Painters Pointillism
Henri-Jean Guillaume Martin was a French painter. Elected to the Académie des Beaux-Arts in 1917, he is known for his early 1920s work on the walls of the Salle de l'Assemblée générale, where the members of the Conseil d'État meet in the Palais-Royal in Paris. Other notable institutions that have featured his Post-Impressionist paintings in their halls through public procurement include the Élysée Palace, Sorbonne, Hôtel de Ville de Paris, Palais de Justice de Paris, as well as Capitole de Toulouse, although the Musée des Beaux-Arts de Bordeaux and Musée des Augustins also have sizeable public collections.
Nikolai Vasilievich Mescherin (Russian: Николай Васильевич Мещерин) was a Russian artist and entrepreneur born on February 28, 1864, in Moscow, and died on October 22, 1916, in Meshcherino, Russia. Known primarily for his landscape paintings, Mescherin initially embraced Impressionism, later experimenting with Pointillism, a technique developed by French Neo-Impressionists. His lyrical landscapes, often rendered in pastel, capture the serene beauty of Central Russia.
Mescherin was also a co-owner of the Moscow Danilovskaya Manufactory, balancing his industrial pursuits with his artistic endeavors. His works are significant for their emotional depth and technical precision, distinguishing him in the Russian art scene of the late 19th and early 20th centuries. Some of his notable works are housed in the Museum of Russian Impressionism in Moscow, where they continue to attract admiration from art enthusiasts and collectors.
For those interested in exploring more about Nikolai Vasilievich Mescherin's life and works, signing up for updates on new product sales and auction events related to his art is highly recommended. Stay informed about the latest opportunities to acquire pieces from this remarkable artist's collection.
George Morren or Georges Morren was a Belgian painter, sculptor, Impressionist and engraver. The painter and friend of the family Emile Claus who taught him and his brothers several times a week served as his first mentor. He began working in an Impressionist style. In the summer of 1892, eschewing the shortened painting process which was associated with Neo-Impressionism, he began to work in a more spontaneous manner, creating more space for emotions. He became one of the most eager admirers of the French Impressionists. After three years in Paris he returned to Antwerp where he participated in several avant-garde groups. Morren created light-flooded paintings, exhibited at the fairs La Libre Esthétique in Brussels, the 'Vie et Lumière', and at numerous international exhibitions. Towards 1913, he entered a new creative period. The colors in his new works were more subdued. He used grated rough pigment and pastels. Morren remained faithful to impressionist ideals and did not participate in new trends, such as Cubism or Expressionism. He dealt with the scenes of everyday life, interiors, still lifes, landscapes and portraits. His palette became darker and his paintings developed a solemnity and clarity of expression.