Related Paintings of unknow artist :. | Orange Rose | Classical hunting fox, Equestrian and Beautiful Horses, 179. | Classical hunting fox, Equestrian and Beautiful Horses, 086. | Self-portrait | European city landscape, street landsacpe, construction, frontstore, building and architecture.076 |
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Laura Theresa Alma-Tadema
(1852 C 15 August 1909 in Hindhead) was from 1871 the second wife of the painter Lawrence Alma-Tadema and a painter in her own right. A daughter of Dr George Napoleon Epps (who was brother of Dr John Epps), her two sisters were also painters (Emily studied under John Brett, a Pre-Raphaelite, and Ellen under Ford Madox Brown), whilst Edmund Gosse and Rowland Hill were her brothers-in-law. It was at Madox Brown's home that Alma-Tadema first met her in December 1869, when she was aged 17 and he 33. (His first wife had died in May that year.) He fell in love at first sight,and so it was partly her presence in London (and partly the fact that only in England had his work consistently sold) that influenced him into relocating in England rather than elsewhere when forced to leave the continent by the outbreak of the Franco Prussian War in July 1870. Arriving in London at the beginning of September 1870 with his small daughters and sister Artje, Alma-Tadema wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871 and, though this second marriage proved childless, it also proved enduring and happy, with Laura acting as stepmother to her husband's children by his first marriage. The Paris Salon in 1873 gave Laura her first success in painting, and five years later, at the Paris International Exhibition, she was one of only two English women artists exhibited.
Hieronimo Custodis
(also spelled Hieronymus, Heironimos) (died c. 1593) was a Flemish portrait painter active in England in the reign of Elizabeth I. A native of Antwerp, Custodis was one of many Flemish artists of the Tudor court who had fled to England to avoid the persecution of Protestants in the Spanish Netherlands.He is thought to have arrived in England sometime after the fall of Antwerp to the forces of the Duke of Parma in 1585. Three English portraits by Custodis signed and dated 1589 firmly establish him as resident in London by that year. Sir Roy Strong attributes a portrait of Sir Henry Bromley dated 1587 to Custodis, suggesting an earlier arrival, and has verified the recent attribution of a portrait of the young Edward Talbot dated 1586 to Custodis.In 1591, he was living in the parish of St Bodolph-without-Aldgate where "Jacobus the son of Ieronyme Custodis A Paynter" was baptised on 2 March. He is assumed to have died in 1593, as all of his known works are dated between 1589 and 1593, and his widow remarried that year. Custodis's unsigned but dated works are idenitified by "palaeographical peculiarities" in the inscriptions which can be closely matched to those in his signed portraits.
Piet Mondrian
Dutch 1872-1944 Piet Mondrian Location was a Dutch painter. He was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed Neo-Plasticism. This consisted of a grid of vertical and horizontal black lines and the use of the three primary colours. When 47-year-old Piet Mondrian left his artistically conservative native Holland for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of Neo-Plasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Then again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London??s Hampstead in 1938 and 1940, across the Atlantic to Manhattan. At 71 in the fall of 1943, Mondrian moved into his second and final New York studio at 15 East 59th Street, and set about again to create the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records, Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had ever inhabited. Tragically, he was there for only a few months: he died of pneumonia in February 1944.