Faile from Dallas Contemporary, United States

Dallas Contemporary is a non-collecting art museum presenting new and challenging ideas from regional, national and international artists. The institution is committed to engaging the public through exhibitions, lectures, educational programs and events.

Dallas Contemporary is a not-for-profit charity registered with the State of Texas and the Internal Revenue Service.
https://hisour.com/artist/faile/

Fernando Fader

Fernando Fader (born August 11, 1882 in Loza Corral, Córdoba, Argentina, February 28, 1935) was a French-born Argentine painter and draftsman of the Post-impressionist school. the main follower of German Impressionism in his country.

His painting shows different emotional periods, such as the stage of dark interiors with predominance of ocher and brown colors and his other moment of more luminosity, where artificial light falls on objects relating light-color to light-object. "His serranos landscapes are one of the culminating moments of the history of the painting in Cordova.

Among her many portraits, oils and watercolors are La Mantilla, La Madre and La liga azul, the latter exhibited in the V National Salon of 1915, as well as La vida de un dia, a series of eight fabrics (80x100 cm) in the Which represents the same landscape with its variants of light throughout the day, painted during 1917. This series is exhibited at the Municipal Museum of Fine Arts of Rosario "Juan B. Castagnino."

Fernando Fader was born in Bordeaux, France in 1882. His father, of Prussian descent, relocated the family to Argentina in 1884, settling in the western city of Mendoza before returning to France a few years later. Graduating from secondary school, Fader returned to Mendoza in 1898, where he first practiced his skill as an artist painting urban landscapes. Fader relocated to Munich in 1900, where he enrolled at a local vocational school. This training allowed him enrollment at the prestigious Munich Academy of Fine Arts, where he was mentored by Heinrich von Zügel, prominent in Europe's Naturalist Barbizon School.

He returned briefly to Buenos Aires, where his work was first exhibited at the Costa Salon in 1906. His landscapes quickly established him as a Post-impressionist painter at a time when local critics were still partial to Impressionism, however, and this motivated Fader to join other artists similarly out of favor with conservative Argentine audiences, such as Cesáreo Bernaldo de Quirós, the sculptor Rogelio Yrurtia and Martín Malharro (whose earlier, Impressionist work had - ironically - established the genre locally in 1902).

Their Nexus group struggled until around 1910, when Malharro's atelier became the most influential in Argentina shortly before his sudden passing. Fader settled in Buenos Aires in 1914, where he obtained a first prize at the Fourth National Art Bienale. He toured art galleries in Spain and Germany and earned a gold medal at the Pacific International Exposition in San Francisco, in 1915. An onset of tuberculosis, however, forced him to relocate to the drier climates of the Argentine Andes foothills.

His stay in Córdoba refocused his work along more Impressionistic lines, employing a greater use of sunlight contrasts. His new surroundings also gave him ample bucolic inspiration, and he created many of his most well-known works during this period, many of which romantically portrayed farm life. This productive period was cut short by a sudden worsening of Fader's breathing difficulties around 1921, which by then had become chronic asthma and precluded outdoor work. This led Fader to turn to still life, nudes and self-portraits, resulting in a third, distinct period in the artist's prolific body of work.

Though forced into reclusion by ill health, Fader never lost the following he had acquired during his heyday around 1915, and the National Academy of Fine Arts organized a retrospective of his work in 1924.

In 1915, due to the initial stage of tuberculosis Fader moved to Córdoba. There began the second period of his work, in which works exhibited more impressionistic features. There he also created his most famous works. Most of them romanticized rural life. This unusually productive period stopped the sudden deterioration of Fader's health, which in 1921 led to asthma and prevented any work in the open air. In this connection, Fader painted mostly dead nature, acts and self-portraits. Works from that time are included in the third period of his work.

In 1932, on the occasion of Fader's 50th birthday, a retrospective was organized on the initiative of the gallery association in Buenos Aires, during which 119 works by the artist were presented. Unfortunately, the health of the artist did not allow him to participate in this event. Fernando Fader died in Córdoba in 1935, aged 52.

Fernando Fader died in Ischilín Department, Córdoba at age 52, in 1935. His former home in the rural hamlet of Loza Corral is maintained as a museum.
https://hisour.com/artist/fernando-fader/

Facter is good at well patterned along the wall

Facter from Melbourne Street Art & Land of Sunshine, Melbourne, Australia

Edited and maintained by local Melbourne artist Facter provides information on AustralAsian street, urban, illustrative, graffiti and other genre defying, nu-contemporary art to readers around the world. It specialises in events and artists who are working, displaying and visiting Australasia.

Land Of Sunshine is run by Dean Sunshine, and displays an ongoing photographic documentation of the Melbourne graffiti and street art scene.
https://hisour.com/artist/facter/

Alex Face

Patcharapon Tangruen, born 1981 in Thailand has been an influential graffiti artist in Bangkok and Chiang mai since 2006. He has had several solo and group shows in Thai and foreign galleries and numerous wall projects often in collaboration with Thai artist BON. He studied art in Faculty of Architecture King mongkut’s Institute of Technology Ladkrabang (Thailand).

Alex Face from Bukruk International Street Art Festival, Bangkok, Thailand

“BUKRUK/ THAI-EUROPE CONNECTION” is the first large-scale collaboration between Thailand and Europe in the field of street art. This project will be the biggest yet proposed in Thailand, with more than 400m2 of exhibition space provided by the BACC (Bangkok Art and Culture Center) and 1,000 m2 of exterior wall paintings. It will include an art & design exhibition at the Bangkok Art and Culture Centre as well as a public exhibition of graffiti artwork in public spaces around the Pathumwan intersection where the artists will create works on site in the beginning of February 2013. Street celebrations will take place in the outdoor part of the show, with DJs and live music from Thailand and Europe, free running demos and hip hop battle. This first edition of BUKRUK Street art festival will be a thriving symbol of the cooperation between Europe and Thailand, with 16 European artists working jointly with 11 Thai artists among the most talented and cutting edge in their fields.
https://hisour.com/artist/alex-face/

Pietro Faccini

Pietro Faccini(Bologna, 1562 - April 1, 1602) , was an Italian painter, active near his birthplace of Bologna in styles bridging Mannerism and the nascent Baroque.

Later the pictorial activity under the guidance of Carracci began, in 1590 the martyrdom of St. Lorenzo was now in the church of San Giovanni in Monte in Bologna.

Between 1593 and 1594 he is distanced from Annibale and while in works such as the blades of the churches of San Domenico and Santa Maria dei Servi and in the crib of the Pinacoteca Nazionale of Bologna there is the influence of Ludovico, Pala Pellicani and Madonna del Rosario di Quarto Inferiore there are explicit quotations from the work of Correggio and Federico Barocci, in the Autoritratto, now in the Uffizi, these influences are brought to the extreme consequences resulting in a disintegration of the manieristic and carraccesche formulas, anticipating good painting of the eighteenth century .

From the early works beyond the influence of Annibale Carracci, in the small works and in his graphic production, seems to be affected by the influence of Tintoretto and Bassano.

According to Malvasia, the main biographer of the early Bolognese Baroque, he apprenticed in his twenties with Ludovico and Annibale Carracci. His style departs from the linear "Roman" quality assumed by his mentor, and has a more sparkling quality, influenced by Tintoretto, Correggio, and Bassano. His documented painterly output consists of about a dozen works. In 1590, he painted the Martyrdom of Saint Lawrence, now found in the church of San Giovanni in Monte. He completed altarpieces for San Domenico and Santa Maria dei Servi in 1593-1594 and a Presepio in the Pinacoteca of Bologna.

Annibale Castelli, Agostino Masucci, Domenico Maria Mirandola, and Giovanni Maria Tamburini were among his pupils.

Works:
Martyrdom of Saint Laurent, church of San Giovanni in Monte de Bologna
Sposalizio mistico di Santa Caterina and i Santi Protettori di Bologna Petronio, Procolo, Domenico, Francesco and Floriano, altarpiece and Annunciazione, Bologna Pinacoteca
Mystic marriage of Saint Catherine, Capitoline Museums, Rome
Christ in glory and Saints, Uffizi Gallery, Florence
Christ and the Virgin appearing in St. Francis of Assisi, initially an altarpiece at the Church of San Pietro de Cento, preserved since 1671 at the Louvre Museum, Paris
Numerous drawings in the Department of Graphic Arts of the Louvre
Christ and the Virgin appearing to St. Francis of Assisi
The Madeleine at the Tomb of Christ, Caen Museum of Fine Arts
https://hisour.com/artist/pietro-faccini/

Carel Fabritius

Carel Pietersz. Fabritius (27 February 1622 in Midden-Beemster, 12 October 1654 in Delft, actually ) was a Dutch painter. He was a pupil of Rembrandt and worked in his studio in Amsterdam. Fabritius, who was a member of the Delft School, developed his own artistic style and experimented with perspective and lighting. Among his works are A View of Delft, The Goldfinch, and The Sentry.

Carel Fabritius was the eldest son of Pieter Carelsz. Fabritius and Barbertje Barentsdr van der Maes. The following entry can be found in the baptismal register of the Reformed Church of Midden-Beemster: "Anno 1622, 27th February Pieter Carelsz son Carel. Godfather Jan Carelsz ". After him, ten brothers and sisters were born, of whom the brothers Barent and John also decided to pursue a career as a painter. Little is known about his youth. For a long time, it was assumed that Carel learned and practiced the profession of carpenter. Reason for this was that in the files, in which he was confirmed as a member of the Reformed Church, "Carel Pietersen Timmermann. At the Herrenhaus ". But since there is nowhere else to be found in the register, modern research assumes that the family generally served the name of Timmermann (Zimmermann). So far nothing can be proven about education and occupation in these years. It is, however, very probable that Carel was connected with his painting early on about his father.

On 1 September 1641 the engagement of Carel with Aeltje Herrmensdr van Hasselt was announced. He is managed for the first time under the name Carel Pietersz Fabritius. Whether the name Fabritius goes back to the term "Faber" (Latin for artisans), as previously assumed, is now questioned. Shortly after the wedding, on September 22, 1641, the young couple moved to Amsterdam.

