Self-portrait 19th century
William Matthew Prior was an American folk artist known for his portraits, particularly of families and children.
About 1,500 portraits are attributed to Prior. His works are in many museums and institutions around the United States including the Harvard Art Museums, Museum of Fine Arts, Boston, and the National Gallery of Art.
Louise Abbéma was a French painter, sculptor, and designer, celebrated for her work during the Belle Époque. Born in Étampes in 1853 into an affluent Parisian family, she became well known for her portraits, particularly of the famous actress Sarah Bernhardt, and for decorative panels commissioned for various public buildings in Paris and the Palace of the Governor in Dakar, Senegal.
Abbéma's art often depicted the upper echelons of French society and reflected the Impressionist style through her light and rapid brushstrokes. She was also notable for her involvement in the women's movement, where she contributed to the emerging image of the 'New Woman' by portraying androgynous figures and themes of intellectualism and freedom.
Among her many honors, Abbéma was awarded the Palme Academiques in 1887, nominated as the Official Painter of the Third Republic, and in 1906, she became a Chevalier of the Legion of Honour. Her works, such as "Lunch in the Greenhouse" and "Portrait of Sarah Bernhardt," have seen a resurgence in popularity as the contribution of women to historical art gains more recognition.
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Ivan Petrovich Argunov (Russian: Иван Петрович Аргунов) was a distinguished Russian painter of the 18th century, celebrated for his significant contribution to portrait art. As a serf born into the Argunov family, who were established artists themselves, Ivan's talent was nurtured and supported by his patrons, leading to a unique position within the cultural and artistic hierarchies of his time. His specialization in portraiture allowed him to capture the essence of Russia's social elites, including members of the imperial family, as well as ordinary Russians, thereby providing a wide-ranging visual documentation of the era's societal strata.
Argunov's art is noted for its meticulous attention to detail, vibrant realism, and the emotional depth he brought to his subjects. His portraits are more than mere representations; they are intimate glimpses into the lives and characters of his sitters. Among his most famous works is the portrait of Princess Natalia Petrovna Golitsyna, showcased in the Tretyakov Gallery in Moscow. This particular piece stands out for its intricate portrayal of fabric textures and the detailed rendering of facial expressions, which have been lauded for their lifelike quality and depth.
Argunov's legacy extends beyond his artistic achievements; he played a pivotal role in shaping the course of Russian portraiture. His works are preserved in major museums and galleries across Russia, serving as a testament to his skill and the cultural richness of his time. For collectors and experts in art and antiques, Argunov's paintings are not just historical artifacts but are cherished for their aesthetic value and the insight they offer into 18th-century Russian culture.
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George Barret the Younger was a British painter, master watercolorist and landscape painter.
He was the son of the Irish painter George Barret the Elder (1730-1784) and learned painting from his father. He exhibited at the Royal Academy from 1800 and was one of the first and active members of the Society of Watercolor Painters, which was formed with his own encouragement in 1804. His early works were mainly topographical landscapes in a style similar to his father's watercolors. Later he switched to more romantic compositions with imaginary landscapes.
In 1840, George Barret published The Theory and Practice of Watercolor Painting.
Vasiliy Vasiliyevich Belyashin (Russian: Василий Васильевич Беляшин) was a distinguished Russian and Soviet artist, acclaimed for his contributions to the Silver Age of Russian art. Born on September 8, 1874, in Vilnius, within the Russian Empire, and passing on May 8, 1929, in St. Petersburg, USSR, Belyashin's career spanned the late 19th and early 20th centuries, a period marked by significant artistic evolution. His versatility as an artist is evident in his work as a portrait painter, landscape artist, printmaker, and illustrator, with a particular renown for his series of self-portraits.
Operating mainly within the impressionist style, Belyashin's artistry was not confined to a single genre. He excelled across various forms, including landscape painting, portraits, self-portraits, and still life, showcasing a broad skill set that resonated with the Symbolist and Impressionist movements of his time. His educational background and associations with artistic societies, such as the Kuindzhi Society, the Art Community, and the Partnership of Artists, further underline his integral role in the artistic community of his era.
Though detailed records of Belyashin's works in specific museums or galleries were not immediately available, the acknowledgment of his art in auctions and the recognition by cultural institutions suggest a lasting legacy. His work, celebrated for its emotional depth and technical proficiency, continues to capture the imagination of art collectors and enthusiasts alike.
For those intrigued by Vasiliy Vasiliyevich Belyashin's unique contribution to the world of art, staying updated on auctions and exhibitions featuring his work is invaluable. Signing up for updates related to Belyashin can ensure you remain informed about new sales and auction events, offering a chance to connect more deeply with this master's artistic journey.
Nikolay Petrovich Bogdanov-Belsky (Russian: Николай Петрович Богданов-Бельский) was a renowned Russian artist, celebrated for his genre paintings depicting the education of peasant children, as well as portraits and impressionistic landscapes. Born in 1868 in Shitiki, Smolensk Governorate, Bogdanov-Belsky added "Belsky" to his surname from the district where he was born. His academic journey in art began at the Semyon Rachinsky fine art school, followed by studies at the Moscow School of Painting, Sculpture and Architecture, and later at the Imperial Academy of Arts in St. Petersburg.
Throughout his career, Bogdanov-Belsky was an active participant in Russian artistic circles, becoming a member of the Peredvizhniki from 1895 and the Arkhip Kuindzhi Society from 1909. His works often centered around the themes of rural education and childhood, capturing the subtle interplay of light and shadow and the innocence of his subjects. Notable works include "Mental Arithmetic, in the Rachinsky School" (1895) and "Sunday reading in a village school" (1895), which reflect his deep engagement with the theme of education.
After the Soviet Union came into power, the political climate and the disfavor towards realism compelled him to move to Riga, Latvia in 1921, where he continued his artistic endeavors until his death in Berlin in 1945 due to an Allied bombing during World War II.
