2017年6月30日星期五

Adam Elsheimer


Adam Elsheimer (March 18, 1578 in Frankfurt in Main Frankfurt, Dec 11, 1610 in Rome) was a prominent German baroque painter working in Rome who died at only thirty-two, but was very influential in the early 17th century. His relatively few paintings were small scale, nearly all painted on copper plates, of the type often known as cabinet paintings. They include a variety of light effects, and an innovative treatment of landscape. He was an influence on many other artists, including Rembrandt and Peter Paul Rubens.

Elsheimer was the oldest of ten children of the tailor Anton Elsheimer, who had immigrated from Wörrstadt to Frankfurt in 1577, and by Maria Elsheimer, born Reuss, daughter of a Frankfurt coffin master. The name can be traced back to the Rhineland village of Elsheim. The family lived in the house Fahrgasse No. 120 at Einhornplätzchen.

He completed a five-year course in his home town with the painter Philipp Uffenbach, who made him acquainted with the works of Albrecht Diirer and Matthias Grünewald. In addition, the Dutch landscape painters Lucas van Valckenborch and Gillis van Coninxloo influenced him.

In 1598 he left Frankfurt and went to Munich, where he worked in the workshop of Johann Rottenhammer and became acquainted with the works of Venetian painting. After another study stay in Venice, he settled in Rome in 1600, where he remained until his life. He married Carla Antonia Stuart (italian: Stuarda) in 1606, a Frankfurt of Scottish origin. Elsheimer lived permanently in financially cramped conditions. One of his "pupils" was Hendrick Goudt, who made seven of his paintings in the form of copper engravings across Europe. This acquaintance, however, also contributed to the downfall of Elsheimer. Goudt was not only a guest, pupil and patron; Allegedly he brought him into the debt tower, but there is no evidence.

The painter was buried in the Roman church of San Lorenzo in Lucina. His monument is not preserved. In 2010, after the completion of the excavation in this church, a memorial plaque was placed in the front of the first left pillar, which praises him as one of the first to use a telescope in the painting of the stars.

Other pupils were Paul Juvenell the Elder and Johann King.

During his apprenticeship in Frankfurt, Elsheimer should be inspired by paintings by Albrecht Dürer (Heller Altar), Hans Holbein d. Ä. And Matthias Grünewald. In Venice he met the works of Tintoretto and Veronese and worked with Hans Rottenhammer as his workshop assistant. In Rome, on the other hand, he saw the light-dark painting of Caravaggio.

His mostly small pictures are, as in the case of Rottenhammer, mainly painted on copper and in a miniature fine version with the help of a magnifying glass. His pencil drawings and etchings testify to his sensitivity and artistic independence. He preferred religious and mythological themes, often associated with landscapes in "romantic" lighting and poetic mood. With this he combined a new realism and thus established a new style in European landscape painting. Elsheimer thus marks the departure from Mannerism.

Because of his early death and slow painting, which was also hampered by depression, he left only a few works. So far, 40 paintings and 30 drawings and gouaches are known. The 7 panels of the Frankfurt Kreuzaltares are one of its main attractions. For a long time it was considered lost. From 1951 to 1981 the Städelsche Kunstinstitut acquired the individual panels piece by piece. The altar was reconstructed thanks to a detailed description and drawing from the time of its origin.

His paintings occupy an unusual artistic span: in the baptism of Christ, he combined old-German landscape painting with a highly baroque feeling of space; His Procris anticipated the eroticism of Poussins and Rubens; Before Elsheimer there was no representation of the sky-like landscape as in the Aurora; The nightpieces such as The Troy's Fire, Ceres, the flight to Egypt were pioneering, and the "little" Tobias, as well as the intimate interiors of Philemon and Baucis, served Rembrandt 50 years later as a model and a stimulus. His work influenced Claude Lorrain in Italy, Rubens and Rembrandt in the Netherlands as well as Caspar David Friedrich (also by the engravings of Goudt). His great influence can also be seen in the large number of copies made of his paintings.

Adam Elsheimer was the first painter to have portrayed the starry sky almost as true to nature. Although the constellations are by no means reproduced with the precision of a heavenly reading, Elsheimer was the first artist to paint Milky Way as a collection of innumerable individual stars (a revolutionary idea at that time). In addition, he depicted the moon in one of his pictures "on the head" (an index for an instrument) and recorded details that are invisible to the naked eye. In the summer of 1609 he most likely saw the sky over Rome with a telescope or a hollow mirror. His observations found their precipitation in the picture The Flight to Egypt.

His perfectionism, and an apparent tendency to depression, resulted in a small total output, despite the small size of all his pictures. In all about forty paintings are now generally agreed to be by him (see Kressmann below). He made a few etchings, not very successfully. However, his work was highly regarded by other artists and a few important collectors for its quality. He had a clear and direct influence on other Northern artists who were in Rome such as Paul Bril, Jan Pynas, Leonaert Bramer and Pieter Lastman, later Rembrandt's master, who was probably in Rome by 1605. Rembrandt's first dated work is a Stoning of St Stephen which appears to be a response to Elsheimer's painting of the subject, now in Edinburgh. Some works by Italian artists, such as the six pictures from Ovid by Carlo Saraceni now in the Museo di Capodimonte, Naples, also show Elsheimer's clear influence. Rubens, who owned at least four of his works, knew Elsheimer in Rome, and praised him highly in a letter after his death.

In a wider sense, he was influential in three respects. Firstly his night scenes were highly original. His lighting effects in general were very subtle, and very different from those of Caravaggio. He often uses as many as five different sources of light, and graduates the light relatively gently, with the less well-lit parts of the composition often containing important parts of it.

Secondly, his combination of poetic landscape with large foreground figures gives the landscape a prominence that had rarely been seen since the Early Renaissance. His landscapes do not always feature an extensive view; often the lushness of the vegetation closes it off. They are more realistic, but no less poetic, than those of Bril or Jan Brueghel, and play a part in the formation of those of Poussin and Claude. His treatment of large figures with a landscape backdrop looks forward, through Rubens and van Dyck, to the English portrait in the eighteenth century. Soon after his death he became very popular with English collectors, notably King Charles I of England, the Earl of Arundel, and the George Villiers, 1st Duke of Buckingham, and over half his paintings have been in English collections at some time (nearly one third are still in the UK).

Thirdly, his integration of Italian styles with the German tradition he was trained in is perhaps more effective than that of any Northern painter since Dürer (with the exception of his friend Rubens). His compositions tend to underplay the drama of the events they depict (in noticeable contrast to those of Rubens), but often show the start of moments of transformation. His figures are relatively short and stocky, and reflect little of classical ideals. Their poses and gestures are unflamboyant, and their facial expressions resemble those in Early Netherlandish painting rather than the bella figura of most Italian Renaissance work.

The largest collection of his work is in Frankfurt. The Alte Pinakothek, Munich has two of his finest night-scene paintings, and Berlin, Bonn, Dresden and Hamburg have paintings. The National Gallery, London has three paintings with others in the National Gallery of Scotland, Edinburgh, Apsley House, Windsor Castle, Petworth House, the Wellcome Library and Liverpool. In 2006 an exhibition at the Städel, Frankfurt, then Edinburgh, and the Dulwich Gallery in London reunited almost all his oeuvre.

There are drawings in Paris (Musée du Louvre) and Edinburgh among other locations.

Only two works are on public display outside Europe. One is in the Kimbell Art Museum, Fort Worth (The Flight into Egypt), and the other is the Mocking of Ceres, now in the Agnes Etherington Art Centre in Kingston, Ontario, badly damaged by fire at some point in its history; it had been part of the Dutch Gift to Charles II of England in 1660.
https://hisour.com/artist/adam-elsheimer/

elSeed


elSeed from Street Art 13, Paris, France

Itinerrance, established in 2004, is located in the 13th arrondissement of Paris close to the Seine and the National Library. Having become a key venue for street art, Itinerrance exhibits street artists.
https://hisour.com/artist/elseed/

Elno from Women's Forum Street Art Project, Paris, France

Founded in 2005, the Women's Forum for the Economy and Society is the world's leading platform featuring women's views and voices on major social and economic issues. Deploying women's experience and expertise across all generations and geographies, it offers practical discussions on how to overcome barriers and create new horizons and opportunities, as well as broad, rich and edgy debate on important ideas. The Women's Forum also promotes the advancement of women world-wide via business and social networks.

The Women’s Forum for the Economy and Society Meetings highlight remarkable women and men from around the world who are involved in politics, business, civil society and academia. Its annual Global Meeting features novel ideas from advanced and emerging nations in a format that combines plenary and smaller sessions as well as the Discovery Program, a uniquely vibrant content relay of discussions, interactive sessions and practical workshops. The Women's Forum Regional Meetings echo this footprint in terms of gender and sector representation, with a sharper focus on specific regional issues.

In addition to these essential meetings, the Women's Forum for the Economy and Society expresses its commitment to women's progress throughout the year via a range of Initiatives set up in partnership with corporations, media groups and non-governmental organizations. These long-term initiatives seek to empower women through entrepreneurship and education, by fast-tracking young talent, amplifying women's voices in the media, promoting adaptive leadership characteristics and showcasing CEOs who champion the empowerment and advancement of women.

Based in Paris, the Women's Forum is a subsidiary of Publicis Groupe and is supported by corporate partnerships.
https://hisour.com/artist/elno/

Elmo


Elmo from Green Villain, Jersey City, United States

Green Villain is a small group of social entrepreneurs and creatives that in the past few years have developed a diverse portfolio of projects and partnerships. Our regional mural program encompasses over 22 sites across Jersey City, New York City, Brooklyn and Paterson and is accessible to the world through Google's Cultural Institute. Monthly party and vinyl imprint, Green Village, is the by product of 5 years of producing DIY parties around the greater North East. In addition to our creative ventures, we offer expertise in event production, creative consulting and project management. Our primary focus is build brand recognition by balancing between an artistic vision and serviceable platform.
https://hisour.com/artist/elmo/

Ello


Ello from Women's Forum Street Art Project, Paris, France

Founded in 2005, the Women's Forum for the Economy and Society is the world's leading platform featuring women's views and voices on major social and economic issues. Deploying women's experience and expertise across all generations and geographies, it offers practical discussions on how to overcome barriers and create new horizons and opportunities, as well as broad, rich and edgy debate on important ideas. The Women's Forum also promotes the advancement of women world-wide via business and social networks.

The Women’s Forum for the Economy and Society Meetings highlight remarkable women and men from around the world who are involved in politics, business, civil society and academia. Its annual Global Meeting features novel ideas from advanced and emerging nations in a format that combines plenary and smaller sessions as well as the Discovery Program, a uniquely vibrant content relay of discussions, interactive sessions and practical workshops. The Women's Forum Regional Meetings echo this footprint in terms of gender and sector representation, with a sharper focus on specific regional issues.

