konrad magi(1878 to 1925),was an Estonian landscape painter. He was one of the most colour-sensitive Estonian painters of the first decades of the 20th century, and Magi works on motives of the island of Saaremaa are the first modern Estonian nature paintings. Magi received his elementary art education from the drawing courses of the German Artisans Society of Tartu (1899?C1902.) At the same time, he was keenly engaged in theater, violin, and various sports. Magi continued his art education as an unattached student in Saint Petersburg (1903?C1905.) In the autumn of 1907, he went to Paris. There Magi studied at a free academy. From 1908 to 1910, he lived in Norway. In 1912, Magi returned to Tartu, where he worked as an art teacher. In Åland, he created delicate plant vignettes in the style of Art Nouveau: Kahekesi (Two together; 1908; China ink drawing). In Paris, Magi was influenced by Impressionism and Fauvism, which had a significant impact on his colours: Lilleline vali majakesega (A flower field with a little house; 1908?C1909), Norra maastik manniga (A Norwegian landscape with a pine; 1910). From 1918, the influence of Expressionism is manifest, fostered by Mägi extreme sensitivity and emotional response to the anxious times: Puhajarv (Lake Puha); 1918?C1920), Otepaa maastik (Landscape of Otepaa; 1918?C1920). Also influenced by Expressionism are his big figure compositions Piet?? (1919), Kolgata (Golgatha; 1921). Konrad Magi - Rannamaastik (Beach landscape)Magi new artistic period, begun on a trip to Italy, brought calmer tempers: Varemed Capril (Ruins in Capri; 1922?C1923). Along with nature pictures, he painted flowers and portraits. Magi mostly beautiful female models express the Art Nouveau ideal of beauty: Holsti (1916). In his later portraits from the 1920s, a more serious temper is expressed: Madonna (1923?C1924).   Related Paintings of konrad magi :. | Norra maastik | Naise portree KONRAD MGI | Landscape | Itaalia maastik | Capri street |
Related Artists:
Carl Gustaf Pilo
Swedish Painter, 1711-1793,Swedish painter. His father, Olof Pijhlou (1668-1753), was an artist. Pilo may have travelled to Vienna and Germany, and it is probable that he studied at the Drawing Academy established in Stockholm in 1735. From 1737 he was engaged as a portrait painter by members of the southern Swedish aristocracy (e.g. Baron Malte Ramel; evedskloster, priv. col.). About 1740 he settled in Copenhagen, where he swiftly rose to a position of importance: following the enthusiastic reception of his portrait of Louise of England, the wife of the future Frederick V (Copenhagen, Stat. Mus. Kst, on loan to Amalienborg Castle), he was appointed court painter in 1745 and drawing-master to Crown Prince Christian (later Christian VII) in 1759. Pilo was appointed professor at the Royal Academy of Art in Copenhagen in 1748 and for the next two decades was recognized as the foremost portrait painter in Denmark.
Giulio Quaglio
(1610-1658 or after) was an Italian painter of frescoes. He was a follower of Tintoretto. He is known to have worked in Vienna, Salzburg, and Ljubljana. His son, Giulio the younger, was born in Como and established himself in the Friuli about the end of the 17th century. He is best known for frescoes at the chapel of the Monte di Piete, at Udine. He died in 1720. They are both part of a large family of artists and architects from the town of Laino, between Lake Garda and Lake Como, and which included Giuseppe Quaglio and his sons Lorenzo the younger, Simon, and Domenico; Lorenzo Quaglio the elder; and Giovanni Maria Quaglio and his son.
Ivan Ivarson
painted Beach Walk in 1900-1939