In the same year, he most likely applied to the Rembrandt studio. There are no documents, however, which can be found there. Only in a recording of the painter and poet Samuel van Hoogstraten from the year 1678 this calls him "my fellow pupil". This assumption is confirmed by some early works, which are stylistically close to the best works from the Rembrandt studio of this time. It can even be assumed that Carel moved to Amsterdam only because Rembrandt was there and he already had a good reputation as a teacher. However, since Carel was already too old for an apprenticeship at the age of 19, he probably worked there as a studio worker. This would, however, presuppose that he had already achieved a certain mastery.

The years of Amsterdam were marked by serious destiny for the young artist. In 1642 one of his children died shortly after birth. A year later, his wife also died at the birth of her third child, Catrin, who must soon have died, for he returned to Midden-Beemster in the same year with his remaining daughter Aeltje (probably a twin sister of the child who died 1642) back. This child also died soon. Due to its close proximity to Amsterdam, it is possible that Carel would be in contact with Rembrandt in the following years. This is not the case, however. After the death of his apparently wealthy wife Aeltje, Carel suffered severe financial problems in the following years. He had partial debts, which he could not pay off until his death. This also seems to have been a result of missing orders.

In September 1650 he married for the second time. His wife, Agatha van Pruyssen, resident in Amsterdam, came from Delft. As a marriage offer of 22 August 1650, it is to be assumed that it was the wish of his wife to settle in Delft. Strangely enough, two years later, on October 29, 1652, he was admitted to the master's book of Delft St. Lukasgilde as a painter. This is all the more astonishing as the statutes stipulated that he could only train apprentices and sell pictures as a registered member. Thus it is unclear what he earned his money during this time. Only a few pictures are left of the Delft period. But it was these very late works which made his fame, in which he separated from the art of Rembrandt and pursued new, directional paths. The thesis that Jan Vermeer, who was about ten years younger, was a student of Carel can not be held today.

At the height of his creative power, 32-year-old Carel died when he died on October 12th, 1654, during the explosion of the "t Secreet van Hollandt" tower, the Delft powder mill. He had just been portraying the sexton of the Oude Kerk of Delft. Many of the Master's works, still in the studio, were certainly lost.

Carel Fabritius can be regarded as the most important painter, who came from the circle of Rembrandt. He already achieved a mastery with his early works, which hardly followed his model. Many of these early works were not for a long time considered Rembrandt's own works. In the course of time, however, Carel succeeded, in contrast to most other painters of the Rembrandt circle, to break away from this model. He dealt extensively with questions of color and perspective. He broke away from the prevailing darkness of the Rembrandt school and sat on brighter and friendlier colors, which predominated mainly in the background of his pictures. The last works testify to an extraordinary creativity and show little similarity to the early works. Why Carel was so distant from the style of his model is not known, but he may have received a variety of inspirations by the fact that at that time Delft exercised a great attraction to talented painters such as Gerard Terborch, Jan Steen, and Paulus Potter, who influenced each other And role model for existing and subsequent painter generations.

The work of Carel Fabritius is not very large. Many of the works attributed to him have not been signed and have been claimed for him only on the basis of stylistic criticism. The following list contains all the works that are today regarded as safe or most likely to be caricatured by Carel.
https://hisour.com/artist/carel-fabritius/

Barent Fabritius

Barent or Bernard Pietersz Fabritius (born 16 November 1624 in Middenbeemster, dead 20 October 1673 in Amsterdam) was a Dutch painter.

Fabritius was born at Middenbeemster, North Holland, the son of Pieter Carelsz. Fabritius. He studied with his brothers Johannes and Carel Fabritius, and probably with Rembrandt as well. He was a painter of biblical subjects, mythical and historical scenes, in addition to expressive portraits. He died in Amsterdam.

Like his brother Carl, Barent had also been brought to the painting by his father. Probably against 1643 he followed his brother to Amsterdam to get in contact with Rembrandt. Whether he became his pupil, however, is not proven. The fact that Barent apparently was back in Middenbeemster shortly afterwards speaks rather against it. Nevertheless, he seems to have been in touch with Rembrandt, perhaps his brother, for his early paintings show a clear influence. It was not until 1647 that he was able to prove a further stay in Amsterdam, where he was documented as an independent painter no later than 1650. On August 18, 1652, he married Catharina Mussers, of Delft, in Middenbeemster.

At about the same time, Barent began to get more and more detached from Rembrandt's influence and approached the new style of his brother without reaching for it. As a result, most of his works appear as a link between Rembrandt and Jan Vermeer. In the middle of the 1950s, he made new contacts to Leiden, where he met the city architect Willem Leendertsz in 1656. Van der Helm. This lucrative commission obviously prompted him to get involved, for in 1657 he signed a three-year lease. However, he does not become a member of the Luke Guilds until May of the following year. As early as 1658 he left Leiden again and stayed in Middenbeemster and Amsterdam. Nevertheless, he maintains his suffering contacts and in 1661 is paid for commissioned work for the Lutheran Church there. In 1663 a short stay followed in Leiden before he settled in Middenbeemster, where he remained at least until 1669. He then moved to Amsterdam, where he was buried on the Leidse Kerkhof on 20 October 1673. He left six children.

Amsterdam, Rijksmuseum
Family portrait of Willem van der Helm with his wife and his son. 1656
The lost Son.
The Pharisee and the public.
Lazarus and the poor man.
Colonnade overlooking a park. (Assigned)
Berlin, picture gallery
The slaughtered pig. 1656
Braunschweig, the Duke Anton Ulrich Museum
Peter in the house of Cornelius. 1653
Bremen, Kunsthalle Bremen
The meeting with the doctor. 1672
Dallas, Dallas Museum of Arts
Girl at the duckling.
Dresden, picture gallery Old Masters
A young, adorable woman.
Frankfurt am Main, Städelsches Kunstinstitut
Portrait of a young man (self-portrait?). 1650
The Birth of John the Baptist. Around 1660-1669
Innsbruck, State Museum Ferdinandeum
Tobias and his wife. Around 1654
Cape Town, Collection Lycett Green
The Centurion Cornelius is sent by Peter to Joppe. Around 1660
Kassel, picture gallery Old Masters
Mercury pours Argus through flute play. 1662
London, National Gallery
The name of John the Baptist. Around 1650/55
The Adoration of the Shepherds. 1667
New York, Metropolitan Museum of Art
Hagar and Ishmael.
Paris, Musee National du Louvre
The painter in his studio. Around 1655
Rotterdam, Museum Boymans-van Beuningen
Woman with baby. Around 1646
The slaughtered pig.
San Francisco, Fine Arts Museum
The infringement of Hagar and Ishmael. Around 1650-1660
St. Petersburg, Hermitage
Ruth and Boas. 1660
Turin, Galleria Sabauda
The violation of the Hagar.
Vienna, picture gallery of the Academy of Fine Arts
Self-portrait as shepherd. 1654-1656
York, City Art Gallery
The Centurion Cornelius sends a messenger to the apostle Peter. Around 1650
https://hisour.com/artist/barent-fabritius/

Gentile da Fabriano

Gentile di Niccolò di Giovanni di Massio detto Gentile da Fabriano (Fabriano, circa 1370 - Rome, September 1427)was an Italian painter known for his participation in the International Gothic painter style. He worked in various places in central Italy, mostly in Tuscany. His best-known works are his Adoration of the Magi and the Flight into Egypt.

Among the most important members of the Gothic International, he embodied in his century the typical figure of the traveling artist who preferred to move to find the most varied business opportunities offered by the courts rather than to shop. His poetic and fairy-tale paintings, the taste for the line, and the unparalleled use of decorative elements led him to the summit of the Italian school of the time, receiving commissions of great prestige. With his visit to Florence he entered into dialogue with the rising humanism in art, and without departing from his style, he began a conscious transition between late-gothic decorativism and Renaissance essence.

He was born in Fabriano in 1370-1375 by Niccolò di Giovanni, merchant.

There is no direct data on its formation; In one of the first works we know, the table with the Madonna and Child and the Saints Niccolò and Caterina and a donor, performed for the church of San Niccolò in Fabriano between 1395 and 1400 (now in Berlin). Linked mainly to the late Lombard culture, based on the Umbrian-Marche tradition. As a young man he began to move, moving to the centers of the Marche and Lombardy (some hypothesized a Pavese formation where there was an important miniature atelier).

From about 1405 he was in Venice, where he enrolled at the School of Merchants. For the church of Hagia Sophia he painted a table, lost. Probably in his shop worked Jacopo Bellini. In 1408-1409 he was commissioned the wall decoration of the Sala del Maggior Consiglio in Palazzo Ducale, for which he carried out the fresco with the Battle between Ottone III and the Venetians, lost as the rest of the frescoes (due to a fire and Venetian climate, which tends to quickly wipe frescoes). Here he surely knew Pisanello and perhaps Michelino from Besozzo.

Other work, documented but lost, is a table for Francesco Amadi paid on July 27, 1408.

Towards 1410, probably after one of the Venetian stays, the Polyptych of Valle Romita dates back to the Pinacoteca di Brera, which perhaps also forms part of a Crucifixion panel.

It is his first masterpiece to be received, painted for the Franciscan hermitage of Valleremita, located between the Apennines mountains, near Fabriano. In this work where the Lombard derivations (soft colors, attention to naturalistic details, linear taste) updated on Michelino da Besozzo's work are accentuated, along with greater balance and formal solidity (the saints stand firmly on their feet ), The iconography of the Virgin's Incoronation suspended in the sky is, however, typically Venetian, while the characteristics of the artist are typical of the finishing of gold, the preciousness of the garments, the ability to make the texture of the materials (such as The Maddalena fur) with a soft and delicate stretch that undo the contours.

There were many moves in those years. He is known to have returned to the Marches and worked in Umbria and Lombardy.

In the years 1411-1412 he was in Foligno, where he performed the designs for the decorative cycle of Trinci Palace on commission of Ugolino III. The pictorial drawing, poorer, is due almost entirely to students, including Jacopo Bellini.

Between January 1414 and 1419 he went to Brescia, where he decorated the chapel of San Giorgio al Broletto on behalf of Pandolfo III Malatesta, work almost entirely lost. In the spring of 1420 it was again at Fabriano.

