Henri Fantin-Latour

Ignace Henri Jean Theodore Fantin-Latour, known as Henri Fantin-Latour (born in Grenoble on January 14, 1836 and died in Buré on August 25, 1904), is a realistic and intimate painter, and French lithographer, best known for his flower paintings and group portraits of Parisian artists and writers.

He was born Ignace Henri Jean Théodore Fantin-Latour in Grenoble, Isère. As a youth, he received drawing lessons from his father, who was an artist, then with the small School of drawing of Paris with Louis-Alexandre Péron and Horace Lecoq de Boisbaudran.

In 1850 he entered the Ecole de Dessin, where he studied with Lecoq de Boisbaudran. After studying at the École des Beaux-Arts in Paris from 1854, he devoted much time to copying the works of the old masters in the Musée du Louvre. Although Fantin-Latour befriended several of the young artists who would later be associated with Impressionism, including Whistler and Manet, Fantin's own work remained conservative in style.

In 1861, he briefly attended the workshop of Gustave Courbet, rue Notre-Dame-des-Champs. He married Victoria Dubourg in 1876, who was a painter like himself. He then spent his summers in the residence of his wife's family in Buré in Lower Normandy.

A member of the so-called "1863" group, and then of the Cenacle des Batignolles, from which Impressionism emerged, Gustave Kahn, the link between today's painters and romantic painting, In 1867 he was also one of the nine members of the "Jinglar Society of Japan" with Carolus Duran and ceramists Bracquemond and Solon, who met for a Japanese dinner. "One always feels a little feeling of fright because of the harsh ways that the artists of his generation often affected as inseparable from a noble independence," said Blanche, a painter friend of the next generation.

Fantin renovated the collective portrait with large-scale manifestos: Homage to Delacroix, 1864; The Toast, a tribute to realistic painters, 1865, which he himself destroyed by retaining only the fragments of three portraits preserved at the Freer Callery in Washington, 5 at the Musée d'Orsay6 and his self-portrait in a Dutch private collection; A workshop at the Batignolles, homage to Manet, 1870; A table corner, homage to the Parnassian poets, 1872, of which Verlaine and Rimbaud; Around the piano, a tribute to musicians and musicologists, 1885.

His still lifes, flowers or fruits, have often found buyer; His interior scenes are realized in a quasi-monochrome range of gray and brown. It was his friend Whistler who drew attention to Fantin in England at a time when French Impressionist painting was little appreciated in this country. He put her in touch with her brother-in-law Francis Seymour Haden and the engraver Edwin Edwards. Passionate about music, particularly by Berlioz, Schumann and Wagner, Fantin tries to transcribe it by fluid paintings executed in long touches (Trois filles du Rhin, 1876), and dedicates most of his lithographs. His portraits of his wife Victoria Dubourg, or of his friends, Manet, Verlaine, have a harmonious and incisive realism.

Whistler brought attention to Fantin in England, where his still-lifes sold so well that they were "practically unknown in France during his lifetime". In addition to his realistic paintings, Fantin-Latour created imaginative lithographs inspired by the music of some of the great classical composers.

In 1875, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife's family at Buré, Orne in Lower Normandy, where he died on 25 August 1904.

He is buried in Paris in the Montparnasse cemetery.

Many young women's hands would be incapable of doing what I see there,' said the Prince, pointing to Mme de Villeparisis's unfinished watercolours. And he has asked her whether she had seen the flower painting by Fantin-Latour which had recently been exhibited.

The painting A basket of roses was used as the cover of New Order's album Power, Corruption & Lies by Peter Saville in 1983.
https://hisour.com/artist/henri-fantin-latour/

Li Fangying

Li Fangying (Chinese: 李方膺 1696 - 1755) was a Qing painter from Jiangsu. He served as a county magistrate for 20 years. As a painter he is best known for painting plant imagery specifically pines, bamboos, plum blossoms and orchids. He was one of the Eight Eccentrics of Yangzhou.

Li Fangying lived in Jinling by the park, since the number of home by the owner, often travel to Yangzhou to sell paintings. And Li, Jin Nong, Zheng Xie and other contacts, works of poetry and calligraphy painting, good plum, blue, bamboo, chrysanthemum, pine, fish, etc., pay attention to the tradition of law and division of law, can be self- Old thick, cut simple, informal, lively and lively. Was listed as one of Yangzhou eight strange. There are "wind bamboo map", "fish map", "ink map" and other handed down. The "plum blossom poem". Good painting pine, bamboo, blue, chrysanthemum, plum, miscellaneous flowers and insect fish, but also characters, landscapes, especially fine painting plum. Works vertical and horizontal bold, ink dripping, rough head clothes, informal rope, intended to sinomenine, white, bamboo fool between. Painted plum to thin build, old dry new branches, side Panqu. With the printing of〗 〖Plum blossom means, the famous painting plum poem is not ruined not broken odd of the sentence. Also like to draw the wind in the pine bamboo. Work book. Can poetry, descendants of a series of "plum blossom grass", only twenty-six, most scattered in the painting.

