(January 13, 1868 - October 16, 1904) was an English painter. He was born at Staines, the son of the Rev. C. W. Furse, archdeacon of Westminster, and rector of St John's, Smith Square and descended collaterally from Sir Joshua Reynolds; and in his short span of life achieved such rare excellence as a portrait and figure painter that he forms an important link in the chain of British portraiture which extends from the time when Van Dyck was called to the court of Charles I into the 20th century. His talent was precocious; at the age of seven he gave indications of it in a number of drawings illustrating Scott's novels. He entered the Slade School in 1884, winning the Slade scholarship in the following year, and completed his education at Julians Atelier in Paris. Hard worker as he was, his activity was frequently interrupted by spells of illness, for he had developed signs of consumption when he was still attending the Slade school. An important canvas called Cain was his first contribution (1888) to the Royal Academy, to the associateship of which he was elected in the year of his death. For some years before he had been a staunch supporter of the New English Art Club, to the exhibitions of which he was a regular contributor. In October 1900 he married Katharine Symonds, the daughter of John Addington Symonds. She later became known as Dame Katharine Furse. The couple had 2 sons. His fondness for sport and of an open-air life found expression in his art and introduced a new, fresh and vigorous note into portraiture. There is never a suggestion of the studio or of the fatiguing pose in his portraits. The sitters appear unconscious of being painted, and are generally seen in the pursuit of their favourite outdoor sport or pastime, in the full enjoyment of life. Such are the Diana of the Uplands, the Lord Roberts and The Return from the Ride at the Tate Gallery; the four children in the Cubbing with the York and Ainsty, The Lilac Gown, Mr. and Mrs. Oliver Fishing and the portraits of Lord Charles Beresford and William Johnson Cory. Most of these pictures, and indeed nearly all the work completed in the few years of Furse's activity, show a pronounced decorative tendency. His sense of space, composition and decorative design can best be judged by his admirable mural decorations for Liverpool town hall, executed between 1899 and 1902. A memorial exhibition of Furse's paintings and sketches was held at the Burlington Fine Arts Club in 1906.   Related Paintings of Charles Wellington Furse :. | Two Women Dancing at the Moulin Rouge | Feria de Cordoba | Virgin and Child | Antigone Aoqiao Si and Tony Stratford | View of the Royal Baths Palace in summer |
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Frantisek Kupka
Czech Abstract Painter, 1871-1957,was a Czech painter and graphic artist. He was a pioneer and co-founder of the early phases of the abstract art movement and orphic cubism (orphism). Kupka's abstract works arose from a base of realism, but later evolved into pure abstract art. Frantisek Kupka was born in Opocno, eastern Bohemia (now Czech Republic). From 1889 to 1892, he studied at the Prague Art Academy. At this time, he painted historical and patriotic themes. In Kupka enrolled at the Akademie der Bildenden Kunste in Vienna, Vienna, where he concentrated on symbolic and allegorical subjects. He exhibited at the Kunstverein, Vienna, in 1894. His involvement with theosophy and Eastern philosophy dates from this period. By spring 1894, Kupka had settled in Paris; there he attended the Academie Julian briefly and then studied with Jean-Pierre Laurens at the Ecole des Beaux-Arts. Kupka worked as an illustrator of books and posters and, during his early years in Paris, became known for his satirical drawings for newspapers and magazines. In 1906, he settled in Puteaux, a suburb of Paris, and that same year exhibited for the first time at the Salon d'Automne. Kupka was deeply impressed by the first Futurist Manifesto, published in 1909 in Le Figaro. Kupka's 1909 painting "Piano Keyboard/Lake" marked a break in his representational style; his work became increasingly abstract around 1910 C11, reflecting his theories of motion, color, and the relationship between music and painting (orphism). In 1911, he attended meetings of the Puteaux group. In 1912, he exhibited at the Salon des Independants in the Cubist room, although he did not wish to be identified with any movement. Creation in the Plastic Arts, a book Kupka completed in 1913, was published in Prague in 1923. In 1931, he was a founding member of Abstraction-Creation. In 1936, his work was included in the exhibition "Cubism and Abstract Art" at the Museum of Modern Art in New York, and in an important show with another excellent Czech painter Alphonse Mucha at the Jeu de Paume in Paris. A retrospective of his work took place at the Galerie Manes in Prague in 1946. The same year, Kupka participated in the Salon des Realites Nouvelles, where he continued to exhibit regularly until his death. During the early 1950s, he gained general recognition and had several solo shows in New York. Between 1919 and 1938 Kupka was financially supported by his good friend, art collector and industrialist Jindich Waldes who accumulated a substantial collection of his art. Kupka died in Puteaux, France. Kupka had a strong interest in color theory; around 1910 he began developing his own color wheels, adapting a format previously explored by Sir Isaac Newton and Hermann von Helmholtz. This work in turn led Kupka to execute a series of paintings he called "Discs of Newton" (1911-12).
Thomas Blanchet
Thomas Blanchet (1614, possibly in Paris - 21 June 1689, Lyon) was a French painter, draughtsman, architect, sculptor and printmaker. During his training in Paris Blanchet met Jacques Sarazin, and on his advice moved from studying sculpture to painting. During this time he familiarised himself with the Baroque and the School of Fontainebleau's Mannerism, new imports into Paris at this time. Among his probably co-students was Simon Vouet. He stayed in Rome from c.1645 to 1653 and worked with artists in Nicolas Poussin's circle, as well as visiting the studios of Andrea Sacchi and Pietro da Cortona. He was highly praised by Gianlorenzo Bernini, who he also visited. Blanchet produced paintings for Niccolo Guido di Bagno (1584 -1663), made engravings of ancient tombs and views or prospettive and a mausoleum for Rene de Voyer d'Argenson, French ambassador to Venice in San Giobbe, Venice (1654).
Pieter Vanderlyn
Dutch-born American Colonial Era Painter, ca.1687-1778 American colonial painter, b. Holland. He reached New York c.1718 and became a portrait painter and land speculator and practiced other trades, settling in Kingston, N.Y. The portrait most certainly ascribed to him is that of Mrs. Petrus Vas, his mother-in-law. John Vanderlyn was his grandson.