Related Paintings of Titian :. | Portrait of Francesco Maria della Rovere | Portrait of a Woman called La Schiavona | Self Portrait | Saint Sebastian | Tribute Money |
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paul delvaux
Delvaux was born in Antheit in the Belgian province of Liege, the son of a lawyer. The young Delvaux took music lessons, studied Greek and Latin, and absorbed the fiction of Jules Verne and the poetry of Homer. All of his work was to be influenced by these readings, starting with his earliest drawings showing mythological scenes. He studied at the Academie Royale des Beaux-Arts in Brussels, albeit in the architecture department owing to his parents' disapproval of his ambition to be a painter. Nevertheless, he pursued his goal, attending painting classes taught by Constant Montald and Jean Delville. The painters Frans Courtens and Alfred Bastien also encouraged Delvaux, whose works from this period were primarily naturalistic landscapes. He completed some 80 paintings between 1920 and 1925, which was the year of his first solo exhibition. Delvaux's paintings of the late 1920s and early 1930s, which feature nudes in landscapes, are strongly influenced by such Flemish Expressionists as Constant Permeke and Gustave De Smet. A change of style around 1933 reflects the influence of the metaphysical art of Giorgio de Chirico, which he had first encountered in 1926 or 1927. In the early 1930s Delvaux found further inspiration in visits to the Brussels Fair, where the Spitzner Museum, a museum of medical curiosities, maintained a booth in which skeletons and a mechanical Venus figure were displayed in a window with red velvet curtains. This spectacle captivated Delvaux, supplying him with motifs that would appear throughout his subsequent work. In the mid-1930s he also began to adopt some of the motifs of his fellow Belgian Rene Magritte, as well as that painter's deadpan style in rendering the most unexpected juxtapositions of otherwise ordinary objects. Delvaux acknowledged his influences, saying of de Chirico, "with him I realized what was possible, the climate that had to be developed, the climate of silent streets with shadows of people who can't be seen, I've never asked myself if it's surrealist or not." Although Delvaux associated for a period with the Belgian surrealist group, he did not consider himself "a Surrealist in the scholastic sense of the word." As Marc Rombaut has written of the artist: "Delvaux ... always maintained an intimate and privileged relationship to his childhood, which is the underlying motivation for his work and always manages to surface there. This 'childhood,' existing within him, led him to the poetic dimension in art." The paintings Delvaux became famous for usually feature numbers of nude women who stare as if hypnotized, gesturing mysteriously, sometimes reclining incongruously in a train station or wandering through classical buildings. Sometimes they are accompanied by skeletons, men in bowler hats, or puzzled scientists drawn from the stories of Jules Verne. Delvaux would repeat variations on these themes for the rest of his long life, although some departures can be noted. Among them are his paintings of 1945-47, rendered in a flattened style with distorted and forced perspective effects, and the series of crucifixions and deposition scenes enacted by skeletons, painted in the 1950s. In the late 1950s he produced a number of night scenes in which trains are observed by a little girl seen from behind. These compositions contain nothing overtly surrealistic, yet the clarity of moonlit detail is hallucinatory in effect. Trains had always been a subject of special interest to Delvaux, who never forgot the wonder he felt as a small child at the sight of the first electric trams in Brussels.
