Peter Angelis

Peter Angelis (Nov 5, 1685 - 1734), variously recorded as Pieter Angellis, Pieter Anchillus, Pieter van Angellis or Pieter Angelles, was a painter active in Flanders, Germany, Italy, England and France.

Peter Angelis was born at Dunkirk in 1685. After learning the rudiments of art in his native town, he visited Flanders and Germany, and spent some time at Antwerp, where he was made a master of the Guild of St. Luke, in 1715-16; and at Düsseldorf, where he had the opportunity of educating himself by studying the paintings in the Electoral Gallery. He painted conversation-pieces, and landscapes with small figures, into which he often introduced fruit and fish.

In about 1719 he moved to England where he met with great success and stayed for sixteen years. In 1727 he set out for Italy, and spent three years at Rome, where his pictures were admired. But being of a reserved disposition, and without ostentation, he exhibited his works with reluctance, his studious and sober temper inclining him more to the pursuit of his art than to the advancement of his fortune. He intended to return to England, but when he reached Rennes, in Brittany, he found his work in such demand there that he decided to stay. He died in Rennes in 1734.

Horace Walpole wrote of him:
His manner was a mixture of Teniers and Watteau, with more grace than the former, more nature than the latter. His pencil was easy, bright, and flowing, but his colouring too faint and nerveless. He afterwards adopted the habits of Rubens and Vandyck, more picturesque indeed, but not so proper to improve his productions in what their chief beauty consisted, familiar life.

Angelis' Queen Anne and the Knights of the Garter is thought to depict at a ceremony held at Kensington Palace in 1713, several years before his arrival in England. It is now in the collection of the National Portrait Gallery.
http://hisour.com/artist/peter-angelis/

Fra Angelico

Fra Angelico (1395 - Feb 18, 1455) was an Early Italian Renaissance painter described by Vasari in his Lives of the Most Excellent Painters, Sculptors, and Architects as having "a rare and perfect talent".

He was known to contemporaries as Fra Giovanni da Fiesole and Fra Giovanni Angelico. In modern Italian he is called il Beato Angelico; the common English name Fra Angelico means the "Angelic friar".

In 1982 Pope John Paul II proclaimed his beatification, in recognition of the holiness of his life, thereby making the title of "Blessed" official. Fiesole is sometimes misinterpreted as being part of his formal name, but it was merely the name of the town where he took his vows as a Dominican friar, and was used by contemporaries to separate him from other Fra Giovannis. He is listed in the Roman Martyrology as Beatus Ioannes Faesulanus, cognomento Angelicus—"Blessed Giovanni of Fiesole, known as 'the Angelic' ".

Vasari wrote of Fra Angelico: But it is impossible to bestow too much praise on this holy father, who was so humble and modest in all that he did and said and whose pictures were painted with such facility and piety.
http://hisour.com/artist/fra-angelico/

Ernest Ange Duez

Ernest Ange Duez (Mar 7, 1843 - Apr 4, 1896) was a French painter of genre scenes, portraits, landscapes and religious subjects.

Although he was an admirer of Édouard Manet and owned paintings by Manet, Claude Monet, Edgar Degas and Berthe Morisot, his palette was more subdued than that of most of the Impressionists, and his technique more controlled. His style, between that of the conservative Paris Salon and Impressionism, has been called juste milieu, and he has been compared to Alfred Stevens, Giuseppe De Nittis, and James Tissot.

Duez was born on 8 March 1843 in Paris, and studied painting under Isidore Pils. He first exhibited at the Salon in 1868 with Mater Dolorosa, and achieved success there in 1874 with a third-class medal for his paintings Splendeur and Misère. He won other medals there subsequently.

Genre scenes depicting modern life included Au restaurant Le Doyen (1878) and Café sur la Terrasse (1890). Portraits included Mme Duez (1877) and Alphonse de Neuville (1880).

Landscapes and seaside scenes were often inspired by the Normandy countryside around Villerville and Le Havre. In 1879 at the Salon he exhibited the large triptych Saint Cuthbert, depicting the stages of the life of Cuthbert set in landscapes based on the countryside around Villerville. Considered his greatest work, it is now in the Musée d'Orsay.

In 1883 Duez moved into a studio on boulevard Berthier, close to that of John Singer Sargent on the same street. Singer painted portraits of Duez and his wife in 1884–6. His wife, Amélie Duez, was a well-known amateur singer, and was the first to perform Gabriel Fauré's newly composed songs "Mandoline" and "En sourdine" (the first two songs of Cinq mélodies "de Venise"), while Fauré and the couple were staying as guests of the Princesse de Polignac in Venice in 1891. Duez's circle also included the painters Paul-Albert Besnard, Jacques-Émile Blanche and Roger-Joseph Jourdain.

Duez carried out a number of commissions for the adornment of public buildings in Paris. These included Novembre and Décembre in the Palais Garnier's Galerie du glacier, Virgile s’inspirant dans les bois (1888) for the Sorbonne, La Botanique and La Physique (1892) for the Hôtel de Ville's Salon des Sciences, and L’heure de la tétée à la maternité (1895) for the Assistance publique - Hôpitaux de Paris.

Duez died on 5 April 1896 from a cerebral haemorrhage while cycling in the Forest of Saint-Germain-en-Laye.
http://hisour.com/artist/ernest-ange-duez/

Aner

Aner from Museo a Cielo Abierto en La Pincoya Santiago, Chile, El Museo a Cielo Abierto en la Pincoya, es un proyecto social de intervención muralista en las calles de la población. El objetivo principal es retratar la historia de la población con una mirada profunda de la realidad histórica popular por medio del arte mural.
http://hisour.com/artist/aner/

Alexander Andreyevich Ivanov

Alexander Andreyevich Ivanov (Jul 16, 1806 - Jul 3, 1858) was a Russian painter who adhered to the waning tradition of Neoclassicism but found little sympathy with his contemporaries. He was born and died in St. Petersburg.

Ivanov studied together with Karl Briullov at the Imperial Academy of Arts under his father, Andrey Ivanovich Ivanov. He spent most of his life in Rome where he befriended Gogol and was influenced by the Nazarenes. He has been called the master of one work, for it took 20 years to complete his magnum opus, The Appearance of Christ Before the People (1837–57), now in the Tretyakov Gallery at Moscow.

Critical judgement about Ivanov improved in the following generation. Some of the numerous sketches he had prepared for The Appearance have been recognized as masterpieces in their own right. The most comprehensive collection of his works can be viewed at the Russian Museum in St. Petersburg.
http://hisour.com/artist/alexander-andreyevich-ivanov/

The Lesbian, Gay, Bisexual & Transgender Community Center New York, United States

New York City’s Lesbian, Gay, Bisexual & Transgender Community Center empowers people to lead healthy, successful lives. The Center celebrates our diversity and advocates for justice and opportunity.

The Lesbian, Gay, Bisexual & Transgender Community Center is a nonprofit organization serving the lesbian, gay, bisexual and transgender (LGBT) population of New York City and nearby communities. The center is located in the West Village at 208 West 13th Street, an historic building which formerly housed the High School for Food Trades.

In December 1983, the New York City Board of Estimates approved the sale of the former Food and Maritime Trades High School, located at 208 West 13th Street, to the Lesbian & Gay Community Services Center, Inc., for $1.5 million. In its first year, 60 groups met regularly at the center. Today more than 300 groups call the center home.

Programs produced by the center include Center Wellness, an Adult Services Department working with people with AIDS, struggling with substance abuse issues, mental health challenges and much more; Youth Services, an activities-based program for LGBT youth; Center Cultural Programs, presenting established and emerging artists, writers, and activitist to the community; Center Families, the Center's family project; and the Pat Parker/Vito Russo Center Library, New York City's largest LGBT lending library.

In 1985, the center became temporary home to the Harvey Milk High School, a program of the Hetrick-Martin Institute. The Lesbian Switchboard became a permanent tenant after it was evicted from its former home, and Dignity, a Catholic gay and lesbian religious organization, sought refuge when it was expelled from Catholic churches.

The availability of meeting space was a major organizing tool for the LGBT movement in the 1980s and early 1990s. Groups that have expanded throughout the nation, such as the AIDS Coalition to Unleash Power (ACT UP), Queer Nation, Lesbian Avengers, and Gay & Lesbian Alliance Against Defamation (GLAAD), had their inception at the center.[citation needed] At one point in the early 1990s the Center was hosting regular meetings for more than three hundred groups.

Every week, 6,000 people visit the center, and more than 300 groups meet in the building.[citation needed] These groups range from political activist organizations to social clubs. The center also frequently hosts speeches, performances, workshops, and commercially sponsored information sessions.

Numerous Alcoholics Anonymous, Narcotics Anonymous, and other twelve-step recovery groups meet at the center. The center's Mental Health and Social Services division also sponsors support groups focused on coming out, transgender issues, bereavement, and other topics of concern to the LGBT community.

The center also houses Y.E.S., the Youth Enrichment Services. This organization provides services and support for queer and questioning youth. Programs such as both a young men's and a young women's discussion group, a gender exploration group, a safe schools network, and a variety of support groups are available to youth free of charge.

The center also hosts and documents the artistic and historic contributions of members of the LGBT Community in its archives, and its lending library has the largest selection of LBGT materials in New York. The center's cultural program includes the Campbell Soady Gallery, named in honor of major donors William Campbell and William Soady. The Gallery exhibitis artwork that celebrates the diversity of LGBT life and supports the work of emerging queerartists. The center is also home to a repository of manuscripts, personal papers, organizational files and records of the center itself. Archivist Rich Wandel oversees this all-volunteer project.
http://hisour.com/partner/america/lesbian-gay-bisexual-transgender-community-center-new-york-united-states/

Les Reclusiennes, Musée virtuel de la pensée Sainte Foy la Grande, France

The virtual museum is a path to discover literature around Sainte-Foy-la-Grande. It stages the authors through geolocalized portraits, Web-documentaries and geolocalised artistic tags. A creation of the association Coeur de Bastide.