For collectors and enthusiasts of Russian art, Bogdanov-Belsky's works offer a poignant glimpse into pre-Soviet Russian culture and education. His paintings are not only aesthetically pleasing but also historically significant, capturing the essence of a bygone era. To stay updated on sales and auction events featuring works by Nikolay Petrovich Bogdanov-Belsky, consider signing up for updates. This subscription will ensure you are informed about new opportunities to acquire pieces by this illustrious artist.
Arthur Brusenbauch was an Austrian painter. Arthur Brusenbauch learned from Johann Kautsky and then worked as a stage decorator himself. He studied in Vienna at the Staatsgewerbeschule and the Academy of Fine Arts, interrupted by military service and imprisonment. In 1920 he became a member of the Vienna Secession, and in 1939 he moved to the Künstlerhaus. In 1928 he had represented Austria in the art competitions of the 1928 Olympic Games. From 1937 to 1941 he participated in all major German art exhibitions in Munich with seven oil paintings. There, in 1939, Hitler acquired the picture of Melk an der Donau in festive decorations. Brusenbauch, who is attributed to late impressionism, dealt with fresco painting and graphics.
Karl Pavlovich Bryullov (Russian: Карл Па́влович Брюлло́в), a distinguished Russian artist, emerged as a pivotal figure in the world of 19th-century art, blending Western European Romanticism with his Russian heritage to create works that continue to captivate audiences today. His mastery in painting and architecture set him apart, making him a celebrated figure not just in Russia, but across Europe.
Bryullov's acclaim primarily stems from his remarkable ability to infuse his paintings with vibrant life and emotion, a testament to his profound understanding of human expression and the dramatic interplay of light and shadow. His most famous work, "The Last Day of Pompeii," exemplifies this skill, showcasing an epic narrative filled with vivid detail and emotional depth. This masterpiece, which is housed in the State Russian Museum in St. Petersburg, has garnered international praise for its innovative approach to historical painting, merging accuracy with dramatic storytelling.
Beyond "The Last Day of Pompeii," Bryullov's portfolio includes a range of subjects, from majestic portraits to serene landscapes, each bearing his signature blend of realism and romanticism. His works are featured in prestigious galleries worldwide, serving as a testament to his enduring influence on the art world. For collectors and experts in art and antiques, Bryullov's oeuvre offers a fascinating glimpse into the evolution of 19th-century European painting, marked by a unique intersection of culture, art, and history.
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Lilla Cabot Perry, birth name Lydia Cabot Perry, is an American impressionist painter.
Lydia Cabot Perry began painting after her marriage and the birth of her children. Some time spent in Japan and France, where she painted a lot. After meeting Claude Monet, which took place in 1894, the artist sharply changes his style and technique of image. Among other genres, she favoured landscape painting.
Daniel Caffé was a distinguished German pastel painter of portraits. Known for his meticulous craftsmanship and the emotive depth of his portraiture, Caffé initially embarked on a career in architectural decoration before his talents led him to Dresden to become a portrait artist.
Daniel Caffé's journey into the world of fine arts was marked by his study at the Dresden Academy of Fine Arts under the guidance of significant figures like Casanova and the influence of neoclassical artist Anton Raphael Mengs. His mastery of pastel made him a favored portraitist among the nobility and notable figures of his time, including Russian patrons like Prince Beloselski and Admiral Fyodor Grigoryevich Orloff.
His works, celebrated for their detailed and expressive nature, capture the essence of his subjects with striking realism and emotional depth. Among his notable works are portraits of prominent individuals such as Johann George Tromlitz and Karl August von Hardenberg, which not only exemplify his skill but also his contribution to the documentation of his era's influential figures.
Daniel Caffé's legacy as a pastel painter is preserved in various art collections and continues to be admired for its historical significance and artistic merit. He passed away on January 16, 1815, in Leipzig, leaving behind a body of work that continues to be studied and revered in the art community.
For collectors and experts in art and antiques, Daniel Caffé's portraits offer a glimpse into the refined pastel techniques and cultural narratives of the late 18th to early 19th century. His works remain a significant part of German art history, celebrated for their contribution to the development of portrait painting.
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Charles Camoin, a French expressionist landscape painter, was a prominent figure associated with the Fauvism movement. Born in Marseille, France, on September 23, 1879, Camoin's journey into the art world began at a young age, leading him to Paris where he joined Gustave Moreau's class at the École des Beaux-Arts. It was here that he met Henri Matisse and other artists who would form the nucleus of the Fauve group, a circle known for their wild, expressionist-like use of color, which earned them the moniker "the wild beasts".
Camoin's art is celebrated for its vibrant color palette and expressive landscapes, a testament to his association with the Fauvists. Despite this, his work displayed a chromatic moderation, attributed to his intuitive and non-systematic approach to fauvism, setting him apart from his contemporaries. His masterpiece, the Portrait of Albert Marquet, epitomizes Camoin's unique style and is considered a pivotal piece of his oeuvre.
Throughout his career, Camoin's works were widely exhibited, earning him a place in major French collections, including the Musée d'Art Moderne de la ville de Paris and the Centre Georges Pompidou. Notably, his contributions to art were recognized with the Prix du Président de la République at the Biennale of Menton in 1955. His legacy includes a significant body of work that remains influential in the study of Fauvism and early 20th-century French art. Camoin passed away in Paris on May 20, 1965, leaving behind a rich legacy that continues to inspire art enthusiasts and collectors alike.
For collectors and experts in art and antiques, Camoin's work represents not only a pivotal moment in the evolution of modern art but also an opportunity to engage with the vibrant and emotive expressions of Fauvism. His paintings, characterized by a joyful and luminous use of color, offer a captivating glimpse into the artist's perception of the world around him.