Michiel Coxie
Coxie also spelled Coxcie or Coxien, Latinised name Coxius (1499 - 3 March 1592) was a Flemish painter who studied under Bernard van Orley, who probably induced him to visit the Italian peninsula. Coxie was born in 1499 in Mechelen in what was then the Duchy of Brabant. At Rome in 1532 he painted the chapel of Cardinal Enckenvoirt in the church of Santa Maria dell'Anima; and Giorgio Vasari, who knew him, says with truth that he fairly acquired the manner of an Italian. But Coxie's principal occupation was designing for engravers; and the fable of Psyche in thirty-two sheets by Agostino Veneziano and the Master of the Die are favorable specimens of his skill. Returning to the Netherlands, Coxie greatly extended his practice in this branch of art. But his productions were till lately concealed under an interlaced monogram M.C.O.K.X.I.N. In 1539, Coxie returned to Mechelen, where he matriculated and painted the wings of an altarpiece for the chapel of the guild of St Luke. The centre of this altar-piece, by Jan Mabuse, represents Saint Luke the Evangelist, patron of painters, portraying the Virgin; the side pieces contain the Martyrdom of Saint Vitus and the Vision of St John the Evangelist in Patmos. At van Orley's death in 1541 Coxie succeeded to the office of court painter to the Regent Maria of Austria, for whom he decorated the castle of Binche. He was subsequently patronized by Charles V, Holy Roman Emperor, who often coupled his works with those of Titian; by Philip II of Spain, who paid him royally for a copy of Jan van Eyck's Agnus Dei, and also commissioned two copies of Van der Weyden's Descent from the Cross from Coxie; and by Fernando Álvarez de Toledo, Duke of Alva, who once protected him from the insults of Spanish soldiery at Mechelen. At that time, Coxie also designed tapestries for the Brussels manufacturers.
John La Farge
1835-1910 John La Farge (March 31, 1835 ?C November 14, 1910) was an American painter, stained glass window maker, decorator, and writer. Born in New York City, New York, his interest in art was aroused during his training at Mount St. Mary's University and St. John's College (now Fordham University). He had only the study of law in view until he returned from his first visit to Paris, France where he studied with Thomas Couture and enjoyed the most brilliant literary society of the day. Even his earliest drawings and landscapes, done in Newport, Rhode Island, after his marriage in 1861 to Margaret Mason Perry, sister-in-law of Lilla Cabot Perry, show marked originality, especially in the handling of color values, and also the influence of Japanese art, in the study of which he was a pioneer. La Farge's inquiring mind led him to experiment with color problems, especially in the medium of stained glass. He succeeded not only in rivaling the gorgeousness of the medieval windows, but in adding new resources by his invention of opalescent glass and his original methods of superimposing and welding his material. Among his many masterpieces are the "Battle Window" at Harvard and the cloisonn?? "Peacock Window" in the Worcester Art Museum. Two of his largest windows are located in Unity Church in North Easton, Massachusetts. The earliest of these, the "Angel of Help" was completed in 1887 while the "Figure of Wisdom" dates to 1901. Both of these windows were restored by "Victor Rothman for Stained Glass Inc" of Yonkers, New York in the 1990's. Between 1859 and 1870, he illustrated Tennyson's Enoch Arden and Robert Browning's Men and Women. Breadth of observation and structural conception, and a vivid imagination and sense of color are shown by his mural decorations. His first work in mural painting was done in Trinity Church, Boston, in 1873. Then followed his decorations in the Church of the Ascension (the large altarpiece) and St. Paul's Church, New York. For the State Capitol at St. Paul he executed, in his seventy-first year, four great lunettes representing the history of religion, and for the Supreme Court building at Baltimore, a similar series with Justice as the theme. In addition there are his vast numbers of other paintings and water colors, notably those recording his extensive travels in the Orient and South Pacific. His labors in almost every field of art won for him from the French Government the Cross of the Legion of Honor and membership in the principal artistic societies of America, as well as the presidency of the Society of Mural Painters. Enjoying an extraordinary knowledge of languages (ancient and modern), literature, and art, by his cultured personality and reflective conversation he greatly influenced all who knew him. Though naturally a questioner he venerated the traditions of religious art, and preserved always his Catholic faith and reverence. In 1904, he was one of the first seven chosen for membership in the American Academy of Arts and Letters. On his passing in 1910, John LaFarge was interred in the Green-Wood Cemetery in Brooklyn, New York. During his life, he maintained a studio at 51 West 10th Street, in Greenwich Village, which today is part of the site of Eugene Lang College