In addition to these essential meetings, the Women's Forum for the Economy and Society expresses its commitment to women's progress throughout the year via a range of Initiatives set up in partnership with corporations, media groups and non-governmental organizations. These long-term initiatives seek to empower women through entrepreneurship and education, by fast-tracking young talent, amplifying women's voices in the media, promoting adaptive leadership characteristics and showcasing CEOs who champion the empowerment and advancement of women.
Based in Paris, the Women's Forum is a subsidiary of Publicis Groupe and is supported by corporate partnerships.
https://hisour.com/artist/ello/

Christopher “DAZE” Ellis


Christopher “DAZE” Ellis from Museum of the City of New York, United States

Founded in 1923 as a private, nonprofit corporation, the Museum of the City of New York celebrates and interprets the city, educating the public about its distinctive character, especially its heritage of diversity, opportunity, and perpetual transformation. The Museum connects the past, present, and future of New York City, and serves the people of the city as well as visitors from around the world through exhibitions, school and public programs, publications, and collections.
https://hisour.com/artist/christopher-daze-ellis/

Louise Élisabeth Vigée Le Brun


Louise Élisabeth Vigée Le Brun (born Louise-Élisabeth Vigée on April 16, 1755 in Paris, and died in the same city on March 30, 1842, ) , also known as Madame Lebrun, was a prominent French painter, considered a great portraitist of his time. She could be compared to Quentin de La Tour or Jean-Baptiste Greuze.

Her artistic style is generally considered part of the aftermath of Rococo, while she often adopts a neoclassical style. Vigée Le Brun cannot be considered a pure Neoclassist, however, in that she creates mostly portraits in Neoclassical dress rather than the History painting. While serving as the portrait painter to Marie Antoinette, Vigée Le Brun works purely in Rococo in both her color and style choices.

Her art exceptional career make she a privileged witness of the upheavals of the end of the eighteenth century, the French Revolution and the Restoration. Fervent royalist, she was successively painter of the court of France, Marie Antoinette and Louis XVI, the Kingdom of Naples, the Court of the Emperor of Vienna, the Emperor of Russia and the Restoration.

Vigée Le Brun left a legacy of 660 portraits and 200 landscapes. In addition to private collections, her works may be found at major museums, such as the Hermitage Museum, London's National Gallery, and museums in continental Europe and the United States.

His parents, Louis Vigée, pastelist and member of the Académie de Saint-Luc and Jeanne Maissin, of peasant origin, A younger brother, Étienne Vigée, who became a successful playwright, was born two years later.

Born in the rue Coquilliere in Paris, 2 Elisabeth was baptized at the church of Saint-Eustache in Paris, then put into nurse. In the bourgeoisie and the aristocracy it is not yet in the habit of raising its own children, so the child is entrusted to the peasants of the neighborhood of Epernon.

Her father comes to look for her six years later, takes her back to Paris in the family apartment rue de Cléry.

Elisabeth Louise entered the school of the convent of the Trinity, in the Rue de Charonne in the Faubourg Saint-Antoine, as a boarder, in order to receive the best education possible. From that age on, his precocious talent for drawing is expressed; In his notebooks, on the walls of his school.

It was at this time that Louis Vigee was in ecstasy one day before a drawing of his little prodigy, drawing representing a bearded man. He prophesies that she will be a painter.

In 1766, Élisabeth-Louise left the convent and came to live alongside her parents.

His father died accidentally of a septicemia after swallowing a fish bone on May 9th. Elizabeth-Louise, who is only twelve years old, will take a long time to mourn and then decide to indulge her passions. Painting, drawing and pastel.

His mother remarried as early as December 26, 1767, with a wealthy but avaricious jeweler, Jacques-François Le Sèvre (1724-1810); Elizabeth-Louise's relations with her father-in-law are difficult.

Elizabeth's first teacher was her father, Louis Vigee. After his death, another painter, Gabriel-François Doyen, best friend of the family and famous in his time as a history painter, encouraged him to persevere in pastel and oil; Advice it will follow.

It is certainly advised by Doyen that in 1769 Elisabeth Vigee went to the painter Gabriel Briard, a knowledge of the latter (for having had the same master, Carl van Loo). Briard is a member of the Royal Academy of Painting, and willingly gives lessons, although he is not yet a professor. He is a mediocre painter, above all a reputation as a good draftsman, and also has a workshop at the Louvre; Elizabeth is making rapid progress and is already beginning to talk about her.

It was at the Louvre that she met Joseph Vernet, a famous artist from all over Europe. He is one of the most acclaimed painters of Paris, his advice is authoritative, and he will not fail to lavish it on him.

"I have constantly followed his advice; For I never had a master properly so called, "she wrote in her memoirs.

In any case, Vernet, who devoted his time to the formation of "Mlle Vigee," and Jean-Baptiste Greuze noticed and advised her.

The girl paints many copies according to the masters. She will admire the masterpieces of the palace of the Luxembourg; Moreover, the reputation of these painters opened to her all the doors of private royal and aristocratic art collections in Paris where she could study at leisure the great masters, copy the heads of Rembrandt, Van Dyck or Greuze, study semi-tones As well as the degradations on the projecting parts of a head. She writes:

"One could exactly compare myself to the bee, so much I harvested knowledge ...".

All her life, this need to learn will not leave her, for she has understood that a gift is working. Already, she is commissioned portraits and begins to make a living.

She painted her first recognized painting in 1770, a portrait of her mother (Madame Le Sèvre, née Jeanne Maissin, private collection). Having at her age little hope of integrating the Royal Academy of Painting and Sculpture, a prestigious but conservative institution, she presented several of her paintings at the Academy of Saint-Luc, of which she officially became a member on 25 October 17.

In 1770, the dauphin Louis-Auguste, future Louis XVI, grandson of King Louis XV, married Marie Antoinette of Austria at Versailles, daughter of the Empress Maria Theresa.

At the same time, the Le Sèvre-Vigée family moved to the rue Saint-Honoré, opposite the Palais-Royal, in the Lubert hotel. Louise-Élisabeth Vigée begins to make portraits of command, but her father-in-law gets her revenues. She takes the habit of drawing up the list of portraits she painted during the year. Thus, it is possible to know that in 1773, she painted twenty seven. She began to paint many self-portraits.

She was a member of the Académie de Saint-Luc as early as 17. In 1775, she offered the Royal Academy two portraits; In reward, she received a letter signed by D'Alembert informing her that she was admitted to participate in the public sessions of the Academy.

When his father-in-law retired from business in 1775, the family settled in the Rue de Cléry, in the Hotel Lubert, whose principal tenant was Jean-Baptiste-Pierre Lebrun, who worked as a merchant and restorer of paintings. Antiquarian and painter. He is a specialist in Dutch painting and has published catalogs. She visited with great interest the gallery of paintings of Lebrun and there perfect its pictorial knowledge. The latter becomes his agent, takes care of his business. Already married for the first time in Holland, he asks her in marriage. Libertin and player, he has bad reputation, and the marriage is formally discouraged to the young artist. However, wishing to escape from her family, she married him on 11 January 1776 in private, with the dispensation of two bans, in the church of Saint-Eustache. Elisabeth Vigée becomes Elisabeth Vigée Le Brun.

In the same year, she received her first commission from the Court of the Comte de Provence, the king's brother, and on November 30, 1776, Élisabeth Vigée Le Brun was admitted to work for the Court of Louis XVI.

In 1778, she became an official painter of the queen and was therefore called to realize the first portrait of Queen Marie Antoinette from nature.

It was also during this period that she painted the portrait of Jean-Antoine Gros child at the age of seven and opened an academy and taught.

Her mansion became a fashionable place, Élisabeth Vigée Le Brun went through a period of success and her husband opened a sales hall in which he sold antiques and paintings by Greuze, Fragonard and others. She sells her portraits for 12,000 francs, on which she only receives 6 francs, her husband pocketing the rest, as she says in her Souvenirs: "I had such carelessness over money that I knew almost nothing of it Not the value. "

On February 12, 1780, Élisabeth Vigée Le Brun gave birth to her daughter Jeanne-Julie-Louise. She continues to paint during the first contractions and, it is said, scarcely releases her brushes during childbirth. His daughter Julie will be the subject of many portraits. A second pregnancy a few years later will give a child died in infancy.

In 1781, she traveled to Brussels with her husband to assist and buy the sale of the collection of the late Governor Charles-Alexandre de Lorraine; She met the Prince de Ligne.

Inspired by Rubens whom she admires, she paints her Self-Portrait with a Straw Hat in 1782 (London, National Gallery). His portraits of women attracted him the sympathy of the Duchesse de Chartres, the princess of the blood, who presented her to the queen, her exact contemporary, the latter making her her official and favorite painter in 1. She multiplied the originals and copies . Some canvases remain the property of the king, others are offered to pets, ambassadors and foreign courts.
While she could not be accepted, she was received at the Royal Academy of Painting and Sculpture on 31 May 1783 at the same time as her competitor Adélaïde Labille-Guiard and against the will of Jean-Baptiste Marie Pierre , The king's first painter. Her sex and the profession of her husband's merchant of paintings are strong oppositions to her entry, but the protective intervention of Marie Antoinette allows her to obtain this privilege of Louis XVI.

Vigée Le Brun presents a reception painting (although it was not asked for), La Paix bringing back L'Abondance, made in 1783 (Paris, musée du Louvre), to be admitted as a painter of History. With the support of the queen, she allowed herself the impertinence of showing a breast uncovered, while the academic nudes were reserved for men. It is received without any category being specified.

In September of the same year, she participated in the Salon for the first time and there Marie-Antoinette said "à la Rose": initially, she has the audacity to present the queen in a robe in gaule, cotton muslin that is Usually used in body or interior linen, but the critics are scandalized by the fact that the queen was painted in her shirt, so that after a few days Vigée Le Brun has to remove it and replace it with a Portrait identical but with a more conventional dress. From then on, the prices of his paintings soar.

In 1784, his younger brother Étienne married Suzanne Rivière, whose brother was the exile companion of Elisabeth Vigée Le Brun between 1792 and 1. She painted the portrait of Finance Minister Charles Alexandre de Calonne who was paid 800,000 francs .

Being one of the Court's intimates, she is the object of both criticism and slander. Rumors, more or less well-founded, accuse Vigée Le Brun of maintaining an affair with Minister Calonne, but also with the Comte de Vaudreuil (of which she has a wick in her snuffbox and whose correspondence with him are published) or the painter Menageot .

Before 1789, the work of Elisabeth Vigée Le Brun is composed of portraits, a genre fashionable in the second half of the eighteenth century, for the wealthy and aristocratic clients who constitute its clientele. Vigée Le Brun was, according to her biographer Geneviève Haroche-Bouzinac: "a beautiful woman, pleasantly pleasing, with a playful conversation, she played an instrument, was a good actress, Have facilitated his integration into worldly circles and a great talent of portraitist who possessed the art of flattering his models ... ". For Marc Fumaroli, the art of portraying Vigée Le Brun is an extension of the art of the conversation of salons, where one presents oneself at its best, listens and makes society in a feminine world away from the noise of the world. The paintings of Vigée Le Brun are one of the summums of the art of painting "au naturel".

