Luminism
Alfred Thompson Bricher was a painter associated with White Mountain art and the Hudson River School.
In the 1870s, he primarily did maritime themed paintings, with attention to watercolor paintings of landscape, marine, and coastwise scenery. He often spent summers in Grand Manan, where he produced such notable works as Morning at Grand Manan (1878). In 1879, Bricher was elected into the National Academy of Design as an Associate member.
Georges-Léon-Ernest Buysse is a Belgian impressionist and luminist painter. Busset took lessons from the Ghent painter Louis Titgadt. The artist Emil Klaus, who was one of his friends, also gave him a lot of advice. He has participated in exhibitions since 1894. At the 1894 Salon of the National Society of Fine Arts in Paris, he exhibited two canvases on the theme of "snow effects". At that time, his work was focused on landscapes, views of the city of Ghent and gardens of country residences in the vicinity of Ghent. In 1904, Busset was one of the co-founders of the artistic circle Vie et Lumière. His early work was realistic or pre-impressionist. Later, his palette became - under the influence of Emile Claus and after their trip to the south of France - clearer, the work acquired impressionist and luminist features. He adhered to Luminism, in particular as a co-founder of the art circle Vie et Lumière, and used light and lighting effects in his painting.
Frederic Edwin Church was an American landscape painter, renowned as a central figure of the Hudson River School. Born in Hartford, Connecticut, Church became famous for his detailed and expansive landscapes which often incorporated a blend of realistic detail and dramatic lighting, epitomizing the Romantic approach to landscape painting.
Church's career was marked by his unique ability to blend meticulous natural observation with a grandiose sense of scale and drama. His paintings, such as "The Heart of the Andes" and "Niagara," showcased his skill in depicting vast and diverse natural environments with scientific accuracy and vivid imagination. These works were not just celebrations of natural beauty but also demonstrations of Church's deep engagement with the places he painted, often based on extensive travels and on-the-spot sketches.
Apart from his mastery in painting, Church also had a significant impact on cultural institutions and public spaces. He was a founding trustee of The Metropolitan Museum of Art and served as a Parks Commissioner in New York City. His contributions went beyond the canvas, influencing both the cultural landscape of his time and the preservation of natural and historic sites through his later life efforts, including the establishment of his home, Olana, as a historic site.
For those interested in the ongoing legacy of Frederic Edwin Church, updates on exhibitions and related events can be obtained through subscriptions focused on his works. This is an excellent way for collectors and art enthusiasts to stay connected with the vibrant history and enduring impact of Church's art.
Aloïs De Laet was a Belgian painter. As a painter, Alois De Laet was a self-taught artist who, however, learned a lot from his two uncles who were decorative painters. In 1900 he was the first to exhibit in the Cornelis Landschotkapel with the social philosophical movement 'De Kapel'. De Laet called himself one of the first Antwerp socialist artists. He painted portraits, genre scenes and landscapes with a melancholy atmosphere. Under the influence of luminism, his color palette became brighter over the years. He was a member of several art circles, including Eenigen, Als ik Kan, de Scalden, La Libre Esthétique and Vie et Lumière.
Rodolphe De Saegher is a Belgian artist, lawyer and politician. An eminent representative of the luminist pictorial current, he is one of the founders of the artistic circle "Vie et Lumière". Rodolphe De Saegher's work consists mainly of pastels on paper, generally of modest dimensions. The artist fixes on the motif, in direct observation of nature, his impressions of the Flemish countryside, mainly around the Lys, but also his memories of travels, in France and Norway in particular. An eminent representative of the Luminist current, his work is characterized by a particular grace and a very fine coloring, synthetic and stylized evocations reflecting the atmospheric variations in all seasons and at different times of the day of landscapes familiar to the artist. He will also paint in watercolor and oil in the same spirit. Rodolphe De Saegher was also a gifted portrait painter. He will repeatedly caricature the members of the various councils on which he will sit during his political career as well as his collaborators in the legal community. Several pastels by Rodolphe De Saegher appear in particular in the collections of the Museum of Fine Arts of the city of Ghent.