Between the reality of the walls and paths of the Foyen country and the virtual smartphones, graphic portraits, inscribed in the stone of the walls of their city or their house, are only visible when water has been thrown there.

"If my parents had allowed me, when I was reading a book, to visit the area he described, I could have made an invaluable step in conquering the truth. Marcel Proust, In search of lost time.
The Virtual Museum of Thought emphasizes the territory through its intangible heritage. Literature, Contemporary Art and Tourism benefit directly from its development.

Initiated from Sainte Foy la Grande with three first installations in situ, it has the vocation to extend along the Dordogne river before developing nationally.

The Virtual Museum of Thought is a path of discovery of writers who are native or have lived in our region, whose work, in whole or in part, is rooted in our territory.

Project of writers and authors in their walls, developed as part of Reclusiennes in Sainte Foy la Grande (Gironde, France).
http://hisour.com/partner/europe/les-reclusiennes-musee-virtuel-de-la-pensee-sainte-foy-la-grande-france/

Leopold Museum Wien, Austria

The Leopold Museum, housed in the Museumsquartier in Vienna, Austria, is home to one of the largest collections of modern Austrian art, featuring artists such as Egon Schiele, Gustav Klimt, Oskar Kokoschka and Richard Gerstl.
It contains the world's largest Egon Schiele Collection.

The more than 5,000 exhibits collected by Elisabeth and Rudolf Leopold over five decades were consolidated in 1994 with the assistance of the Republic of Austria and the National Bank of Austria into the Leopold Museum Private Foundation. In 2001 the Leopold Museum was opened.

The core of the collection consists of Austrian art of the first half of the 20th century, including key paintings and drawings by Egon Schiele and Gustav Klimt, showing the gradual transformation from the Wiener Secession, the Art Nouveau/Jugendstil movement in Austria to Expressionism. The historical context is illustrated by major Austrian works of art from the 19th and 20th centuries.

In 2012, following a public outcry, the museum's largest street posters for the Nackte Männer (English: Naked Men) exhibition by Ilse Haider, displaying one of the exhibition's most prominent artworks, entitled Vive la France (a depiction of three naked French footballers, with their genitals fully revealed: the first black, the second Arab/Muslim and the third white, by the French artists Pierre et Gilles), were amended by the artists themselves, by the addition of a red ribbon or stripe to cover the players' genitals.

It took five decades to compile the collection. In 2001 it found its definite location. Together with the Republic of Austria and the Austrian National Bank, the collector Dr. Rudolf Leopold, who died in 2010 at the age of 85, consolidated his collection, which is now exhibited in a museum built by the Austrian state, into a private foundation. It is the largest and most visited museum in the newly created Museums Quartier. The main focus of the collection lies on Austrian art of the first half of the 20th century, including major paintings and drawings by Egon Schiele and Gustav Klimt. Here the transition from art nouveau to expressionism gets comprehensible step by step. The art historic context is imparted by Austrian 19th and 20th century masterpieces. In the spacious rooms awash with light one does not only encounter paintings and drawings but also precious art handicraft and furniture of the era of the Wiener Werkst=E4tte and original artworks by Adolf Loos, Otto Wagner and Josef Hoffmann. A further focus of the collection lies on African and Oceanic sculptures. Such objects served as inspirational source for many artists of Classic Modernist movements. Until the occupation of the museum, the Leopold family lived amid the paintings and used the furniture and everyday objects. What began with the first painting purchased by the young medical student Leopold, later truly got an obsession with art. In 1994 Rudolf Leopold consolidated more than 5,000 art objects into the private foundation valued at 575 million Euros. The enormous increase in value stems mostly from the fact that the collector understood the value of art that was generally frowned upon long before others. Until the 1960s, Klimt and Schiele were not quite appreciated in Austria but even despised. Rudolf Leopold never listened to the verdicts of his contemporaries and at auctions sometimes even laid himself open to ridicule, like in 1954 when he purchased a nude study by Schiele, which was still regarded as degenerated and pornographic=93 back then, amidst laughter of the present audience. When buying or trading art, Leopold built on his esthetic judgment and time proved him right. A subjective selection grew into a broadly recognized cultural institution, a collector=92s museum. Because of its content and substance, it is impossible to imagine the Viennese museum landscape without it by now. The huge cube made of bright stone coins the entire MuseumQuartier. Inside, one can gain insight into a pivotal part of Austrian history and cultural identity. To discover overlooked art has always been and still is the principle of a collector, which also coins the program of special exhibitions. Besides academic accounting for Austrian art history, special exhibitions shine a light on confrontations of different artistic positions as well as new aspects of the collection. In conversation with Professor Leopold, he liked to trace his success story back to his talent to comprehend the creation of an art work with his artistically seeing eye. His special skill resided in a more accurate perception, in an experienced comparison and inspired highlighting of what is essential. He always used his subjective feelings and moods to make a selection, a series or presentation. By doing so, he became the creator of an artistic synthesis born out of an unswervingly avant-garde attitude and quite in the sense of the Viennese secessionists. As a museum it now bears his name, as a whole it is metonymic with the Viennese Modern Age.

The Leopold Museum Private Foundation
In 1994, the Leopold Collection was consolidated by Rudolf Leopold into the Leopold Museum Private Foundation - a foundation on a puplic benefit / non-profit basis - with the support from the Republic of Austria and the National Bank of Austria. The core of the collection consists of the most important compilation of works by Egon Schiele in the world. In addition, Austria's Classical Modernism movement is represented by major works by Gustav Klimt, Albin Egger-Lienz, Oskar Kokoschka, Richard Gerstl, and Alfred Kubin among others. There were 5,266 inventoried works of art at the time of the foundation establishment.

Purpose of the foundation:
Quote pursuant to Art. 2 of the founding document:
(1) The foundation purpose shall be to preserve the collection established by the founder on a permanent basis, to open it to the public by means of a museum, and to catalogue and study it in order to document its contribution to Austria=92s cultural development, in particular, the Modernist movement which started in Vienna at the beginning of the 20th century.
(2) The foundation shall exclusively and directly pursue a non-profit-making objective within the definitions of the Federal Tax Code. It shall have no profit motive.
http://hisour.com/partner/america/leopold-museum-wien-austria/

Leo Baeck Institute, Center for Jewish History New York, United States

The Center for Jewish History is a partnership of five Jewish history, scholarship, and art organizations in New York City: American Jewish Historical Society, American Sephardi Federation, Leo Baeck Institute New York, Yeshiva University Museum, and YIVO Institute for Jewish Research. Together, housed in one location, the partners have separate governing bodies and finances, but collocate resources. The partners' collections make up the biggest repository of Jewish history in the United States. The Center for Jewish History serves as a centralized place of scholarly research, events, exhibitions, and performances. Located within the Center are the Lillian Goldman Reading Room, Ackman & Ziff Family Genealogy Institute and a Collection Management & Conservation Wing. The Center for Jewish History is also an affiliate of the Smithsonian Institution.

Leo Baeck Institute (LBI) was founded in 1955 and named for the rabbi who was the last leader of the Jewish community in Nazi Germany. Rabbi Leo Baeck survived the concentration camp Theresienstadt to become the first president of the Institute. LBI began as, and remains, an effort by German-Jewish émigrés to document the vibrant culture of modern, assimilated German Jewry that was destroyed in the Holocaust. It has also grown into a vital resource for understanding the roots of that tragedy and for highlighting German-Jewish community members’ breakthrough developments in the arts, science and philosophy. More than 50 years after its founding, LBI continues to add significant new materials to the world’s premier research library devoted to the history of German-speaking Jewry.

The Leo Baeck Institute (LBI) is a founding partner of the Center for Jewish History and a research library and archive in New York that contains the most significant collection of source material relating to the history of German-speaking Jewry, from its origins to Holocaust History, and continuing to the present day.

The partners' collections include more than 100 million documents, 500,000 books, thousands of art objects, textiles, ritual objects, music, films, and photographs. Most of which had been poorly housed in the member institutions and were at risk of damage or destruction. The Center is heavily involved with the preservation of records that define moments in Jewish immigration to New York City. A $670,000 grant awarded in 2007 helped with the cataloging of these materials.


http://hisour.com/partner/america/leo-baeck-institute-center-jewish-history-new-york-united-states/

Leibniz Association Berlin, Germany

The Leibniz Year in the Leibniz Association: 2016, the Leibniz Association simultaneously commemorates the 370th birthday and the 300-year death anniversary of its namesake Gottfried Wilhelm Leibniz with numerous events and the joint virtual exhibition put on by the 8 Leibniz research museums. Featuring 8 objects, the museums offer insights into their research and their collections, which comprise 100 million objects. But scientific interdisciplinary cooperation is not restricted to the museums alone. The Leibniz Association places special emphasis on fostering the exchange by more than 9,000 researchers at 88 institutes across a wide variety of disciplines, at the same time realising Leibniz’s request of “theoria cum praxi” for all sciences.

The Leibniz Association (German: Leibniz-Gemeinschaft or Wissenschaftsgemeinschaft Gottfried Wilhelm Leibniz) is a union of German non-university research institutes from various branches of study.

In 2017, 91 non-university research institutes and service device for science belong to the Leibniz-Gemeinschaft. The fields range from natural science, engineering, and ecology, to economics, other social sciences, space science, and humanities. The Leibniz Institutes work in an interdisciplinary fashion, and connect basic and applied science. They cooperate with universities, industry, and other partners in different parts of the world. The "evaluation" of the Leibniz-Gemeinschaft is a benchmark for all institutes. The Leibniz Institutes employ 18,700 people and budget was €1.7 billion.

