this influential Victorian artist.
Frederic Leighton was a distinguished British artist renowned for his contributions to painting and sculpture during the Victorian era. His works, characterized by their classical themes and meticulous detail, have garnered appreciation from art collectors and historians alike. Notable for being the first painter to receive a peerage, Leighton's legacy in the art world is significant.
Frederic Leighton's art, particularly his paintings like "Flaming June" and "The Return of Persephone," showcases his mastery in depicting classical and mythological subjects with a unique blend of realism and idealism. His sculptures, such as "An Athlete Wrestling with a Python" and "The Sluggard," played a pivotal role in initiating the New Sculpture movement, emphasizing naturalism and dynamic forms.
Despite his illustrious career, Frederic Leighton's personal life remained private, with ongoing debates about his relationships and sexuality. His London home, now the Leighton House Museum, offers a glimpse into his artistic world, housing many of his works and collections that influenced his creations.
For art collectors and experts, Frederic Leighton's oeuvre represents a blend of academic tradition and innovative expression, making his works highly sought after in the realms of art and antiques. To stay informed about exhibitions and auction events featuring Frederic Leighton's art, subscribing to updates can be a valuable resource for enthusiasts eager to explore and acquire pieces from this influential Victorian artist.
Anthony Frederick Augustus Sandys was a British painter, illustrator, and draughtsman, associated with the Pre-Raphaelites. He was also associated with the Norwich School of painters.
Edmund Blair Leighton was a British Romantic and Pre-Raphaelite painter.
Edmund Leighton received his first lessons from his artist father and perfected his skills at the Royal Academy School. He painted genre pictures, but often favored historical themes, especially from the medieval life of knights and their ladies, when choosing subjects. Romantic illusions about the beautiful, mythical world of King Arthur attracted the Victorian bourgeoisie. Thanks in large part to Leighton's paintings, modern people still make up their minds about medieval legends and subtle romantic sentiments. The sad beautiful maiden on the steps of a stone castle, the knight in shining armor on a white horse and other symbols have firmly established themselves for that generally gloomy era.
Edgar Maxence was a renowned French Symbolist painter, born on September 17, 1871. His artistic journey, influenced by the cultural environment of Nantes and under the guidance of his mother, Estelle Boquien, diverged from his family's legacy of landownership to the pursuit of artistic expression. Educated at the École des Beaux-Arts in Paris, Maxence was mentored by Elie Delaunay and Gustave Moreau, which shaped his distinctive style of symbolist painting.
Maxence's work is best known for its use of symbolist ideals, preferring the expression of ideas over realistic descriptions of the natural world, utilizing metaphorical imagery to evoke deeper meanings. His choice of mediums, predominantly oil and pastel, allowed him to create portraits and figures that were not just seen, but felt, conveying profound emotional narratives through each brushstroke.
Collectors and experts in art and antiques cherish Maxence's work for its emotional depth and symbolic richness. His paintings have been featured in key galleries and museums, including the Musee des Beaux-Arts in Rennes, allowing a wider audience to experience the unique blend of mysticism and emotion that Maxence masterfully wove into his canvases.
Henry John Stock was a British Pre-Raphaelite painter and representative of the English Romantic tradition.
Henry was nearly blind as a child, but gained his sight when he went to live at Beaulieu in the New Forest. Fully recovered, he attended St. Martin's School of Art and the Royal Academy schools. And apparently the trials of his childhood played a role in the artist's outlook. Stock enjoyed success as a secular portraitist, but his main area of interest has always been fantasy, religious and mythological subjects.
Eleanor Fortescue-Brickdale was a British Pre-Raphaelite painter, illustrator and stained glass artist.
At the age of 17, she enrolled at Crystal Palace School of Art and was later admitted to the Royal Academy of London and she initially worked with illustration. In 1897, Eleanor won a prize for her painting "Spring", which allowed her to begin work on her first large-scale oil painting, "The Pale Color of True Love". The painting was exhibited at the Royal Academy in 1899.
In 1902 Eleanor Fortescue-Brickdale was elected the first female member of the Institute of Oil Painters. She illustrated many books, including Tennyson's Royal Idylls in 1911. She taught at the Byam Shaw School of Art in Kensington. During the First World War, the artist designed posters for government departments and later several commemorative stained glass windows and a memorial in York Cathedral. In 1919 she became a member of the Royal Society of Watercolor Painters.
Frederic Leighton was a distinguished British artist renowned for his contributions to painting and sculpture during the Victorian era. His works, characterized by their classical themes and meticulous detail, have garnered appreciation from art collectors and historians alike. Notable for being the first painter to receive a peerage, Leighton's legacy in the art world is significant.
Frederic Leighton's art, particularly his paintings like "Flaming June" and "The Return of Persephone," showcases his mastery in depicting classical and mythological subjects with a unique blend of realism and idealism. His sculptures, such as "An Athlete Wrestling with a Python" and "The Sluggard," played a pivotal role in initiating the New Sculpture movement, emphasizing naturalism and dynamic forms.