August 6, 1420 is documented in Florence, where he enrolled at the Art of Doctors and Speziali (21 November 1422) as "Magister Gentilis Nicolai Joannis Massi de Fabriano pictor, Florentiae habitator in the Sancte Trinitatis people".

He commissioned the very rich Palla Strozzi adoration of the Magi, a work completed in May 1423, for the altar of the Strozzi Chapel at Santa Trinita, on which he deployed the procession of the Magi, forming in the background several outbreaks of action, not linked to their. The gold of sumptuous details is almost dazzling, and the figures, though laid down in depth, do not follow any perspective, but are simply approached creating an unrealistic and fairy-tale effect. In the foreground the two groups (on the left the sacred family and on the right the march) are separated by the young king's straight figure; Such arrangements allow the work to be read from many points of view on which the spectator is invited to dwell on and to analyze each individual detail at later moments.

May 1425 is the polyptych commissioned by the Quaratesi family for the main altar of the church of San Niccolò sopra l'Arno in Florence, signed and dated, now dismembered and dispersed in various museums (Uffizi, National Gallery of London, Pinacoteca Vaticana and National Gallery Of Washington). In this work we see a transition of the style of Gentile influenced by Florentine human culture, which in those years was affirming, with a careful observation of ancient sculptures. The figures are peaceful and monumental, solidly constructed, in compact colors and with a more sober sign, closer to the works of Lorenzo Ghiberti and Masolino da Panicale.

A second polyptych of Gentile was discovered in 1862 (but perhaps from another place), particularly for the horizontal development of the structure and for the narrative character, unusual in an altarpiece. The Intercession of Christ and Mary to the Eternal is represented in the central panel, the Resurrection of Lazarus and the encounter of three Saints in an urban context in those at the sides, and Saint Ludwig of Toulouse and St. Bernard by Chiaravalle in the panels extremes. The work welcomes many stylistic motifs from the Masaccio of the Chapel Brancacci of the Carmine Church, and in particular a rendering of space and reality far removed from the usual forms of the Fabrianese, but of which the artist had already testified in the predella of Polittico Quaratesi .

Between June and August 1425 he was in Siena, where he painted for the Palace of the Notai, on the square of Campo, a Madonna with Child on the facade (another lost opera).

Between August and October of 1425 he moved to Orvieto for the execution of the fresco with the Virgin with the Child and Saints inside the Duomo, in which the solid bodies project from under the clothes and the expressions are humanized , Abandoning the courteous ways of the first works.

In January 1427 he arrived in Rome, where he received a prestigious commission on Martino V: the decoration of the central nave of St. John Lateran, the cathedral of Rome. Death in August of the same year prevented her from ending it, and the work was completed by Pisanello five years later. This cycle, the culmination of late-gothic art in Italy, was destroyed after Borromini's work at the basilica, but they know of a design copied by Borromini himself and some fragments, but the criticism is unanimous about its origin and originality.

On October 14, 1427 Gentile was remembered as already dead. He was buried in the church of Santa Maria Nova, today's Santa Francesca Romana; His grave has also disappeared.

Works:
List of main works (unless otherwise indicated the works are all temperature on the table, measurements in cm).
Madonna and Child in glory among the saints Francesco e Chiara, 1390-1395, 56,50x42, Pinacoteca Malaspina, Pavia
Madonna and Child among the saints Nicholas of Bari, Catherine of Alexandria and a donor, 1395-1400 circa, 131x113, Staatliche Museen, Berlin
Madonna on the throne with the Child and musician angels, circa 1400-1410, National Gallery of Umbria, Perugia
Madonna and Child, circa 1400-1405, 58x48, National Picture Gallery, Ferrara
Madonna Davis, circa 1410, 85.7x50.8 cm, Metropolitan Museum, New York
Polytechnic of Valleromita, circa 1410-1412, 280x250, Pinacoteca di Brera, Milan
Crucifixion, circa 1410-1412, 64,20x40,4, Pinacoteca di Brera, Milan
Polittico Sandei, about 1410-1412, lost
San Giacomo maggiore, tempera on table, 28,30x8,50, Berenson Collection, Villa I Tatti, Settignano (Florence)
Saint Peter, 23,20x6,50, Berenson Collection, Villa I Tatti, Settignano (Florence)
Madonna on Throne with Child and Two Angels, 1410-1415, 58.7x42.9, Philbrook Art Center, Tulsa (Oklahoma)
Trinci palace frescoes, 1411-1412, Foligno
Romulus and Remo Loggia
Giants Room
Hall of Liberal Arts and the Planets
Suspended bridge (school)
Crowning the Virgin (from a processional stand), circa 1420, 87.50x64, Getty Museum, Los Angeles
Stimmate of Saint Francis (from a processional stand), circa 1420, 87x64, Fondazione Magnani-Rocca, Mamiano di Traversetolo (Parma)
Adoration of the Child, circa 1420-1421, 72x42.6, Getty Museum, Los Angeles
Madonna with Child, circa 1420-1423, 95.9x56.5, National Gallery of Art, Washington D.C.
Polyptych of Intercession, circa 1420-1423, church of San Niccolò Oltrarno, Florence
Madonna of Humility, circa 1420-1423, 56x41, National Museum of San Matteo, Pisa
Adoration of the Magi (Pala Strozzi), 1423, 300x282, Uffizi, Florence
Presentation of Jesus at the Temple by Pala Strozzi, 1423, 25x62, Louvre, Paris
Madonna with Child, 1423-1425, 24,8x19, Berenson Collection, Villa I Tatti, Settignano (Florence)
Madonna on the throne with Child among the Saints Lorenzo and Giuliano, circa 1423-1425, 170x61, Frick Collection, New York
Annunciation, circa 1423-1425, 41x49, Vatican Pinacoteca, Vatican City
Lapidation of St. Stephen, circa 1423-1427, 16.5x27, Kunsthistorisches Museum, Vienna
Madonna with Child, circa 1424, 91.4x62.9, Yale University Art Gallery, New Haven
Polittico Quaratesi, 1425
Madonna with Child and Angels with Cimasa with Angels and Medallion with the Redeemer, (Central Magazine), 222,70x83, The Royal Collection, Hampton Court, deposited at the National Gallery in London
Santa Maria Maddalena, with cimasa (left compartment), 200x60, Uffizi, Florence
San Nicola di Bari, with cimasa (left compartment), 200x60, Uffizi, Florence
San Giovanni Battista, with cimasa (right compartment), 200x60, Uffizi, Florence
San Giorgio, with cimasa (right compartment), 200x60, Uffizi, Florence
Birth of Saint Nicholas (predella magazine), 36,5x36,5, Vatican Pinacoteca, Vatican City
St. Nicholas gives three golden balls to poor girls (a predella magazine), 36.5x36.5, Vatican Pinacoteca, Vatican City
St. Nicholas saves a ship from the stormy sea (predella magazine), 39x62, Pinacoteca Vaticana, Vatican City
San Nicola saves three young men in brine (magazine of predella), 36,5x36,5, Vatican Pinacoteca, Vatican City
Miracle of the pilgrims at the tomb of Saint Nicholas (predella magazine), 36.5x36.5, National Gallery of Art, Washington D.C.
Madonna with Child and angels, 1425, fresco, 225x125, Duomo di Orvieto
Madonna with Child and Two Angels, Approx. 1426-1427, 110,4x66,3, Diocesan Museum, Velletri
https://hisour.com/artist/gentile-da-fabriano/

François-Xavier Fabre

François-Xavier Fabre (born on April 1, 1766 and died on March 16, 1837 in Montpellier in France, baron in 1828), was a painter of history, landscape painter and French engraver of the classical artistic movement.

Born in Montpellier, Fabre was a pupil of Jacques-Louis David, and made his name by winning the Prix de Rome in 1787. During the French Revolution, he went to live in Florence, becoming a member of the Florentine Academy and a teacher of art.

He became friends with Alfieri and the Countess of Albany, a widow of the last of the Stuarts. From 1790, he worked away from Paris and his master David. His clientele is cosmopolitan and aristocratic in Italy. He gives his models pleasant, discreetly flattering, rather realistic images, in accordance with the conception of the traditional social portrait. One of his most famous portraits is that of the brother of Napoleon I, Lucien Bonaparte, prince of Canino, painted in 1808 and made three versions, one of which is in the Museo Napoleonico in Rome, another in the Fabre Museum and the third in A large private Napoleonic collection (the last two from the Canino collection).

The friends he made in Italy included the dramatist, Vittorio Alfieri, whose widow, Princess Louise of Stolberg-Gedern, Countess of Albany, he is said to have married. On Louise's death in 1824, he inherited her fortune, which he used to found an art school in his home town. On his own death, he bequeathed his own art collection to the town, forming the basis of the Musée Fabre.

Fabre began his training in the Montpellier's art academy, where he spent several years prior to joining Jacques-Louis David's studio in Paris. His studies were paid for by the financier and art collector, Philippe-Laurent de Joubert.

It is confined to a repertory of tradition. For style he is inspired by that of David of the 1780s. He distinguished himself by the severity of the style, the purity of the drawing and the richness of the color.

In 1824, on the death of the Countess d'Albany, he settled in Montpellier, his native city, and offered to the city his collections of paintings and books on the condition that they were the starting point of a Museum, the current Fabre museum, and that he can live in this museum. The mayor of the time, Ange Jean Michel Bonaventure of Dax d'Axat, first president of the Society of Fine Arts, accepted the donation in January 1825 and after a specific deliberation of the municipal council the museum project is validated2. After three years of important works financed by the municipality and entrusted to the two architects of the city of Montpellier, Fovis and Boué, the museum opens its doors in 1828 in the Hotel de Massilian, located to the east of the Écusson, the historic center of Montpellier, overlooking the Charles de Gaulle esplanade.

François-Xavier Fabre was made a baron at the same time by letters patent of King Charles X and Officer of the Legion of Honor. He then entered the municipal council. Until his death, he was director of the Museum and the School of Fine Arts in the city.

The changes in art (romanticism) and in politics (the revolution of 1830) disappoint him. At his death in 1837, he bequeathed to the city all his collections with the condition that the Marquis de Nattes be its director. More than a thousand paintings, drawings, engravings and objets d'art will enrich the young museum in Montpellier.

