English-born American Rococo Era Painter, ca.1700-1780  Related Paintings of Joseph Blackburn :. | Portrait of a Woman | Portrait of Colonel Jonathan Warner | Portrait of a Woman | Portrait of Captain John Pigott | Portrait of a Woman |
Related Artists:
Ljubov Popova
Russian Constructivist Painter and Designer, 1889-1924 Through a synthesis of styles Popova worked towards what she termed painterly architectonics. Exploring firstly Impressionism, by 1913, in Composition with Figures, she was experimenting with the particularly Russian development of Cubo-Futurism: a fusion of two equal influences from France and Italy. Portrait of a Philosopher (Artists's brother, Pavel Sergeyevich Popov), 1915From 1914-1915 her Moscow home became the meeting-place for artists and writers. In 1914-1916 Popova together with other avant-garde artists (Aleksandra Ekster, Nadezhda Udaltsova, Olga Rozanova) contributed to the two Jack of Diamonds exhibitions, then in Petrograd Tramway V and the 0.10, The Store in Moscow. In 1916 she joined the Supremus group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others who at this time worked in Verbovka Village Folk Centre. However there was a tension between those who like Malevich saw art as a spiritual quest and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the early aims of the Revolution working in poster, book design, fabric and theatre design, as well as teaching. Her painting The Violin of 1914 reveals the development from cubism towards the "painterly architectonics" of 1917- 1918. Before joining the Supremus group her paintings, the architectonic series defined her artistic trajectory, quite distinct from that of Malevich, Rozanova, Tatlin and Mondrian, in abstract form. The canvas surface is an energy field of overlapping and intersecting angular planes in a constant state of potential release. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. By 1918 colour is used as the iconic focus; the strong primary colour at the centre drawing the outer shapes together. In 1918 Popova married von Eding, and gave birth to a son, but von Eding died the following year of typhoid fever. She worked on Agitprop designs, and in 1919 she contributed to Tenth State Exhibition: Non Objective Creativity and Suprematism. She painted more advanced abstract works in 1919-21. In 1921 she exhibited in the 5 x 5 Exhibition. From 1921-24 Popova became active in Constructivist projects, sometimes in collaboration with the architect Alexander Vesnin. She was active in stage designs: Vsevolod Meyerhold's production of Fernand Crommeldynck's The Magnanamous Cuckold, 1922; and in teaching: Spatial Force Constructions were used as the basis of an art teaching theory. She designed typography of books, production art and textiles, and contributed designs for dresses to LEF. Popova died in Moscow. A large exhibition of her work opened in Moscow on 21 December 1924.
Emile Van Marcke de Lummen
1827-1890 Emile van Marcke was born in S??vres - into a family of artists. His father was Jean-Baptiste (1797-1848), the eldest son of Charles van Marcke and a painter who specialized not only in landscape and animal paintings, but also works on porcelain.
Alexei Savrasov
Russian Painter, 1830-1897 was a Russian landscape painter and creator of the lyrical landscape style. Savrasov was born into the family of a merchant. He began to draw early and in 1838 he enrolled as a student of professor Rabus at the Moscow School of Painting, Sculpture and Architecture (graduated in 1850), and immediately began to specialize in landscape painting. In 1852, he traveled to Ukraine. Then, in 1854 by the invitation of the Grand Duchess Maria Nikolayevna, President of the Imperial Academy of Arts, he moved to the neighborhood of St. Petersburg. In 1857, Savrasov became a teacher at the Moscow School of painting, sculpturing and architecture. His best disciples, Isaac Levitan and Konstantin Korovin, remembered their teacher with admiration and gratitude. The Rooks Have Come Back was painted by Savrasov near Ipatiev Monastery in Kostroma.In 1857, he married Sophia Karlovna Hertz, sister of art historian K. Hertz. In their home they entertained artistic people and collectors including Pavel Tretyakov. Savrasov became especially close with Vasily Perov. Perov helped him paint the figures of the boat trackers in Savrasov's Volga near Yuryevets, Savrasov painted landscapes for Perov's Bird catcher and Hunters on Bivouac. In the 1860s, he traveled to England to see the International Exhibition, and to Switzerland. In one of his letters he wrote that no academies in the world could so advance an artist as the present world exhibition. The painters who influenced him most were British painter John Constable and Swiss painter Alexandre Calame. The Rooks Have Come Back (1871) is considered by many critics to be the high point in Savrasoves artistic career. Using a common, even trivial, episode of birds returning home, and an extremely simple landscape, Savrasov emotionally showed the transition of nature from winter to spring. It was a new type of lyrical landscape painting, called later by critics the mood landscape. The painting brought him fame. In 1870, he became a member of the Peredvizhniki group, breaking with government-sponsored academic art. In 1871,