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c. 1445 – May 17, 1510. Italian painter.

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Louis Lcart
Moonlight reverie

ID: 63305

Louis Lcart Moonlight reverie
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Louis Lcart Moonlight reverie


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Louis Lcart

French (1880-1950) Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversi??re-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart fought in World War I. He relied on his art to stem his anguish, sketching on every available surface. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. When he returned from the front he made prints from those drawings. The prints, most of which were aquatints and drypoints, showed great skill. Because they were much in demand, Icart frequently made two editions (one European, the other American) to satisfy his public. These prints are considered rare today, and when they are in mint condition they fetch high prices at auction. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honor?? Fragonard. In Icart's drawings, one sees the Impressionists Degas and Monet and, in his rare watercolors, the Symbolists Odilon Redon and Gustave Moreau. In fact, Icart lived outside the fashionable artistic movements of the time and was not completely sympathetic to contemporary art. Nonetheless, his Parisian scenes are a documentation of the life he saw around him and they are nearly as popular today as when they were first produced. In 1914 Icart had met a magical, effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin. She would eventually become his wife and a source of artistic inspiration for the rest of his life.   Related Paintings of Louis Lcart :. | 1830 | Place de la Concorde | Montmartre | Meditation | Hunting 1 |
Related Artists:
Bierstadt Albert
German-born American Hudson River School Painter, 1830-1902 was a German-American painter best known for his large landscapes of the American West. In obtaining the subject matter for these works, Bierstadt joined several journeys of the Westward Expansion. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the 19th century. Bierstadt was part of the Hudson River School, not an institution but rather an informal group of like-minded painters. The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the D??sseldorf School in D'sseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting. Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career. Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day.
Hans Burgkmair
(1473 - 1531) was a German painter and printmaker in woodcut. Burgkmair was born in Augsburg, the son of painter Thomas Burgkmair and his son, Hans the Younger, became one too. From 1488 he was a pupil of Martin Schongauer in Colmar, who died during his two years there, before Burgkmair completed the normal period of training. He may have visited Italy at this time, and certainly did so in 1507, which greatly influenced his style. From 1491 he was working in Augsburg, where he became a master and opened his own workshop in 1498. Hollstein ascribes 834 woodcuts to him, mostly for book illustrations, with slightly over a hundred being "single-leaf", that is prints not for books. The best of them show a talent for striking compositions, and a blend, not always fully successful, of Italian Renaissance forms and underlying German style. From about 1508 he spent much of his time working on the woodcut projects of Maximilian I until the Emperor's death in 1519. He was responsible for nearly half of the 135 prints in the Trumphs of Maximilian, which are large and full of character. He also did most of the illustrations for Weiss Kunig and much of Theurdank. He was an important innovator of the chiaroscuro woodcut, and seems to have been the first to use a tone block, in a print of 1508.His Lovers Surprised by Death (1510) is the first chiaroscuro print to use three blocks.and also the first print that was designed to be printed only in colour, as the line block by itself would not make a satisfactory image. Other chiaroscuro prints from around this date by Baldung and Cranach had line blocks that could be and were printed by themselves.He produced one etching, Venus and Mercury (c1520),etched on a steel plate, but never tried engraving, despite his training with Schongauer.
MELeNDEZ, Luis
Spanish Painter, 1716-1780






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