French Painter, ca.1885-1956 French painter, stage designer and illustrator. After studying porcelain painting at the Sevres factory (1901) and drawing in Paris under the French flower painter Madelaine Lemaire (1845-1928), in 1903-4 she studied at the Academie Humbert in Paris, where she met Georges Braque and Francis Picabia. In 1907 she first exhibited paintings at the Salon des Independants, met Picasso at Clovis Sagot gallery and through Picasso was introduced to the poet Guillaume Apollinaire. Laurencin and Apollinaire were soon on intimate terms, their relationship lasting until 1912.  Related Paintings of Marie Laurencin :. | Woman and dog | Portrait of Femail | Landscape | Castle in the dark | The Queen of Spain |
Related Artists:
John Morgan
British 1823-1886
Emil Orlik
(July 21, 1870 - September 28, 1932) was born in Prague, which was at that time part of the Austro-Hungarian Empire, and lived and worked in Prague, Austria and Germany. He was a painter, an etcher and lithographer. In 1905 Emil Orlik moved to Berlin and took a post at the "School for Graphic and Book Art" of the Museum of Decorative Arts (Kunstgewerbemuseum), now part of the Berlin State Museums.
Johann Evangelist
Johann Evangelist Holzer (December 24, 1709 - July 21, 1740) was an Austrian-German painter. Holzer was born in Burgeis, Mals, in the Vinschgau Valley of South Tyrol, as the son of a miller. He was sent to undertake a classical course of study at Marienberg Abbey, but wished to study art; a portrait he painted of Johann Baptist Murr, then the abbot of the abbey, convinced his father to yield to his wishes. He studied under Nikolaus Auer and made rapid progress. At the age of 18 he painted the altarpiece of the Marienberg Abbey church, depicting Saint Joseph as patron of the afflicted, ill, and dying. He then went to Straubing, where he learned under Joseph Anton Merz how to paint frescos, which would become the main source of his later fame. He helped Merz paint the frescos of Oberalteich Abbey, and while in Straubing also painted Saint Anthony of Padua for the Franciscan church there. 1738/39 was in the painting of Eichstätt for the high altar of the Schutzengelkirche It is Holzer's largest painting on canvas (H: 8,36 m; B: 4,28 m) and impresses through movement, gesture, a dynamic composition, and a sophisticated lighting design. Although there are two pictures (side altars) signatures of Bergmeller, they will Holzer, assigned by the archives occupied painter of the high altar painting.