She will write a short text, Tips for Portrait Painting, for her niece.

Among his portraits of women, one can quote in particular the portraits of Marie-Antoinette (about 20 not counting those of the children); Catherine Noël Worlee (the future princess of Talleyrand), which she made in 1783 and which was exhibited at the Salon de peinture in Paris in 1783; The sister of Louis XVI, Mme. Elizabeth; The wife of the Comte d'Artois; Two friends of the queen: the Princesse de Lamballe and the Comtesse de Polignac.

In 1788, she painted what she considered her masterpiece: The Portrait of the Painter Hubert Robert.

At the height of her glory, in her Parisian mansion in the Rue de Clery, where she receives high society once a week, she gives a "Greek supper," which defrays the chronicle by the ostentation which unfolds there and for Who is suspected of having spent a fortune.

Letters and libels circulate in Paris, to prove his relation with Calonne. He is accused of having wainscoting of gold, of lighting his fire with cash-notes, of burning aloe wood in his chimney. The cost of the dinner of 20,000 francs was reported to King Louis XVI. Became angry with the artist.

In the summer of 1789, Elisabeth Vigée Le Brun was in Louveciennes at the home of the Countess du Barry, the last mistress of Louis XV, whose portrait she began when the two women heard the canon thunder in Paris. The old favorite would have exclaimed: "If Louis XV lived, surely all this would not have been so. ".

His mansion is ransacked, sans-culottes pour sulfur into his cellars and try to set fire to it. She took refuge with the architect Alexandre-Théodore Brongniart.

On the night of October 5-6, 1789, when the royal family was forcibly returned to Paris, Elisabeth left the capital with her daughter, Julie, her housekeeper and a hundred louis, leaving behind her husband, who encouraged her to flee, Her paintings and the one million francs she earned from her husband, carrying only 20 francs, "she wrote in her Souvenirs.

It says later on of the end of the Ancien Regime: "Women then reigned, the Revolution dethroned them. ".

She arrived in Rome in November 1. In 1790, she was received at the Uffizi Gallery by realizing her self-portrait, which was a great success. She sends works in Paris to the Salon. The artist makes his Grand Tour and lives between Florence, Rome where she finds Menageot, and Naples with Talleyrand and Lady Hamilton, then Vivant Denon, the first director of the Louvre, in Venice. She wanted to return to France, but in 1792 she was placed on the list of emigrants and lost her civic rights.

On February 14, 1792, she left Rome for Venice. While the Army of the South returned to Savoy and Piedmont, it went to Vienna in Austria, from where it did not think to leave and where, as former painter of Queen Marie-Antoinette, it benefits from the Protection of the imperial family.

In Paris, Jean-Baptiste Pierre Lebrun sold all his business in 1791 to avoid bankruptcy, while the art market collapsed and lost half of its value. Close to Jacques-Louis David, he asked in 1793, without success, that the name of his wife be removed from the list of the emigrants. He publishes a pamphlet: Précis History of Citizen Lebrun. Like his brother-in-law Stephen, Jean-Baptiste-Pierre is imprisoned for a few months.

Invoking the desertion of his wife, Jean-Baptiste-Pierre asked for and obtained the divorce in 1794 to protect and preserve their property. At the same time, he appraised the collections seized by the Revolution at the aristocracy, of which he drew up inventories and published the Observations on the National Museum32, prefiguring the collections and organization of the Louvre Museum, of which he became the expert commissioner. Then, as an assistant to the arts commission, An III (1795), he published Essay on the means of encouraging painting, sculpture, architecture and engraving. Thus the maternity picture of Madame Vigée Le Brun and her daughter (v.1789), commissioned by the Comte d'Angivillier, director of the King's Buildings, seized by Le Brun integrates the collections of the Louvre.

As for Elizabeth-Louise, she traveled through Europe in triumph.

At the invitation of the Russian ambassador, Elisabeth Vigée Le Brun traveled to Russia, a country she would consider her second homeland. In 1795 she was in St. Petersburg, where she stayed for several years, supported by orders from the upper Russian society and the support of Gabriel-Francois Doyen, close to the Empress and her son. She lives in particular with the Countess Saltykoff.

Invited by the great courts of Europe and having to provide for her means, she painted without ceasing.

She refuses to read the news, for she learns of the execution of her guillotined friends during the Terror. She learned, among other things, the death of her lover Doyen, a cousin of Gabriel-Francois, born in Versailles in 1759, who was Marie Antoinette's cook for ten years.

In 1799, a petition of two hundred and fifty-five artists, writers and scientists asked the Directory to withdraw its name from the list of emigrants.

In 1800, his return was precipitated by the death of his mother at Neuilly and the marriage she did not approve of her daughter Julie with Gaëtan Bertrand Nigris, director of the Imperial Theaters in St. Petersburg. It is for her a heartbreak. Disappointed by her husband, she had founded her whole affective universe on her daughter. The two women will never be completely reconciled.

After a brief stay in Moscow in 1801, then in Germany, she can safely return to Paris since she was struck off the list of emigrants. She was greeted in Paris on January 18, 1802, where she found her husband, with whom she lived under the same roof.

If the return of Elizabeth is greeted by the press, she finds it difficult to find her place in the new society born of the Revolution and the Empire.

A few months later, she left France for England, where she moved to London for three years. There, she meets Lord Byron, the painter Benjamin West, finds Lady Hamilton, Admiral Nelson's mistress whom she had known in Naples, and admires the painting of Joshua Reynolds.

She lives with the Court of Louis XVIII and the Count of Artois in exile between London, Bath and Dover.

After a passage through Holland, she returned to Paris in July 1805, and her daughter Julie who left Russia. In 1805, she received the commission of the portrait of Caroline Murat, wife of General Murat, one of Napoleon's sisters who had become queen of Naples, and it went wrong: "I painted real princesses who never tormented me and Did not make me wait, "36 the fifty-year-old artist said to this young queen who had succeeded.

On January 14, 1807, she bought her Parisian private mansion and auction room from her indebted husband. But in the face of imperial power, Vigée Le Brun left France for Switzerland, where she met Madame de Staë.

In 1809, Elisabeth Vigée Le Brun returned to France and settled in Louveciennes, in a country house near the castle that had belonged to the Countess du Barry (guillotined in 1793), of which she had painted three portraits before the Revolution. She then lived between Louveciennes and Paris, where she held a show and met the renowned artists. Her husband, whom she had divorced, died.

In 1814, Elisabeth Vigée Le Brun rejoiced at the return of Louis XVIII, "The monarch that suited the time," she writes in her memoirs. After 1815 and the Restoration, his paintings, in particular the portraits of Marie Antoinette, were restored and re-attached to the Louvre, Fontainebleau and Versailles.

His daughter ended his life in misery in 1819, and his brother, Étienne Vigée, died. She makes a final trip to Bordeaux where she makes many drawings of ruins. She still painted a few sunsets, studies of the sky or the mountains, including the valley of Chamonix in the pastel (Le Mont Blanc, L'Aiguille du Goûter, Grenoble museum).

In Louveciennes, where she lives eight months of the year, the rest in winter in Paris, she receives Sunday friends and artists including her friend the painter Jean-Antoine Gros, whom she knew since 1778, and she is very Affected by his suicide.

In 1829, Elisabeth Vigée Le Brun wrote a short autobiography which she sent to Princess Nathalie Kourakine, and wrote her will. In 1835, she published her Souvenirs with the help of her nieces Caroline Rivière, who had come to live with her, and Eugénie Tripier Le Franc, portraitist painter and last student. It is the latter who writes with his own hand a part of the painter's memories, hence the doubts expressed by certain historians as to their authenticity.

At the end of his life, the artist, prey to cerebral attacks, loses his sight.

She died in Paris at her home in Rue Saint-Lazare on 30 March 1842 and was buried in the cemetery of Louveciennes. On the gravestone, deprived of its grid of entourage, stands the stele of white marble bearing the epitaph "Here, finally, I rest ...", ornamented of a medallion representing a palette on a base and surmounted of a cross.

The majority of his work, 660 out of 900 paintings, 41 is composed of portraits. The only notable exception is his painting La Paix bringing back the Abundance of 1780, constituting his reception piece at the Royal Academy of Painting and Sculpture, which had been severely criticized by the members of the Academy for his mistakes in drawing And its lack of idealization. She seems to be abandoning this genre for financial reasons. She uses oil, reserving the pastel for sketches. It is inspired by the old masters. Thus the style of the Portrait of a Woman by Pierre Paul Rubens (1622-1625, London, National Gallery) can be found in several of his paintings, including his self-portrait in the straw hat (1782-1783, London, National Gallery) or Gabrielle Yolande Claude Martine de Polastron, Duchess of Polignac (1782, National Museum of the castles of Versailles and Trianon). The influence of Raphael and his Madonna della seggiola (1513-1514, Florence, Palazzo Pitti) can also be found in his Self-portrait with his daughter Julie (1789, Paris, Musée du Louvre). Elisabeth Vigée Le Brun will paint about fifty self-portraits, making her favorite subject of her own.

Another of his favorite subjects is the representation of the child, either as an isolated subject or in the company of the mother, trying to paint "maternal tenderness," a nickname given to one of her works (Autoportrait Madame Le Brun holding her daughter Julie on her lap, 1786, Paris, musée du Louvre).

His work developed a first style before 1789, and a second after that date. The first part of his work is composed of female portraits in the "natural" style proper to rococo. It gradually favors simple and floating fabrics, not starched, hair not powdered and left natural. The second part is more severe, the style has changed in the portraits, but also with the landscapes that appear then (about 200). His palette becomes darker compared to the virtuoso glee of the pre-revolutionary work. If his work executed under the Ancien Régime was much commented, appreciated or criticized, the second part which goes from 1789 to 1842 is little known. For his biographer Nancy Heller in Women Artists: An Illustrated History, the best portraits of Vigée Le Brun are as much a vibrant evocation of personalities as the expression of an art of living that disappeared, even when she painted46

The first retrospective exhibition of his work, in France, takes place in Paris at the Grand Palais in 20.