Philippe-Laurent was the father of Laurent-Nicolas de Joubert. Fabre painted a portrait of Laurent-Nicolas de Joubert, which is now in the Getty Museum. Fabre gained popularity in Florence.
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Fritz Fabian

Fritz Fabian was born in 1874 in Berlin. Fabian was an architect, who was deported to Theresienstadt in Czechoslovakia. After the war, he married Lilli Lehmann in Switzerland in 1947. In 1957, Lilly and Fritz regained German citizenship. He died in 1967 in Switzerland.

Fritz Fabian was born on 20 December 1874 in Tuchel (Tuchola, West Prussia). As a widower he married after a first, childless marriage Stefanie Bachstez, born 3 August 1892 in Jassy (Iasi, Romania). He forbade her to change anything in the apartment. As his son later reported, he was strictly German-national, and belonged to the right-wing conservative association of national German Jews, who - grotesquely - "combated the undeutsche spirit." At home he often wore a green cap of his student union. Unlike her husband Stefanie was completely open and international. She was charming, cultured, read, drew and painted, spoke fluent French, cooked excellently and was perfect in everything she did.

In 1922, Robert Philip ("Bobby") was born in Berlin, and on July 8, 1924, also in Berlin, Luisette Susanne. The two children had a children's girl named Selma Magen, who was "Aryan" under the Nazi laws and the Fabian family visited as often as she could,

Fritz Fabian was not only a heart-loving father, but also an outstanding lawyer and acted as a will-master. During the Nazi period, Stefanie often said she wanted to "clean the toilet in Israel instead of staying an hour longer in Germany" because she foresaw the fate of her family.

An English teacher from Roberts school insisted that the parents send both children to England to save their lives. In 1936 Bobby was taken to his station by his parents and his sister at the age of fourteen. He often later recounted how he stood at the window of the train, waving as the train set off-without feeling any sense of fear, grief, or doubt about his parents and his sister. He did not think he would ever see her again. Why Luisette was not sent to England at the same time is only to be explained by the fact that the parents did not want to separate themselves from both children at the same time.

Fritz Fabian was advised to leave Germany as soon as possible. But he refused, with his national conviction, to perceive the threatening anti-Semitic laws. Stefanie Fabian, despite her desire to escape from Germany, never had the opportunity to do so because her husband did not allow it and because she was not financially able to do so.

Stefanie's brother Marcel Bachstez had been building a new business in Mexico for three years. He got from Stefanie a postcard from the hervorging that they were threatened. Then, on the same day, Marcel's daughter went to the highest authority in Mexico to immediately receive an entry permit for the whole family. This was granted in 24 hours, but arrived in Berlin on 29 October 1941, on the day when Fritz, Stefanie and Luisette Fabian were picked up by the SS and deported to Lodz.

Around 1942, Fritz Fabian deportation from Berlin to the ghetto Theresienstadt, which he survived; With his wife, whom he met in Theresienstadt, he lived after the end of the war in Muralto in the Ticino (Switzerland)

Lilly Fabian was born Lilli Lehmann in Hamburg in 1892. She married James Silberstein in Berlin in 1920, was deported to Theresienstadt, and married Fritz Fabian in 1947 in Switzerland. In 1957 Lilly and Fritz Fabian regained German citizenship. Lilly Fabian died in Locarno in 1981.

Fritz Fabian's son, Robert Fabian, who had escaped this fate, remained unmarried. He went from England to the USA, was a gifted artist who had success as a graphic artist and lived in New York. There he worked for a while with Andy Warhol, whose sketches, which seemed to him to be inadequate, he threw away, without thinking that these sketches might be worth a day. He later taught Graphic Art at the University of Purchase.
https://hisour.com/artist/fritz-fabian/

Jan van Eyck

Jan van Eyck (Maaseik, principality of Liege, ca. 1390 - Bruges, county of Flanders, July 9, 1441) was a flamenco painter of late Gothic who worked in Bruges. He is considered one of the best artists of the group of early Flamenco for his innovations in the art of portrait and landscape. Together with Robert Campin, who operated in Tournai, the key figures of the appearance of the Flemish school with emphasis on the observation of the natural world are considered.

Contemporary writer Bartolomeo Fazio described Van Eyck as an expert in geometry and "master of all the arts that adds distinction to painting", recognizing the meticulous dedication that he put in the creation of His works. For a long time he was considered the "father of oil painting", as historian and critic Giorgio Vasari attributed the invention of this technique, an aspect that was denied during the nineteenth century.

Jan van Eyck was an Early Netherlandish painter active in Bruges and one of the most significant Northern Renaissance artists of the 15th century. Outside of the Ghent Altarpiece completed with his brother Hubert van Eyck, and the illuminated miniatures ascribed to Hand G—believed to be Jan—of the Turin-Milan Hours, only about 25 surviving works are confidently attributed to him, all dated between 1432 and 1439. Ten, including the Ghent altarpiece, are dated and signed with a variation of his motto, ALS IK KAN, always written in Greek characters, and transliterate as a pun on his name.

Van Eyck painted both secular and religious subject matter, including altarpieces, single panel religious figures and commissioned portraits. His work includes single panels, diptychs, triptychs, and polyptych panels. He was well paid by Philip, who sought that the painter was secure financially and had artistic freedom and could paint "whenever he pleased". Van Eyck's work comes from the International Gothic style, but he soon eclipsed it, in part through a greater emphasis on naturalism and realism. Through his developments in the use of oil paint he achieved a new level of virtuosity. Van Eyck was highly influential and his techniques and style were adopted and refined by the Early Netherlandish painters.

He is the author of numerous portraits and pieces of religious type, including the adoration of the Mystic Lamb, an encyclopaedic compendium of Christian theology displayed on twelve panels that combine the concept of "salvation" that begins with The Annunciation, until the end of the world with the Apocalypse. Considered by Albrecht Dürer as "the most precious painting and of greater understanding", it contains innovative elements such as the presence for the first time of donors, as well as large knot characters.

Little is known of his early life. The few surviving records indicate that he was born c. 1380–90, most likely in Maaseik. He took employment as painter and Valet de chambre with John of Bavaria-Straubing, ruler of Holland, in the Hague around 1422, when he was already a master painter with workshop assistants. After John's death in 1425 he was employed as court painter to Philip the Good, Duke of Burgundy, in Lille, where he remained until 1429 after which he moved to Bruges, working for Philip until his death there in 1441.

The birthplace of the Van Eyck brothers was located in Maaseik (Eik al Mosa, formerly Eyck was written). The date of birth was estimated around 1390 from payments made to Jan van Eyck between 1422 and 1424 as painter of the court of John III of Bavaria in The Hague, where he had the rank of chamberlain ; This suggests an age of more than 30 years. For the majority of specialists, the apparent age observed in the probable self-portrait that has come to us suggests a date before 1395.

Jan belonged to a family in which there were two brother painters, Hubert and Lambert, and a sister called Margareta, who won fame as a miniaturist. Regarding the controversial existence of his brother Hubert, there is evidence that he was born in Maaseyck in 1366, there is evidence of a 1413 painting by "Hubert Master", and he died in Ghent on September 18, 1426. Hubert is the one who would have begun the work of The Adoration of the Lamb. In 1823 he was able to confirm this responsibility when discovering an inscription to the framework of the work, where Jan van Eyck indicated that he was the one who finished the work begun by his brother.

Jan van Eyck married a woman sixteen younger, called Margareta, as her sister, with whom she had at least two children.

After a life between Lilla and Bruges, he died in this last city on July 9, 1441, and as recorded in the records of the chapter, he was buried in the cemetery of the church of San Donacián. His funeral cost 12 pounds Parisian, and the touch of bells in his honor, 24 sols. Later his body was transferred from the cemetery to the interior of the church, at the request of his brother Lambert and was placed in a grave near the baptismal font. The church of San Donacià was destroyed during the French Revolution in 1799.

His first documented work was as a painter and a chaplain of the prince-bishop of the principality of Liège, John III of Bavaria, who had occupied the county of Holland when his brother William VI of Bavaria died; Jan decorated his castle in The Hague between October 24, 1422 and September 11, 1424. Count John III died, and on May 19, 1425 Jan moved to Bruges also as a Painter of the court and chamberlain of Philip III the good, Duke of Burgundy and Count of Flanders. That same year he marched to Lilla, where the count had his preferred residence and where he continued until 1429. In 1430, despite continuing to work for the Duke, he had permanently established Bruges and his entire pictorial production It is from this period.

Van Eyck had the artistic admiration of Duke Philip and his maximum personal confidence and for this reason in 1426 he participated in several diplomatic missions in his name. A year later, he traveled to Valencia and Portugal as part of a delegation to negotiate the third marriage of Duke Felip. In Valencia, he attempted to make Felip's marriage link with Elisabet d'Urgell, daughter of Count Jaume II d'Urgell, an operation that failed because Alfons el Magnànim, king of Aragon and Elisabet's uncle, had agreed to His union with Prince Pere de Portugal in order to reinforce his positions before the kingdom of Castile.

When the proposal failed, on October 19, 1428, he marched to Portugal to request the hand of Isabel of Portugal and Lancaster to his father, King John I of Portugal. The delegation returned a year later and the wedding was celebrated on January 10, 1430. On this trip, Eyck painted a portrait of Princess Isabella of Portugal who had to serve so that the count could know her and give her Your final acceptance. In Portugal, Van Eyck coincided with the Valencian painter Lluís Dalmau who, curiously, was part of the wedding party between Elisabet d'Urgell and Pere de Portugal. As a result of this knowledge, Dalmau would eventually travel to Flanders between 1431 and 1436 to learn the technique of the Van Eyck workshop and learn about the new flamenco trends. Later, Lluís Dalmau performed the Virgen de los Consejeros, a work with a clear Flemish influence.

It was in this period of strong international exchange that Van Eyck made a map of the world made for the count, a piece lost today, like the portrait of Isabel of Portugal. In 1436, he made his last diplomatic trip to Prague.

Jan van Eyck continued, until his death, to the service of the Duke Felip, which always was recognized to him, providing him a treatment of favor in the court; In 1434 the Duke sponsored a son his. When the artist died, Philip granted his widow a financial compensation and a dowry to his daughter, Lyevine, to be able to enter the convent of Saint Agnès de Maaseyck.