Leibniz Institutes are funded publicly to equal parts by the federal government and the Federal states (Bundesländer).

The Leibniz-Gemeinschaft is named after the German philosopher, mathematician, scientist, and inventor Gottfried Wilhelm Leibniz (1646-1716).

The Leibniz Association evolved from the "Blaue Liste" (blue list) in former Western Germany and research institutions of the German Academy of Sciences at Berlin of the former DDR, whose research capability was deemed worth keeping after an evaluation by the German Wissenschaftsrat. The name 'Blaue Liste' for a German model for funding science has been retired, and traces back to the color of a dossier.
The Leibniz Association's headquarter is located in Berlin and there is EU bureau in Bruxelles. Since 2014 the engineer Prof. Dr.-Ing. Matthias Kleiner is president of the Leibniz Association, Christiane Neumann acts as secretary general.
http://hisour.com/partner/leibniz-association-berlin-germany/

Andrea Andreani

Andrea Andreani (1540 - 1623) was an Italian engraver on wood, who was among the first printmakers in Italy to use chiaroscuro, which required multiple colours.

Born and generally active in Mantua about 1540 and died at Rome in 1623. His engravings are scarce and valuable, and are chiefly copies of Mantegna, Albrecht Dürer, Parmigianino and Titian. The most remarkable of his works are Mercury and Ignorance, the Deluge, Pharaoh's Host Drowned in the Red Sea, the Triumph of Caesar, and Christ retiring from the judgment-seat of Pilate after a relief by Giambologna. He was active 1584–1610 in Florence.
http://hisour.com/artist/andrea-andreani/

Giovanni Andrea Sirani

Giovanni Andrea Sirani (Sep 4, 1610 - May 21, 1670) was an Italian Baroque painter from Bologna.

He is best known as the father of the female painter Elisabetta Sirani. Sirani trained initially with Giacomo Cavedone, then worked in the studio with Guido Reni. He became entangled in various conspiracies circling around the death of his daughter in 1665. While Giovanni accused a maid of poisoning his daughter, others saw Giovanni as the origin of death from stomach ulcer by overwork.
http://hisour.com/artist/giovanni-andrea-sirani/

Giovanni Andrea Ansaldo

Giovanni Andrea Ansaldo (1584 - Aug 18, 1638) was an Italian painter active mainly in Genoa.

Ansaldo was born in Voltri, now part of the comune of Genoa, the son of a merchant. He trained under Orazio Cambiasi and possibly collaborated with Bernardo Strozzi.
Two of his pupils were Giuseppe Badaracco and Bartolomeo Bassi. One of his descendants was Innocenzo Ansaldo of Pescia (February 12, 1734- February 16, 1816).

He died in Genoa and was probably buried in the same Annunziata church.

Only a few of Ansaldo’s works are dated or documented, but most of these paintings listed in the early art historian Raffaello Soprani's 1768 publication about artists in Genoa Le vite de' pittori, scultori, ed architetti genovesi still survive. They span a period of over 20 years.

Ansaldo's works are typical of the Genoese eclecticism of the early 17th century, influenced by Flemish artists such as Rubens and Anthony van Dyck and the Milanese Giovanni Battista Crespi, Giulio Cesare Procaccini and il Morazzone.
Ansaldo was responsible for the fresco decoration of the cupola of the Basilica della Santissima Annunziata del Vastato of Genova, completed during 1635–1638, just before his death. His Annunciation fresco is considered the first true Baroque painting in the city. Through a complex trompe-l'oeil view, it reproduces the interior of a Greek Cross planned church, with Mary ascending to heaven being awaited by the Holy Father in the centre of the dome.

Altarpieces from Ansaldo were commissioned for the Cathedral of Segovia. A Deposition is presently housed in the Accademia Linguistica of Genoa.
http://hisour.com/artist/giovanni-andrea-ansaldo/

Michael Ancher

Michael Peter Ancher (Jun 9, 1849 - Sep 19, 1927) was a Danish realist artist. He is remembered above all for his paintings of fishermen and other scenes from the Danish fishing community in Skagen.

Michael Peter Ancher was born at Rutsker on the island of Bornholm. The son of a local merchant, he attended school in Rønne but was unable to complete his secondary education as his father ran into financial difficulties, forcing him to fend for himself. In 1865, he found work as an apprentice clerk at Kalø Manor near Rønde in eastern Jutland. The following year, he met the painters Theodor Philipsen and Vilhelm Groth who had arrived in the area to paint. Impressed with his own early work, they encouraged him to take up painting as a profession. In 1871, he spent a short period at C.V Nielsen's art school as a preliminary to joining the Royal Danish Academy of Art in Copenhagen later in the year. Although he spent some time at the academy, he left in 1875 without graduating.

One of his student companions was Karl Madsen who invited him to travel to Skagen, a small fishing village in the far north of Jutland where the Baltic and North Sea converge. From the mid-1870s, he and Madsen became key members of a group of artists who congregated there each summer, known as the Skagen Painters.

After Ancher first visited Skagen in 1874, he settled there joining the growing society of artists. The colony of painters regularly met in the Brøndums Hotel in Skagen in order to exchange ideas. In 1880 Ancher married fellow painter and Skagen native Anna Brøndum, whose father owned the Brøndums Hotel. In the first years of their marriage, the couple had a home and studio in the "Garden House", which is now in Skagens Museum's garden. After the birth of their daughter Helga in 1883, the family moved to Markvej in Skagen.
He achieved his artistic breakthrough in 1879 with the painting Vil han klare pynten (Will He Round the Point?). Michael Ancher's works depict Skagen's heroic fishermen and their dramatic experiences at sea, combining realism and with classical composition. Key works include The Lifeboat is Carried Through The Dunes (1883), The Crew Are Saved (1894) and The Drowned Man (1896).

Michael Ancher was influenced by his traditional training at the Royal Danish Academy of Fine Arts in the 1870s which imposed strict rules for composition. His marriage to Anna Ancher did, however, introduce him to the naturalistic concept of undecorated reproduction of reality and its colours. By combining the pictorial composition of his youth with the teachings of naturalism, Michael Ancher created what has been called modern monumental figurative art, such as A Baptism.

The works of Anna and Michael Ancher can among other places be seen at the Skagens Museum, Statens Museum for Kunst, the Frederiksborg Museum, The Hirschsprung Collection and Ribe Art Museum. Michael Ancher received the Eckersberg Medal in 1889 and in 1894 the Order of the Dannebrog. Originally many of Ancher's paintings hung in the dining room of the Brøndums Hotel. The painter P.S. Krøyer conceived the idea of placing paintings by different artists in the wall panels. In 1946 the dining hall was moved to Skagens Museum.

Michael and Anna Ancher's home: The Skagen residence of Anne and Michael Ancher was purchased in 1884. In 1913, a large studio annex was added to the property and this also forms part of what is on display today. Upon her death in 1964, the Ancher's daughter, Helga, left the house and all of its contents to the Helga Ancher Foundation.

In 1967 the home was turned into a museum by the foundation. Original furniture and paintings created by the Anchers and other Skagen artists are shown in the restored home and studio. Temporary art exhibitions are arranged in Saxilds Gaard, another building on the property. This house is filled with displays of paintings by Michael and Anna Ancher as well as those from many other Skagen painters who made up their circle of friends. Today the house is a part of Skagens Museum.

Danish thousand-kroner bill: Anna and Michael Ancher were featured on the front of the previous series DKK1000 bill. The first version of the bill came into circulation on 18 September 1998, and was then updated on 25 November 2004, adding more security features. The front of the banknote featured a double portrait of Anna and Michael Ancher, derived from two 1884 paintings by Peder Severin Krøyer which originally hung on the walls in the dining room at Brøndums Hotel.
http://hisour.com/artist/michael-ancher/

Anna Ancher

Anna Ancher (Aug 18, 1859 - Apr 15, 1935) was a Danish artist associated with the Skagen Painters, an artists' colony on the northern point of Jutland, Denmark.

Anna Kirstine Brøndum was born in Skagen, Denmark, the daughter of Erik Andersen Brøndum (1820–1890) and Ane Hedvig Møller (1826–1916). She was the only one of the Skagen Painters who was actually born and grew up in Skagen, where her father owned the Brøndums Hotel. The artistic talent of Anna Ancher became obvious at an early age, and she grew acquainted with pictorial art via the many artists who settled to paint in Skagen, in the north of Jutland.

While she studied drawing for three years at the Vilhelm Kyhn College of Painting in Copenhagen, she developed her own style and was a pioneer in observing the interplay of different colors in natural light. She also studied drawing in Paris at the atelier of Pierre Puvis de Chavannes along with Marie Triepcke, who would marry Peder Severin Krøyer, another Skagen painter. In 1880 she married fellow painter Michael Ancher, whom she met in Skagen. They had one child, daughter Helga Ancher. Despite pressure from society that married women should devote themselves to household duties, she continued painting after marriage.

Anna Ancher was considered to be one of the great Danish pictorial artists by virtue of her abilities as a character painter and colorist.[2] Her art found its expression in Nordic art's modern breakthrough towards a more truthful depiction of reality, e.g. in Blue Ane (1882) and The Girl in the Kitchen (1883–1886).

Ancher preferred to paint interiors and simple themes from the everyday lives of the Skagen people, especially fishermen, women and children. She was intensely preoccupied with exploring light and color, as in Interior with Clematis (1913). She also created more complex compositions such as A Funeral (1891). Anna Ancher's works often represented Danish art abroad. She was awarded the Ingenio et Arti medal in 1913 and the Tagea Brandt Rejselegat in 1924.

The Skagen residence of Anne and Michael Ancher was purchased in 1884. In 1913, a large studio annex was added to the property, and this also formed part of what is on display today. Upon her death in 1964, the Anchers' daughter, Helga, left the house and all of its contents to a foundation. The former residence was restored and opened as a museum and visitor attraction.