If Elisabeth Vigée Le Brun was famous during his lifetime, his work associated with Marie Antoinette and Louis XVI was forgotten until the 21st century. If in 1845 it appears in the Universal Biography of all the celebrated men who have made themselves remarkable by their writings; Their actions, their talents, their virtues or their crimes as the wife of Jean-Baptiste Le Brun, in 1970, his name does not even appear in the illustrated Grand Larousse. Hooked up at the Louvre his self-portrait with his daughter Julie is considered to be a bit of a fever. The most severe criticism of Vigée Le Brun's conception of maternity (and painting) will be that formulated by Simone de Beauvoir in Le Deuxième Sexe in 1949, which writes: "Instead of giving oneself generously to the work which, She undertakes, the woman considers it as a simple ornament of her life; The book and the painting are only an inessential intermediary, enabling him to exhibit this essential reality: his own person. Hence, it is her person who is the principal - sometimes the only - subject that interests her: Mme Vigée-Lebrun never tires of fixing her smiling maternity on her canvases. "

At the end of the twentieth century, the work of Élisabeth Vigée Le Brun was commented upon and studied by American feminists in an analysis of the cultural policy of the arts through the questions raised by her exceptional career, the parallelism between the link United her to Marie Antoinette and that of Apelles and Alexander the Great, the establishment of her reputation, relations with her male peers, the courtesan society which founded her royalist clientele, her attitude to the Revolution, and then the prohibition Made women study at the Fine Arts by the Constituent Assembly, its narcissism and motherhood as a feminine identity extending the remark of Simone de Beauvoir.

The English historian Colin Jones considers that the self-portrait of the painter Elisabeth Vigée Le Brun with his daughter (1786) is the first real smile represented in Western art where the teeth are apparent. At the time of his presentation, it is considered scandalous. Indeed, since antiquity, the representations of mouths with teeth exist but they concern characters negatively connoted, such as the people or subjects who do not master their emotions (fear, rage, ecstasy, etc.), for example on Flemish paintings of the seventeenth century with drunkards or even children like William Hogarth's The Shrimp Merchant. Rarely, artists make them self-portraits where they are seen smiling with their teeth (Rembrandt, Antoine Watteau, Georges de La Tour) but Colin Jones considers this as a tribute to Democritus, where the furious laughter echoes the madness of the (As on the canvas of Antoine Coypel representing the ancient philosopher). It should also be noted that the deficient hygiene of the time spoils the teeth and often makes them lose before the age of 40 years: to keep the mouth closed and to control his smile answers therefore a practical necessity. Nevertheless, under the leadership of Pierre Fauchard, dentistry progressed in the eighteenth century. The canvas of Vigée Le Brun shocks thus because it transgresses the social conventions of its time which demands a mastery of its body, art being only the reflection. Subsequently, the democratization of medicine and the possibility of keeping healthy and white teeth allows the smile to be displayed.

The first retrospective of his work in France takes place from September 2015 to January 11, 2016 at the Grand Palais in Paris. Accompanied by films and documentaries, the painter Marie-Antoinette appears in all its complexity.
https://hisour.com/artist/louise-elisabeth-vigee-le-brun/

2017年6月29日星期四

Olafur Eliasson


Olafur Eliasson (Icelandic: Ólafur Elíasson; born 1967) is a Danish-Icelandic artist known for sculptures and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance the viewer’s experience In 1995 he established Studio Olafur Eliasson in Berlin, a laboratory for spatial research Olafur represented Denmark at the 50th Venice Biennale in 2003 and later that year installed The Weather Project in the Turbine Hall of Tate Modern, London

Olafur has engaged in a number of projects in public space, including the intervention Green river, carried out in various cities between 1998 and 2001; the Serpentine Gallery Pavilion 2007, London, a temporary pavilion designed with the Norwegian architect Kjetil Thorsen; and The New York City Waterfalls, commissioned by Public Art Fund in 2008 He was a professor at the Berlin University of the Arts from 2009 to 2014 and is an adjunct professor at the Alle School of Fine Arts and Design in Addis Ababa since 2014

Olafur Eliasson was born in Copenhagen in 1967 to Elías Hjörleifsson and Ingibjörg Olafsdottir His parents had emigrated to Copenhagen from Iceland in 1966, he to find work as a cook, and she as a seamstress He was 8 when his parents separated; he lived with his mother and his stepfather, a stockbroker His father, then an artist, moved back to Iceland, where their family spent summers and holidays At 15 he had his first solo show, exhibiting landscape drawings and gouaches at a small alternative gallery in Denmark However, Olafur considered his "break-dancing" during the mid-1980s to be his first artworks With two school friends, he formed a group — they called themselves the Harlem Gun Crew — and they performed at clubs and dance halls for four years, eventually winning the Scandinavian championship

Olafur studied at the Royal Danish Academy of Fine Arts from 1989 to 1995 In 1990, when he was awarded a travel budget by the Royal Danish Academy, Olafur went to New York where he started working as a studio assistant for artist Christian Eckhart in Williamsburg, Brooklyn and reading texts on phenomenology and Gestalt psychology

Olafur received his degree from the academy in 1995, after having moved in 1993 to Cologne for a year, and then to Berlin, where he has since maintained a studio First located in a three-story former train depot right next door to the Hamburger Bahnhof, the studio moved to a former brewery in Prenzlauer Berg in 2008

In 1996, Olafur started working with Einar Thorsteinn, an architect and geometry expert 25 years his senior as well as a former friend of Buckminster Fuller The first piece they created called 8900054, was a stainless-steel dome 30 feet (91 m) wide and 7 feet (21 m) high, designed to be seen as if it were growing from the ground Though the effect is an illusion, the mind has a hard time believing that the structure is not part of a much grander one developing from deep below the surface Thorsteinn's knowledge of geometry and space has been integrated into Olafur's artistic production, often seen in his geometric lamp works as well as his pavilions, tunnels and camera obscura projects

For many projects, the artist works collaboratively with specialists in various fields, among them the architects Thorsteinn and Sebastian Behmann (both of whom have been frequent collaborators), author Svend Åge Madsen (The Blind Pavilion), landscape architect Gunther Vogt (The Mediated Motion), architecture theorist Cedric Price (Chaque matin je me sens différent, chaque soir je me sens le même), and architect Kjetil Thorsen (Serpentine Gallery Pavilion, 2007)[citation needed] Studio Olafur Eliasson, which the artist founded as a "laboratory for spatial research", employs a team of architects, engineers, craftsmen, and assistants (some 30 members as of 2008) who work together to conceive and construct artworks such as installations and sculptures, as well as large-scale projects and commissions

As professor at the Berlin University of the Arts, Olafur Eliasson founded the Institute for Spatial Experiments (Institut für Raumexperimente, IfREX), which opened within his studio building in April 2009

Selected Works:
Ventilator pieces:
Early works by Olafur consist of oscillating electric fans hanging from the ceiling Ventilator (1997) swings back and forth and around, rotating on its axis Quadrible light ventilator mobile (2002–2007) is a rotating electrically powered mobile comprising a searchlight and four fans blowing air around the exhibition room and scanning it with the light cone

The weather project:
The weather project was installed at the London's Tate Modern in 2003 as part of the popular Unilever series The installation filled the open space of the gallery's Turbine Hall

Olafur used humidifiers to create a fine mist in the air via a mixture of sugar and water, as well as a circular disc made up of hundreds of monochromatic lamps which radiated yellow light The ceiling of the hall was covered with a huge mirror, in which visitors could see themselves as tiny black shadows against a mass of orange light Many visitors responded to this exhibition by lying on their backs and waving their hands and legs (Art critic Brian O'Doherty described this as viewers "intoxicated with their own narcissism as they ponder themselves elevated into the sky") Open for six months, the work reportedly attracted two million visitors, many of whom were repeat visitors O'Doherty was positive about the piece when talking to Frieze magazine in 2003, saying that it was "the first time I've seen the enormously dismal space--like a coffin for a giant--socialized in an effective way"

Light installations:

Olafur has been developing various experiments with atmospheric density in exhibition spaces In Room For One Colour (1998), a corridor lit by yellow monofrequency tubes, the participants find themselves in a room filled with light that affects the perception of all other colours Another installation, 360 degrees Room For All Colours (2002), is a round light-sculpture where participants lose their sense of space and perspective, and experience being subsumed by an intense light Olafur's later installation Din blinde passager (Your blind passenger) (2010), commissioned by the Arken Museum of Modern Art, is a 90-metre-long tunnel Entering the tunnel, the visitor is surrounded by dense fog With visibility at just 15 metres, museumgoers have to use senses other than sight to orient themselves in relation to their surroundings For Feelings are facts, the first time Olafur has worked with Chinese architect Yansong Ma as well as his first exhibition in China, Olafur introduces condensed banks of artificially produced fog into the gallery of Ullens Center for Contemporary Art, Beijing Hundreds of fluorescent lights are installed in the ceiling as a grid of red, green, and blue zones

Green River:
In 1998, Olafur discovered that uranin, a readily available nontoxic powder used to trace leaks in plumbing systems, could dye entire rivers a sickly fluorescent green Olafur conducted a test run in the Spree River during the 1998 Berlin Biennale, scattering a handful of powder from a bridge near Museum Island He began introducing the environmentally safe dye to rivers in Moss, Norway (1998), Bremen (1998), Los Angeles (1999), Stockholm (2000) and Tokyo (2001) — always without advance warning

Iceland photographs:
In regular intervals, Olafur presents grids of various color photographs, all taken in Iceland Each group of images focuses on a single subject: volcanoes, hot springs and huts isolated in the wilderness In his very first series he attempted to shoot all of Iceland’s bridges A later series from 1996 documented the aftermath of a volcanic eruption under the Vatnajökull Often these photographs are shot from the air, in a small rented plane traditionally used by mapmakers Arranged in a grid, the photographs recall the repetitive images of the German photographers Bernd and Hilla Becher

Your black horizon:
This project, a light installation commissioned for the Venice Biennale by Thyssen-Bornemisza Art Contemporary in collaboration with British architect David Adjaye, was shown from 1 August to 31 October 2005 on the island of San Lazzaro in the lagoon near Venice, Italy A temporary pavilion was constructed on the grounds of the monastery to house the exhibit, consisting of a square room painted black with one source of illumination – a thin, continuous line of light set into all four walls of the room at the viewers eye-level, serving as a horizontal division between above and below From June 2007 through October 2008, the pavilion was reopened on the island of Lopud, Croatia near the city of Dubrovnik

Your mobile expectations: BMW H2R project:
Olafur was commissioned by BMW in 2007 to create the sixteenth art car for the BMW Art Car Project Based on the hydrogen-powered BMW H2R concept vehicle, Olafur and his team removed the automobile's alloy body and instead replaced it with a new interlocking framework of reflective steel bars and mesh Layers of ice were created by spraying approximately 530 gallons of water during a period of several days upon the structure On display, the frozen sculpture is glowing from within Your mobile expectations: BMW H2R project was on special display in a temperature controlled room at the San Francisco Museum of Modern Art from 2007 to 2008 and at the Pinakothek der Moderne, Munich, in 2008

The New York City Waterfalls:
Olafur was commissioned by The Public Art Fund to create four man-made waterfalls, called the New York City Waterfalls, ranging in a height from 90–120 ft, in New York Harbor The installation ran from 26 June through 13 October 2008 At $155 million, it was the most expensive public arts project since Christo and Jeanne-Claude's installation of The Gates in Central Park