Li Fangying, AD 1697 was born in Nantong a scholar family, the six ancestors had served as the Ministry of Lang, his father Li Yu twice done Beijing officials, after the appointment of Fujian. The seven generations of poetry and literature, so that Li Fang was able to accept the integrity of the literati education, poetry and calligraphy are able to learn more talented.

1728 Yongzheng Emperor to update the official rule, the implementation of the national recommended only, Li Fang Ying to "Xian Feng Founder" by the recommendation. In 1729 with the father to Beijing, by Yongzheng summoned, special purpose to pay the head of Henan, Shandong Hedong Governor Tian Wenjing appointed as a coastal magistrate. The following year, Li Yu to the capital of the office, thirty-four-year-old Li Fang Ying father to Beijing. When the audience, Yongzheng emperor pity Li Yu 鋐 old, asked: a son and you come with you? "Said:" The fourth son of the same line to the same. "Asked:" Where, and wins official? "Said:" Health students also, sex Gan, not official. "Yongzheng laugh said:" no schooling son and then married. "That is summoned, special purpose to pay the head of Henan, Shandong Hedong Governor Tian Wenjing appointed as a coastal magistrate.

1730 years Li Fangying was the county of Shandong music county. When the summer and autumn, Le'an floods, million floating oar, the situation is urgent. Li Fangying did not have the boss approved, open the relief, ordered the use of stock royal grain one thousand two hundred stone, to work for relief, raising people embankment, ease the disaster. But then because of private official positions were Qingzhou government impeachment. Governor Tian Wenjing not to rationale, but praised Li Fang won the courage, active in the people. After the disaster, by field investigation, Li Fangying wrote "Xiaoqing River", "people to", "Shandong water conservancy glimpse" and other works.

In 1732 it will be appointed Juzhou state. Yongzheng twelve years (1734) he was recruited to return to music county, the same year the winter changed to Lanzhou magistrate.

In 1735, he was opposed to the new governor Wang Wenjun's reclamation order, the book straightforward drawbacks, angered the boss, was dismissed from prison. Became shocked at the time of the "Lanshan injustice case." People uproar said: "the public was guilty of the crime, please circle the prison", Lanshan, Juzhou area of ​​farmers in droves, bring chicken millet wine to Qingzhou prison visit. Prison officials can not see, the people put the money and money, food to the prison wall, throwing the wine jar to the prison gate and corridor are blocked. This miscarriage of justice, a delay for three years. Until the first year of the Qing Emperor Qianlong (1736), Qianlong pursue reclamation from the troubled things, strike Wang Shijun, was vindicated. That day two drums, instruments passed to Qingzhou, the night Li Fang was released. Li Fangying are involved in the audience, waiting in the military room Dan Chi Xi Huai tree, the University of Zhu Shi pointed to the king said: This is to discourage reclamation of the magistrate Li Lan Shan also. Those who want to see and crowded the people, the hand plus the amount looked forward to say: that is thin and long, the eyes of God who is it? Shao Zongbo Zhao Guolin and Li Fangying's father is the same year Jinshi, holding Li Fang's hand said: "Li Gongnan have children carry on." After the audience, transferred to Anhui magistrate appointment, Li Fang Ying leave home to support their mother and not take office.

After 1739, Li Fangying parents died, he left at home for six years. Shouquan expired, was appointed Anhui buried hill magistrate, right Chuzhou House, soon transferred to Hefei county magistrate. At this time and famine, Li Fang Ying by past practice, custom disaster relief measures, and refused to "honor" the boss, was jealous, pretending to be unwarranted "corrupt" charges, dismissed. Before and after the county magistrate twenty years, actually three times for the prefect, Li Fang Ying filled with emotion: the two Han officials rule, Shoucheng into; later official rule, bad guards bad.