In 1967, Michael and Anna Ancher's house (Anchers Hus) in Skagen was converted into a museum by the Helga Ancher Foundation before Anchers Hus opened to the public for tours. Original furniture and paintings created by the Anchers and other Skagen artists are shown in the restored home and studio. Art exhibitions are arranged in the Saxild House (Saxilds Gaard), another building on the property, and is filled with displays of paintings by Michael and Anna Ancher as well as many other Skagen painters who made up their circle of friends.

Anna and Michael Ancher were featured on the front side of the DKK1000 bill, which came into circulation on 25 November 2004 and was subsequently replaced. The front of the banknote had a double portrait of Anna and Michael Ancher, derived from two 1884 paintings by Peder Severin Krøyer, which originally hung on the walls in the dining room at Brøndums Hotel.


http://hisour.com/artist/anna-ancher/

Amose

Amose from Mural Istanbul Festival, Istanbul, Turkey. Our festival is a first in mural in Turkey and has been the meeting place of famous street art artists from various parts of the world since 2012.
http://hisour.com/artist/amose/

Amor

Amor Mural from Estilo Libre, a team of artists, lovers of graffiti and urban culture. Professionals of Visual Arts, Design, Communication, and social enterprises, we consider that the artistic expression in the public space contributes to the social transformation.

We believe that the conformation and consolidation of a social movement that calls for plural and collective creativity will promote the harmonious integration of street art into society and culture.

Our mission is to promote street culture and the art of urban graffiti as a tool for inclusion and social transformation.


http://hisour.com/artist/amor/

Jacopo Amigoni

Jacopo Amigoni (1682 - 1752), also named Giacomo Amiconi, was an Italian painter of the late-Baroque or Rococo period, who began his career in Venice, but traveled and was prolific throughout Europe, where his sumptuous portraits were much in demand.

He was born in Naples or Venice. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi.

Starting in 1717, he is documented as working in Bavaria in the Castle of Nymphenburg (1719); in the castle of Schleissheim (1725–1729); and in the Benedictine abbey of Ottobeuren. He returned to Venice in 1726. His Arraignment of Paris hangs in the Villa Pisani at Stra. From 1730 to 1739 he worked in England, in Pown House, Moor Park Wolterton Hall and in the Theatre of Covent Garden. From there, he helped convince Canaletto to travel to England by telling him of the ample patronage available.

From his travel to Paris in 1736, he met the celebrated castrato Farinelli. Later in Madrid, he was to paint a self-portrait with the singer and entourage. He also encountered the painting of François Lemoyne and Boucher.

In 1739 he returned to Italy, perhaps to Naples and surely to Montecassino, in whose Abbey existed two canvases (destroyed during World War II). Until 1747, he travelled to Venice to paint for Sigismund Streit, for the Casa Savoia and other buildings of the city. In 1747 he left Italy and established himself in Madrid. There he became court painter to Ferdinand VI of Spain and director of the Royal Academy of Saint Fernando. He died in Madrid.

Partial anthology:
Consul Marcus Curius Dentatus prefers turnips to the Samnites' gifts
Caroline Wilhelmina of Brandenburg-Ansbach
Print after Amigoni of Princess Amelia Sophia Eleanora
Prints after portraits by Amigoni.
Venus disarming cupid.
Venus and Adonis
http://hisour.com/artist/jacopo-amigoni/

Ezra Ames

Ezra Ames (May 5, 1768 - Feb 23, 1836) was a popular portrait painter in Albany, New York during the late 18th and early 19th centuries. More than 700 portraits have been attributed to him.

He was born in Framingham, Massachusetts in 1768. He moved to Worcester, Massachusetts, in 1790, and married Zipporah Wood in 1794. Some time later he moved to Albany, New York where he painted a number of prominent people, including early portraits of Governor George Clinton and Alexander Hamilton.

It is not known whether Ames was formally trained or not, but his work had a popular appeal. In addition to portraits and landscapes, Ames' surviving accounts books indicated he painted miniatures, carriages, fire buckets, fences, mirror frames, and furniture.

Ames painted a number of still lifes, landscapes, and history paintings, and was skilled at engraving. The Chautauqan Magazine describes his importance in this way; "(he) was the most noted portraitist in the state, outside New York city. The sure and fluent ease of his brush, his keen characterization, his pure, fresh coloring, are all remarkable for this early period. His portrait of Governor George Clinton, exhibited at the Pennsylvania Academy in 1812, won him wide notice; but he did delightful work some years earlier, and many even finer canvases are scattered through the middle states, in private hands."

During his career Ames painted many members of the New York State legislature and retired comfortably on his savings built up during his prolific career, primarily between 1800 and 1820. In fact he became known unofficially as the (official) New York State portrait painter. Ames was an active freemason, which brought him a number of commissions from his fellows.

Ames served as chairman of the Fine Arts Committee of the Society for the Promotion of Useful Arts in 1805, and was also President of the Mechanics and Farmers' Bank of Albany.

He died in 1836 and is buried at the Albany Rural Cemetery (Lot 1 Section 59). Ames was posthumously elected an honorary member of the American Academy of Fine Arts in New York City.

Ames had three children, two of whom followed him into the business: Angelo Ames and Julius Rubens Ames (1801–1850).
http://hisour.com/artist/ezra-ames/

Friedrich von Amerling

Friedrich von Amerling (Apr 14, 1803 - Jan 14, 1887) was an Austro-Hungarian portrait painter in the court of Franz Josef. He was born in Vienna and was court painter between 1835 and 1880. With Ferdinand Georg Waldmüller he is one of the outstanding Austrian portrait painters of the 19th century.

He was the son of the gold- and silversmith Franz Amerling and Theresia Kargl. He studied from 1815 to 1824 at the academy of the arts in Vienna, before journeying to Prague where he studied at the Academy until 1826. He spent 1827 and 1828 in London, where he was influenced by the portrait painter Sir Thomas Lawrence. Further journeys led him to Paris, where he studied with Horace Vernet, and Rome; he then returned to Vienna, where after 1828 he worked for the Austrian court, the aristocracy and middle class. He received the Reichel prize of the academy in Vienna in 1829.

Amerling spent much time traveling: in 1836 and 1838 to Italy, 1838 to the Netherlands, 1839 to Munich, 1840-43 in Rome, 1882 in Spain, 1883 in England, 1884 in Greece, 1885 in Skandinavia up to Norway's North Cape and 1886 to Egypt and Palestine. He was married four times: to Antonie Kaltenthaler from 1832 until her death in 1843; from 1844–45 to Katharina Heissler (ending in divorce); from 1857 until her death in 1880 with Emilie Heinrich; and finally to Maria Nemetschke from 1881 until his death.

In 1878 Amerling was elevated to the nobility and was called Friedrich Ritter von Amerling. As one of the most outstanding artists of Vienna he received numerous important men of letters and musicians (such as Franz Liszt) at home. In 1858 he acquired the Gumpendorf castle in Vienna and equipped it after his taste with valuable art treasures. The building was therefore called, in the vernacular, Amerlingschloessl.

Apart from numerous other honours, he received the Orden der Eisernen Krone in 1879. Upon his death in 1887, a street in Vienna was designated the Amerlingstrasse in his name. He was buried in the Viennese central cemetery, where he is commemorated with a monument designed by Johannes Benk (de). The same artist also created the Amerling monument in the Viennese city park, dedicated in 1902.

In 1948 the Austrian post office issued a special stamp on the 60th anniversary of Friedrich von Amerling's death. On 3 March 2008 the Österreichische Post issued another Amerling stamp. This time it was one of a series commemorating the Liechtenstein Museum in Vienna and featured Princess Marie Franziska of Liechtenstein.

Amerling created over 1000 works, mostly portraits. He was the most popular portrait painter of the high aristocracy and the large middle class of the Biedermeier period. The years from 1830 to 1850 represent the high point of his work. His style has points of similarity to that of Ingres, combining clarity of outline with rich coloration. Amerling's work was exhibited in Vienna in 2003. Most of his work remains in Austria.


http://hisour.com/artist/friedrich-von-amerling/

Pedro Américo

Pedro Américo de Figueiredo e Melo (Apr 29, 1843 - Oct 7, 1905) was a Brazilian novelist, poet, scientist, art theorist, essayist, philosopher, politician and professor, but is best remembered as one of the most important academic painters of Brazil.

He moved to Rio de Janeiro in 1854, where he was granted a scholarship to study in the Academia Imperial de Belas Artes (Imperial Academy of Fine Arts). Later he furthered his studies in Europe, at the École des Beaux-Arts in Paris, being a pupil of Jean-Auguste-Dominique Ingres, Hippolyte Flandrin and Carle-Horace Vernet, winning much praise for his paintings, and achieving the Doctorate in Sciences at the University of Brussels, in 1868.

Returning to Brazil, he produced one of the most well known works of art in Brazil: Independence or Death!, depicting the moment when Prince Peter declared the country independent from Portugal, a work that has illustrated History books for elementary schools in Brazil for decades.

Living mostly in Florence, Italy but traveling extensively back and forth from Rio de Janeiro, Pedro Américo managed to work also as a lecturer and an art historian.

He married Carlota de Araújo Porto-alegre (1844–1918), daughter of painter and diplomat Manuel de Araújo Porto-alegre, and they had children. Knighted by the German Crown he was also Great Knight of the Order of the Holy Sepulchre. With the proclamation of the Republic in Brazil in 1889, he was elected a deputy of the National Assembly.
http://hisour.com/artist/pedro-americo/

Kay Ambrose

Kay Ambrose, ballet dress designer from National Ballet of Canada. Make the difference between the physical attributes of dancers to definitions of classical and romantic ballets and then the effects of set design, costumes and make-up. For the seasoned ballet attender refresh your knowledge or for the person attending for the first time receive a well-rounded description of what to expect at your first professional performance.