Gustave Franciscus De Smet was a Belgian painter. Together with Constant Permeke and Frits Van den Berghe, he was one of the founders of Flemish Expressionism. In 1908, he and his wife followed Léon to the artists' colony in Sint-Martens-Latem. There, they initially came under the influence of Luminism and the painter Emile Claus, who lived in nearby Astene. At the beginning of World War I, he and his family joined his friend, Van den Berghe, and fled to the Netherlands. From 1914 to 1922, they moved about, visiting and staying at the art colonies in Amsterdam, Laren and Blaricum.[2] His meeting with the Expressionist painter Henri Le Fauconnier marked a turning point in his style which, up until then, owed much to Cubism. In 1927, he settled in Deurle. It was there that his mixture of Expressionism and Cubism peaked, with a series of works depicting circus, fairground and village scenes. After his death in Deurle at the age of sixty-six, his house was preserved as a local museum.
Anna Virginie Caroline De Weert, née Cogen, was a Belgian painter. She would paint in the Luminist style. In the 1890s she was a private (pro bono) student of the Belgian painter Emile Claus. Anna Cogen was a productive artist and had a long association with the Cercle Artistique et Littéraire in her home town after she first exhibited there in 1895.
Alfred Hazledine was a Belgian painter and graphic artist. Hazledine was a student of Ernest Blanc-Garin in Brussels and of Adrien-Joseph Heymans. He lived and worked for a long time in Wechelderzande, where there was a true artists' colony. He mainly painted landscapes in Impressionist style. Hazledine was a member of the Vie et Lumière group that brought together Impressionists and Luminists for exhibitions, and was also a member of L'Estampe and of the National Confederation of Painters and Sculptors of Belgium.
Arkhip Ivanovich Kuindzhi (Russian: Архип Иванович Куинджи) was a Russian landscape painter of Greek descent, celebrated for his pioneering use of light and color to evoke dramatic atmospheres. Born into a shoemaker's family in Mariupol, Ukraine, Kuindzhi faced early hardships, including the loss of his parents at a young age. Despite these challenges, his passion for art led him to Saint Petersburg, where he largely taught himself to paint, although he briefly studied at the St. Petersburg Academy of Arts and was influenced by the renowned marine artist Ivan Aivazovsky.
Kuindzhi's work stands out for its innovative approach to capturing the natural world, particularly his use of light to create mood and atmosphere. His paintings, such as "Moonlit Night on the Dnieper" (1880), "The Birch Grove" (1879), and "Red Sunset on the Dnieper" (1905–1908), demonstrate his skill in portraying the luminous qualities of the landscape, often with a dramatic and almost mystical quality. His landscapes are not just representations of nature but are imbued with a sense of the sublime, reflecting his lifelong interest in the scientific and philosophical studies of light and perception, a curiosity partly nurtured through his friendship with the chemist Dmitri Mendeleev.
Despite achieving significant acclaim, including the patronage of notable figures like Pavel Tretyakov, Kuindzhi withdrew from public life at the peak of his career. This withdrawal, however, did not diminish his impact on the art world; he continued to influence future generations as a professor at the St. Petersburg Academy of Arts, where he taught artists such as Nicholas Roerich and Arkady Rylov. His commitment to art and education culminated in the formation of the Society of Artists, which was later named in his honor.
Kuindzhi's legacy is preserved in major institutions like the State Russian Museum and the Tretyakov Gallery, where his masterpieces continue to inspire awe and admiration. His works offer a window into the soul of the Russian landscape, reflecting a blend of his Greek, Tatar, Ukrainian, and Russian heritage.
For art collectors and experts, Kuindzhi's paintings represent not only aesthetic beauty but also the rich cultural and historical contexts from which they emerged. His innovative techniques and the emotional depth of his work continue to captivate audiences, making him a pivotal figure in the world of landscape painting.
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Fitz Henry Lane (born Nathaniel Rogers Lane) was an American painter and printmaker of a style that would later be called Luminism, for its use of pervasive light.
A contemporary of the Hudson River School, he enjoyed a reputation as America's premier painter of marine subjects during his lifetime, but fell into obscurity soon after his death with the rise of French Impressionism. Lane's work would be rediscovered in the 1930s by the art collector Maxim Karolik, after which his art steadily grew in popularity among private collectors and public institutions. His work can now command at auction prices ranging as high as three to five million dollars.