After his death, his brother Lambert was in charge of his affairs and probably supervised the closure of his studio in Bruges.

In order to contextualise the work of Van Eyck it is necessary to understand that he was a painter from court to salary, disconnected from the union that grouped the free painters, where he probably had vetoed access for this reason. However, having a salary allowed him to devote much time to the study and perfectionist realization of his work. For the same reason, their clients were characters related to the Burgundy court, such as Cardinal Niccolò Albergati or rich Italian merchants such as the banker of Lucca, Giovanni Arnolfini.

The description that contemporary writer Bartolomeo Fazio makes of Van Eyck as litterarum nonnihil doctus and "master of all the arts that add a distinction to painting," explains his intellectual curiosity for theological texts, astronomical details, chronograms Or paleography. Van Eyck expressed an instinct of historian, a systematic scholar who allowed him to create a "symbolism disguised" where "every sign of objectivity had meaning and all meaning was disguised."

In order to develop this symbolism he became a scholar, almost an archeologist according to Panofsky, recreating churches and palaces or recovering Romanesque inscriptions. He imagined in a kind of free transformation of the scenarios or locations the architectural details, so that, being absolutely credible, it is impossible to identify them with a specific place. As Durer affirmed, Van Eyck had collected "all the details of the multiple images he had seen, without needing to resort to individual models." Painting from the "secret treasure of his heart" was plausible what was imaginary, an imagination controlled in all the details for a preconceptional symbolic program.

Its innovative style combines naturalism with vivid colors with a decorative style typical of the miniatures of the Middle Ages with regard to the meticulousness of the details, the precision of the textures and the search for new systems of representation of the three-dimensional space . Human figures are framed in a naturalistic space.

With regard to the search for three-dimensional effects, Van Eyck does not resort only to perspective with a leakage point, but also deployed his refined mastery of the oil painting technique. At the beginning of his artistic career, van Eyck developed a clear concept of reality and how his paintings had to represent it. But no concept is effective without means available for exploration and expression. The success of the artist using his technique as a tool to increase his pictorial vision, was crucial in the successful manifestation of his artistic concept on canvas. Van Eyck used his oil technique as an optical device and as a conceptual tool. In pure practice, van Eyck's "infinitesimal calculus" was possible because the new medium he used allowed him to combine a large number of brushstrokes, merging them literally with each other. As a result, he was able to investigate the relationship between small and large brushstrokes in works such as the Virgin of Chancellor Rolin, the Virgin of Van der Paele and the altarpiece of Ghent. It is remarkable that they go Eyck, using only rudimentary instruments in combination with the knowledge that his technique allowed him, he was able to create works of art that reflect the multiplicity and unity of nature. To the Virgin of Rolin, Van Eyck used his technique to the maximum to present a microscopic differentiation of detail and, at the same time, see near and far. In this work, it is not a matter of unifying discrete elements in a whole, but rather extending its "improved vision" method to include a distant perspective. It is as if this great observer uses his highly developed "tecno-crafts" to sweep the entire territory with the eye by recapping the revealing light.

The religious symbolism of his compositions denotes a knowledge that mixes his interest for people and nature within a humanistic mentality. Jan van Eyck was a fundamental influence in the primitive flamenco of the fifteenth and early sixteenth centuries.

The semi-magical domain of Van Eyck's oil technique, which Vasari will take to consider him an alchemist, conjured up a new and almost palpable world, where painting itself - above all in the provision of light, Material textures - acted almost as a constituent element of what he represents.

It can be said that his style symbolizes a structure of the universe with an infinitesimal view of objects; Build your world with its pigments just as nature builds the real world with its own raw material. It reproduces human skin or a poorly shaved face assuming the very nature of what is being reproduced and maintains the solidity and fullness of objects that are far removed from those that are in the foreground of their landscapes. His eyes behaved like a microscope and a telescope at the same time.

He is an artist who was aware of his own importance, and was one of the first flamenco artists to sign and date his paintings in the frames, then considered an integral part of the work (often both were painted together ).

One of the most admired qualities by the Italians of the time was the splendor of the Flemish technique of oil painting that Vasari considered invented by Van Eyck. Vasari, in his biography of Antonello da Messina, fantasized about the discovery of the technique by Van Eyck, kept as a secret that gave the flamenco painters an advantage over the Italians. Although it was an earlier invention documented by Theophilus in 1125 and by Cennino Cennini in his Il libro dell'arte of 1390, the manipulation of Van Eyck certainly created apparently miraculous illusions of reality. The oil allowed for a smooth transition between the limits of volumes and spaces and guaranteeing a surprising accuracy of the details. It created the subtle effect of diffused light in the aerial perspectives and shadows, illuminating even the darkest passages with its rich but transparent brightness of color. In addition, it was used with a purified technique with lead white to accentuate the surface light more than as a color of specific objects.

Van Eyck had begun working on the egg tempera, experimenting with a faster drying varnish combining flax and nuts oils. In this process, which Karel van Mander placed in 1410, he began using a new binder of pigments that dried faster and produced brighter colors even without varnish, achieving an easier combination of colors. The "new" technique was spreading among the painters through the dissemination of the German writer Joachim von Sandrart and the Frenchman Jean-Baptiste Descamps, making the legend of Vasari more true, until in the mid-nineteenth century was discovered in England A copy of the work of the Benedictine monk Teòfil Diversarum Artium schedule sive of divers Artibus (1125), a treaty where he gave clear instructions on oil painting.

But it is true that the Van Eyck brothers were among the first flamenco painters who used it for paintings on the table with very precise details. It was they who achieved new and outstanding effects through the use of velours, the technique of painting with layers of paint on previous layers of still wet paint and other techniques. Jan van Eyck combined the egg tempera and the oil in the different layers achieving a special effect due to the different index of refraction of the light of both substances.

He brought the technique of oil painting and the realism of the details (especially the representation of materials) with a level never reached before. These layers of oil were applied on a support that consists of a wooden table (usually beech, Fagus sylvatica) polished and painted white, so that a reflection of the light is achieved with the consequent brightness of the Painting and a suggestion of depth. Van Eyck dared to use these methods to try what would later be called the trompe l'oeil.

This ability with oil allowed him to reflect in a naturalistic way the reality. In addition, he was careful and his works, usually small, have an extraordinary detail of the world of the miniature. Immediate background influences on Van Eyck were the excellent German miniaturists of Limburg, as well as the sculptor Claus Sluter: how to represent the folds of the cloths that Sluter made in stone is practically the same way that Eyck goes Paint the folds in his works. Also mentioned as the predecessor of the Van Eyck the least known, but valuable painter, Melchior Broederlam.

The work prior to 1420 is only known for references, among others, the biography of Fazio describing the lost production of van Eyck, citing the Lady in the bathroom, a work of profane themes, as well as a map of the world that goes Eyck painted for Duke Philip. The description of the lost map made by Fazio makes it clear that not only was it a functional map but rather a splendid work. Therefore, although it could have located the sites very accurately in order to be useful for estimating distances, it would also have been considered, basically, as a world map symbolic piece.

As a portraitist, he is considered an exhaustive author, with portraits intensely close and at the same time remote. He knows how to combine the individuality of the character, what is different from the rest of mankind, which is more characteristic of gender painting, with its universality, that is, what has in common with the rest of mankind, in a way Timeless; They are portraits that can reflect key data of a society or ethnicity, but they can be absolutely impersonal. In the fifteenth century in Flanders an emphasis was placed on the uniqueness that leads to a descriptive and static approach. This is the case of Van Eyck with portraits more descriptive than interpretative. The characters are almost static, giving them an attractive and enigmatic depth.

New works signed and dated between 1432 and 1439 are conserved, four of them are religious, such as the Virgin of the canon Van der Paele (1436, Groeninge Museum, Bruges) or the Virgin of Chancellor Rolin (Museum of the Louvre, Paris) and the other five are portraits, such as Arnolfini's marriage (1434, National Gallery, London). As in almost all the works of Van Eyck, this excels in allegories and symbols: there is a convex circular mirror in which the same author appears vaguely reflected, and under this mirror the phrase "I have been here". Although it is not exactly the speculative game system that Diego Velázquez later uses in Las Meninas, there is an interesting precedent in Van Eyck's painting, which is, among other things, a search for the super vision that the two-dimensionality of the painting imposes on The representation of the spaces. Van Eyck reinforces the "integration" of the spectator within the virtual space represented in his work.

The collection of miniatures known as the Book of Hours of Turin is a work of the brothers of Limburg. The documentary ignorance of the activity of Jan van Eyck in The Hague court with William VI of Bavaria has speculated on the authorship of Van Eyck at the end of the work of Limburg that was unfinished at the death of these plague .

It is a work of a French late Gothic tradition, probably commissioned by Duke William of Bavaria before 1417 and executed in The Hague for the Count of Holland, John of Bavaria between 1422 and 1424. Most of the miniatures were destroyed By the fire in 1904, although there are photographs; The existing part of the manuscript is preserved in the Civico d'Arte Antica Museum in Turin. Among the historians who attribute the participation of the Van Eyck, stands out Georges Hulin de Loo who identified up to eleven collaborators in the miniatures of the Book of Hours, calling them with the first letters of the alphabet. In the best pages of the mined book, attributed to "master G" (Jan van Eyck, according to Loo) the figures are already fully integrated into a realistic space, with a light that unifies the representation and draws with great precision and tiny details the " Space and the characters' roles. It is clear that Van Eyck posed, like Masaccio, the problem of reality: but while the Italian did a synthesis that welcomed the sole essence of things, worrying about placing them in a space of unitary perspective and Rational, flamenco analyzed with singularity and attention singular objects as they appear before our senses. It is not known exactly whether these miniatures were made by Jan or his brother Hubert, as with other works prior to 1426, when his brother Hubert died. At least seven of the miniatures were the work of van Eyck ("master G"), of which only two are preserved: The birth of Saint John the Baptist and the Mass of deceaseds.