The National Ballet of Canada premiered its first four-act Swan Lake in 1955, with choreography after the original Russian masters Marius Petipa and Lev Ivanov and featuring designs by Kay Ambrose. The ballet was not only the company’s first full-length Swan Lake but it was also the first full-length version to be presented in Canada. At the time only a few established European companies held a full-length production in their repertoire so it was a mark of what founding Artistic Director Celia Franca envisioned for the company that it was undertaken so early in its history.
http://hisour.com/artist/kay-ambrose/

Tarsila do Amaral

Tarsila do Amaral (Sep 1, 1886 - Jan 17, 1973), known simply as Tarsila, is considered to be one of the leading Latin American modernist artists, described as "the Brazilian painter who best achieved Brazilian aspirations for nationalistic expression in a modern style." She was a member of the "Grupo dos Cinco", which was a group of five Brazilian artists who are considered the biggest influence in the modern art movement in Brazil. The other members of the "Grupo dos Cinco" are Anita Malfatti, Menotti Del Picchia, Mário de Andrade, and Oswald de Andrade. Tarsila was also instrumental in the formation of the Antropofagia Movement; she was in fact the one who inspired Oswald de Andrade's famous "Cannibal Manifesto".

Tarsila do Amaral rata was born in Capivari, a small town in the countryside of the state of São Paulo. She was born to a wealthy family of farmers and landowners who grew coffee. Despite coming from a well-to-do family, Tarsila had her family's support towards superior education: at that time, women were not encouraged to seek higher education (especially if they came from rich families and had everything they needed). As a teenager, Tarsila and her parents traveled to Spain, where Tarsila caught people's eyes by drawing and painting copies of the artwork she saw at her school's archives.

Beginning in 1916, Tarsila studied sculpture in São Paulo with Zadig and Montavani. Later she studied drawing and painting with the academic painter Pedro Alexandrino. These were all respected but conservative teachers. In 1920, she moved to Paris and studied at the Académie Julian and with Emile Renard. The Brazilian art world was conservative, and travels to Europe provided students with a broader education in the areas of art, culture, and society. At this time, her influences and art remained conservative.

Besides the 230 paintings, hundreds of drawings, illustrations, prints, murals, and five sculptures, Tarsila's legacy is her effect on the direction of Latin American art. Tarsila moved modernism forward in Latin America, and developed a style unique to Brazil. Following her example, other Latin American artists were influenced to begin utilizing indigenous Brazilian subject matter, and developing their own style.The Amaral Crater on Mercury is named after her.

Major works:
An Angler, 1920s, Hermitage Museum, Saint Petersburg, Russia
Cuca, 1924, Museum of Grenoble, France
Landscape with Bull, 1925, Private Collector
O Ovo, 1928, Gilberto Chateaubriand, Rio de Janeiro
Abaporu, 1928, Eduardo Constantini, MALBA, Buenos Aires
Lake, 1928, Private Collection, Rio de Janeiro
Antropofagia, 1929, Paulina Nemirovsky, Nemirovsky Foundation, San Pablo
Sol poente, 1929, Private Collection, São Paulo
Segundo Class, 1933, Private Collection, São Paulo
Retrato de Vera Vicente Azevedo, 1937, Museu de Arte Brasileira, São Paulo
Purple Landscape with 3 Houses and Mountains, 1969–72, James Lisboa Escritorio de Arte, São Paulo


http://hisour.com/artist/tarsila-do-amaral/

Amara

Amara from Global Street Art is the largest online street art archive, which can be found online at the URL below. We have also arranged over 500 legal street art murals in London since 2012 with our Walls Project. The commercial side of Global Street Art partners with brands to produce physical and digital content.
http://hisour.com/artist/amara/

Edmond Aman-Jean

Edmond François Aman-Jean (Jan 13, 1858 - Jan 23, 1936) was a French symbolist painter, who co-founded the Salon des Tuileries in 1923.

He was born at Chevry-Cossigny, a small village at the juncture of the Seine and Marne rivers, about three miles outside of Paris in his day. He began his art studies with Henri Lehmann at the École des Beaux-Arts in 1880; he later studied under Pierre Puvis de Chavannes. Later he became an important teacher in his own right; his students included Charles Sydney Hopkinson, Theodor Pallady, and Nicolae Tonitza. Aman-Jean established his reputation primarily for his portraits, especially of female subjects; he was also noted for his murals in public and official buildings, including the Sorbonne.

Aman-Jean established his reputation primarily for his portraits, especially of female subjects; he was also noted for his murals in public and official buildings, including the Sorbonne. Like many French artists of his generation, he was influenced by the new perspectives on Japanese art current in Paris in his day; more unusually, Aman-Jean was interested in the Pre-Raphaelite artists in England.

Aman-Jean was a close friend of Georges Seurat; the two artists shared a Paris studio in 1879. Art historian Robert Herbert called Seurat's portrait of Aman-Jean, "one of the great portrait drawings of the nineteenth century". It was the first work Seurat showed, at the Paris Salon in 1883. Aman-Jean also associated with a range of artists and cultural figures of his era, from Ernest Laurent to Paul Verlaine.

Aman-Jean also worked in lithography and printmaking and designed posters.

Aman-Jean was a close friend of Georges Seurat; the two artists shared a Paris studio in 1879. Art historian Robert Herbert called Seurat's portrait of Aman-Jean, "one of the great portrait drawings of the nineteenth century".
http://hisour.com/artist/edmond-aman-jean/

Ramon Amadeu

Ramon Amadeu (1745 - 1821) was a Catalan Spanish sculptor

He was born in Barcelona in 1745. He lived in this city until 1809, from which he fled persecuted by the French to Olot, where he worked various images, the most notable being a Holy Christ and The Virgin of the first pain of Castellón de Ampurias and a Virgin of The Piety; San Bruno for the Church of St. James of Barcelona; Saint Teresa for the Saints Justo and Pastor; Santa Ana with the Virgin in arms and San Joaquin, group that is venerated in the former collegiate of Santa Ana and the one of the blessed Jose Oriol, for the one of San Severo, etc.

He also modeled countless beautiful figurines for births (Gelabert collection, Olot).
http://hisour.com/artist/ramon-amadeu/

Francis Alÿs

Francis Alÿs is a Belgian-born, Mexico-based artist. His work emerges in the interdisciplinary space of art, architecture, and social practice. After leaving behind his formal training as an architect and relocated to Mexico City, he has created a diverse body of artwork that explores urbanity, spatial justice, and land-based poetics. Employing a broad range of media from painting to performance, his works examine the tension between politics and poetics, individual action and impotence. Alÿs commonly enacts paseos—walks that resist the subjection of common space. Alys reconfigures time to the speed of a stroll, making reference to the figure of the flâneur, originating from the work of Charles Baudelaire and developed by Walter Benjamin. Cyclical repetition and return also inform the character of Alÿs’ movements and mythology—Alÿs contrasts geological and technological time through land-based and social practice that examine individual memory and collective mythology. Alÿs frequently engages rumor as a central theme in his practice, disseminating ephemeral, practice-based works through word-of-mouth and storytelling.

Alÿs' work encompasses many media often involving the participation and presence of the artist. These performed events are documented in video, photographs, writing, painting, and animation. In an interview with sociologist, Sarah Thornton, Alÿs, metaphorized his artistic role as a "midwife." Elaborating he said, "I am not an inventor. I'm just the one on the side."

Alÿs' work has been shown in many international institutions, including Wiels (2010–2011), Tate Modern, London (2010), The AiM Biennale (Arts in Marrakech International Biennale), The Renaissance Society, Chicago (2008), the Hammer Museum, Los Angeles (2007), Portikus, Frankfurt, Germany, MALBA, Buenos Aires, Argentina, MALi, Lima; Kunstmuseum Wolfsburg (de), Wolfsburg; Musée d'Art Contemporain, Avignon, France (2004); Centro nazionale per le arti contemporanee, Rome, Italy [traveled to Kunsthaus Zürich, Zürich, and Museo Nacional Centro de Arte Reina Sofía, Madrid] (all 2003); and Museum of Modern Art, New York, NY (2002, 2011[28]); and Or Gallery, Vancouver, Canada (1998). His traveling show of portraits of the Saint Fabiola has traveled to London, New York,Perú and LAMCA. Alÿs participated in the Venice Biennial in 1999, 2001 and 2007, and the Carnegie International in 2004. He was part of the Revolution vs Revolution exhibition that took place at the Beirut Art Center in 2012.

Alÿs is represented by David Zwirner in New York and Galerie Peter Kilchmann in Zurich.
http://hisour.com/artist/francis-alys/

Tamara Alves

Tamara Alves from Galeria de Arte Urbana.
Urban Art Gallery - is now closer to everyone. We went from 7 panels installed on Calçada da Glória | Largo da Oliveirinha, to walls and facades, to waste collection trucks and bottle banks that can be discovered throughout the entire city.

We can be reached at www.galeriaurbana.com.pt and finally got in the social networks. Send us pictures of graffiti and street art that you find in Lisbon, make comments, and inform us about your projects and anything that might be happening inside this universe.
If you like street art, we like it too, a lot!

http://hisour.com/artist/tamara-alves/

Uzziel Álvarez Fuentes

Uzziel Álvarez Fuentes from Hidro Arte aims to make use of walls SACMEX facilities throughout the Federal District as canvases for conducting street art murals , summoning artists to a contest with the theme of " Water culture " in which the importance of the care and conservation of water is promoted , thus contributing to the recovery and improvement of public spaces.
http://hisour.com/artist/uzziel-alvarez-fuentes/

Jordi Alumà i Masvidal

Jordi Alumà i Masvidal (Barcelona, ​​26 February 1924) is a Catalan painter, illustrator and poster child of Joseph and Alumà Sans.

