Related Paintings of unknow artist :. | Virgin and Child | det svenska skedet | Screen stamp Bunge pa Gotland | Large stupa | Still life floral, all kinds of reality flowers oil painting 176 |
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Jan Veth
(18 May 1864 Dordrecht - 1 July 1925 Amsterdam), was a Dutch painter, poet, art critic and university lecturer. Jan Veth was the son of Gerradus Huibert Veth, a Dordrecht iron merchant and liberal politician, and Anna Cornelia Giltay. On his mother's side he descended from the Dordrecht painter family of Van Strij (his mother was a granddaughter of Jacob van Strij). He married Anna Dorothea Dirks on 10 August 1888, from which marriage came five children. Veth received his art education at the Rijksakademie voor Beeldende Kunsten in Amsterdam. With several of his fellow students he founded the St. Luke group. From 1885 he worked with the painter Anton Mauve in Laren. After his marriage in 1888 he settled in Bussum. Jan Veth is especially noted as a portrait painter. Amongst his sitters were Max Liebermann, Lambertus Zijl, Frank van der Goes, Antoon Derkinderen and other contemporaries including various fellow painters. In addition he was a well-known poet, belonging to the Eighties movement and publishing work in the De Nieuwe Gids. He designed the cover for "De Kleine Johannes", a book written by his friend, Frederik van Eeden, contributing to the development of book-art in Holland. As Professor Extraordinary in History of Art and Aesthetics, he was associated with the Rijksakademie voor Beeldende Kunsten in Amsterdam.
anna dorothea therbusch
1721-82 German painter of Polish descent. She was taught by her father, the portrait painter Georg Lisiewski (1674-1751), and received further training from Antoine Pesne in Paris. She worked for Charles-Eugene, Count of W?rttemberg, in Stuttgart from 1761 to 1762, and for Charles Theodore Wittelsbach, Elector Palatine of the Rhine, in Mannheim from 1763 to 1764. In 1765 she returned, via Stuttgart and Hohenzollern-Hechingen, to Paris, where in 1767 she became a member of the Academie Royale. She met Denis Diderot and Philipp Hackert, both of whom she painted, and Charles-Nicolas Cochin , but, despite consistent support from Prince Galitsyn, she was unable to establish herself in Paris. In 1769 she returned to Berlin where she received commissions for mythological paintings (e.g. Diana and her Nymphs, 1771; Potsdam, Neues Pal.) from Frederick II, King of Prussia. She painted portraits of members of the Prussian court, and the Berlin bourgeoisie, and in 1773 was commissioned by Catherine II, Empress of Russia, to paint a portrait of the Prussian royal family.
Francis Picabia
French Dadaist/Surrealist Painter 1879-1953 was a well-known painter and poet born of a French mother and a Spanish-Cuban father who was an attach?? at the Cuban legation in Paris, France. Born in Paris and financially independent, he studied under Fernand Cormon and other at the Ecole des Arts Decoratifs in the late 1890s. In the beginning of his own career, from 1903 to 1908, he was influenced by the impressionist paintings of Alfred Sisley. From 1909, he came under the influence of the cubists and the Golden Section (Section d'Or). The same year, he married Gabrielle Buffe. Around 1911 he joined the Puteaux Group, which met at the studio of Jacques Villon in the village of Puteaux. There he became friends with artist Marcel Duchamp and close friends with Guillaume Apollinaire. Other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Leger and Jean Metzinger. In 1913 Picabia was the only member of the Cubist group to personally attend the Armory Show, and Alfred Stieglitz gave him a solo exhibition at his gallery 291. From 1913 to 1915 Picabia traveled to New York City several times and took active part in the avant-garde movements, introducing modern art to America. These years can be characterized as Picabia's proto-Dada period, consisting mainly of his portraits mecaniques. Later, in 1916, while in Barcelona he started his well-known Dada periodical 391, modeled on Stieglitz's own periodical. He continued the periodical with the help of Duchamp in America. Picabia continued his involvement in the Dada movement through 1919 in Zurich and Paris, before breaking away from it after developing an interest in Surrealist art. (See Cannibale, 1921.) He denounced Dada in 1921, and issued a personal attack against Breton in the final issue of 391, in 1924. The same year, he put in an appearance in the Rene Clair surrealist film Entr'acte, firing a cannon from a rooftop.