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Mary Stevenson Cassatt was an influential American painter and printmaker known for her pivotal role in the Impressionist movement. Born on May 22, 1844, in Allegheny City, Pennsylvania, Cassatt spent much of her adult life in France, where she formed a significant professional relationship with Edgar Degas and exhibited with other Impressionists. Despite her family's initial reluctance, Cassatt pursued art from a young age, attending the Pennsylvania Academy of the Fine Arts at fifteen and later moving to Paris to continue her education under private tutors, including the renowned Jean-Léon Gérôme.
Cassatt's art mainly focused on women and children, encapsulating intimate moments with a profound sense of dignity and depth. Her works, such as "The Boating Party" and "Mother and Child," showcase her skill in portraying the nuanced interactions of everyday life. Cassatt's technique evolved from the light brushstrokes of early Impressionism to a more structured form, emphasizing solid figures and clear contours.
A prominent figure not just in art but also in art advocacy, Cassatt was instrumental in advising American collectors, including the Havemeyers, which helped enrich public and private American art collections significantly. Despite challenges related to her gender and later, her failing eyesight, Cassatt's contributions to art remain influential, reflecting her unique perspective and unyielding dedication to Impressionism.
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William Merritt Chase was an American painter, celebrated for his role in establishing Impressionism in America and his profound influence as an art educator. Born on November 1, 1849, in Indiana, Chase became a pivotal figure in American art, blending Impressionist and Realist styles with a distinctive flair that captured both cityscapes and intimate studio settings. His mastery of oil, pastel, and watercolor allowed him to create works renowned for their vibrancy and expressiveness.
Chase's career was notably marked by his transformation of studio environments into aesthetic showplaces, making them centers of social gatherings that enhanced his stature in the art community. His tenure at the Shinnecock Hills Summer School and his travels in Europe, especially his interactions with European artists, were crucial in shaping his artistic direction. Notably, his exposure to French Impressionism through exhibitions in New York profoundly influenced his style, integrating lighter palettes and freer brushwork which became evident in his landscapes and portraits.
Chase's works are celebrated for their innovative use of color and composition, qualities that made him a leading figure in American Impressionism. His notable works include scenes of everyday leisure, portraits, and vibrant landscapes, capturing the essence of his era with elegance and sophistication.
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André Edmond Alfred Cluysenaar was a Belgian painter. He was especially known for portraits and female figures. He was member of the Cluysenaar family, descendant from a long line of architects who originated in Aachen. He received his first art lessons from his father, then studied with François-Joseph Navez. Initially, he worked as a sculptor, but devoted himself entirely to painting after 1902. He was firmly grounded in the romantic style at first; producing still lifes and genre scenes, but later turned to impressionism and painted mostly female figures, often semi-nude. He also executed monumental ceiling paintings for the City Hall in Saint-Gilles. During World War I, he lived in London where he established a reputation painting portraits of notable people, including the Royal Family, which were done in a more commercial style using Alfred Stevens as a model. Most of these portraits may be seen in the National Gallery.
José Villegas Cordero was a Spanish painter, master of costume and genre scenes, who directed the Prado Museum from 1901 to 1918.
He studied at the School of Fine Arts in Seville and became known as a talented genre painter, noting interesting domestic scenes and accurately portraying the characters. Domestic painting at that time was very popular with the public. The artist also deals with the themes of the East, with great skill drawing pictures from sketches he made on a trip to Morocco.
In 1898 Villegas Cordero was appointed director of the Spanish Academy in Rome, and in 1901 he was appointed director of the Museo del Prado, the same museum that had once copied Velázquez's paintings himself while studying his art.
Imogen Cunningham was an American photographer known for her botanical photography, nudes, and industrial landscapes. Cunningham was a member of the California-based Group f/64, known for its dedication to the sharp-focus rendition of simple subjects.
Jean Augustin Daiwaille was a Dutch portrait painter and lithographer. He studied under Adriaan de Lelie. He was director of the Rijksakademie from 1820 to 1826. After that time, he resided at Rotterdam, where he was very successful in painting portraits. He was an early exponent of lithography during the 1820s, overseeing the installation of a lithographic press at the new Koninklijke Academie, and instructing the students on the use of the technique. He established his own lithographic business in 1826, producing reproductions of his own paintings, and collaborating with other artists such as Barend Cornelis Koekkoek to make copies of their work.
Elin Danielson-Gamboji, full name Elin Kleopatra Danielson-Gambogi, is a Finnish-Swedish artist.
She is a representative of the "golden age" of Finnish art in the period 1880-1910 and belonged to the first generation of Finnish women artists who received professional art education. Elin painted female portraits and genre scenes in the style of French realism and naturalism.
Léon Marie Constant Dansaert was an outstanding Belgian artist and illustrator. His work has left a significant trace in the world art history and art history due to his unique style and skill as a painter.
Léon Marie Constant Dansart was famous for his portraits and genre scenes, which were characterised by a deep psychological understanding of the models. In his works, the desire to convey not only the physical resemblance, but also the inner world of the portrayed personalities is clearly visible.
Jules De Bruycker, a Belgian graphic artist and etcher, is renowned for his depictions of Ghent, cathedrals, war scenes, and book illustrations. He achieved technical virtuosity in his prints and was considered one of Belgium's greatest etchers. His work showcased crowds and dramatic lighting, providing an intimate view of daily life in Ghent. De Bruycker's influences ranged from Flemish traditions to artists like Brueghel, Bosch, and Ensor. His later work included prints of cathedrals, figure studies, and sensuous nudes. De Bruycker's art greatly influenced his contemporaries, including Gustave van de Woestijne.
