Swedish, 1858-1930,Swedish painter, draughtsman and illustrator. From 1874 he studied at the Konstakademi in Stockholm, where he soon became a friend of Richard Bergh and Karl Nordstrem, both of whom were later prominent exponents of the more advanced Swedish painting of the 1880s and 1890s. After being forced to interrupt his studies because of illness, Kreuger trained from 1878 at the art school of Edvard Perseus (1841-90) in Stockholm before he travelled to Paris, where he stayed for the most part until 1887. He made his d?but at the Paris Salon in 1882, and he also resided in the artists' colony in Grez-sur-Loing. During this period he painted such works as Old Country House (1887; Stockholm, Nmus.) with a free brushwork and sense of light that owed much to Jules Bastien-Lepage. In 1885 Kreuger was active in organizing the Opponenterna, a protest movement led by Ernst Josephson against the conservative establishment of the Konstakademi in Stockholm, and the following year he helped to found the Konstn?rsf?rbund (Artists' Union). Like the majority of the Konstnersferbund's members, Kreuger abandoned the French-inspired plein-air realism of the 1880s for symbolically coloured National Romanticism in the 1890s. For Kreuger this change took place between 1893 and 1896 in Varberg on the west coast of Sweden, where, together with Bergh and Nordstrem, he founded the Varberg Group. Drawing on Paul Gauguin's Synthetism, the group contributed to the formation of the National Romantic style of the 1890s in Sweden. Kreuger's encounter with van Gogh's drawings at an exhibition in Copenhagen in 1893 also played a decisive role in his development. He devised an intensely personal style in which the landscape was composed in large blocks that were then covered by a pattern of directional lines and dots in India ink (somewhat in the manner of van Gogh's late landscape drawings) to bring out the painting's colour values and create an effect of decoratively stylized forms: for example Spring in Halland (1894; Stockholm, Nmus.). Kreuger was also a prolific draughtsman and illustrator.   Related Paintings of Nils Kreuger :. | hastar pa alvaret | en kuststad , varberg | Laugh finicky caporal | i regnvader, motiv fran paris | hastar i det fria |
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Elihu Vedder
American Symbolist Painter, 1836-1923 American painter, illustrator, sculptor and writer. He studied under Tompkins Harrison Matteson in Shelbourne, NY, and went to Paris in March 1856. After eight months in the studio of Fran?ois-Edouard Picot, he settled in Florence until the end of 1860. There he learnt drawing from Raffaello Bonaiuti, became interested in the Florentine Renaissance and attended the free Accademia Galli. A more significant artistic inspiration came from the Italian artists at the Caff? Michelangiolo: Telemaco Signorini, Vincenzo Cabianca (1827-1902) and especially Nino Costa (1827-1902). This group sought new and untraditional pictorial solutions for their compositions and plein-air landscapes and were particularly interested in the experiences of Gustave Courbet and the Barbizon painters. They became known as Macchiaioli for their use of splashes (macchia) of light and shadows and for their revolutionary (maquis) attitude to prevailing styles. Among Vedder's most notable Florentine landscapes are Mugnone Torrent near Fiesole (Detroit, MI, Inst. A.) and Le Balze, Volterra (Washington, DC, N. Mus. Amer. A.)