In the winter of 1751, Li Fangying dismissed Hefei's magistrate, and he lived in Nanjing, where he lived in Jinling (Nanjing). He was known as the master of the park, Ink dripping, rough head chaos clothes, informal rope, painted plum to thin hard known, veteran new branches, 欹 side Panqu. Often travel to Yangzhou to sell paintings to food and clothing, and Jinnong, Zheng Xie friendship is very Benedict, as "Yangzhou eight strange" one.

Li Fangying poems in his later years, said: "I am no Tian Changqi rice, plum all day selling plum blossom", often painted on the seal "for rice life" of India. And living in Nanjing, the great poet Yuan Mei and seal carved Shen Feng from very close, often side by side travel, when people call it "three cents out of the hole."

In Nanjing, Li Fang also met the seal car Ding Ting. Ding Jing arrogant, at that time the daughter of a rare one, but Lee has won the Ding Ding carved several copies of India. Some people feel very strange, Ding Jing himself in the "Postscript" statement: Tongzhou Li Fang Xingjiang, painting plum, proud of unruly. Hometown of Jinling Guanshi Park, the day and Shen added radish, Yuan Zicai tour ... ... to love the poem, for the number of prints, chatting a spring.

In 1754, sold in Nanjing for five years, Lee Fang Ying due to physical discomfort to return home. When the disease is heavy, have managed to write the book Yuan Mei: "Fang Ying to two days, sick Benedict! Today will be born at the end and things were sub-only you. September 2 ". This is entrusted Yuan Mei for writing tombs. Yuan Mei received this letter to the pen, Li Fang Ying has died many days. According to the messenger said: This "this day before the death of my master, life lifted up, force the book also". (1754) on September 3, this year he was 59 years old, was "choke disease" (esophageal cancer), the doctor said: "This Huaiqi negative, Medicine can Ping also ". Before dying, he wrote his own life in the coffin regret: "I die not enough pity, I off my hand!"

Li Fang Shan Shan Song, bamboo, blue, chrysanthemum, plum, miscellaneous flowers and insect fish, but also characters, landscapes, especially fine painting plum. Works vertical and horizontal bold, ink dripping, rough head clothes, informal rope, intended to sinomenine, white, bamboo fool between. Painted plum to thin hard to see, old dry new branches, side Panqu, famous painting plum poem "not ruin not off the odd" sentence. Also like to draw the wind in the pine bamboo. Book, can poetry, descendants of a series of "plum blossom grass", only twenty-six, most scattered in the painting. Handed down the world as a "wind bamboo map", "fish map" and so on.

Nantong nationality famous painter Li Fangying neither Yangzhou people, but not as Huang Shen, Jin Nong and so long lived in Yangzhou to sell paintings, why have to be in the "Yangzhou eight strange" list?

On the issue, "Chinese Literature and History" in 1980, the third series of published Jin Cheng Cheng legacy "Li Fangying biography" has been verified, the main points: First, character, painting and other seven (by Refers to Li, Wang Shishen, Gao Xiang, Jin Nong, Huang Shen, Zheng Xie, Luo hired) quite;

Second, Tongzhou in the first year of Yongzheng (1723), but also only belong to the Yangzhou House of the state, Li Fang Ying Kangxi fifty-seven years (718) admission, native place is Yangzhou House Tongzhou, so he is a generalized Yangzhou people. Li Fangying with the "Yangzhou eight strange" leader Zheng Banqiao friendship, in addition to the above mentioned several people co-author of the "flower map", "Friends of the three" can be slightly visible, the more can be described.

First of all, Banqiao on Li Fangying's painting is very admirable, very high evaluation. Bamboo is Zheng Banqiao best skills, but he "title Li Fang Ying ink bamboo book" still think that Lee's bamboo "Dongpo, and the awesome" Even the painting of the bamboo hand of the Soviet Union Su Shi, the text are "fear" , Can be seen its high evaluation. As for the Lee's best at the plum, then the discussion is more specific, higher evaluation, Zheng Banqiao Li Fangying five years after the death of the "title Li Fangying painting plum volume" said:
Blue bamboo painting, everyone is not good. Plum, the world is not, but not too good. But vulgar custom monks whom, each see its large section of large charcoal Zhu Zhu head, really dirty dirty vomit also. Qingjiang Li four brother alone in the world is not for the time to difficult to see workers, to mouth carry on. So the plum, for the world first. The day is the gaze, the night is the idea, the body in the clothes, forget the taste, and then lead the god of the plum, Damage of the sex, pour Mei Mei rhyme, plum feeling, Mei also bow to the Fan, into its cut And not out. The so-called cutters, never cut, is really cut also; the so-called scribe, never portrayed, is really portrayed. But also do not know, also can not tell also, Yu Lai Tongzhou, to see this volume, the spirit of Jun hair, excited dripping.... This new branch of the ancient dry, mixed with flying, it is Mo to find its ups and downs, I want to sit down, for ten days and then go to the ear. Qianlong twenty-five years on May 13 Banqiao Zheng Xie-long title.