Meijer Isaac de Haan was a Dutch painter. In 1874, he was accepted into the Rijksacademie van beeldende kunsten at Amsterdam. In 1880, one of his works was exhibited at the Paris Salon. That same year, an illustration of de Haan's picture Een moeilijke plaats in de Talmoed appeared in the newspaper Eigen Haard, which generated much published discussion (not so much aesthetic as theological). He enjoyed some success in the Netherlands as a painter of Jewish genre works. In Amsterdam de Haan painted portraits and took on several pupils. De Haan remained in Amsterdam until 1888, where he produced chiefly portraiture, and representations of working class Jews. His early work was inspired above all by the masters of the Dutch school, such as David Teniers and Rembrandt. The example of 17th century painting is reflected in his history painting of 1877–1888.
Samuel Jessurun de Mesquita was a Dutch graphic artist, born on June 6, 1868, in Amsterdam, into a Sephardic Jewish family. He became well-known for his contributions to graphic art, especially in the years leading up to the Second World War, and was notable for his mentorship of the famed artist M. C. Escher. De Mesquita's work was characterized by a variety of techniques and mediums, including wood engravings, etchings, lithographs, watercolors, and drawings. His art often featured birds, exotic animals, plants, flowers, and fantastical elements, both humorous and grim, showcasing his deep experimentation and mastery over his craft.
His career took a significant turn around 1915 when he began to gain prominence within Dutch graphic art, partly due to his teaching positions in the field. De Mesquita's penchant for experimentation led him to explore various materials for his prints, such as marble and zinc, and he often processed his prints with other materials, resulting in unique artworks. His subjects ranged from his immediate surroundings, such as his own home or the Artis zoo in Amsterdam, to more experimental and imaginative works that included quasi-human figures and fantastical landscapes.
Unfortunately, de Mesquita's life and career were tragically cut short by the Holocaust. Despite friends urging him to go into hiding, Samuel and his wife believed their Sephardic heritage would protect them. This proved to be a fatal miscalculation, and on January 31, 1944, they were arrested by the Nazis and subsequently died in Auschwitz. Their son Jaap died in Theresienstadt in March of the same year. M.C. Escher, a former pupil and friend, managed to save some of de Mesquita's works after his death, preserving his legacy for future generations.
Samuel Jessurun de Mesquita's body of work is a testament to his skill and creativity, with his pieces held in collections like the Kunstmuseum Den Haag and The Metropolitan Museum of Art. His works range from serene and simple depictions of animals and plants to more complex and imaginative 'Sensitivist' drawings that evoked a unique world from the artist's imagination.
For collectors and experts in art and antiques, de Mesquita's work offers a unique insight into the rich tradition of Dutch graphic arts and the avant-garde experiments of the early 20th century. His influence, particularly on M.C. Escher, highlights his importance in the development of graphic arts. Sign up for updates related to Samuel Jessurun de Mesquita to stay informed about new product sales and auction events showcasing his remarkable works.
Giuseppe de Nittis was an Italian painter associated with the Macchiaioli movement, which emerged at the end of the 19th century as a reaction to the traditional academic style of painting.
Giuseppe de Nittis first studied at the Neapolitan Academy of Fine Arts before moving to Paris in 1868, where he was influenced by the Impressionist movement and the work of Édouard Manet and Edgar Degas. He quickly gained recognition for his ability to skilfully convey light and atmosphere in his paintings.
De Nittes' style can be described as a mixture of realism and impressionism. He often depicted city scenes, landscapes and portraits. His work is characterised by a loose brushwork, vivid colours and a strong sense of observation.
Maurice de Vlaminck was a French artist renowned for his vibrant use of color and contribution to the Fauvist movement. Born in Paris in 1876, Vlaminck's early work was marked by a passionate application of paint and a bold palette, drawing inspiration from Vincent van Gogh and Henri Matisse. His participation in the 1905 Salon d'Automne, alongside other Fauvist painters, was met with critical disdain, leading to the term "fauves" (wild beasts) being coined to describe their unorthodox use of intense color.
Vlaminck's career was characterized by a continuous exploration of color and form. Early on, he depicted scenes of daily life, landscapes, and portraits, imbuing them with a sense of motion through his dynamic brushwork. Notable works from this period include "Sur le zinc" (At the Bar) and "L'homme a la pipe" (Man Smoking a Pipe), which highlighted his departure from traditional portraiture and landscapes towards more expressive and mood-driven compositions. His landscapes, in particular, showcased a disregard for detail in favor of conveying atmosphere, a technique that was revolutionary at the time.
Throughout his life, Vlaminck's style evolved, showing influences from Post-Impressionism and later, a more monochromatic palette reminiscent of Paul Cézanne. Despite this evolution, he maintained a critical stance towards Cubism and its leading figure, Pablo Picasso, believing that Cubism had led French painting into a "wretched dead end". In his later years, Vlaminck's work adopted a darker palette and more naturalistic style, moving away from the Fauvist emphasis on color to explore the dramatic and expressive potential of landscapes and seascapes.
Vlaminck's impact on modern art is undeniable. His works are held in prestigious collections worldwide, including the Hermitage Museum in Saint Petersburg and the Minneapolis Institute of Art, attesting to his enduring influence and the continued fascination with his bold, expressive approach to painting.
For collectors and experts in art and antiques, Vlaminck's oeuvre represents a pivotal moment in the history of modern art, where the emotional intensity and visual impact of color were explored as never before. To stay informed on new product sales and auction events related to Maurice de Vlaminck, signing up for updates is recommended, offering exclusive insights into the vibrant world of Fauvism and modernist painting.
Robert Delaunay, a French artist, emerged as a pivotal figure in the development of early 20th-century art, blending the realms of painting and sculpture with his innovative approaches. His work is celebrated for its dynamic use of color and geometric shapes, making him a cornerstone in the Orphism movement, which he co-founded alongside his wife Sonia Delaunay and others. This movement is distinguished by its focus on vibrant colors and geometric forms, contributing significantly to the abstract art landscape.