During the Spanish Civil War he studied at the painting studio Propaganda Commissariat of the Generalitat of Catalonia. Later he studied at the Salesian workshops Sarria and furthered his training with trips to Italy, the Netherlands, France, USA, etc. His early works are predominantly religious character of the medieval aesthetics.

In the sixties he adopted his characteristic figurative and deepen the sports theme. He is the author of several suites Olympic Games and the 1968 Summer Olympics in Mexico, and the pictorial decoration of the presidential lounge International Olympic Committee in Lausanne in 1988, commissioned by Joan Antoni Samaranch. He also made the mural of the Archives of Auditors, the Palau de la Generalitat in 1975 and the offices of Atlantic Bank in New York (1983).

In the mid-70s, on behalf of the builder and promoter of Barcelona La Llave de Oro, performed some of the murals to decorate the halls of the Edificio Olympia, others will Llucià Navarro, aimed at senior homes standing, Balmes Street (413-427) and Calle Moragas (14-32) in Barcelona. Following the theme of Greek mythology that inspires a different deity, each of the goals of the residential complex.

It has been accredited internationally as one of the greatest connoisseurs of the art of the altarpiece and has been a professor at the School of Exchange 1953 to 1989. He has received numerous awards, such as the Biennial of Sport in Fine Arts (1967), the City of Barcelona (1978) and Ynglada Guillot (1980). In 2000 he received the Creu de Sant Jordi.
http://hisour.com/artist/jordi-aluma-masvidal/

Martino Altomonte

Martino Altomonte, born Johann Martin Hohenberg (May 8, 1657 - Sep 14, 1745) was an Italian Baroque painter of Austrian descent who mainly worked in Poland and Austria.

Hohenberg's father was born in the Tyrol and emigrated to Naples. Young Hohenberg learned painting as an apprentice to Giovanni Battista Gaulli.

In 1684 Hohenberg became the court painter of John III Sobieski, king of Poland, and changed his name to Altomonte upon the occasion. In Warsaw he painted mostly battle scenes (for example, the Siege of Vienna) and religious works. His son Bartolomeo Altomonte, also a painter, was born in 1694.

Altomonte moved to Vienna c.1699-1702, where he remained for the rest of his life, creating many frescoes and altarpieces.
http://hisour.com/artist/martino-altomonte/

Erhard Altdorfer

Erhard Altdorfer was a German Early Renaissance printmaker, painter, and architect, who worked as a court painter in Schwerin from 1512 until his death in 1561.

Erhard Altdorfer was the younger brother of Albrecht Altdorfer. Most likely, he was trained by his brother and it is believed they started a workshop together in 1506.

It is assumed Erhard Altdorfer worked in Austria at the Lambach Abbey, and in St Florian and Klosterneuburg around 1510. In 1512, he went to Schwerin where Duke Henry V of Mecklenburg-Schwerin appointed him court painter and architect. During a trip with the duke that year he probably came in contact with Lucas Cranach the Elder. A commission for the duke and Albert VII was an altarpiece in Sternberg, however destroyed by fire in 1741.

In 1533–34 his woodcuts appeared in Johannes Bugenhagen's Low German translation of the Bible printed in Lübeck by the printer and bookmaker Ludwig Dietz, a work for which he was rewarded with a house. Between 1546 and 1551, further construction projects were realized, projects of which remains virtually no traces, why one can have only vague ideas of their character.

In 1552, the written records of John Albert I of Mecklenburg (1525–1576) tells us Erhard Altdorfer was working for him, and until 1555 Erhard probably worked as the leading architect of the court of Wismar. He is mentioned a last time in 1561.

Of his surviving works most are those he produced as a painter, and at least parts of the altar pieces in the collection of the St. Annen Museum in Lübeck are attributed to him.

Compared to his brothers, Erhard was less independent and creative in his work, and took a lot of influence from the working practice of the workshop of Cranach and from artists such as Jacopo de' Barbari. As it seems, he was primarily as draughtsman and a printmaker and only produced a few paintings. However, he only signed a few of his works, so most of those associated with him are only attributed works.
http://hisour.com/artist/erhard-altdorfer/

Albrecht Altdorfer

Albrecht Altdorfer (1480 - Feb 12, 1538) was a German painter, engraver and architect of the Renaissance working in Regensburg. Along with Lucas Cranach the Elder and Wolf Huber he is regarded to be the main representative of the so-called Danube School setting biblical and historical subjects against landscape backgrounds of expressive colours. As an artist also making small intricate engravings he is seen to belong to the Nuremberg Little Masters.

Altdorfer was the pioneer painter of pure landscape, making them the subject of the painting, as well as compositions dominated by their landscape; these comprise much of his oeuvre. He believed that the human figure should not disrupt nature, but rather participate in it or imitate its natural processes. Taking and developing the landscape style of Lucas Cranach the Elder, he shows the hilly landscape of the Danube valley with thick forests of drooping and crumbling firs and larches hung with moss, and often dramatic colouring from a rising or setting sun. His Landscape with Footbridge (National Gallery, London) of 1518–1520 is claimed to be the first pure landscape in oil. In this painting, Altdorfer places a large tree that is cut off by the margins at the center of the landscape, making it the central axis and focus within the piece. He uses anthropomorphism to give the tree human qualities such as the drapery of its limbs. He also made many fine finished drawings, mostly landscapes, in pen and watercolour such as the Landscape with the Woodcutter in 1522. The drawing opens at ground level on a clearing surrounding an enormous tree that is placed in the center, dominating the picture. It poses and gesticulates as if it was human, splaying its branches out in every corner. Halfway up the tree trunk, hangs a gabled shrine. At the time, a shrine like this might shelter an image of the Crucifixion or the Virgin Mary, but since it is turned away from the viewer, we are not sure what it truly is. At the bottom of the tree, a tiny figure of a seated man, crossed legged, holds a knife and axe, declaring his status in society/occupation.

Also, he often painted scenes of historical and biblical subjects, set in atmospheric landscapes. His best religious scenes are intense, with their glistening lights and glowing colours sometimes verging on the expressionistic. They often depict moments of intimacy between Christ and his mother, or various saints. His sacral masterpiece and one of the most famous religious works of art of the later Middle Ages is The Legend of St. Sebastian and The Passion of Christ of the so-called Sebastian Altar in St. Florian's Priory (Stift Sankt Florian) near Linz, Upper Austria. When closed the altarpiece displayed the four panels of the legend of St. Sebastian’s Martyrdom, while the opened wings displayed the Stations of the Cross. Today the altarpiece is dismantled and the predellas depicting the two final scenes, Entombment and Resurrection were sold to Kunsthistorisches Museum in Vienna in 1923 and 1930. Both these paintings share a similar formal structure that consists of an open landscape that is seen beyond and through the opening of a dark grotto. The date of completion on the resurrection panel is 1518.
Altdorfer often distorts perspective to subtle effect. His donor figures are often painted completely out of scale with the main scene, as in paintings of the previous centuries. He also painted some portraits; overall his painted oeuvre was not large. In his later works, Altdorfer moved more towards mannerism and began to depict the human form to the conformity of the Italian model, as well as dominate the picture with frank colors.


http://hisour.com/artist/albrecht-altdorfer/

Lehmbruck Museum Duisburg, Germany

The Stiftung Wilhelm Lehmbruck Museum - Center for International Sculpture is a museum in Duisburg, Germany.

Sculptures by Wilhelm Lehmbruck, after whom the museum is named, make up a large part of its collection. However, the museum has a substantial amount of works by other 20th-century sculptors, including Ernst Barlach, Käthe Kollwitz, Ludwig Kasper, Hermann Blumenthal, Alexander Archipenko, Raymond Duchamp-Villon, Henri Laurens, Jacques Lipchitz, Alexander Rodtschenko, Laszlo Péri, Naum Gabo, Antoine Pevsner, Pablo Picasso, Salvador Dalí and Max Ernst. This is complemented by a considerable number of paintings by 19th- and 20th-century German artists. The museum circulates its substantial collection by re-installing works on an annual basis.