The Parliament of Reality:
Dedicated on 15 May 2009, this permanent sculpture stands at Bard College, Annandale-on-Hudson, NY The installation is based on the original Icelandic parliament, Althingi, one of the world's earliest democratic forums The artist envisions the project as a place where students and visitors can gather to relax, discuss ideas, or have an argument The parliament of reality emphasizes that negotiation should be the core of any educational scheme The man-made island is surrounded by a 30-foot circular lake, 24 trees, and wild grasses The 100-foot-diameter (30 m) island is composed of a cut-bluestone, compass-like floor pattern (based upon meridian lines and navigational charts), on top of which 30 river-washed boulders create an outdoor seating area for students and the public to gather The island is reached by a 20-foot-long stainless steel lattice-canopied bridge, creating the effect that visitors are entering a stage or outdoor forum Frogs gather in this wiry mesh at night, creating an enjoyable symphony

Colour experiment paintings (2009-):
For his ongoing series of Colour experiment paintings – which began in 2009 – Olafur started analyzing pigments, paint production and application of colour in order to mix paint in the exact colour for each nanometre of the visible light spectrum In 2014, Olafur analyzed seven paintings by J M W Turner to create Turner colour experiments, which isolate and record Turner’s use of light and colour

Harpa:
Olafur designed the facade of Harpa, Reykjavík's new concert hall and conference centre which was completed in 2011 In close collaboration with his studio team and Henning Larsen Architects, the designers of the building, Olafur has designed a unique facade consisting of large quasi bricks, a stackable twelve sided module in steel and glass The facade will reflect the city life and the different light composed by the movements of the sun and varying weather During the night the glass bricks are lit up by different colored LED lights The building was opened on 13 May 2011

Your rainbow panorama:
Olafur's artwork Your rainbow panorama consists of a circular, 150 metres (490 ft) long and 3 metres (98 ft) wide corridor made of glass in every color of the spectrum It has a diameter of 52 metres (171 ft) and is mounted on 35 metres (11 ft) high columns on top of the roof of the ARoS Aarhus Kunstmuseum in Aarhus It opened in May 2011 Visitors can walk through the corridor and have a panoramic view of the city Construction cost 60 million Danish kroner and was funded by the Realdania foundation

Olafur's idea was chosen in 2007 among five other proposals in a bidding process by a panel of judges At night the artwork is lit from the inside by spotlights in the floor[citation needed]

Moon:
In November 2013, at the Falling Walls Conference, Olafur presented with Ai Weiwei, connected via web from Beijing, their collaboration Moon, an open digital platform that allows users to draw on enormous replica of the moon via their web browser The platform is a statement in support of freedom of speech and creative collaboration

Contact:
From December 17, 2014 to February 23, 2015, Fondation Louis Vuitton, Paris The artworks appear as a sequence of events along a journey Moving through passageways and expansive installations, visitors become part of a choreography of darkness, light, geometry, and reflections Along the way, optical devices, models, and a meteorite reflect Olafur’s on-going investigations into the mechanisms of perception and the construction of space

Other projects:
In 2005, Olafur and classical violin maker Hans Johannsson began work on the development of a new instrument, with the objective to reinterpret the traditions of 17th- and 18th-century violin making using today’s technology and a contemporary visual aesthetic

Commissioned by Louis Vuitton in 2006, lamps titled Eye See You were installed in the Christmas windows of Louis Vuitton stores; a lamp titled You See Me went on permanent display at Louis Vuitton Fifth Avenue, New York Each deliberately low-tech apparatus, of which there are about 400, is composed of a monofrequency light source and a parabolic mirror All fees from the project were donated to 121Ethiopiaorg, a charitable foundation initially established by Olafur and his wife to renovate an orphanage

In 2007, Olafur developed the stage design for Phaedra, an opera production at the Berlin State Opera

Along with James Corner's landscape architecture firm Field Operations and architecture firm Diller Scofidio + Renfro, Olafur was part of the design team for New York's High Line park Olafur was originally supposed to create an outdoor-based artwork for the 2012 Summer Olympics; however, his proposed £1 million ($16 million) project Take A Deep Breath – which involved recording people breathing – was rejected due to funding problems

In 2012 Olafur and engineer Frederik Ottesen founded Little Sun, a company that produces solar powered LED lamps

Collections:
Olafur's work is represented in public and private collections including the Solomon R Guggenheim Museum, New York; the Centre for International Light Art (CILA), Unna, Germany; the Museum of Contemporary Art, Los Angeles; and the Deste Foundation, Athens, Greece

The Spiral Pavilion, conceived in 1999 for the Venice Biennial and today on display at Kunsthalle Bielefeld, brought Olafur Eliasson the Benesse Prize by the Benesse Corporation In 2004, Olafur won the Nykredit Architecture Prize and the Eckersberg Medal for painting The following year he was awarded the Prince Eugen Medal for sculpture and in 2006, the Crown Prince Couple's Culture Prize In 2007, he was awarded the first Joan Miró Prize by the Joan Miró Foundation

In 2010, Olafur was the recipient of a Quadriga award; he returned his award one year later after it was revealed that Vladimir Putin would be recognized in 2011 In October 2013, he was honored with the Goslarer Kaiserring That same year, Olafur and Henning Larsen Architects were recipients of the Mies van der Rohe Award for their Harpa Concert Hall and Conference Center in Reykjavik, Iceland

In 2014, Olafur was the recipient of the $100,000 Eugene McDermott Award in the Arts at MIT (Massachusetts Institute of Technology); the prize is considered an investment in the recipient’s future creative work, rather than a prize for a particular project or lifetime of achievement The awardee becomes an artist in residence at MIT, studying and teaching for a period of time

On the occasion of a state visit to Germany in June 2013, the President of Iceland, Ólafur Ragnar Grímsson, visited Studio Olafur Eliasson in Berlin

Brazilian filmmaker Karim Ainouz's documentary piece, Domingo, shot from his encounter with Olafur during the 17th Videobrasil Festival, had its world premiere at Rio International Film Festival in 2014, and will be released on DVD in 2015
https://hisour.com/artist/olafur-eliasson/

Feliu Elias


Feliu Elias i Bracons (Barcelona, ​​October 8, 1878 - August 1948), a cartoonist, caricaturist, painter, illustrator and art critic, was popularly known for his pseudonyms Apa (for humorous drawing and The cartoon) and Joan Sacs (for the theory of art and writing) As a painter, he signed with his own name. He is one of the most prominent humorist cartoonists of the first half of the twentieth century

Study at the Artistic Circle of Sant Lluc and at the Artistic Circle of Barcelona Start collaborating in the magazine Cu-Cut! (1902), Garba (1905-1906) and El Poble Català until 1908 founded and directed the weekly humorous Papitu, one of the most important Catalan humorous publications of all time

He is expelled from the writing of ¡Cu-Cut! To publish jokes to the Papitu contra la Lliga Regionalista, which edited La Veu de Catalunya and Cu-Cut!

In 1911 the government suspended the constitutional guarantees and Apa, judged by the Law of Jurisdictions, must abandon the leadership of the Papitu and flee to Paris to avoid a conviction for having published a series of drawings in this magazine. He works with the publications Picarol (1912) and La Rialla (1913)

He returned to Catalonia, where he founded the Nova Magazine (1914) and collaborated with La Piula (1916), L'Estevet (1921-1923), Bella Terra (1923-1927), La Mainada (1921-1923), Virolet ( 1922-1931), El Borinot (1923-1927), Mr. Daixonses and Ms. Dallonses (1926), Jordi (1928) or Mirador (1929-37) and La Publicidad, where he will do from 1922 a daily joke on the first page He also collaborated in prestigious French magazines, such as Paris Journal, Paris Midi, Assiette au Beurre or Formes

Their covers are also notable in Iberia magazine (1915-1918) defending the allied cause during the first Great War, drawings that will be collected in the book Kameraden, a trilingual edition published in France with a prologue by French artist Sem, and a study Of the prestigious John Grand-Carteret The cartoons favorable to the allied cause earned him the distinction of the Great Cross of the Legion of Honor. He was also an outstanding illustrator and painter, especially during the last years of his life, participating in A large number of exhibitions

He worked as a lecturer at the School of Librarians, the Superior School of Fine Arts and the Elementary School of Work

In 1923 he participated in the foundation of the Socialist Union of Catalonia, of whose board of directors he was a member of the culture vocal. He was also a contributing member of the Socialist magazine Social Justice, from where he criticized socialist realism

He wrote a large number of texts on art in very diverse publications, and interesting monographs on artists (Benet Mercadé, Simó Gómez, Enric Monserdà, Joan Brull), among which Xavier Nogués (Quaderns Blaus, 1926) stands out for what he has Of personal testimony

His work in two volumes Modern Catalan sculpture (1926-28) is still an indispensable source on this subject. Among many other books, in 1931, he edited an interesting essay on humor drawing: L'Art Of the cartoon It can be considered, together with Rafael Benet, the first rigorous historian of contemporary Catalan art

At the beginning of the Civil War, he was exiled for fear of repression of the FAI, not to return until after the events of May During the last months of the war, he delivered radio conferences on Marxist aesthetics. Once the Second War was exiled and begun Worldwide, he was interned in a concentration camp of the Vichy regime

The drawings of the Apa, carefully watched, full of intelligent and implacable satire, are a clairvoyant example of the types and customs of the first quarter of the twentieth century, and are without a doubt among the most humorous drawings Bold ones that have never been made in this country There are original ones in the Library of Catalonia

His artistic origins must be placed near the Noucentisme next to Eugeni d'Ors, who was distancing himself to practice a critical Noucentisme against the idealistic vision of D'Ors himself

As a painter, he began influenced by the Catalan postmodernist style of Isidre Nonell, whom he had hired as a collaborator in his Papitu magazine, to cultivate a very detailed Realism, with which he achieved a magical atmosphere that of Sometimes it shows parallel details to the Hyperrealism. It is a style very close to the German Neue Sachlichkeit Germanic
https://hisour.com/artist/feliu-elias/

Elian


Elian from Living Walls: The City Speaks, Atlanta, GA, United States

Living Walls: The City Speaks is a non profit organization in Atlanta, Georgia. Founded in 2009 by Monica Campana and Blacki Li Rudi Migliozzi, Living Walls seeks to promote, educate and change perspectives about public space in our communities via street art. Since 2009, Living Walls has painted over 100 murals in Atlanta, rural Georgia, Albany NY, and Miami. Artists have hailed from Israel, South Africa, Chile, Japan, Spain, France, Atlanta, and many more.
https://hisour.com/artist/elian/

George Elbert Burr


George Elbert Burr (1859 - 1939) was an American printmaker and painter best known for his etchings and drypoints of the desert and mountain regions of the American West.