Delaunay's artistic journey began earnestly at the age of 19 when he decided to fully dedicate himself to painting, contributing works to the Salon des Indépendants. His early career was marked by a deep engagement with Neo-Impressionism and Cubism, as evidenced by his collaborative work with Jean Metzinger and his exploration of color theory. Notable works from this period include "Paysage au disque" (1906–07) and "Champs de Mars: The Red Tower" (1911), showcasing his departure from representational art towards a more abstract, color-driven aesthetic.
Among Delaunay's celebrated series are the Eiffel Tower and Simultaneous Windows, reflecting his fascination with Parisian architecture and the dynamic interplay of light and color. These works, along with others like "L'Équipe de Cardiff" (1912-13) and "Endless Rhythm" (1934), are housed in prestigious museums such as the Musée d'Art Moderne de la Ville de Paris, The Solomon R. Guggenheim Museum, and the Tate collection. These pieces illustrate his evolving style, from the depiction of movement and technology in pre-war Paris to the rhythmic abstraction of later years.
Delaunay's influence extended beyond France, with significant contributions to exhibitions in Germany, Switzerland, and Russia, particularly through his involvement with Der Blaue Reiter group. His work not only captured the essence of the technological and cultural shifts of his time but also laid the groundwork for future artistic explorations into color and form.
For collectors and experts in art and antiques, Delaunay's oeuvre offers a rich study in the evolution of modern art, from its roots in Cubism and Neo-Impressionism to the heights of abstract expression. His works serve as a testament to the power of color and shape in conveying emotion and motion, making them invaluable to the understanding of 20th-century art history.
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Jean-Joseph Delvin was a Belgian painter who specialized in scenes with animals (primarily horses). He attended the Royal Academy of Fine Arts in Ghent, where he studied under Théodore-Joseph Canneel, and worked in the studios of Jean Portaels in Brussels. Later, he undertook study trips to France and Spain. For many years, he shared a small workshop in a garden shed with Gustave Den Duyts. In 1883, he was invited to join the secessionist group Les XX, but he resigned only a few years later in 1886. He was also a member of La Libre Esthétique and Kunst van Heden (Art for Today) in Antwerp. At about that time, he began teaching at the Academy in Ghent and later became its Director (1902–1913). Among his many well-known students there were Albert Baertsoen, Gustave De Smet, Frans Masereel, George Minne and Frits Van den Berghe.
Gustave Den Duyts was a Belgian painter, watercolourist, pastelist, etcher and graphic artist, known for his landscapes. His graphic work quickly gained attention. His etchings won him a prize in 1875 in the competition run by the journal "Journal des Beaux-Arts". On the other hand, at the Fifth Exhibition of the Vereniging der Gentsche Kunstoefenaren his painting received criticism because of being too modern. Its indefinite forms forced the viewer to squint in order to make it out and this vagueness of definition is now regarded as a forerunner of Flemish impressionism. Much of his work was townscapes or landscapes with a melancholic feeling, often with a setting sun or a rising moon and typically done in autumn or winter. The landscapes are usually bare, skeletal and stylized, betraying the fact that he was a skilled etcher, but never detailed. Human or animal figures are not sharply defined but appear to dissolve into the background.
Selma des Coudres (Plawneek) a Latvian-born German painter, blended elements of Art Nouveau, Expressionism, and Japonism in her artworks. After studying under Elise Jung-Stilling, she became a teacher and continued her art education with Janis Rozentāls and Wilhelm Purvītis. Selma illustrated books and participated in exhibitions in Riga, Munich, and other locations. Following her marriage to Adolf des Coudres in 1921, she settled in Fürstenfeldbruck, where she co-founded the Kunstverein Fürstenfeldbruck. To sustain herself financially, she focused on portraits and floral still-lifes.
Gerardo Murillo Cornado, also known by his signature "Dr. Atl", was a Mexican painter and writer. He was actively involved in the Mexican Revolution in the Constitutionalist faction led by Venustiano Carranza. He had ties to the anarchosyndicalist labor organization, the Casa del Obrero Mundial.
Otto Eerelman was a Dutch painter; best known for his depictions of dogs and horses. He was also a court painter and did several portraits of Wilhelmina, as Princess and Queen. His best known painting, "De paardenkeuring op de Grote Markt op de 28ste augustus", depicts an annual celebration (featuring horses) held to commemorate the lifting of the Siege of Groningen.
Henri-Jacques-Edouard Evenepoel was a Belgian artist whose most important works are associated with Fauvism. The artist debuted a portrait of his cousin (Louise in Mourning) at the 1894 Salon des Artistes Français. He showed four portraits at the Salon du Champ-de-Mars in 1895 and continued to exhibit there until his death. His first solo exhibition came at the Brussels Cercle Artistique (December 1897 – January 1898). Family and friends were the artist's preferred subjects; his full-length portraits, often against a neutral background, show the influence of Édouard Manet and James Abbott McNeill Whistler. His Parisian scenes were influenced by Henri de Toulouse-Lautrec and Jean-Louis Forain. Though his early scenes had a somber palette, his paintings while in Algeria (where he first wintered during his solo exhibition) were very different in style, anticipating the bold colours of Fauvism (e.g., Orange Market, Blidah).
Carl Friedrich Wilhelm Geist was a German Impressionist painter. In 1888, he entered the Academy of Fine Arts, Karlsruhe. With a scholarship from the Grand Ducal Ministry of the Interior, he undertook further studies in Munich, Vienna and Italy. In 1900, he exhibited at the Glaspalast. Although he was officially enrolled at Karlsruhe until 1905, he actually pursued his studies in Stuttgart. He briefly lived in Darmstadt, then returned to Grünberg in 1905 although, as a free-lance painter, he travelled frequently to visit his clients. After 1915 he lived in Wimpfen. World War I hit him very hard; especially the loss of friends such as August Macke and Franz Marc. In response, he abandoned impressionism for a gloomier Academic style.