Laszlo Moholy-Nagy
Hungarian 1895-1946 was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism. He was a strong advocate of the integration of technology and industry into the arts. Moholy-Nagy was born L??szl?? Weisz to a family of mixed Jewish and Hungarian heritage. His cousin was Georg Solti. He changed his German-Jewish surname to the Magyar surname of his uncle, Nagy. Later, he added the pseudonym Moholy to his surname, after the town in which he grew up (Mol, today in Serbia). After studying law in Budapest and serving in World War I, Moholy-Nagy was in Vienna in 1919, where he first discovered constructivism in exhibitions of works of Malevich, Naum Gabo and El Lissitzky. In 1923, he replaced Johannes Itten as the instructor of the preliminary course at the Bauhaus. This effectively marked the end of the school's expressionistic leanings and moved it closer towards its original aims as a school of design and industrial integration. The Bauhaus became known for the versatility of its artists, and Moholy-Nagy was no exception. Throughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, and industrial design. One of his main focuses was on photography. He coined the term "the New Vision" for his belief that photography could create a whole new way of seeing the outside world that the human eye could not. His theory of art and teaching was summed up in the book The New Vision, from Material to Architecture. He experimented with the photographic process of exposing light sensitive paper with objects overlaid on top of it, called photogram. While at the Bauhaus, Moholy's teaching in diverse media -- including painting, sculpture, photography, photomontage and metal -- had a profound influence on a number of his students, including Marianne Brandt. He was editor of the art and photography department of the European avant-garde magazine International Revue i 10 from 1927 to 1929. Moholy-Nagy resigned from the Bauhaus in 1928 and worked in film and stage design in Berlin, where he was required to submit his work to be censored, and then in Paris and Holland before moving to London in 1935. In England, Moholy-Nagy formed part of the circle of ??migr?? artists and intellectuals who based themselves in Hampstead. Moholy-Nagy lived for a time in the Isokon building with Walter Gropius for eight months and then settled in Golders Green. Gropius and Moholy-Nagy planned to establish an English version of the Bauhaus but could not secure backing, and then Moholy-Nagy was turned down for a teaching job at the Royal College of Art. Moholy-Nagy made his way in London by taking on various design jobs including Imperial Airways and a shop display for men's underwear. He photographed contemporary architecture for the Architectural Review where the assistant editor was John Betjeman who commissioned Moholy-Nagy to make documentary photographs to illustrate his book An Oxford University Chest. In 1936, he was commissioned by fellow Hungarian film producer Alexander Korda to design special effects for Things to Come. Working at Denham Studios, Moholy-Nagy created kinetic sculptures and abstract light effects, but they were rejected by the film's director. At the invitation of Leslie Martin, he gave a lecture to the architecture school of Hull University. In 1937, at the invitation of Walter Paepcke, the Chairman of the Container Corporation of America, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus. The philosophy of the school was basically unchanged from that of the original, and its headquarters was the Prairie Avenue mansion that architect Richard Morris Hunt designed for department store magnate Marshall Field. Unfortunately, the school lost the financial backing of its supporters after only a single academic year, and it closed in 1938. Paepcke, however, continued his own support, and in 1939, Moholy-Nagy opened the School of Design. In 1944, this became the Institute of Design. He authored an account of his efforts to develop the curriculum of the School of Design in his book Vision in Motion. Moholy-Nagy died of leukemia in Chicago in 1946.
PEREDA, Antonio de
Spanish Baroque Era Painter, ca.1611-1678 Spanish painter. He was the son of a minor painter of the same name (d 1622) and, after his father died, about 1627 he moved to Madrid with his mother. There he entered the studio of Pedro de las Cuevas, and his fellow pupils included such artists as Juan Carreeo de Miranda, Francisco Camilo, Jusepe Leonardo and Antonio Arias Fernendez. He must also have known and studied the work of many masters esteemed at court, particularly Vicente Carducho, echoes of whose work can be found in the former's early paintings. Pereda received protection early on from a member of the Royal Council, Francisco de Tejada, and later from Giovanni Battista Crescenzi, a painter and patron who was in Spain from 1617. Pereda probably completed his training through contact with Crescenzi's collection and eventually he lived in Crescenzi's house. In 1634 Pereda executed Aid to Genoa (Madrid, Prado) for the decoration of the Salen de Reinos in the Casen Buen Retiro, Madrid, a project involving all the leading artists of Madrid, including Carducho, Velezquez, Zurbaren and Jose Leonardo. The death of Crescenzi in 1635 deprived Pereda of further court commissions and seems to have stopped him painting any further secular works other than still-lifes. Also in 1635 he began a well-documented career as a religious painter, producing large altar paintings and many other medium-sized works, probably for private worship. Outstanding among these is the Immaculate Conception (1637) in the Convento de los Felipenses, Alcale de Henares (Madrid). The important allegorical painting Vanitas