George Elbert Burr worked as an illustrator for several New York magazines: Harper’s, Cosmopolitan, and Frank Leslie’s Weekly Newspaper. His work for Leslie’s allowed him to travel coast to coast in America, indulging his passion for landscapes. Burr set out on a European journey in 1896, and traveled for almost five years. Bay at Nevin, Wales [SAAM, 1983.83.188] was painted during this time. After his travels, Burr moved to Colorado and later Arizona, and made prints depicting the monumental deserts and mountains of the American Southwest.

Burr was born in 1859 in Munroe Falls, Ohio. He studied at the Art Institute of Chicago for one winter, his only formal artistic training. Nevertheless, he enjoyed early success as a commercial artist, providing illustrations for Harper's, Scribner's Magazine, Frank Leslie's Weekly, and The Cosmopolitan. In 1892, he began a four-year project illustrating a catalog of Heber R. Bishop's collection of jade antiquities for the New York Metropolitan Museum of Art. This project, which involved producing etchings of over a thousand artifacts, paid well enough for Burr to embark on an extended tour of Europe with his wife upon its completion. Over the next five years, as they traveled in Italy, Germany, and the British Isles, Burr amassed sketches and watercolors that would provide the source material for his copperplate etchings of European scenes.

Ten years after his birth in Monroe Falls, Ohio, George Elbert Burr moved with his parents to Cameron, Missouri, where his father opened a hardware store. Burr was interested in art from an early age and his first etchings were created with the use of zinc scraps found in the spark pan under the kitchen stove. He then printed the plates on a press located in the tin shop of his father's store.

In December of 1878, Burr left for Illinois to attend the Art Institute of Chicago (then called the Chicago Academy of Design). By April of the following year, Burr had moved back to Cameron. The few months of study in Chicago constituted the only formal training the artist was to have.

Back in Missouri, Burr heeded his family's wishes by working in his father's store. However, he did not abandon his art, often using his father's railway pass to travel around the countryside on sketching trips. In 1894, Burr married Elizabeth Rogers and the following year he became an instructor for a local drawing class.

By 1888, the artist was employed as an illustrator for Scribner's, Harper's, and The Observer. During that time, his illustrations were also published in Volume II of John Muir's Picturesque California. In December of the same year, Burr relocated to New York City for several months to work on assignment for The Observer. Over the next several years, Burr worked and traveled extensively as an illustrator contributing to additional periodicals including The Cosmopolitan and Leslie's Illustrated Newspaper.

In 1892, Burr began a four-year project to illustrate a catalog for the Metropolitan Museum of Art of Heber R. Bishop's jade collection. After completing approximately 1,000 etchings of the collection, Burr used the money he earned on the project to fund a trip abroad. The artist and his wife spent the years between 1896 and 1901 sketching and traveling on a tour of Europe that spanned from Sicily to North Wales. After their return from Europe, the Burr's settled in New Jersey where Burr sustained a living through the sale of his etchings and watercolors. During the next few years, Burr's watercolors were displayed in galleries and exhibitions along the east coast and as far west as Kansas City, Missouri.

In 1906 the couple moved to Denver, Colorado, in an effort to improve George's poor health. While in Colorado, Burr completed Mountain Moods, a series of 16 etchings.

His years in Denver were highly productive despite his poor health. He gained membership to art organizations including the New York Society of Etchers and the Brooklyn Society of Etchers (later renamed Society of American Etchers). Burr's winters were spent traveling through the deserts of Southern California, Arizona, and New Mexico. In 1921, Burr obtained copyrights on the last of 35 etchings included in his well-known Desert Set.

Burr's failing health prompted a move to a more moderate climate and the couple settled in Phoenix, Arizona, in 1924. In Phoenix, Burr served as president of the Phoenix Fine Arts Association and participated in the city's first major art exhibition. Burr remained in Phoenix until his death in 1939.

Throughout his lifetime Burr worked in a variety of mediums creating approximately fifty oil paintings, over a thousand watercolors, two-thousand pen-and-ink drawings and over twenty-five thousand etchings all pulled from his own presses.

Exhibitions: Boston Art Club, 1902, 1906; Art Institute of Chicago, 1910, 1913; National Museum of American Art, 1986 (retrospective); Mitchell Brown Gallery, Tucson, Arizona, 1990 (retrospective).

A few years after his return to the United States, an attack of the flu prompted Burr to move to Denver for the benefit of his health. It was there, during summers spent in a cabin studio in a steep wooded canyon with panoramic views of the Rocky Mountains, that Burr began to concentrate on the work that made him famous. In 1910, he built a brick house and studio at 1325 Logan Street in Denver. The building was purchased in 1924 by the Denver Woman's Press Club, which continues to own and operate it as a clubhouse. In 1924 the artist settled in Phoenix, Arizona, where he would remain for the rest of his life. This change of scenery gave him the opportunity to round out his oevure of Western landscapes with expansive views of the Sonoran and Mojave deserts.

Today George Elbert Burr is widely considered to be one of the finest of the early 20th-century American etchers. His prints are in a number of prominent collections including the Smithsonian American Art Museum, the British Museum, the French National Print Collection, Luxembourg Gallery, Victoria and Albert Museum, the New York Public Library and the Congressional Library in Washington, D.C.

Tiffany Farrell "Experience the Best of Wales!," 1001 Days and Nights of American Art Web site, entry for August 3, 2002 (Washington, D.C.: Smithsonian American Art Museum, 2002).

Works held: Art Institute of Chicago; Boston Museum of Fine Arts; Brooklyn Museum; Carnegie Institute; City Museum, St. Louis; Cleveland Museum of Art; Colorado State University; Denver Art Museum; Detroit Institute; Fine Arts Gallery, San Diego, California; Fogg Art Museum, Cambridge, Massachusetts; Library of Congress; Los Angeles County Museum of Art; Metropolitan Museum of Art; New York Public Library; Newark Museum; Phoenix Fine Arts Association; Prints of the Year, 1931; Public Library, Santa Barbara; Toledo Museum of Art; Berlin; Luxembourg, Paris; Bibliothéque Nationale, Paris; Victoria and Albert Museum, British Museum, London.

Further Reading: American Etchers, Vol. 7, George Elbert Burr with a foreward by Arthur Millier, the Crafton Collection, New York, 1930.; George Elbert Burr 1859-1939: Catalogue Raisonne and Guide to the Etched Works with Biographical and Critical Notes, Louise Combes Seeber, Northland Press, Flagstaff, Arizona,1971.; The Illustrated Biographical Encyclopedia of Artists of the American West, Peggy and Harold Samuels, Doubleday & Company, Inc., Garden City, New York, 1976.; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Vol. 1. Peter Hastings Falk, Georgia Kuchen and Veronica Roessler, eds., Sound View Press, Madison, Connecticut, 1999. 3 Vols.
https://hisour.com/artist/george-elbert-burr/

Ekundayo


Ekundayo from The Mural Conservancy of Los Angeles, United States

The Mural Conservancy of Los Angeles (MCLA) was founded in 1987 as a community supported organization to preserve and protect Los Angeles’ diverse and culturally historic public mural arts. It was created by a coalition of artists, public art advocates, City of Los Angeles and State of California public officials, and restoration specialists. MCLA built long-term programs to retain mural arts as a part of Los Angeles’ cultural legacy and establish murals as a significant part of the city’s cultural heritage. It advocates for the rights of artists and public art, working with artists to support the integrity of their work. MCLA promotes local artists and public murals in order to sustain Los Angeles as one of the great Mural Capitals in the United States.
https://hisour.com/artist/ekundayo/

Ekta


Ekta from No Limit Street Art Borås, Sweden

Daniel Gotesson left Sweden at 18 to pursue a skateboarding and artistic career in London where he immediately got involved in graffiti scene. After returning home 9 years after he founded ORO gallery in Göteborg with 6 other artists. Just recently Daniel’s drawings were acquired by New York Times but he still decided to refrain from commercial illustration and prefers to think in color spots and abstract shapes which he transfers onto different media — canvas, buildings, and wood.

Ekta's work abstract mural combines imagery in a good mix of geometrical compositions that owns something we could call pragmatic dynamism going back to a more primitive sensibility.

No Limit is an outdoor art event inviting artists from around the world to participate in turning public space into an outdoor exhibition. No Limit been held in Borås, Sweden 4-7th of September 2014 and 3-6th of September 2015.
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Kanō Eitoku


Kanō Eitoku (狩野 永徳, February 16, 1543 – October 12, 1590) was a Japanese painter who lived during the Azuchi–Momoyama period of Japanese history. He is one of the most prominent patriarchs representative painter of the Kano school (school which was in the center of the Japanese painter from the Muromachi era to the Edo era) and is one of the most prominent painters of Japanese art history. Existing masterpieces include "Karate Lion Screen Painted Screen", "Long Nak Raku Excursion Folding Screen", "Shukokoin Barrier Painting" and others.

Kanō Eitoku is the son of Kano Katsuei and it is the grandchild of Motonobu Kano. Eiken is a legal name, Genjiro is the name, Shinzo is a state newsman (Kuninobu).

As a masterpiece of the Kano school, he created barrier paintings such as Nobunaga Oda, Toyotomi Hideyoshi serving the celestial person, Azuchi castle, Juraku shi, Osaka castle. Many of these representative accomplishments that Eikdo wielded are destroyed together with the building, and there are relatively few existing works that are regarded as truth. Speaking of Eikden is a magnificent work of magnificent scale (big picture) such as "Karate lion figure" and "Hinoki figure" well known, but it is said that well "fine picture" depicting precisely detailed details (" Picture history of this morning "). Uesugumoto "Raku Nakoraku Figure", one of the masterpieces that are still present, shows that he excelled in fine detail depiction.

Born in Kyoto as Astronomy 12 (1543), the eldest son of Shogei. First of all, records of Eiken appear in the record in the article of January 29 (February 23, 1552) of the astronomical astronomy in the diary of Yamashinai telling " ) Gathered their grandchildren to the general Shogun Yoshiteru Ashikaga, and this "grandchild" was presumed to be a 10-year-old (county) elders at the time.

In addition, it is deeply related to the Kokomo family who is the leader of the Five Parents House, and it draws a barrier painting of the House of Sakihisa in the period of Eiroku 10 - 11 (1567 - 1568) (" Record"). In the invitation of Otomo Sorin at the invitation of Otomo Sorin, he went down to Bungoi through Tosa country together with Masayoshi Kuma, Mutsuyi Goto, Tokuyama Goto and Michiri Yoshida ("Nakae Sae Munezonjo Letter"), I drew a barrier picture of Usuki Nijima Castle ("Otomo Koho").

In Tensho 4 - 7 (1576 - 1579), after giving away his house to Munehide Kano in his brother, he painted a barrier painting in Azuchi Castle ("Nobunaga Public"), in the Tensho 11 year (1583) Osaka Castle, heavily used for power persons including Oda Nobunaga and Toyotomi Hideyoshi etc. in charge of the barrier painting of Juraku in the 14th year of Tensho (1586).