Natalia Sergeevna Goncharova (Russian: Ната́лья Серге́евна Гончаро́ва) was a pivotal Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer, celebrated for her groundbreaking contributions to several art movements including Rayonism, Futurism, and Cubism. Born in Russia in 1881, Goncharova's artistic journey was marked by her vibrant exploration of Eastern and Western traditions, making her a leading figure in Russian modernism before she relocated to Paris in 1921, where she continued her artistic endeavors until her death in 1962.
Goncharova's work was distinguished by her engagement with the avant-garde, notably through her involvement with movements and groups such as Jack of Diamonds, Donkey's Tail, and Der Blaue Reiter. Her innovative approach blended Primitivism with Russian folk art (luboks), iconography, and modern European styles, making her work highly influential and controversial in its time. For instance, her series "Mystical Images of War" showcased her unique method of merging contemporary events with traditional forms.
Her later years in Paris were characterized by a continued pursuit of innovation, as evidenced by her designs for ballet costumes and sets, further cementing her legacy in the art world. Goncharova's collaborations with notable figures such as her partner Mikhail Larionov and her contributions to the Ballets Russes highlight her versatile talent and enduring influence on both Russian and French avant-garde art scenes.
For collectors and experts in art and antiques, Goncharova's work offers a rich exploration of avant-garde movements and the blending of cultural traditions. Her bold experimentation and pioneering spirit make her pieces highly sought after in the art community.
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Günter Wilhelm Grass was a German novelist, poet, playwright, illustrator, graphic artist, sculptor, and recipient of the 1999 Nobel Prize in Literature.
Grass is best known for his first novel, The Tin Drum (1959), a key text in European magic realism. It was the first book of his Danzig Trilogy, the other two being Cat and Mouse and Dog Years. His works are frequently considered to have a left-wing political dimension, and Grass was an active supporter of the Social Democratic Party of Germany (SPD). The Tin Drum was adapted as a film of the same name, which won both the 1979 Palme d'Or and the Academy Award for Best Foreign Language Film. In 1999, the Swedish Academy awarded him the Nobel Prize in Literature, praising him as a writer "whose frolicsome black fables portray the forgotten face of history".
Rudolf Gudden was a German painter and draftsman, a pioneer of German modernism, and a member of the German Artists' Association.
He received his art education at the Munich Academy and at the Academy of Karlsruhe. Gudden painted landscapes, portraits, and everyday scenes in the then-new Art Nouveau style.
Albert Pieter Hahn was a Dutch political cartoonist, poster artist and book cover designer; well known for his socialist and antimilitaristic viewpoints. Some of his drawings, especially those of the railroad strikes of 1903, have been regularly used in history textbooks. His son-in-law, Albert Hahn jr., was also an artist, so he is sometimes referred to as "Sr.".
George Henry Hall was an American still-life and landscape artist. He studied art in Düsseldorf and Paris and he worked and lived in New York City, the Catskills of New York and in Europe. His works are in museum collections in the United States and Europe. Over the course of his career he sold 1,659 paintings.
Johannes Friedrich Heinrich Hänsch was a German landscape painter and sculptor. Hänsch was born as the son of the sculptor Adolf Hänsch and his wife Johanna (nee Lehmann). He began his artistic training in his father's studio and initially continued it in the workshops of other sculptors before he decided to become a painter. On December 11, 1897, he began studying at the "Royal Academy of Fine Arts" in Berlin. As a freelance landscape painter, he was a member of the “Berlin Artists Association”. Since 1903, Hänsch has taken part in the Great Berlin Art Exhibition as well as in the exhibitions of the Association of Berlin Artists and in the Munich Glass Palace. His colorful painting showed a clear influence of Impressionism. He painted almost exclusively deserted landscapes from all parts of Germany. Paintings depicting human figures were a rare exception, but he did produce some mostly witty self-portraits.
Edmund Harburger was a German artist of the last third of the nineteenth and early twentieth centuries. He is known as a painter, graphic artist, illustrator, and caricaturist.
Harburger became famous for more than 1,500 humorous drawings for the magazine Fliegende Blätter. He also created book illustrations and political cartoons. After living for two years in Venice, the artist practiced there copying the works of the old masters. His exhibitions were held in various European cities, including Paris, Berlin and Munich. His works are kept in museums in various countries, including the New Pinakothek in Munich and museums in Gdansk, Leipzig, Prague and other cities.
Woldemar Hau (Russian: Владимир Иванович Гау) was a Baltic German portrait painter, renowned for his contributions to the Biedermeier style, a period marked by a sense of realism and simplicity in art. Born in 1816 in Tallinn, then part of the Russian Empire, he was trained under the guidance of his father, Johannes Hau, and the distinguished artist Karl von Kügelgen. Hau's remarkable talent became evident early on when, at just sixteen, he was recommended to paint for the Russian Imperial Court, leading to his appointment as a Court Painter.
During his illustrious career, Hau captured the visages of the Russian nobility, including Tsar Nicholas I and Tsarina Alexandra Fyodorovna, alongside other key figures of his time. His works, often characterized by their intricate detail and vibrant realism, include over 200 miniature portraits of the Izmaylovsky Regiment veterans. His most celebrated works are preserved in prestigious collections and reflect his mastery in both watercolours and miniatures on ivory.
For those interested in exploring the legacy of Woldemar Hau, his paintings are a fascinating window into the cultural and historical nuances of 19th-century aristocratic Russia. To stay updated on exhibitions and auctions featuring Hau's work, I encourage you to sign up for updates. This subscription will keep you informed about new sales and auction events specifically related to Woldemar Hau.
