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 :. | Kiss of the motherland | Hunting 2 | Faust | Greetings | Waves |
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le corbusier
Charles-Edouard Jeanneret-Gris, who chose to be known as Le Corbusier (French pronunciation: October 6, 1887 ?C August 27, 1965), was a Swiss-French architect, designer, urbanist, writer and also painter, who is famous for being one of the pioneers of what now is called Modern architecture or the International style. He was born in Switzerland and became a French citizen in his thirties. He was a pioneer in studies of modern high design and was dedicated to providing better living conditions for the residents of crowded cities. Later commentators have criticized Le Corbusier's monoliths as soulless and expressive of his arrogance in pioneering his form of architecture. His career spanned five decades, with his buildings constructed throughout central Europe, India, Russia, and one each in North and South America. He was also an urban planner, painter, sculptor, writer, and modern furniture designer. Le Corbusier adopted his pseudonym in the 1920s, allegedly deriving it in part from the name of a distant ancestor, "Lecorbesier." However, it appears to have been an earlier (and somewhat unkind) nickname, which he simply decided to keep. It stems from the French for "the crow-like one". In the absence of a first name, some have also suggested it suggests "a physical force as much as a human being," and brings to mind the French verb courber, to bend.
Spencer Stanhope
British 1829-1908 Stanhope was the son of John Spencer Stanhope of Horsforth and Cannon Hall, MP, a classical antiquarian who in his youth explored Greece. The artist??s mother was Elizabeth Wilhemina Coke, third and youngest daughter of Thomas William Coke of Norfolk, first Earl of Leicester; she and her sisters had studied art with Thomas Gainsborough. Stanhope had one older brother, Walter, who inherited Cannon Hall, and four sisters, Anna Maria Wilhelmina, Eliza Anne, Anne Alicia, and Louisa Elizabeth. Anna married Percival Pickering and became the mother of Evelyn. Not inheriting the family estates left Stanhope free to make a commitment to art. While a student at Oxford, he sought out Watts as a teacher and was Watts?? assistant for some of his architectural paintings. Spencer-Stanhope traveled with Watts to Italy in 1853 and to Asia Minor in 1856?C57. Upon his return, he was invited by Dante Gabriel Rossetti to participate in the Oxford murals project, painting Sir Gawaine and the Damsels. On January 10, 1859, he married Elizabeth King, the daughter of John James King, granddaughter of the third Earl of Egremont, and the widow of George Frederick Dawson. They settled in Hillhouse, Cawthorne, and had one daughter, Mary, in 1860. That same year, Spencer-Stanhope??s house Sandroyd (now called Benfleet Hall), near Cobham in Surrey, was commissioned from the architect Philip Webb. Finished by 1861, Sandroyd was only Webb??s second house, the first having been built for William Morris. The house was designed to accommodate Stanhope??s work as a painter, with two second-floor studios connected by double doors, a waiting room, and a dressing room for models. The fireplace featured figurative tiles designed by Burne-Jones based on Chaucer??s dream-vision poem The Legend of Good Women. For a person of Stanhope??s social standing, the house was considered ??a modest artist??s dwelling.?? Burne-Jones was a frequent visitor to Sandroyd in the 1860s, and the landscape furnished the background for his painting The Merciful Knight (1964), the design of which Stanhope??s I Have Trod the Winepress Alone is said to resemble. The move was intended to offer an improved environment for Stanhope??s chronic asthma. When his condition was not alleviated, he turned to wintering in Florence. In the summers, he at first stayed at Burne-Jones??s house in London and later at the Elms, the western half of Little Campden House on Campden Hill, the eastern half of which was occupied by Augustus Egg. In 1867, at the age of seven, Mary died of scarlet fever and was buried in at the English Cemetery in Florence. Her father designed her headstone. Though his family accepted his occupation as a painter and took a great interest in art, Evelyn??s parents disparaged the achievements of ??poor Roddy?? and regarded the painters with whom he associated as ??unconventional.?? Considered among the avant-garde of the 1870s, Stanhope became a regular exhibitor at the Grosvenor Gallery, the alternative to the Royal Academy. Stanhope moved permanently to Florence in 1880. There he painted the reredos of the English Church, and other work in the Chapel of Marlborough College. In 1873, he bought the Villa Nuti in Florence, where he was visited frequently by de Morgan and where he lived until his death. De Morgan??s sister, A.M.W. Stirling, wrote a collection of biographical essays called A Painter of Dreams, including reminiscences of her uncle, ??the Idealist, the seer of exquisite visions.?? During the 19th and early 20th century, the extended Spencer-Stanhope family included several artists, whose ties were the theme of a 2007 exhibition, Painters of Dreams, part of the 50th anniversary celebration of the opening of Cannon Hall to the public as a museum. Featured were paintings by Stanhope and de Morgan, along with ceramics by her husband, William de Morgan; bronzes by Gertrude Spencer-Stanhope; and the ballroom at Cannon Hall and ??Fairyland?? in the pleasure grounds, which were designed by Sir Walter and his daughter Cecily.
Egide Charles Gustave Wappers
(23 August 1803 Antwerp - 6 December 1874 Paris) is best known as the Belgian painter Gustave Wappers, while his oeuvre is also reckoned Flemish. He signed works by the name Gustaf Wappers. He studied at the Royal Academy of Fine Arts in Antwerp, and during 1826 in Paris. The Romantic movement with its new ideas about art and politics was astir in France. Wappers was the first Belgian artist to take advantage of this state of affairs, and his first painting, "The Devotion of the Burgomaster of Leiden," appeared at the appropriate moment and had marvellous success in the Brussels Salon during 1830, the year of the Belgian Revolution. While political, this remarkable work revolutionized the direction of Flemish painters. Episode of the Belgian Revolution of 1830 (1834), Museum of Ancient Art, Brussels.Wappers was invited to the court at Brussels, and was favoured with commissions. In 1832 the city of Antwerp appointed him Professor of Painting. He exhibited his masterpiece, "Episode of the Belgian Revolution of 1830" or rather "Episode of the September Days of 1830 on the Grand Place of Brussels", (Museum of Ancient Art, Brussels) at the Antwerp Salon in 1834. He was subsequently appointed painter to Leopold, King of the Belgians. At the death of Matthieu-Ignace Van Bree in 1839 he was elavated to director of the Antwerp Academy. One of his pupils was Ford Madox Brown; another was the Czech history painter Karel Javůrek. His works are numerous; some of them in traditional devotional modes ("Christ Entombed"), while others illustrate the Romantic view of history: "Charles I taking leave of his Children", "Charles IX", "Camoens", "Peter the Great at Saardam", and "Boccaccio at the Court of Joanna of Naples". Louis Philippe gave him a commission to paint a large painting for the gallery at Versailles, "The Defence of Rhodes by the Knights of St John of Jerusalem". He finished the work in 1844, the same year that he received the title of baron from Leopold I.After retiring as director of the Antwerp Academy, he settled in 1853 in Paris, where he died in 1873 - having been one of the most talented flagships of Romanticism in Belgium.