In the 17th year of Tensho (1589) he was responsible for the barrier painting of the inner back of Emperor Yosemi, and in 1890 (1590) he painted the barrier drawing of Hachijyo Palace. In September of the same year, Yongdeok was sick during the dragon drawing of the ceiling painting of Tofukuji Temple, died soon. Age of 48 (full death 47 years old). The graveyard is Taekoji temple in Kyoto. It is said that the cause of death is death from overwork in contemporary style. In addition, the ceiling painting of Tofukuji Legend Hall was completed by the disciple Kano's Yamakura based on the elegant undergrowth, but it does not exist.

Style:
His signal contribution to the Kanō repertoire was the so-called "monumental style" (taiga), characterized by bold, rapid brushwork, an emphasis on foreground, and motifs that are large relative to the pictorial space. The traditional account for this style, codified by Eitoku's great-grandson Einō (1631–97) in his History of Japanese Painting (Honcho gashi), is that it resulted partly from the exigencies of Eitoku's busy schedule, and that it embodied the martial and political bravura of the warlords, Nobunaga and Hideyoshi.

Unfortunately, most of his works were destroyed in the turmoil of the Sengoku period. However, those that do still exist provide testimony to his talent, to the power and wealth of his patrons Nobunaga and Hideyoshi, and to the magnificence of Azuchi-Momoyama culture. Symbolic representations, like pheasants, phoenixes and trees are often depicted in the works. The pheasant, for example is the national symbol of Japan, are mythological messengers of the sun goddess Amaterasu.

Work:
Shukokoin Barrier Pain (National Treasure) - Kyoto City, Shukoin
Shukokuin is the tower head of Daitokuji, Eikuto painted a barrier picture of Katajo with his father Matsui. Eitoku was in charge of "Flower bird diagram" 16 faces and "Koto handwritten drawing" 8 faces. Regarding the age of production, it was regarded as a work of 24 years old young writers of Nagoro 9th year (1566 years), which is the year of the establishment of Shokoin in the past, but from consideration of the style of painting and review of the age of construction itself, after a long time There is also the theory that it is Tensho 11 year (1583). Copies were produced sequentially from 2006 (2006), and the original is deposited at the Kyoto National Museum.

Rakuchu Rakugo figure (national treasure) - Uesugi Museum
Oda Nobunaga gave to Kenshin Uesugi in Nobunaga 2 (1574), which is a masterpiece of the Raku Naka Rukugaki drawing that depicts the center of Kyoto (Rakunaka) and the suburbs (Rukuoka) in a bird's-eye view. It is valuable as a historical material, and the number of figures drawn on this screen is about 2,500. About this screen, various aspects of production age have been discussed from the urban landscape drawn. There are various theories about the landscape age, such as Meiya Akira who regards the landscape age drawn on the screen by Astronomy 16 (1547), but also the fact that the cape plantation of Miyoshi Yoshiho House built in 1561 is drawn Have been pointed out.

Karate lion screen folding screen - Imperial Household Agency Sannaru Takanzokan
Hideyoshi listened to Honnoji's death in 1510 (10th year of Tensho), so in order to return to Kaiuchi, there is a tradition with Jinya folding screen that I gave to Terumoto Mori as a proof that it was quickly concluded at Takamatsu Castle. But there is no historical material to support it. In recent years, 224.2 × 453.3 cm and Honma folding screen is unusual in size, because it seems that the original was a bigger work from a plurality of cutouts seen on the screen, originally the Osaka Castle Honmaru table and the Juraku, Hideyoshi There is also a theory that it was a barrier painting decorating the hall of the relation castle tower. It was presented to the Imperial family in the Meiji era. In the lower right corner of the screen there is a paper in the paper with "Kano Kannon Branchi Brush" by Kano Ink (a grandson of Echo). Kano Kano confronting the greatest grandchildren of Eik is supplementing the left wing.

"Special Exhibition Kano Kojin" (2007, Kyoto National Museum), the following works are regarded as Eikaku works.
Nanzenji Ozakura Barrier Painting (Important Cultural Properties) - Kyoto City · Nanzenji
Co-made by Kano school. Around Tensho 14 - 19 (1586 - 1591). Inside, it is said that the group sengumi is Einchakyo.

Hinoki figure folding screen (national treasure) - Tokyo National Museum
Toshinaga Tokushi. Tensho 18 years (1590)? Old Kuriya House. Originally it was reported that it was a barrier picture of the Hachijyo palace, it was transferred to Katsuragi which is the back of the Hachiojo Miya House, after the abolition of the Miyae in 1881, it was transferred to the Imperial Household Agency and further from the main building dormitory to the Tokyo National Museum Was transferred to. In order to eliminate the discontinuity of drawings between each fan caused by refurbishment of the paint due to aged deterioration or the crack expansion of the sliding screen on the folding screen, from October 2012 to March 2014 full repair It was given. Until repair was one of eight songs, was renewed to four songs.

Daughter's father figure (Yuusuzou Housu) (important cultural property) - Tokyo National Museum
Toshinaga Tokushi. A paper book made of 2 width ink painting.

 
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2017年6月28日星期三

Chōbunsai Eishi


Chōbunsai Eishi (鳥文斎 栄之, 1756–1829) was a Japanese ukiyo-e artist in the late Edo period, a bamboo book. He worked from Kanichi to the cultural and civil period, he seemed to be a Ukiyo-e master from the samurai, and gained popularity with a clean and modest whole-body beauty painting.. Born to a well-off samurai family that was part of the Fujiwara clan, Eishi left his employ with the Shogun Ieharu to pursue art. His early works were prints were mostly bijin-ga portraits of beautiful women in a style akin to Kiyonaga and Utamaro. He was a prolific painter, and from 1801 gave up print designing to devote himself to painting.

Early life
Bunsyo Bunsyo (unknown history). Last name is Hosoda, name is Tokiwa. The common name is Minowanojo, later Yasaburo. I call it Tori. He also called Satoru Keibu. In the painting picture, you can see the flower, the sign of the own. Eiyuki is followed in sixth place. It has a place of worshiping in the Edo main office water (present · Sumida Ward Kamezawa), living in Hamacho for the first time, and later moved to the back of the main bamboo store. My father is Hosoda Takayuki, my mother is said to be Mr. Saeko, but it is said that he is not compulsory. Hosoda family is a direct goldfire with 500 stones, and Eiyu's grandfather Tsutsumi acts as a magisterial bill.

Eiyuki himself was born as the eldest son of the time line, and he was succeeding his family after 17 years on September 6, 1721. At the beginning, the picture was learned from Nana Kano, who received a letter of "Sakae" from the master's issue "Eikawa-in" and went to Eiyu. Since it turned to Ukiyoe later, it was excommunication from the teacher 's Eikawa Gakuin, but only Eiyu' s issue was used for a long time. Afterwards served various roles, served as a painter in the Nishinomaru of General Shogun Tokugawa Izumi at the Nishinomaru from April 21, 1781 to 1783 February 7, served as a painter, Because he liked painting, he came true to me, every day he was samurai and he was also serving as a painting. The first year of Tianming (1781) is permitted to wear clothing on December 16. Although he encouraged himself to serve Eikyo by superiority, he resigned on December 18th in Tenmyo Mikuri (1783) and entered an unemployed gangster. In the sixth year of Tenmyo (1786), the General of the Shogun 's death died, and at the age of 34 when Erio three years later, on August 5, the first year of Kanjo (1789) he called the disease, called the disease, retired. However, this is said to be honest with generals being dead. Then, I greeted my sister as an adopted daughter, I made Wazaburo a goddess to this, and gave him a family affair by giving me Yutaka Hatsuki.

To Ukiyo-e artist:
After studying under Kano Kano, he studied under Bunyoshi Sai and started working as a Ukiyoe artist since the late period of Tenmei (1781 - 1789), the first work is a yellow cover paper published in 1785 It is an illustration of "Gotokuji Gate derived from it". Early works are strongly influenced by Maestro of the beautiful painting world of the Timing period, Kiyoshi Torii Torii, drawing beauty paintings of the Qing-long style. After handover to the first year of Kanji, devoted to full-scale drawing activities, Kinoshita (1789 - 1801) period set a unique quiet beautiful painting style. Especially, it has established a unique style for the whole body image of a woman, and has produced numerous soft nishiki beautiful drawings of the body expressed as twelve heads until the late period of Kanazawa. Eiwi's line was fine and graceful, its female image was elegant with a stout slenderness, and it was a clearly distinctive line with the stylishness and dreadfulness seen in the rival Kitagawa Utamaro work at the time. Eiro sublimates a woman who lives in Yusato as an ideal image and as a slender rather than Qing long, it has established a unique style of Eiyuki, which has no glitter like Utamaro and its appearance is quiet. Also, like the three pieces "Genflower Shogun (Genji) Genji" which depicts the classic subjects such as "Genji Monogatari" in the story of the world, the colors are only astringent colors such as ink, light ink, indigo, purple, yellow, green I liked the expression that has a distinctive elegance that was used as a harsh, simple substance called "red hatred", but still makes me feel warm. It is said that the creator of this "red hatred" is Eiyuki. With this style Eiki competed for Utamaro with its popularity with a picture. There are excellent works in medium size and pillars, but in Nishikie's masterpieces there are series of "Flowing Streams (Rain)", "Ten Feng Shui Flowers", "Aoi Temple", "Aoi Geisha Shu "," Blue Tower Beautiful Rokkennen "etc. Among them, the series "Blue Tower Beautiful Rokka Sen" draws a squirrel 's seat with elegance on the backdrop of yellow crushing, and it is regarded as a masterpiece unique to Eiki. On the contrary, Utamaro did not handle any beautiful large-head painting that he was good at, and Eriko's attitude that adheres to the whole image can be seen to the last. Although Mr. Hosoda was Mr. Hosoda but he did not use it as a photographic name, there was another who gave Mr. Hosoi as another, for example as a luxurious Nishimura store edition co-made with Katsushika Hokusai in 1801 I can mention that there is "Hoso Tori Shunbun" in the color shadow picture book "New edition Kinukuri female sang 36 songs picturesque". This seems to be a thing of honesty.

Transition to a painting picture:
Ei stopped production of a piece of nishikie picture around 10 years of Kanari (1798). In the record of the Edo period, there were descriptions such as "Stop writing brush for a while" and "Stop Nishikie with breakdown", it can be assumed that there was circumstance that we had to cancel the presentation of print work. Between Kiwa (1801 - 1804) and Culture (1804 - 1818), he was exclusively engaged in beautiful genre paintings of the handwriting, and gained popularity with elegant and elegant style. In the Edo period, "Person who is a painter specializing in paintings" is considered to be higher than a person who works "Understanding of woodcut prints" from "painter", and Eiro's turnover is also influenced by his origin and status awareness at the time It seems to have been.