Willem Jacob Herreyns, the Younger, was a Flemish painter of history subjects and portraits. He is regarded as one of the last painters in the tradition of the Flemish Baroque and the last follower of Peter Paul Rubens. Herreyns’ work was very highly regarded in his time. His religious compositions stand in the Rubens tradition. Herreyns is considered a draughtsman with a precise line, but his work shows a certain coldness and lacks originality.
Ferdinand Hodler was one of the best-known Swiss painters of the nineteenth century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of symbolism which he called "parallelism".
Much of Hodler's work is in public collections in Switzerland. Other collections holding major works include the Musée d'Orsay in Paris, the Metropolitan Museum of Art in New York, and the Art Institute of Chicago.
Hans Hofmann, a German-American painter, stands as a towering figure in the 20th-century art world, celebrated for his vibrant contributions to abstract expressionism. Born in Germany in 1880, Hofmann's journey in art took him across continents, from Europe to the United States, where his innovative teaching methods and bold, color-filled canvases left an indelible mark on generations of artists. His unique approach to painting, characterized by a dynamic interplay of color and form, helped bridge the gap between the European modernist traditions and the emerging American abstract art scene.
Hofmann's work is distinguished by its intense color palettes and the technique he termed "push and pull," which refers to the careful balance of color and shape to create depth and movement within the canvas. This technique not only showcased his mastery over the medium but also influenced the development of abstract expressionism, making Hofmann a pivotal figure among his contemporaries. His paintings, such as "The Gate" (1959-60), exemplify this approach and are celebrated in prestigious museums worldwide, including the Museum of Modern Art in New York and the San Francisco Museum of Modern Art.
Beyond his personal contributions as an artist, Hofmann was an esteemed educator, guiding the next generation of artists through his schools in New York and Provincetown. His teaching philosophy emphasized the importance of understanding the fundamental elements of art—color, form, and space—and their interrelation, which he believed was key to achieving harmony and expression in painting.
For collectors and experts in art and antiques, Hans Hofmann's works represent not just significant artistic achievements but also valuable pieces of cultural history. His paintings and teachings continue to inspire and influence the art world, making his pieces highly sought after in galleries and auctions.
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Robert Jobling was a British artist. He first had work accepted by both the Royal Academy and Royal Society of British Artists in 1883. He painted regularly at the fishing village of Cullercoats and later at Staithes. He attained a position of some standing in the Staithes group. His main artistic exposure was in exhibitions in the north of England.
Johann Jakob Jung was a German painter, specializing in religious subjects, and a member of the Nazarene movement. At an early age, he began training as a lithographer with Friedrich Carl Vogel at his "Lithographischer Anstalt" in Frankfurt. In 1834, he took lessons in painting from Philipp Veit at the Städelsches Kunstinstitut, where Veit was Director of the museum's gallery. At this time, Frankfurt had become the focal point for the Nazarene movement, which was devoted to religious art, largely of a Catholic nature. This had a decisive influence on the content of Jung's works. The most familiar of these are oil paintings depicting Louis the Pious, Arnulf of Carinthia and Louis the Child.
Maria Anna Angelica Kauffmann was a Swiss Neoclassical painter who had a successful career in London and Rome. Remembered primarily as a history painter, Kauffmann was a skilled portraitist, landscape and decoration painter. She was, along with Mary Moser, one of two female painters among the founding members of the Royal Academy in London in 1768.
Paul Kayser was a German painter and graphic artist. After training as a painter-decorator, Kayser attended the Schools of Applied Art in Munich and Dresden.
Paul Kayser was a founding member of the Hamburg Artists' Club 1897 and the Hamburg Secession, and a member of the Hamburg Artists' Association and the Altona Artists' Association. His style was decisively influenced by Albert Marquet, whom Kaiser met in 1909.
In 1937, Kaiser's still life was confiscated from the museum in Husum as part of the Nazi "Degenerate Art" campaign.
Ivan Fomich Khrutsky (Russian: Иван Фомич Хруцкий) was a Belarusian painter known for his exceptional still-life paintings and portraits. Born in 1810, Khrutsky gained recognition for his detailed and vibrant depictions of flowers, fruits, and everyday objects, showcasing his mastery in capturing light and texture.
Khrutsky's work stands out due to its meticulous attention to detail and rich color palette, which brought a lifelike quality to his paintings. His ability to convey the delicate interplay of light and shadow made his still lifes particularly admired among art collectors and connoisseurs. Aside from still lifes, he also painted portraits, landscapes, and genre scenes, contributing to his versatile artistic repertoire.
One of Khrutsky's notable works, "Flowers and Fruits," exemplifies his skill in creating compositions that are both aesthetically pleasing and technically superb. His paintings are featured in various museums, including the Tretyakov Gallery in Moscow, where art enthusiasts can appreciate his contribution to the world of art.
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Orest Adamovich Kiprensky (Russian: Орест Адамович Кипренский) emerged as a masterful Russian portraitist in the Age of Romanticism. His journey from an illegitimate serf background to a celebrated artist is a testament to his extraordinary talent and determination. Kiprensky's early exposure to art at the St. Petersburg Academy of Arts paved the way for his signature style, marked by emotional depth and technical brilliance.
Orest Kiprensky's works resonate with the spirit of Romanticism, capturing the essence of his subjects with remarkable sensitivity and nuance. His portrait of Alexander Pushkin is among his most famous, celebrated for its vivid portrayal of the poet's character. Kiprensky's life was as dramatic and varied as his art, with significant periods spent in Italy, where he immersed himself in the local culture and art scene, eventually marrying and converting to Roman Catholicism.
His legacy is enshrined in numerous galleries, where his portraits continue to captivate audiences with their expressive intensity and elegance. Orest Kiprensky's ability to capture the soul of his subjects on canvas ensures his enduring status as a pivotal figure in Russian Romantic art.