In the work of the genovese humanist Bartolomeo Fazio De viris illustribus written in 1454, he presented him as "the principal painter" of his time, within the group of the best in which he placed Roger van der Weyden, Gentile da Fabriano and Pisanello. It is particularly interesting that Fazio showed such enthusiasm for the Flemish painters as he did for the Italians. Fazio describes van Eyck as a cult man, versed in the classics, especially in the writings on painting by Pliny the Elder. This may explain the inscription of the Ars Amatoria de Ovidi, which was in the original framework, currently lost, of the portrait of the Arnolfini Marriage, and by the Latin inscriptions in his paintings, using the Roman spelling, which was then reserved for Cults men

Van Eyck's work has been abundantly copied by painters and illuminators. His compatriots were still considered the king of painters in the sixteenth century, exerting an enormous influence on the flamenco and European art in general. Petrus Christus is considered his principal disciple, although he does not know if he was part of his workshop. Among his direct heirs we can mention Gerard David, Hugo van der Goes and Konrad Witz, and even Hans Memling, Martin Schongauer, or (albeit whether he is purely Renaissance) the Mabuse. They were also influenced by Italians such as Antonello da Messina and Colantonio. Van der Weyden follows his realistic style, although adding more dramatism.

Valencian contemporary artist Lluís Dalmau traveled in Flanders in 1431 by order of Alfons V de Aragón, where he met Van Eyck's work and could have been a season in his studio. Its clearest influence is the Mother of God of the Council members commissioned by the Consell de Cent. King Alfons was a great fan of flamenco art and he got two works by Van Eyck, now disappeared: the Lomellini Triptych and a Saint George.

Its international reputation, on the other hand, is certified in the Italian historiography of the fifteenth century, where there is information about Van Eyck, related, among others, by Ciriaco de Pizzicolli, Bartolomeo Fazio, Filarete and Giovanni Santi.
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Valie Export

Valie Export (born May 17, 1940 in Linz as Waltraud Lehner,) is an Austrian artist. She is a pioneer of media art, Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.Valie Export lives and works in Vienna and Cologne.

Educated in a convent until the age of 14, Export studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. Austrian feminism was forced to address the fact that by the 1970s there was still a generation of Austrians whose attitudes towards women were based on Nazi ideology. They also had to confront the guilt of their parents’ (mothers’) complacency within the Nazi regime. Export herself, before her political and artistic revolution, was a mother and a wife. In 1967, she changed her name to VALIE EXPORT (written in uppercase letters, like an artistic logo, shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes).

With this gesture of self-determination, Export emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of the Vienna Actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Of the Actionist movement, Export has said, “I was very influenced, not so much by Actionism itself, but by the whole movement in the city. It was a really great movement. We had big scandals, sometimes against the politique; it helped me to bring out my ideas.” Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes Export’s project as unequivocally feminist.

From 1965 onwards, she increasingly turned to the medium of film and in 1966 wrote a screenplay titled "AUS ALT MAKES NO NEW - a test of senselessness. Metaphorical image association, project ". In 1967, she adopted her artistic name VALIE EXPORT as an artistic concept and logo, with the prescription of writing it only in verses.

The early work of Valie Export is characterized in particular by the examination of feminism, the art of action, and the medium of film, especially by the movement of Expanded Cinema at the end of the 1960s. One of her most famous actions was the Tapp- and Tastkino. Together with her new partner Peter Weibel, for which she had concluded a relationship with Friedensreich Hundertwasser, she realized it for the first time at the 1st European Meeting of Independent Filmmakers in Munich. At this performance in public places, Export carried a curly wig, was dressed and wore over her naked breasts a box with two openings. The rest of the upper body was covered with a cardigan. Peter Weibel went through a megaphone and invited the guests to visit. They had twelve seconds to stretch with both hands through the openings and touch the artist's naked breasts. VALIE EXPORT later said to this action: "(...) the Tapp- and Tastkino - that was street action, it was feminism, it was Expanded Cinema, it was film; I called the Tapp- and Tastkino at that time also Tapp- and Tastfilm. (...), because I said at the time, every human being can do this filmmaking, film installation, there is no original. "

Export’s early guerrilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (Tap and Touch Cinema) was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, Valie Export wore a tiny "movie theater" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the "theater." She then went into the street and invited men, women, and children to come and touch her. The media responded to Export's provocative work with panic and fear, one newspaper aligning her to a witch. Export recalls, "There was a great campaign against me in Austria."

Some of her other works including, "Invisible Adversaries," "Syntagma," and "Korpersplitter," show the artist's body in connection to historical buildings not only physically, but also symbolically. The bodies attachment to the historical progression of gendered spaces and stereotyped roles represent Export's feminist and political approach to art.

Although she had direct contact with the "Viennese Aktionisten" through her personal relationships, Export repeatedly stressed the differences to the group's actions. Later she said in an interview: "Part of my work is certainly linked to Viennese actionism, although there are serious differences. I feel part of the whole direction of actionism; I see myself, besides my work as a media artist or filmmaker, above all as an action and performance artist. But I would not compare this with Viennese actionism, because it was aesthetically, substantively, and formally distinguished from my forms of work. "

In 1970, she became aware of the concern for her daughter. The production of VALIE EXPORT was marked by VALIE EXPORT in the same year in the work VALIE EXPORT - Smart Export by the partial overpainting of a cigarette pack of the Austrian brand "Smart Export", which was very popular at the time, with the "VALIE" label 1] This was intended as a feminist critique of patriarchal capitalist attribution practices: before a proper name covers the individual feed into the market, it is better replaced by a logo. Also in 1970, she made her body for the work "Body Sign Action" on the canvas and had a garter tattoo on the thigh. In 1972 Peter Weibel and they parted.

Export’s 1973 short film, "Remote, Remote," exemplifies the painful ramifications of the female body conforming to societal standards. In this piece she digs at her cuticles with a knife for twelve minutes, representing the induced damage originating from the female body trying to maintain beauty standards and tradition.

In her 1970 photograph, “Body Sign Action,” Export portrays a politically charged agenda through her performance artwork. The piece features a tattoo of a garter belt on Export’s naked upper leg. The garter is not attached at the top and only attached to a sliver of a stocking at the bottom- therefore suspended on the leg. Instead of the garter objectifying the body, the body objectifies the garter, flipping constructed societal roles in relation to the female body.

In her 1968 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), Export entered an art cinema in Munich, wearing crotchless pants, and walked around the audience with her exposed genitalia at face level. The associated photographs were taken in 1969 in Vienna, by photographer Peter Hassmann. The performance at the art cinema and the photographs in 1969 were both aimed toward provoking thought about the passive role of women in cinema and confrontation of the private nature of sexuality with the public venues of her performances. Apocryphal stories state that the Aktionshose:Genitalpanik performance occurred in a porn theater and included Export brandishing a machine gun and challenging the audience, as depicted in the 1969 posters, however she claims this never occurred.

The contrast with what is usually called "cinema" is obvious, and is crucial to the message. In Export's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in Export's performance, the "audience" not only has a very direct, tactile contact with another person, but does so in the full view of Export and bystanders.

Export's groundbreaking video piece, Facing a Family (1971) was one of the first instances of television intervention and broadcasting video art. The video, originally broadcast on the Austrian television program Kontakte February 2, 1971, shows a bourgeois Austrian family watching TV while eating dinner. When other middle-class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television. 1977 saw the release of her first feature film, Unsichtbare Gegner. For this film's script, she collaborated with her former partner, Peter Weibel. Her 1985 film The Practice of Love was entered into the 35th Berlin International Film Festival.

In 1977 she took part in documenta 6 in Kassel. In 1980 she and Maria Lassnig represented Austria at the Venice Biennale. In 1985 her feature film The Practice of Love was nominated in the book category and directed by the Golden Bear at the Berlin International Film Festival. In 1992, her work was presented as part of a retrospective in the Landesgalerie of the Oberösterreichische Landesmuseum in Linz for the first time in a single exhibition, followed by many more. At the same time, the public perception of their artistic work has diminished.

From 1989 to 1992, VALIE EXPORT was a full professor at the University of Wisconsin-Milwaukee, School of Fine Arts, from 1991 to 1995 professor at the Department of Visual Communication at the Berlin University of the Arts. During this time, she also met her later husband, Robert Stockinger. From 1995/1996 to 2005 she was a professor for multimedia performance at the Kunsthochschule für Medien Köln. In 2007, she participated in both the framework program of the documenta 12 and the Venice Biennial, where she also co-commissioned the Austrian pavilion in 2009.

Since 1995/1996 Export has held a professorship for multimedia performance at the Academy of Media Arts Cologne.

In her 1983 experimental film, Syntagma, Export attempted to reframe the female body by using a multitude of "...different cinematic montage techniques—doubling the body through overlays, for example". The film follows Export's belief that the female body has, throughout history, been manipulated by men through the means of art and literature. In an interview with "Interview Magazine", Export discusses her movie, Syntagma, and says, "The female body has always been a construction".

In another effort to expose the control of women by men, Export collected her powerful statements in a piece written for an exhibit she had organized titled MAGNA, Geminism: Art and Creativity. Within this piece titled "Women’s Art a Manifesto" (1972) she wrote empowering statements directed as a call to action, “let women speak so that they can find themselves, this is what I ask for in order to achieve a self-defined image of ourselves and thus a different view of the social function of women”. Here Export was pointing out the unjust way that women had been living their lives within the boundaries created by men. In this same Manifesto Export also says “the arts can be understood as a medium of our self-definition adding new values to the arts. these values, transmitted via the cultural sign-process, will alter reality towards an accommodation of female needs”. Here she is directly relating her own work to the progress of empowering women. With each new piece Export creates she is changing the way society views women.
https://hisour.com/artist/valie-export/

Exld from Filipino Street Art Project, Metro Manila, Philippines

The Filipino Street Art Project is a transmedia undertaking that celebrates the power of street art to communicate, empower, and encourage discussion about universal issues that affect us all.
https://hisour.com/artist/exld/

Exekias

Exekias was an ancient Greek vase-painter and potter who was active in Athens between roughly 545 BC and 530 BC. Exekias worked mainly in the black-figure technique, which involved the painting of scenes using a clay slip that fired to black, with details created through incision. Exekias is regarded by art historians as an artistic visionary whose masterful use of incision and psychologically sensitive compositions mark him as one of the greatest of all Attic vase painters. The Andokides painter and the Lysippides Painter are thought to have been students of Exekias.