Kami 12 years (1800) Leap April, when Myo Inoue Makoto Ishinomiya (a monk) went down to Edo, the general ordered Eiyu to let the reputation of the Sumidagawa picture (probably a picture scroll with a picture) be drawn there were. When I returned to Kyoto, Myoko Shrine, who liked painting, decided it to be Edo soup to Emperor Sakura Town, the Emperor was pleased besides being special, finally he was paid in the library of Sangdong. Eriko who heard this honor and felt honored was a memorial by making a stamp carved as "Tenten". It was the moment when it was finally honored that Ukiyoe would be used for the emperor's watching. It is said that this kind of reputation raised the name of the painting of Eiyu, and since then it has been said that he held great hold of his own work. Furthermore, as this became widely known at that time, it seems that it was requested one after another from each direction the work of the same taste that drawn the Sumidagawa river, and the same "Yoshihira Yoshihiro figure winding" is confirmed about 21 points Has been done.

After that, Eiro has drawn excellent handwriting until the age of death and since the skeleton of the learned picture is solid, many honorable mention is also in the later handwriting paintings, not only beautiful paintings but also excellent works on landscape paintings There are left, especially drawing the scenery of the Sumidagawa river. However, in the case of Silkomoto, there are also many works of the same construction worked using the same undergrowth, and it can be inferred that there was a mass-production structure like a studio by mobilizing disciples. On the other hand, although it is extremely rare, there are times when the signature of the paintings is signed with a position or title as "Tokoro Noriyuki Fujiwara Tokitomo brush", these are drawn according to the demand from the famous Daimyo It seems to be. There is an opening ceremony called "Fujiwara Sakae Fujiwara Tokitomo brush" in "Beauty figure drawing" (Tokyo National Museum's collection) and "Beauty figure" (Yamato Bunka Kan).

Later Eiri, Eisho, Sakae, Ei Rui, Eiwen, Honorable, Episode, Ei Aya, Ei Jing, Eiji, Elegance, Eiuchi, Ei, Takatoshi, Eiwa, Eiyama, Eisho, Rika, Gogo We are producing many excellent talented people. He died at the age of 74, in the 12th year of Civil Administration (1829). The tomb is Renkaji Temple in Yanaka, Taito Ward. It has already been transferred to the enshrined tomb and no tombstones exist. The legal name is Hiroakunin - san, everyone Nobuyuki Noriyuki.
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Keisai Eisen


Keisai Eisen (渓斎 英泉, 1790–1848) was a Japanese ukiyo-e artist who was active in the latter half of the Edo period. Keisai Eisen specialised in bijinga. His best works, including his ōkubi-e, are considered to be masterpieces of the "decadent" Bunsei Era. He was also known as Ikeda Eisen, and wrote under the name of Ippitsuan.

Eisen was born in Edo into the Ikeda family, the son of a noted calligrapher. He was apprenticed to Kanō Hakkeisai, from whom he took the name Keisai, and after the death of his father he studied under Kikugawa Eizan. His initial works reflected the influence of his mentor, but he soon developed his own style.

Kano school, officer, kyogen writer apprentice:
From the age of 12 he studied painting skill at Kano Hakasei (disciple of Kano), a disciple of Kano Kano. It was unsuitable for Samurai service at the age of 15 or 16 or 17 when he was age 16 or 17, when he was a member of the Edo residence of Mizuno Tadashi shi of Aozoni Hojo clan, became a brawl with his boss when he was 17 years old, I am being chased of a job. Zenjiro who became a ronin was a father's acquaintance, and he was going to enter and leave Kyōji Shinoda (later Namiki Goron) who was a writer of Ichimura's Kyogen, as an apprentice of Kyogen the author, Chiichi Chiyoda ).

Ukiyo-e artist:
However, at the age of 20, my father and stepmother died one after another, and I became a person who nurtured three younger sisters alone and the way Kyogen writers were forced to settle. At this time, there were support from many blood clans who serve the Mizuno family, but Zenjiro did not do it well, he gave a paradise to Eiki Kikukawa in the Fukaya Inn, seriously as a master character of Ukiyo-e Kishikawa Eiyama It will take. And this is the development of the talent of Zenjiro from here, it was the beginning of Ukiyo - e, Shiki Izumi. "County spring building" and "Kitatei" will be used at this time.

Master Yoshimi was a popular artist with a pretty beautiful painting while being like a sibling descendant only 4 years older. While learning the beautiful painting at the entrance, Yoko Izumi enters the nearby Katsushika Hokusai home and learns the painting method with the mercy. He also liked Sung Aki's paintings, and also had a hobby of reading and writing. The first time in Hokusai to paint Airoi - eh with belo indigo in Japan for the first time in Japan is Yoko Izumi.

Utagawa Kunisaka is mentioned as a painter who studied from Yuizumi 's style and was good at decadent beautiful drawings at the end of the Edo era. In the item of Hide Izumi of his autobiography "Unnamed Okinagi" is written that "Recently Kunigasa also caught the crowd in the same way as Yoko Izumi's doing" and is frequently followed by books related to Ukiyo-e. However, both of them do not understand which one imitated which one, but there are few collaborated nishikigoes, while English Fountain has sentences, Kunishaka after Toyokuni assaulted there is a consolidated volume in charge of painting, sometimes It seems that it was a complex relationship in which competition and co-production are switched.

Playwright · Painter:
Hideki Izumi, a writer and an artist, has sent lots of glossy books (Koichi Books) and shoes to the world, and can not talk about this without them. Chiyoda At the age of 22, the first glossy book titled "The Picture Book Sansei Phase" was announced under the name of Nympho. At the age of 24, he also announced "Operation of Love" (Kono 's Operation). Initially the beautiful painting which was drawn dramatically by the influence of Hideaki also got out of Hideyama color from this time and released its own gloss and it also became to take a reputation along with it . Izumi Izumi as a mysterious beauty artist painter is polished in this field.

At the age of 26 in Culture 13 (1816), he announced the universal "Sakura Spring Ouroya" (Osamu Otori no Odoroi) with the issue "weak" transferred from Hokusai. I will handle the texts with illustrations as well. Megumoto is made like every year, and sending out popular books with various seclusion, the masterpiece famous "Harunaku Yuki" was also written in the Five Years of Civil Administration (1822). In addition, Mr. Tsumoto. He Have been done. From about 30 years old, he also worked on illustrations for humanity and reading books, and also undertook the illustration of Kanbare Taeko's "Minami Satomi Hakodendo".

But in March 2012, after losing a house due to a cooked fire due to a big fire, the guardian guarantee collapsed. It was such a fountain of English, but a loveless person who loves sake and woman, a man who ecstasy. Moving to the flower street of Nezu, he declared Wakutakeya Risake, started managing the girls' shop.

Latter years as a writer:
After the time of Tenpo's reform that is severely controlled by entertainment in general, leaving the painting to a large number of experts to draw themselves reduces, and mainly draws joints and funny books with the issue of Kazushigan I devoted myself to writing business. As for the works of Hide Izumi, as the end of the term, the drawn lines are hardened, examples are diverted using their own work, or other Ukiyo-e artists' works, so that you can be aware of the declining power and the exhaustion of ideas. On the other hand, "Unknown Okinagi" (Tenpo 4 (1833), Yoshinobu Ikeda's name), which was written by Yu Izumi in his later years, is commonly referred to as "Successive Ukiyo-e class idea" and is valuable in descriptive Ukiyo-e It is transmitted today as a material. There is also a theory with one of his author, through Yoshinaga Spring Water and Yoshimi, a masterpiece who improves humanity. I also run a prostitute.

On August 20, 1848, he passed away at the age of 59. The graveyard is Suginami-ku Takoji Temple's Fukusuin (Tokyo designated designated historic site).

To the principal monsters, Yutakutei Ei Bridge, Shizui Eiichi, Izumi butai Takashi Hideyuki, Harasaki Hidetomo, Rice Hideyasu Hideyuki, U.S. Izumi, Sadashi Miyake, Shimonosei Takenumi, Linsui Iriyasato , Yokoyama Hideaki, Yamasaki Izumi next door, Isono funusa, Shinsai Eikamatsu, Haruase Akatsuki and others.

He produced a number of surimono (prints that were privately issued), erotic prints, and landscapes, including The Sixty-nine Stations of the Kiso Kaidō, which he started and which was completed by Hiroshige. However, his most famous works are the bijin-ga (pictures of beautiful women) which portrayed the subjects as more worldly than those depicted by earlier artists, replacing their grace and elegance with a less studied sensuality. He produced many portraits and full-length studies depicting the fashions of the time.

In addition to producing a prolific number of prints, he was a writer, producing biographies of the Forty-seven Ronin and several books, including a continuation of the Ukiyo-e Ruiko (History of Prints of the Floating World), a book which documented the lives of the ukiyo-e artists. His supplement is known as "Notes of a Nameless Old Man." He describes himself as a dissolute hard-drinker and claims to have been the owner of a brothel in Nezu in the 1830s which had burned down.

Beautiful picture:
As a Ukiyoe teacher, Izumi Hideki originally painted a beautiful woman's paintings of a frantic woman drawn by Master Hideaki, but then it will be popular with its own magical style. It is characterized by a female statue of refined passion, with a body size of 6 heads and a torn back. Also, it can be said that the face like the lower lip is thick and the mandible appears. Hide Izumi depicts the Okaba place like Shenzhen and the prostitute of Yoshiwara Yuri as a woman with a gaze and a strong will. The beautiful handwriting painted by Hide Izumi symbolizes the decadent aesthetic sense of the late stage of the Edo period, cultural and monumentary period, and shows a strong style of acknowledgment that reflects the circumstances of the Edo period. It was in keeping with the sense of the times, in finding beauty in the place where the existing aesthetic sense which is said to be "Egumi" was reversed.

There are currently 1734 nishikige prints by Hide Izumi, about 1265 of which about 73% are beautiful illustrations. This figure is comparable to the number of beautiful paintings of 1313 pieces in the Nogata gengo era of Koga Ukawa who was active in the same era. In addition, 482 out of 1265 sheets, 482 sheets are Yoshiwara's prostitute, and furthermore, 365 pictures are marked with prostitution names. It is thought that Yurihara girlfriend and Yuuhara girls' sponsor from the birth of silver are thought about work described in the idleness name, and there is a strong connection between Hideaki Izumi and Yuen.

Attraction Picture:
It is an English fountain known for its beautiful paintings and shrubs and shrine paintings, but landmark paintings (landscape paintings) are also known. Kiso Highway 69th "completed by Tenpo six years (1835) in a form of cooperation by Hiden Ikawa and Utagawa Hiroshige, 24 of the 72 figures are based on British fountain brush. Following the success of the Hiroshige "Tokaido 52th Series" series, the editor Takeuchi Sunaga has newly planned, originally, although Izumi Hideki served as a painter, the hand was drawn and handed over to Hiroshige There is.
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