Austrian Art Nouveau Painter, 1862-1918 Gustav Klimt (July 14, 1862 ?C February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of the Vienna Art Nouveau (Vienna Secession) movement. His major works include paintings, murals, sketches, and other art objects, many of which are on display in the Vienna Secession gallery. Klimt's primary subject was the female body, and his works are marked by a frank eroticism--nowhere is this more apparent than in his numerous drawings in pencil. Klimt's work is distinguished by the elegant gold or coloured decoration, often of a phallic shape that conceals the more erotic positions of the drawings upon which many of his paintings are based. This can be seen in Judith I (1901), and in The Kiss (1907?C1908), and especially in Danaë (1907). One of the most common themes Klimt utilized was that of the dominant woman, the femme fatale. Art historians note an eclectic range of influences contributing to Klimt's distinct style, including Egyptian, Minoan, Classical Greek, and Byzantine inspirations. Klimt was also inspired by the engravings of Albrecht D??rer, late medieval European painting, and Japanese Rimpa school. His mature works are characterized by a rejection of earlier naturalistic styles, and make use of symbols or symbolic elements to convey psychological ideas and emphasize the "freedom" of art from traditional culture.  Related Paintings of Gustav Klimt :. | allea i slottet kammers park | The Kiss (mk20) | Baby (detail) (mk20) | Farmhouse in Upper Austria (mk20) | Flower Garden |
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Kuzma Sergeevich Petrov-Vodkin
(1878, Khvalynsk, now Saratov OblasteFebruary 15, 1939, Leningrad) was an important Russian and Soviet painter and writer. Kuzma Petrov-Vodkin was born in Khvalynsk (Saratov Oblast) into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from a couple of icon painters and a signmaker. Still, Petrov-Vodkin didn't quite see himself in art at that time; after graduating from middle school, he took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. In April 1895, Burov died and for some time Petrov-Vodkin took different painting jobs in the vicinity of Saratov. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. The education was financed by a charitable subscription among local merchants. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. Petrov-Vodkin stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin. In 1901 he travelled to Munich to take classes with Anton Ažbe. He graduated in 1904.
Thomas Hudson
Thomas Hudson (1701 - 1779) was an English portrait painter in the 18th century. He was born in 1701 in the West Country of the United Kingdom. His exact birthplace is unknown. Hudson studied under Jonathan Richardson in London and against his wishes, married Richardson's daughter at some point before 1725. Hudson was most prolific between 1740 and 1760 and, from 1745 until 1755 was the most successful London portraitist. He lived at Deep Cross, Twickenham. Many assistants were employed by Hudson, to help with his paintings. Joshua Reynolds and Joseph Wright were students of Hudson. He retired toward the end of the 1750s.
Giovanni Migliara
Italian 1785-1837 He began his career as a scene painter with Gaspare Galiari (1761-1823) in Milan, working at the Teatro Carcano in 1804 and at La Scala from 1805 to 1809. Owing to illness, after 1810 he turned to small-scale works in watercolour or oil using various supports, including silk and ivory. At this date Milanese painting was dominated by Andrea Appiani and Luigi Sabatelli, both leading Neo-classical artists. However, Migliara remained aloof from this dominant movement and instead drew on medieval and historical subjects with Romantic undertones. His precise, jewel-like technique and choice of subject-matter found favour with aristocratic patrons in Milan. His figures are generally stilted and burdened by their costumes, though the crowd in Sacking of Minister Prina's House (1814; Milan, Gal. A. Mod.) is depicted with unusual fluency. In 1822 Migliara was appointed Professor of Perspective at the Accademia di Belle Arti, Milan, and in 1833 he was nominated painter to the court of Charles-Albert, King of Sardinia (reg 1831-49). More typical of his historical scenes is Entrance to the Castle of Plessis de la Tour (Turin, Gal. Civ. A. Mod.), which was exhibited at the Brera in 1833. He also produced many topographically precise pictures of church interiors in which he combined his training as a scene painter with his knowledge of intaglio techniques.