The works of Exekias are distinguished by their innovative compositions, precise draughtsmanship, and subtle psychological characterization, all of which transcend the inherent challenges of the black-figure technique. John Boardman, the eminent historian of Greek art, described Exekias' style as follows: "The hallmark of his style is a near statuesque dignity which brings vase painting for the first time close to claiming a place as a major art." He was an innovative painter and potter, who experimented with new shapes and devised unusual painting techniques, such as the use a coral-red slip, to enhance colour.

Fourteen signed works by Exekias have survived, while many more have been attributed to him based on the stylistic connoisseurship method developed by John Beazley. His signed pieces provide insight not only into the work of Exekias himself but also into the way ancient pottery workshops operated. Twelve of the fourteen vessels bearing his name refer to him not as their painter but as their potter, by adding the word epoíēsen (ἐποίησεν) to his name. This may be translated as "Exekias made ", in contrast to égrapsen (ἓγραψεν), which translates as "painted " (literally: "drew "). On two amphorae, Berlin 1720 and Vatican 344, both terms are used in the iambic trimeter inscription, Exēkías égrapse kapoíēsé me ("Exekias made and painted me"), indicating that in these cases Exekias was responsible for both the potting of the vase and its painted decoration. Fragments of a third amphora (Taranto 179196) also show the use of both terms, when the inscriptions are restored. This leads to speculation regarding the meaning of the epoíēsen signatures and why, in some instances, Exekias signed only as potter on vases that he clearly painted as well. It has been suggested that he chose to sign as painter only the works he was particularly proud of. According to a different approach, Exekias' epoíēsen signatures could be understood as functioning as a general workshop stamp, which would mean that Exekias may have simply been the master-potter who supervised the production of the vessel. Seven of the vessels signed "Exēkias epoíēsen," however, carry too little decoration to afford comparison. Only two of the remaining vases signed with epoíēsen can be attributed to the same hand as those signed "... égrapse kapoíēsé me"—that is, to the painter Exekias. Beazley attributed one of the vases with the potter-only signature to the so-called Group E, to which Exekias is closely related.

While Exekias' work itself offers a glimpse of the culture of ancient pottery, the find spots of his vases also reveal information about the market in which Exekias positioned himself. Fragments of column krater and a hydria attributed to Exekias were excavated on the Athenian Acropolis, suggesting that Exekias maintained a clientele in his home city. The fact that two of his vases were found on the Acropolis, an important religious sanctuary, underscores his prestige as a vase painter. Exekias not only enjoyed a thriving market in Athens; many of his extant vases were also exported to Etruria, Italy, found at sites such as Vulci and Orvieto, where they were buried in Etruscan tombs. Being admirers of Greeks and their arts and letters, the Etruscans developed a taste for Greek vases, over 30,000 of which have been found in the region. The presence of Exekias' work in Etruria indicates that foreigners also admired his vases, and that he catered to markets both at home and abroad.

In the words of Beazley, Group E is "the soil from which the art of Exekias springs, the tradition which on his way from fine craftsman to true artist he absorbs and transcends.” Based on the overarching stylistic similarities between the work of Group E and Exekias, Beazley hypothesized that Exekias first began his career in the workshop of the so-called Group E artists. "Group E" produced work that is not only considered closely related to the work of Exekias, but also represents a conscious break from the pottery traditions of the first half of the sixth century BC. Group E has been credited with the development of new, elegant vessel shapes such as the "Type A amphora". Exekias, however, is the only member of the Group who signed his products which suggests that Exekias may have been responsible for the development of such vessel shapes as the Type A cup, the Type A belly amphora and the calyx krater. Apart from the specialization in certain vessel shapes, the Group E artists also shared a common range of subjects: the birth of Athena, Theseus fighting the Minotaur, Herakles fighting the Nemean Lion, and Herakles and the three-bodied Geryon, are among the themes most often pictured on vases by this group.

Exekias does not seem to have specialized in a specific vessel type. Among the vases made or decorated by him are neck amphorae, Type A and B amphorae, calyx kraters, column kraters, Type A cups, dinoi, hydriai, and at least one Panathenaic amphora. Probably his most unusual work is represented by two series of funerary plaques found in Athens (Berlin Antikensammlung 1811, 1814). The plaques, showing the funerary ritual for a deceased man, were probably attached to the walls of a funerary monument.

In his vase-paintings, Exekias does not only reinterpret the mythological traditions of his time, but at times even sets new fashions.

One of his most famous works is the so-called "Dionysus Cup", a kylix now in Munich (Antikensammlung 2044). The kylix falls into the "eye-cup" category, and is decorated on the exterior with two pairs of eyes, which may be an original Exekian motif. The interior shows a depiction of the god Dionysos against a background of coral-red slip, which coats the entire picture space. Here, Exekias uses the tondo as a working surface for the main scenario: Dionysus was the god of inspiration, and the painting depicts the his initial journey to Athens by ship. Pirates had seized the ship and were planning, perhaps, to sell Dionysus into slavery. Instead, the god caused vines to grow from the mast, frightening the pirates so much that they jumped overboard and were changed into dolphins, here seen swimming around the ship. Exekias is the first Athenian vase painter to depict Dionysus sailing in the expanse of the interior of a cup.

Another innovative visual adaptation of the mythological past can be seen on the famous Vatican amphora 344, which is regarded as Exekias' masterpiece. The Vatican amphora depicts Achilles and Ajax playing a board game, with both men identified by their names added in the genitive. Ajax and Achilles sit across from each other, looking down at a block situated between them. The board game they are playing, which might be compared to a backgammon or checkers variant, was played with a die. According to the words written next to the two players, Achilles proclaims he has thrown a four, while Ajax has a three. Although the two of them are pictured playing, they are clearly depicted as being on duty, accompanied by their body armor and holding their spears, suggesting that they might head back into battle at any moment. Apart from the selection of this very intimate, seemingly relaxed scene as a symbol for the Trojan War, this vase-painting also showcases the talent of Exekias as an artist: the figures of both Achilles and Ajax are decorated with fine incised details, showing elaborate textile patterns and almost every hair in place. Interestingly, there is no extant literary source that is known to have circulated in the sixth century BC in Athens regarding a narrative involving Ajax and Achilles playing a board game. Exekias may have drawn his inspiration for this innovative composition from local oral bardic traditions regarding the Trojan War, which may have developed during his lifetime in the cultural context of sixth century Athens. Despite the ambiguity surrounding the origin of this mythological narrative, Exekias' new depiction of Ajax and Achilles playing a board game was clearly very popular, copied over 150 times in the ensuing fifty years.

The only "kalós" name used on vases attributed to or signed by Exekias as a painter is the Onētorídēs love name. The Onētorídēs love name appears on the Vatican 344 amphora, the London B 210 amphora, the Berlin F 1720 amphora, and the Athenian calyx-krater which has traditionally been attributed to Exekias. The Stēsías love name, Stēsías kalós, (Stesias beautiful), is inscribed on the Louvre F 53 amphora, which Beazley attributed to the Group E phase of Exekias' artistic career.

In addition to the main tableau, in which figures interact physically and often with psychological import, there are often subordinate areas of interest on the vases of Exekias. Border decoration, and particularly large, beautifully constructed spirals with palmettes, frame and enliven the compositions. The central tableau is sometimes framed by areas of black, so that it appears suddenly out of the darkness, so to speak. Characteristically, Exekias uses the shape of the vessel, with its curving surface, as a terrain to which the lines and forms of the painting conform. As the viewer contemplates the vase, attention is drawn to the central scene: the game board, the face of Penthesilea, the starry robe of Dionysus, the sword implanted in the earth. On the rounded surface of the vase, this point is seen head on. All the other main lines of the composition either radiate around the thematic center or lead to it as the spokes of a wheel: the spears of the warriors, the curved backs of their hunching forms, the wind-filled sails of the ship and its curved bottom, the circle of dolphins. Other scenes are crowded with figures, such that attention is drawn toward the complex composition itself, or to individual men and women in a chariot or the magnificent horses arranged in groups. A variety of compositional devices are used to brilliant effect in the painting of Exekias, riveting the attention of the viewer, who then lingers to appreciate the finely executed forms and exquisite details.

Also characteristic of Exekias is his expert use of line, both in terms of his finely drawn figures and also his carefully incised detail—to delineate hair, beards, unique facial features, aspects of armor and furniture, traits of plants and animals, and particularly the patterns on woven or embroidered garments, which are impressively varied and spectacularly precise. This can be appreciated in the famous Vatican amphora (344), on which Achilles and Ajax are both shown wearing richly ornamented cloaks, with almost every element clearly visible and identifiable despite the small scale. Incised designs include rosettes of various types, swastikas with squared or rounded arms, stars, and loops, arranged in panels divided by bands of many types of geometric decoration. Musculature is deftly executed, as are details of hands, feet, and armor, and hair is precisely drawn with a series of lines that run exactly parallel and end in curls; the facial expressions of the two heroes are likewise perfectly accomplished, so as to indicate, within the conventions of black figure, the intense concentration as shown by the gaze of both players.
https://hisour.com/artist/exekias/

Pure Evil

Pure Evil (from London) was one of three street artists to paint his version of a nun's head (St Catherine of Siena, 1665, by Carlo Dolci) on the Old Nun's Head pub in Nunhead.

Pure Evil, Inkie and APHQ created their versions of 'St Catherine of Siena' painted in 1665 by Carlo Dolci and part of Dulwich Picture Gallery's permanent collection.

Pure Evil from Dulwich Outdoor Gallery, London, United Kingdom

Dulwich Outdoor Gallery is an ongoing collection of street art works by some of the top practitioners alive today. They have created works in and around Dulwich, London (Peckham, Herne Hill, Nunhead) all based on the 17th and 18th century paintings in the permanent collection at Dulwich Picture Gallery. Consequently street art followers attracted to Dulwich have been introduced to the 'old masters' via Dulwich Picture Gallery and people living in this outlying area of London are now acquainted with top class street art.
https://hisour.com/artist/pure-evil/

Adrianus Eversen

Adrianus Eversen (Amsterdam, January 13, 1818 - Delft, December 1, 1897) was a Dutch painter. He was one of the most famous Dutch painter of cities and streets of portraits.