Well known throughout Europe for its outstanding collection of modern international sculpture, this museum offers an unusual combination of exceptional architecture placed in a sculpture park, as well as sculpture sited within the urban environs. Commencing with the life work of Wilhelm Lehmbruck and his contemporaries, the world of art encounters sculpture from all over the world in an exhibition space of 5000 square meters. Monographically and thematically grouped exhibition rooms are sequentially arranged in an open space. Paintings, works on paper and the new media complement the sculptural collection. The goal of all museum activities is to convey a vivid impression of the quality, development and range of modern sculpture to visitors from all walks of life. Since its opening in 1964 the LehmbruckMuseum nearly holds the complete lifework of Wilhelm Lehmbruck in every genre. In 2009 it has been accomplished to secure the sculptor’s family-owned legacy permanently. Thus, the LehmbruckMuseum lays claim and pursues the goal to represent a leading center of expertise for international sculpture and object art of the 20th and 21st century in Germany. The collection’s main areas result from approximately 900 sculptures, which have been executed by nearly every internationally renowned sculptor and by means of a variety of techniques and materials. To these belong outstanding examples of primitivism and cubism (André Derain, Raymond Duchamp-Villon, Henri Laurens, Jacques Lipchitz, Pablo Picasso), early abstraction (Rudolf Belling, Otto Freundlich, Erich Buchholz, Hans Arp), expressionism in Germany (from Ernst Barlach and Käthe Kollwitz to Ewald Mataré) and also constructivism and minimalism (from Constantin Brancusi and László Moholy-Nagy to Georges Vantongerloo, Max Bill, Antoine Pevsner and Naum Gabo, Erwin Heerich, André Volten, Sol Lewitt and Donald Judd). Its inventory of surrealist sculpture as well as the work groups by Alberto Giacometti and Henry Moore are preeminent. Equally excellent are the steel and ferric sculptures by a range of artists including Alexander Calder, Julio González, David Smith, Berto Lardera, Eduardo Chillida, Hans Uhlmann, Norbert Kricke, Georg Uecker, Richard Serra, Heinz-Günter Prager and Ansgar Nierhoff. Of special substance are its works of object art that have been created after 1945, exemplified by artists such as Christo, Jean Tinguely (two large mobile Maschinen-Reliefs), Antoni Tàpies, Daniel Spoerri, Nam-June Paik, Paul Thek, Rainer Ruthenbeck, Geoffrey Hendricks and Klaus Rinke. Hyperrealistic and anthropomorphic figuration from the post-war era up to the present day is represented by works of Duane Hanson (WAR) and George Segal, A.D. Christian, Franz Bernhard, A.R. Penck and Magdalena Jetelovà. They accompany the ample collection of Informel with extensive work groups by Bernard Schultze, Germaine Richier, Otto Herbert Hajek, Gerhard Hoehme, Emil Schumacher and Karl Otto Götz. Own rooms are dedicated to Joseph Beuys, Mario Merz, Richard Long, F.E. Walther, Christian Boltanski and Jannis Kounellis, but also to A.M. Kaufmann, Aernout Mik and Yves Netzhammer. Incorporated in the exhibition of international sculpture is a select collection of German painting, ranging from the turn of the 20th century through to the 1960s. The collection is noteworthy for the high quality of its individual works, all of them bearing witness to artistic development from Expressionism through to the Informal movement. The masterpieces include paintings by members of the Die Brücke movement, namely artists Kirchner, Heckel, Schmidt-Rottluff, Pechstein and Mueller, as well as Emil Nolde, who was affiliated to them. Paintings by Jawlensky, Kokoschka, Campendonk, Macke, Rohlfs, the "Sturm" artists Molzahn and Ring round out the expressionism of the "Brücke" association. The works that make up the next group, which initially derived its productive impetus from Cubism, were all linked by constructive trends. Schlemmer, Dexel, Feininger and Muche represent among other things "Bauhaus"; Max Beckmann's "Rugby Players" and Max Ernsts' "The Temptation of St. Anthony" are considered today to be outstanding individual examples of Expressionism, New Objectivity and Surrealism. Following the end of WW II the art of the "Informal" emerged as an international artistic phenomenon. Many German artists considered abstract painting to be a liberation from, and the only valid alternative to, realistic art, which had been used as an instrument and perverted by Fascist ideologies and had acquired a new dogma through Socialist Realism. Even today the powerful, often anarchic desire for expression and the feeling of liberation after dictatorship and war can be felt in the works of Baumeister, Nay, Schumacher, Götz, Hoehme and Schultze. The struggle for new forms and new functions for art reveals itself to be a process of creating pictures from gestures or material, which towards the end of the 1950s imbued art with a new objective character. The borderline between art and objects and sculpture began to become blurred. The museum is girded by a park which harbours about 40 large sculptures (from Henry Moore to Hans-Peter Feldmann, Magdalena Abakanowicz and Meret Oppenheim).
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Latvian National Opera and Ballet Rīga, Latvia

The Latvian National Opera House is home to both the Latvian National Opera and the Latvian National Ballet. In the course of a season that runs from September to June the Latvian National Opera and Ballet performs more than 200 performances, staging on average six new productions every season of both opera and ballet.

The Latvian National Opera (LNO, Latvijas Nacionālā opera), Riga, is the national opera of Latvia.[1] The opera company includes the Latvian National Ballet (LNB), LNO Chorus, and LNO Orchestra.

Riga already had a German-speaking theatre, which also offered opera and ballet, from 1782, and this was housed in the Riga City Theatre from 1863.

The first attempt to create a Latvian national opera was 1893, when Jēkabs Ozols' Spoku stunda ("The Ghostly Hour") was performed.[2] The Latvian opera (Latviešu Opera) was founded in 1912 by Pāvuls Jurjāns, though almost immediately, during the First World War, the opera troupe was evacuated to Russia. In 1918, the opera restarted (Latvju Opera) led by Jāzeps Vītols, the founder of the Latvian Academy of Music. The debut performance, on January 23, 1919, was of Wagner’s Der fliegende Holländer. From 1944, following the occupation of Latvia by Soviet Union, and incorporation into the Soviet Union, the Latvian National Opera became the Latvian S.S.R. State Opera and Ballet Theater. In 1990, the theater was renamed the Latvian National Opera, but almost immediately the building was closed till 1995 for renovation and the company moved to temporary premises. For the reopening in 1995, the first opera was Jānis Mediņš’ Uguns un nakts (Fire and Night).

National Opera House building in the early 20th century.
The National Opera House was constructed in 1863 by the St. Petersburg architect Ludwig Bohnstedt, for the then German-speaking City Theatre, and has been refurbished several times; 1882-1887 (following a fire in 1882), 1957–1958, 1991-1995 (following independence). A modern annex was added in 2001 with a 300-seat New Hall.
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Latvian National Museum of Art Rīga, Latvia

The Latvian National Museum of Art is the largest depository of professional art in Latvia. Museum regularly holds art exhibitions and scientific conferences, diverse art and cultural events, takes part in international projects, as well as compiling and editsing museum publications.Alongside the permanent and temporary exhibitions, the Latvian National Museum of Art is known for its educational projects. Visitors are offered specialist-guided tours and educational programs.

The Latvian National Museum of Art (Latvian: Latvijas Nacionālais mākslas muzejs) is the richest collection of national art in Latvia. It houses more than 52,000 works of art reflecting the development of professional art in the Baltic area and in Latvia from the middle of the 18th century until the present time.

The museum is located in building in Riga, which is historically significant. The building at 1, Janis Rozentāls sq. was designed by the German architect Wilhelm Neumann and built in 1905[1] — it is one of the most impressive historical buildings on the boulevard and is situated next to the Academy of Art. It was the first building in the Baltics to be built for the purposes of a museum. Reconstruction of the museum was announced on 25 May 2010. Reconstruction was finished on 1 December 2015.
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Latidoamericano Lima, Peru

Latidoamericano es el primer festival internacional de arte en las calles de Lima. Esta iniciativa, llevada a cabo por Entes y Pésimo, tiene como objetivo convertir la ciudad en una inmensa galería donde el público pueda apreciar en vivo la creación de piezas artísticas.

Festival de arte urbano que reúne artistas de todo el mundo para intervenir las ciudades latinoamericanas. La próxima edición es en Asunción, Paraguay.

LATIDOAMERICANO es un proyecto sin fines de lucro cuyo objetivo primordial es promover el street art en nuestro país mediante un festival latinoamericano gratuito en su totalidad. Queremos brindar un aporte a la cultura por medio de una muestra de arte contemporáneo y la cooperación cultural entre países hermanos.

El festival rescata el significado de la calle como espacio de intercambio comunicativo desde el 2012, contando con la participación de artistas nacionales e internacionales del graffiti, y muralismo.

MORE INFO infolatidoamericano@gmail.com
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Latah County Historical Society Latah, United States

We've come a long way since the Latah County Pioneer Association began collecting history in the 1880s, but our fundamental purpose is unchanged. The mission of the Latah County Historical Society exists to serve our mission: For ours and future generations, we collect, preserve, share, and celebrate the history of Latah County in order to promote a deeper understanding of the many experiences that make up our shared past. We accomplish these ends with exhibits, educational programs, research facilities, public events, community collaborations, and publications.

MISSION STATEMENT
For ours and future generations, we collect, preserve, share, and celebrate the history of Latah County in order to promote a deeper understanding of the many experiences that make up our shared past.

VISION STATEMENT
We build good citizens, strong communities, and satisfying lives.

Latah County is a county located in the north central region of the U.S. state of Idaho. As of the 2010 census, the population was 37,244. The county seat and largest city is Moscow, the home of the University of Idaho, the state's flagship and land-grant university.

The county was created 129 years ago in 1888 and named for Latah Creek in its northwest corner. The name in the Nez Perce language means "the place of pine trees and pestle." The tribe found shade under the white pine trees for doing their work and stones suitable for use in pulverizing camas roots to process as one of their food staples.

Latah County comprises the Moscow, ID Micropolitan Statistical Area, which is included in the Pullman-Moscow, WA-ID Combined Statistical Area.

The county comprises the majority of the eastern portion of the Palouse, famous for its rolling hills and rich agriculture. Latah County is the only county in the U.S. established by an act of Congress; it was originally part of Nez Perce County, which was reluctant to lose its most populated area.
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Louis Gallait

Louis Gallait (May 10, 1810 - Nov 20, 1887) was a Belgian painter. He lay at the basis of a revival of history painting in Belgium. He earned his reputation especially with the large painting of Charles V's abdication. Gallait's works were esteemed because of their realism, faithfulness of the costumes and color composition of his paintings. He was also a distinguished portrait painter.

Louis Gallait was a Belgian painter he lay at the basis of a revival of history painting in Belgium. He earned his reputation especially with the large painting of Charles V's abdication. Gallait's works were esteemed because of their realism, faithfulness of the costumes and color composition of his paintings. He was also a distinguished portrait painter. Gallait died in Brussels in 1887. There is a painting by Louis Gallait at the Norton Art Museum in West Palm Beach, Florida.