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Wilhelm Kleinenbroich was a German painter. He learned painting from Simon Meister in Cologne and at the Düsseldorf Art Academy. He can therefore also be counted among the Düsseldorf school of painting. Kleinenbroich's artistic work in the first half of the 19th century must be seen in close connection with his socially critical commitment: After his studies, he became a drawing teacher in the Cologne workers' education association, where socialists and communists such as Heinrich Bürgers and Hermann Becker taught alongside him, was a founding member of the Cologne workers' association and an active participant in the revolution of 1848. After the failed revolution, Kleinenbroich retired from politics and lived from decorative and portrait painting. The fact that Kleinenbroich's painting took a committed and partisan stance on socio-political issues of his time was already judged by sections of art critics to be inartistic and disparagingly counted among the tendencies in painting of the 19th century.
Dame Laura Knight was an English artist who worked in oils, watercolours, etching, engraving and drypoint. Knight was a painter in the figurative, realist tradition, who embraced English Impressionism. In her long career, Knight was among the most successful and popular painters in Britain. Her success in the male-dominated British art establishment paved the way for greater status and recognition for women artists.
In 1929 she was created a Dame, and in 1936 became the second woman elected to full membership of the Royal Academy. Her large retrospective exhibition at the Royal Academy in 1965 was the first for a woman. Knight was known for painting amidst the world of the theatre and ballet in London, and for being a war artist during the Second World War. She was also greatly interested in, and inspired by, marginalised communities and individuals, including Romani people and circus performers.
Karl Köpping was a German painter and engraver. He also designed objects of art made of twisted glass.
He mainly created etchings after the well-known works of the past centuries, especially by Rembrandt, but also Hals, Gainsborough or Munkácsy. He also designed Art Nouveau art objects made of coiled glass.
He was awarded the Order of the Legion of Honour and the First Class Medal of the Munich Art Exhibition, as well as the Grand Prix of the Paris World's Fair in 1889.
Evgraf Fedorovich Krendovsky (Russian: Евграф Фёдорович Крендовский) was a Russian artist born in 1810 in Kremenchuk, now part of Ukraine, renowned for his work in portrait, genre, and interior painting. Initially engaged in police work in Arzamas, Krendovsky shifted his focus to art, studying under the guidance of Alexey Venetsianov in St. Petersburg from 1830 to 1835. Despite a promising start, family circumstances forced him to return to Kremenchuk, where he became a drawing tutor and later achieved the status of "Free Artist" by the Imperial Academy of Arts.
Krendovsky's career is marked by a relatively small body of work, with just over twenty known paintings to his name. Some of his most celebrated pieces include portraits and scenes depicting the daily life of Russian society, which now grace collections such as the Tretyakov Gallery in Moscow and the Russian Museum in St. Petersburg. His notable works include "Portrait of an Unknown Woman in a Violet Dress" and "The Artist’s Daughters" from 1845.
For art enthusiasts and collectors interested in 19th-century Russian art, Krendovsky remains a figure of fascination due to his unique style and the historical context of his works. To stay updated on upcoming sales and auction events featuring Krendovsky's works, sign up for updates at [Link to subscription page]. This subscription will keep you informed about new opportunities to acquire pieces by this distinctive artist.
Boris Mikhailovich Kustodiev (Russian: Бори́с Миха́йлович Кусто́диев) was a distinguished Russian artist and painter, celebrated for his vivid portrayal of the Russian culture and way of life. Born in Astrakhan in 1878, Kustodiev's artistic journey began at a young age, leading him to study under the renowned Ilya Repin at the Imperial Academy of Arts. His works, characterized by their rich color palette and intricate detail, capture the essence of Russia's social and cultural fabric during the early 20th century.
Kustodiev's art is notable for its depiction of Russian peasantry, landscapes, and bourgeois celebrations, embodying the spirit and vibrancy of Russian folklore and traditions. His paintings such as "The Merchant's Wife" and "Maslenitsa" are celebrated for their lush visual storytelling and are housed in prestigious museums, including the State Russian Museum in St. Petersburg. These works reflect Kustodiev's fascination with the Russian merchant class and traditional festive gatherings, showcasing his skill in blending realism with a folkloric charm.
Beyond painting, Kustodiev's contributions to theatre and book illustration further demonstrate his versatile talent and deep connection to Russian cultural heritage. Despite facing personal challenges, including a debilitating illness that confined him to a wheelchair, Kustodiev's prolific output continued unabated, leaving behind a legacy that continues to enchant and inspire. His ability to capture the beauty and complexity of Russian life has made his work invaluable to collectors and experts in art and antiques alike.
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Jef Lambeaux, full name Joseph Marie Thomas Lambeaux, was a Belgian sculptor who combined realism and the Renaissance.
Lambeaux studied at the Academy of Fine Arts in Antwerp and was a member of the Van Beers clique, a group of eccentric young artists that also included the artists Piet Verhart (1852-1908) and Alexander Streiss (1852-1941). He later became a founder of the Brussels-based avant-garde group Les Vingt.
Lambeaux's sculptures have often provoked mixed reactions, but they are a reinterpretation of Renaissance and Baroque body image. Turning to classical themes in depicting nudes in motion, Lambeaux created many fountain figures, park sculptures and monuments. Among them is the Brabo Fountain, which has become a landmark in Antwerp. For the 1897 World's Fair pavilion, he created a large-scale marble bas-relief "Temple of Human Passion", which was condemned by the Catholic Church for being a "marble brothel".
The sculptor was known for his love of competitive wrestlers and boxers, and adored circus performances. Scenes of struggle and love are a constant theme of Lambeaux's work. His sculpture "Wrestlers" is also inspired by the popular Renaissance theme of two naked bodies straining all their strength in an extreme struggle.
In 1903, Jef Lambeaux became a member of the Royal Belgian Academy.