Adrianus Eversen was already appreciated in the 19th century, Adrianus Eversen portrayed the typical 19th century Dutch atmosphere in his work. As a member of Arti et Amicitiae he belonged to the society of elite artists of his time.

Eversen was a contemporary of Cornelis Springer. Both painters were students of Hendrik Gerrit ten Cate at the same time, and usually painted contemporary regional (Oud-Hollandse) cityscapes. In his choice of subjects, Eversen allowed himself more freedom. He painted mostly imaginary cityscapes, consisting of existing and invented fragments, unlike the more faithful representations of Springer.

His works depict the early Dutch grandmasters Jan van der Heyden and Isaac Ouwater.

The Eversen in Amsterdam lived and worked, and there between 1845 and 1885 his paintings exposed. Before he moved to Rotterdam in 1889, has an exhibition in The Hague and Leeuwarden done. He had his whole sheep Fens period a great demand for his paintings, and he has a lot of balance and Belgium and England sold. The two paintings collector John Sheepshanks has a great point of his paintings. Sheepshanks after his death came the paintings owned by the Victoria and Albert Museum.

Eversen was a match of Cornelis Springer - both of whom were also pupils of H.G. Ten Cate - and painted, like these, mostly Old Dutch cityscapes. However, in the choice of his subjects, he allowed himself more freedoms. He painted largely imaginary city images, composed of existing and assembled fragments, as opposed to the more truthful Springer. He was also a pupil of Cornelis de Kruyff.

The everyday life of people, Dutch architecture, and the illumination effect of sunlight played a major role in his work.

The Eversen was a member of the elite club Arti et Amicitiae.

His works are known for their great topograheschen detail, and therefore just as interesting as the artistic of historical perspective. They describe scenes of daily life, and therefore also with the best record of the activities of the people in the Netherlands of that time.

In Europe, his paintings and museums of Amsterdam, Enkhuizen and Den Haag to see.

One of his descendants was the painter Johannes Hendrik Eversen.

November 2010 a biography of Adrianus Eversen appeared with an oeuvre catalog. Published by Pictures Publishers, written by Pieter Overduin.
https://hisour.com/artist/adrianus-eversen/

John Everett Millais

Sir John Everett Millais, 1st Baronet, PRA ( 8 June 1829 – 13 August 1896) was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood.

A child prodigy, at the age of eleven Millais became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his parents' house in London. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents generating considerable controversy. By the late 1850s Millais was moving away from the Pre-Raphaelite style. His later works were enormously successful, making Millais one of the wealthiest artists of his day. However, they have typically been viewed by 20th-century critics as failures. This view has changed in recent decades, as his later works have come to be seen in the context of wider changes in the art world.

Millais's personal life has also played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais's early work. The annulment of the marriage and her wedding to Millais have sometimes been linked to his change of style, but she became a powerful promoter of his work and they worked in concert to secure commissions and expand their social and intellectual circles.

Millais was born in Southampton, England in 1829, of a prominent Jersey-based family. His parents were John William Millais and Emily Mary Millais. Most of his early childhood was spent in Jersey, to which he retained a strong devotion throughout his life. The author Thackeray once asked him "when England conquered Jersey." Millais replied "Never! Jersey conquered England." The family moved to Dinan in Brittany for a few years in his childhood.

His mother's "forceful personality" was the most powerful influence on his early life. She had a keen interest in art and music, and encouraged her son's artistic bent, promoting the relocating of the family to London to help develop contacts at the Royal Academy of Art. He later said "I owe everything to my mother."

His prodigious artistic talent won him a place at the Royal Academy schools at the unprecedented age of eleven. While there, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood (known as the "PRB") in September 1848 in his family home on Gower Street, off Bedford Square.

Millais's Christ in the House of His Parents (1849–50) was highly controversial because of its realistic portrayal of a working class Holy Family labouring in a messy carpentry workshop. Later works were also controversial, though less so. Millais achieved popular success with A Huguenot (1851–52), which depicts a young couple about to be separated because of religious conflicts. He repeated this theme in many later works. All these early works were painted with great attention to detail, often concentrating on the beauty and complexity of the natural world. In paintings such as Ophelia (1851–52) Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic elements. This approach has been described as a kind of "pictorial eco-system." Mariana is a painting that Millais painted in 1850-51 based on the play Measure for Measure by William Shakespeare and the poem of the same name by Alfred, Lord Tennyson from 1830. In the play, the young Mariana was to be married, but was rejected by her betrothed when her dowry was lost in a shipwreck.

This style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics. Millais's friendship with Ruskin introduced him to Ruskin's wife Effie. Soon after they met she modelled for his painting The Order of Release. As Millais painted Effie they fell in love. Despite having been married to Ruskin for several years, Effie was still a virgin. Her parents realised something was wrong and she filed for an annulment.

After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe." It has been argued that this change of style resulted from Millais's need to increase his output to support his growing family. Unsympathetic critics such as William Morris accused him of "selling out" to achieve popularity and wealth. His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our art of Today" (1888) he recommended Velázquez and Rembrandt as models for artists to follow. Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported. Other paintings of the late 1850s and 1860s can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour and are symbolic rather than narratival. From 1862, the Millais family lived at 7 Cromwell Place, Kensington, London.

Later works, from the 1870s onwards demonstrate Millais's reverence for Old Masters such as Joshua Reynolds and Velázquez. Many of these paintings were of an historical theme and were further examples of Millais's talent. Notable among these are The Two Princes Edward and Richard in the Tower (1878) depicting the Princes in the Tower, The Northwest Passage (1874) and the Boyhood of Raleigh (1871). Such paintings indicate Millais's interest in subjects connected to Britain's history and expanding empire. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) – famous, or perhaps notorious, for being used in the advertising of Pears soap – and Cherry Ripe. His last project (1896) was to be a painting entitled The Last Trek. Based on his illustration for his son's book, it depicted a white hunter lying dead in the African veldt, his body contemplated by two Africans.

This fascination with wild and bleak locations is also evident in his many landscape paintings of this period, which usually depict difficult or dangerous terrain. The first of these, Chill October (1870) was painted in Perth, near his wife's family home. Chill October (Collection of Sir Andrew Lloyd Webber), was the first of the large-scale Scottish Landscapes Millais painted periodically throughout his later career. Usually autumnal and often bleakly unpicturesque, they evoke a mood of melancholy and sense of transience that recalls his cycle-of-nature paintings of the later 1850s, especially Autumn Leaves (Manchester Art Gallery) and The Vale of Rest (Tate Britain), though with little or no direct symbolism or human activity to point to their meaning. In 1870 Millais returned to full landscape pictures, and over the next twenty years painted a number of scenes of Perthshire where he was annually found hunting and fishing from August until late into the autumn each year. Most of these landscapes are autumnal or early winter in season and show bleak, dank, water fringed bog or moor, loch and riverside. Millais never returned to "blade by blade" landscape painting, nor to the vibrant greens of his own outdoor work in the early fifties, although the assured handling of his broader freer, later style is equally accomplished in its close observation of scenery. Many were painted elsewhere in Perthshire, near Dunkeld and Birnam, where Millais rented grand houses each autumn to hunt and fish. Christmas Eve, his first full landscape snow scene, painted in 1887, was a view looking towards Murthly Castle.

Millais was also very successful as a book illustrator, notably for the works of Anthony Trollope and the poems of Tennyson. His complex illustrations of the parables of Jesus were published in 1864. His father-in-law commissioned stained-glass windows based on them for Kinnoull parish church, Perth. He also provided illustrations for magazines such as Good Words. As a young man Millais frequently went on sketching expeditions to Keston and Hayes. While there he painted a sign for an inn where he used to stay, near to Hayes church

Millais was elected as an associate member of the Royal Academy of Arts in 1853, and was soon elected as a full member of the Academy, in which he was a prominent and active participant. In July 1885, Queen Victoria created him a Baronet, of Palace Gate, in the parish of St Mary Abbot, Kensington, in the county of Middlesex, and of Saint Ouen, in the Island of Jersey, making him the first artist to be honoured with a Hereditary Title. After the death of Lord Leighton in 1896, Millais was elected President of the Royal Academy, but he died later in the same year from throat cancer. He was buried in the crypt of St Paul's Cathedral. Additionally, between 1881-1882, Millais was elected and acted as the president of the Royal Birmingham Society of Artists.

When Millais died in 1896, the Prince of Wales (later to become King Edward VII) chaired a memorial committee, which commissioned a statue of the artist. This was installed at the front of the National Gallery of British Art (now Tate Britain) in the garden on the east side in 1905. On 23 November that year, the Pall Mall Gazette called it "a breezy statue, representing the man in the characteristic attitude in which we all knew him".

In 1953, Tate Director, Sir Norman Reid, attempted to have it replaced by Auguste Rodin's John the Baptist, and in 1962 again proposed its removal, calling its presence "positively harmful." His efforts were frustrated by the statue's owner, the Ministry of Works. Ownership was transferred from the Ministry to English Heritage in 1996, and by them in turn to the Tate. In 2000, under Stephen Deuchar's directorship, the statue was removed to the side of the building to welcome visitors to the refurbished Manton Road entrance.

Millais's relationship with Ruskin and Effie has been the subject of several dramas, beginning with the silent film The Love of John Ruskin from 1912. There have also been stage and radio plays and an opera. The 2014 film, Effie Gray, written by Emma Thompson, features Tom Sturridge as Millais.

The PRB as a whole have been the subjects of two BBC period dramas. The first, entitled The Love School, was shown in 1975, starring Peter Egan as Millais. The second was Desperate Romantics, in which Millais is played by Samuel Barnett. It was first broadcast on BBC 2 Tuesday, 21 July 2009.

In 2004, the artists Hamilton and Ashrowan produced a work referencing Millais's landscape painting The Sound of Many Waters (1876). The work was filmed at Rumbling Bridge on the River Braan in Perthshire, the site where Millais made the painting. It consisted of a 32 screen moving image installation at Perth Concert Hall, including a film of the Millais painting.
https://hisour.com/artist/john-everett-millais/