Despite his illustrious career, Frederic Leighton's personal life remained private, with ongoing debates about his relationships and sexuality. His London home, now the Leighton House Museum, offers a glimpse into his artistic world, housing many of his works and collections that influenced his creations.
For art collectors and experts, Frederic Leighton's oeuvre represents a blend of academic tradition and innovative expression, making his works highly sought after in the realms of art and antiques. To stay informed about exhibitions and auction events featuring Frederic Leighton's art, subscribing to updates can be a valuable resource for enthusiasts eager to explore and acquire pieces from this influential Victorian artist.
Lucien Lévy-Dhurmer was a French artist and a leading exponent of fin-de-siècle Symbolism and Art Nouveau. His works include paintings, drawings, ceramics, furniture and interior design.
David Roberts was a Scottish painter and a member of the Royal Academy.
Since 1819, David Roberts worked as a scenographer in various theaters, where his creative potential was appreciated. Inspired by the positive feedback, some time later he seriously engaged in painting. After the first exhibition of works, held in 1824, the artist went on a trip. He visited several countries in Europe, where he created many drawings. In 1833, David Roberts continued to explore the world: he went to Spain, where he spent almost a year, also had time to visit Morocco, lived in Cairo for a long time and made sketches everywhere. Subsequently, his works were published in various magazines, and the author gained fame as a talented illustrator. In 1841, the artist became a member of the Royal Academy.
In the 1840s, an album with his works was published, thanks to these publications, David Roberts became the most famous painter of the Victorian era. The artist also skillfully depicted monuments of architecture. David Roberts' paintings are striking in their photographic accuracy, and he is still considered one of the best architectural painters in his homeland.
John Atkinson Grimshaw was an English Victorian-era artist best known for his nocturnal scenes of urban landscapes. He was called a «remarkable and imaginative painter» by the critic and historian Christopher Wood in Victorian Painting (1999).
Grimshaw's love for realism stemmed from a passion for photography, which would eventually lend itself to the creative process. Though entirely self-taught, he is known to have used a camera obscura or lenses to project scenes onto canvas, which made up for his shortcomings as a draughtsman and his imperfect knowledge of perspective. This technique, which Caravaggio and Vermeer may also have used, was condemned by a number of his contemporaries who believed it demonstrated less skill than painting by eye, with some claiming that his paintings appeared to «show no marks of handling or brushwork», while others "were doubtful whether they could be accepted as paintings at all". However, many recognised his mastery of colour, lighting and shadow, as well as his unique ability to provoke strong emotional responses in the viewer. James McNeill Whistler, who Grimshaw worked with in his Chelsea studios, stated, «I considered myself the inventor of nocturnes until I saw Grimmy's moonlit pictures».
John Atkinson Grimshaw was an English Victorian-era artist best known for his nocturnal scenes of urban landscapes. He was called a «remarkable and imaginative painter» by the critic and historian Christopher Wood in Victorian Painting (1999).
Grimshaw's love for realism stemmed from a passion for photography, which would eventually lend itself to the creative process. Though entirely self-taught, he is known to have used a camera obscura or lenses to project scenes onto canvas, which made up for his shortcomings as a draughtsman and his imperfect knowledge of perspective. This technique, which Caravaggio and Vermeer may also have used, was condemned by a number of his contemporaries who believed it demonstrated less skill than painting by eye, with some claiming that his paintings appeared to «show no marks of handling or brushwork», while others "were doubtful whether they could be accepted as paintings at all". However, many recognised his mastery of colour, lighting and shadow, as well as his unique ability to provoke strong emotional responses in the viewer. James McNeill Whistler, who Grimshaw worked with in his Chelsea studios, stated, «I considered myself the inventor of nocturnes until I saw Grimmy's moonlit pictures».
John Atkinson Grimshaw was an English Victorian-era artist best known for his nocturnal scenes of urban landscapes. He was called a «remarkable and imaginative painter» by the critic and historian Christopher Wood in Victorian Painting (1999).
Grimshaw's love for realism stemmed from a passion for photography, which would eventually lend itself to the creative process. Though entirely self-taught, he is known to have used a camera obscura or lenses to project scenes onto canvas, which made up for his shortcomings as a draughtsman and his imperfect knowledge of perspective. This technique, which Caravaggio and Vermeer may also have used, was condemned by a number of his contemporaries who believed it demonstrated less skill than painting by eye, with some claiming that his paintings appeared to «show no marks of handling or brushwork», while others "were doubtful whether they could be accepted as paintings at all". However, many recognised his mastery of colour, lighting and shadow, as well as his unique ability to provoke strong emotional responses in the viewer. James McNeill Whistler, who Grimshaw worked with in his Chelsea studios, stated, «I considered myself the inventor of nocturnes until I saw Grimmy's moonlit pictures».
Charles Napier Hemy was a British genre and marine painter.
Hemy was elected an Associate of the Royal Academy in 1898 and an Academician in 1910. He was also honoured as an Associate of the Royal Society of Painters in Water Colours in 1890, and became a full member in 1897.