Jeanne (Jenny) Montigny was a Belgian painter. At seventeen, she decided to become an artist, knowing that she could not count on her parents' support. After seeing a painting by Emile Claus (The Kingfishers), Montigny decided to seek out a position in his studios near Deinze. In the summer of 1893, she and several other female students took his course in plein air painting. In 1902, she made her debut at the Ghent Salon, followed by shows in Paris. She later became a member of the luminist group Vie et Lumière. At the outbreak of World War I, she followed Claus and his wife in emigrating to London, where she became a member of the Women's International Art Club and exhibited at the Grafton Galleries. After the war, she returned to Belgium. In 1923, she joined the Société Nationale des Beaux-Arts.
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.
Frans Mortelmans was a Belgian painter, draughtsman and engraver. He initially produced portraits, history paintings, marines and genre scenes. From 1892 onwards, he almost exclusively painted very decorative and harmoniously composed still lifes and flower pieces. It is through these works that he established his reputation. His compositions with pink roses are in particular highly valued. His work situates itself between impressionism and realism with some luminist touches. He produced many pastel works. Frans Mortelmans was a very prolific painter. To date, more than 850 of his works have been inventoried.
William Trost Richards was an American landscape artist. He was associated with both the Hudson River School and the American Pre-Raphaelite movement.
In the 1870s, he produced many acclaimed watercolor views of the White Mountains, several of which are now in the collection of the Metropolitan Museum of Art. Richards exhibited at the National Academy of Design from 1861 to 1899, and at the Brooklyn Art Association from 1863 to 1885. He was elected a full member of the National Academy in 1871.
Francis Augustus Silva was an American Luminist painter of the Hudson River School. His specialty was marine scenes, particularly of the Atlantic coast, a genre in which he masterfully captured the subtle gradations of light in the coastal atmosphere. He focused on romantic scenes, avoiding depictions of seaside recreation, even when painting scenes at Coney Island, which was then already a popular recreational area.
Fernand Verhaegen was a Belgian painter and etcher. He took courses at the Académie Royale des Beaux-Arts from 1900 to 1906. After graduation, he exhibited his works in Belgium and abroad. His style gradually evolved from impressionism and Belgian luminism to a synthetic form of capturing reality. In his later years, he came back to a personal form of impressionism. Verhaegen specialized in painting Walloon folklore. Verhaegen's works are in many museums of Belgium and abroad.
Edmond Paul Marie Verstraeten was a Belgian painter and etcher. He was a luminist impressionist and painted mainly landscapes, but also still lifes and portraits. As a philosophically inclined non-conformist, Verstraeten painted in the direction of pointillism, impressionism and luminism. As a self-taught artist, he had developed his own style, which art critics classed as luminist impressionism. He was a master at painting the light and snow. He was part of the third generation of the School of Tervuren and Genk School. He also wrote poems.
Rodolphe Paul Marie Wytsman was a Belgian Impressionist painter. He trained at the Académie Royale des Beaux-Arts in Brussels, and was one of the founding members of Les XX, a group of avant-garde Belgian artists. As a painter Wytsman gravitated toward landscapes. His early works were realistic. In the following years he developed a more pre-Impressionist style. By 1881 Wytsman lived in Brussels, where he was influenced by early Modernist Painting. In Capeinick's studio Wytsman met his wife-to be, Juliette Trullemans. It was an ideal pairing: both painted sunlit landscapes and tableaux with plants and shrubs that were very popular. The two artists' careers melded harmoniously, and the proceeds allowed them to take many trips. Besides landscapes, the Wytsmans preferred to paint bright flowers, herbs and plants, which often appear in the foreground of their paintings, usually with a vista of the surrounding countryside: ponds, marshes, flowering trees, flower beds, blooming heaths and fallow land overgrown with weeds and wildflowers. Wytsman's technique reflected a realistic pre-Impressionist style. He sought to depict the effects of intense light in their paintings. He is among the main representatives of the Luminist genre in neo-Impressionism.