Gallait was born in Tournai, Hainaut, Belgium in 1810. He first studied in his native town under Philippe Auguste Hennequin. In 1832 his first picture, Tribute to Caesar, won a prize at the Salon of Ghent. He then went to Antwerp to continue his studies under Mathieu Ignace van Brée, and in the following year exhibited at the Brussels Salon Christ Healing the Blind. This picture was purchased by subscription and placed in the Tournai Cathedral. Gallait next went to Paris, and he sent to the Belgian Salons Job on the Dunghill, Montaigne Visiting Tasso in Prison, and — to the Brussels Gallery in 1841 — The Abdication of Charles V. The latter painting, which had been commissioned by the Belgian government, was hailed as a triumph and gained him a European reputation. The painting was exhibited together with a painting entitled the Compromise of Nobles by another young Belgian painter, Edouard de Bièfve. Both paintings subsequently travelled to exhibitions in many cities in Europe, and enjoyed a particularly enthusiast reception in Germany where they formed an important impetus for the development of a German school of history painting. Official invitations induced him to settle at Brussels.

Among his accomplished works may be named The Last Honors paid to Counts Egmont and Horn by the Corporations of the Town of Brussels, now at Tournai; The Death of Egmont, in the Berlin gallery; the Coronation of Baudouin, Emperor of Constantinople, painted for Versailles; The Temptation of St Anthony, in the palace at Brussels; The Siege of Antioch, Art and Liberty, Portrait of M. B. Dumortier and The Plague at Tournay, all in the Brussels gallery. A Gipsy Woman and her Children was painted in 1852. He also served as the director and president of the Académie Royale des Beaux-Arts.

"M. Gallait has all the gifts that may be acquired by work, taste, judgment and determination," wrote Théophile Gautier. His art is that of a man of tact, a skilled painter, happy in his dramatic treatment but superficial. No doubt, this Walloon artist, following the example of the Flemings of the Renaissance and the treatment of Belgian classical painters and the French Romantic school, sincerely aimed at truth. Unfortunately, misled by contemporary taste, he could not conceive of it other than as dressed in sentimentality. As an artist employed by the State, he exercised considerable influence, and for a long time he was the leader of public taste in Brussels.

In 1849 he became correspondent of the Royal Institute of the Netherlands, and the next year he became associated member.

Notable students include Cesare Dell'Acqua.

Gallait died in Brussels in 1887.
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Ellen Gallagher

Ellen Gallagher is an American artist. Her work has been shown in numerous solo and group exhibitions and is held in the permanent collections of many major museums.

Ellen Gallagher (born December 16, 1965) is an American artist. Her work has been shown in numerous solo and group exhibitions and is held in the permanent collections of many major museums. Her media include painting, works on paper, film and video. Some of her pieces refer to issues of race, and may combine formality with racial stereotypes and depict "ordering principles" society imposes.

Gallagher's influences include the paintings of Agnes Martin and the repetitive writings of Gertrude Stein. Some of Gallagher's work involves repetitively modifying advertising found in African American focused publications such as Ebony, Sepia, and Our World.[6] Her most famous pieces are her grid-like collages of magazines grouped together into larger pieces. Examples of these are eXelento (2004), Afrylic, (2004), and DeLuxe, (2005). Each of these works contains as many as or more than 60 prints employing techniques of photogravure, spit-bite, collage, cutting, scratching, silkscreen, offset lithography and hand-building.

Some of Gallagher's early influences while attending the School of the Museum of Fine Arts in Boston were the Darkroom Collective, a group of poets living and working out of Inman Square in Cambridge, MA[8] and would go on to become the art coordinator of the collective. Some other influences at the Museum School were Susan Denker, Ann Hamilton, Kiki Smith and Laylah Ali.

Themes related to race are often evident in Gallagher's work, sometimes using pictographs, symbols, codes and repetitions. "Sambo lips" and "bug eyes," references to the Black minstrel shows, are often scattered throughout Gallagher’s works. Certain characters are also used repeatedly, such as the image of the nurse or the "Pegleg" character that sometimes populate her page‘s iconography. Some of her pieces may explicitly reference the issue of race while also having a more subtle undercurrent related to race. She combines formality (grid lines, ruled paper) with the racial stereotypes to depict the "ordering principles" society imposes.

"Blackface minstrel is a ghost story, " Gallagher has noted. "It's about loss; there's a black mask and sublimation...[B]lackface minstrel was the first great American abstraction, even before jazz. It's the literal recording of the African body into American public culture. Disembodied eyes and lips float, hostage, in the electric black of the minstrel stage, distorting the African body into American blackface."

Her media include painting, works on paper, film and video. She has made innovative use of materials, such as creating a unique variation on scrimshaw by carving images into the surface of thick sheets of watercolor paper and drawing with ink, watercolor, and pencil. These works depict sea creatures, of the mythical undersea world of Drexciya, which were the progeny of slaves who had drowned. This mythology had been conceived by a musical duo of that name, from Detroit. Gallagher commented upon the process of creating these pieces: "The way that these drawings are made is my version of scrimshaw, the carving into bone that sailors did when they were out whaling. I imagine them in this overwhelming, scary expanse of sea where this kind of cutting would give a focus, a sense of being in control of something." In some of her early pieces, she painted and drew on sheets of penmanship paper (ruled paper used for handwriting practice) she had pasted onto canvas.

In 1995, Gallagher's work was exhibited at the Whitney Biennial and the Venice Biennale in 2003. Artist Chuck Close created a 2009 tapestry portrait of Gallagher. Gallagher is represented by Gagosian Gallery (New York) and Hauser & Wirth (London). She is based in the United States (New York City) and the Netherlands (Rotterdam).
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Lanyon Homestead Tharwa, Australia

Lanyon Homestead lies at the foot of the Brindabella Ranges and is one of Australia’s premier historic properties. The Precinct’s centrepiece, the 1850's Homestead, has been beautifully restored and furnished.

Set within superb gardens the Lanyon includes an historic homestead and outbuildings sited within a working rural property. Sheep and cattle still graze on the timbered hills and fertile banks of the Murrumbidgee river.

Lanyon is an historic homestead and grazing property located on the southern outskirts of Canberra in the Australian Capital Territory.

The site was first occupied following white settlement by Timothy Beard, who depastured cattle on the Limestone Plains as early as 1829. Beard had been transported to Australia for life and arrived in the colony in 1806. After receiving his pardon he entered the pastoral industry as a squatter. Beard's huts were located on the Molonglo River near Queanbeyan and on the site of Lanyon homestead. Beard was forced out of the area by land grants and later became an innkeeper at Bringelly (Moore, 1982).

The Wright family
James Wright and his friend John Hamilton Mortimer Lanyon settled at Lanyon in 1833 as squatters after arriving from London earlier that year. (James also took his wife and his 5 children with him.) In 1835 they purchased several adjoining blocks on the Murrumbidgee River, then the edge of legal occupation within the nineteen counties. Wright and Lanyon established an orchard, vegetable gardens, planted wheat and purchased cattle and sheep and set up a dairy herd. Fifteen convicts were assigned to Wright and Lanyon by 1835, increasing to thirty by 1837. Wright's elder brother William arrived in 1836 and purchased adjoining land. William died in 1837 following a shooting accident. Lanyon returned to England and died in 1841. Wright married Mary Davis in 1838 and the first three of their eight children were born at Lanyon. Wright encountered financial difficulties and was forced to sell Lanyon in 1841 and move to nearby Cuppacumbalong station. The Wrights had established a self-supporting community at Lanyon of up to 60 people. The design of Wright's courtyard buildings is said to be reminiscent of his native Derbyshire (ACT Government, 1994).

The Cunningham family
Lanyon was next purchased by Andrew Cunningham, a banker from Fyfeshire in Scotland. Cunningham arrived in Sydney with his family in 1845 and settled at Congwarra, north west of Lanyon. The Cunninghams built the present Lanyon homestead from local fieldstone in 1859. Lanyon was carrying 25,000 sheep by the time of Andrew Cunningham's death in 1887 and the Cunninghams had acquired five properties. Cunningham's sons James and Andrew Jackson Cunningham operated the properties in partnership, with James at Tuggeranong and Andrew at Lanyon. In 1905 Andrew Jackson married Louisa Leman and extended and redecorated the homestead. Andrew died in 1913 and Louisa sold the contents of the homestead and returned to Sydney. James Cunningham moved his family from Tuggeranong to Lanyon in 1915.

The Field family
After James' death in 1921 his son Andy oversaw Lanyon until 1926 when the property was sold to Harry Osborne of Currandooley, near Bungendore. The Osbornes sold the property in 1930 to Thomas Field who had large landholdings in New South Wales and Queensland. The Field family lived in Sydney but visited Lanyon often. They implemented major changes, including modern farming methods, large scale pasture improvement and irrigation of lucerne.
By the late 1960s, the growth of the National Capital had necessitated the resumption of large tracts of farmland south of Canberra. Up to a dozen rural leases, in parts of South Woden and Weston Creek, were resumed to make way for development of Tuggeranong, the second of Canberra's urban satellites[1] Lanyon, was the largest single parcel of freehold land in the ACT. Tom Field lodged plans to sub-divide some of his 9,000 acres (36 km2). When the Federal Government proceeded to acquire Lanyon, Field refused an offer of $1.875m and sought compensation of $33m, the amount a private valuer had placed on the land when assessed at urban values.

The matter of Field versus the Commonwealth of Australia eventually proceeded to Australia’s High Court. The government defended the level of compensation it had offered Mr Field, concerned too that if successful, the ‘Field Case’ would set a dangerous precedent for compensation on freehold land throughout Australia. The Federal Government acquired Lanyon for $3.7m in 1974. In the early to mid-1970s the McMahon and Whitlam Governments withdrew the rural leases for Lanyon, Cuppacumbalong Homestead and Gold Creek Homestead.

The government converted the homestead into the Sidney Nolan Gallery which opened to the public in 1975. It housed a collection of the paintings of Sir Sidney Nolan. A purpose-built gallery for the Nolan collection was built in the grounds in 1980. An extensive conservation and restoration program was undertaken and the homestead is now managed as a house museum, within a working property, by the ACT Government and the National Trust.
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