In this painting, he also wrote a four words: Megan meshing, Mei Ye Ye Ye, a few petals of ice, all ages snow.
According to Zheng Banqiao at the same time made "title Huang Shen painting Ding Youyu like volume" ("Banqiao painting and calligraphy film collection", the original possession of Nantong Museum) Postscript "Hao Xiangshan, Qingjiang Li Gong's waiter also, treasure its main ink "Zheng Banqiao in the early days of Qianlong twenty-five (1760) early sixty-eight years old when he came to Tongzhou, Lee Fang Ying's waiter Hao Xiangshan took out his visit to the owner Of the painting, please Zheng Banqiao inscription. Zheng and his sense of the original friendship with Li Fang and Hao Xiangshan of its owner of a loyalty, they are glad of the pen, wrote on the quote Postscript and poetry, Zheng Banqiao to Tongzhou, living in the city more than twenty years in the Qin Stove, "home care Pikesui Guanyuan" (gold list "Haqu picked"), and to travel Langshan, in his collection, leaving the "tour white mountain" seven never two.

This article Postscript first criticized the vulgar monks painted plum blossom disgusting; then praised the plum blossom painted plum "difficult to see workers", "for the world first" and specifically describe its painting when the tail is not cut for the cut, It is not carved for the characterization, follow the nature of the plum, but not artificially carved art experience; finally said the plum painting of the "new branches of the ancient dry, mixed with flying" is very dumping, willing to "sit down and do ten homework And then go. " This posture is so specific and profound, full of feelings, but also reflects the Zheng Banqiao with Li Yunying have made a long time, contact a lot, know very deep, is their deep friendship important witness.

Li Fangying solution Ren Hefei magistrate, in Nanjing by the Xiang's garden, title by the park, from settled down until twenty years (1755) autumn sick back to Tongzhou, during which a full four years, often with the literary master Yuan Mei, Painter Shen Feng from the talk about poetry, the relationship is very close. Yuan Mei was given to Li Fang Ying's poem wrote: "I love Li Qingjiang, Lu Guoyi a man. Plum though stubborn, just in the spring breeze. Beyond the words of sawdust, siege such as straight vector. For the rainbow, the wind hit the wind, U-turn on the field. Even see the white down the mountain, by the garden to this. For the poor, Xi to the music death. Life was a friend, why think of the countryside. "Qianlong twenty years B Hai early spring, Li Fang was once returned to the state, Yuan Mei also sent poetry. Poems volume eleven received "to send Li Qingjiang also Tongzhou" three, the first sentence of a sentence: "only to send plum snow full of clothing, painting plum people fly again. A light on the wine spring light, More dilute. "Written for the early spring scene, and Ming point" spring "word.

His local official for thirty years, suffered several heavy blows. Yongzheng eight years (1730) he was in the music of the county, because of the opening of the disaster was too late to ask the boss, and was impeached Yongzheng ten years (1732) he was in Lanzhou magistrate, the governor Wang Shijun blindly ordered land reclamation, officials took the opportunity Blackmail the villagers, he resolutely resisted, was actually put into prison, eat a year of innocent lawsuit, and finally fourteen years of Qianlong (1749) in Hefei magistrate, due to disobedient boss was actually "corrupt" And dismissed the office. All these, that is, he said, "wave of the sea of ​​a few floating Peng." Bureaucracy is too dark, he will abandon the official to learn painting bamboo, when the "painter", his character is still unchanged, "from a laugh is muddy", contempt for tradition, contempt for authority, love wind, And the harsh environment of the unyielding spirit of resolute struggle. Ding Youyu had said: "(Li Fangying) after the end of the painting, its painting Yi Stanford, as the main force, and used in the painting, so painting unscrupulous, know how the gas." Li Fang Ying's pen, the wind Is a symbol of unyielding spirit, but it is only one aspect of the character of the artist, reflecting his struggle against evil forces; the other side of his character, that is, the care and sympathy of the lower people, So that all things thriving spring breeze, so that the working people get warm and the wind.

In fact, Li Fangying love Mei, is love Mei's mettle, love Mei's character, in fact, self-personality outside the radio "Knowledge that Li Gong for their own students, Qingjiang smile only". "For their own sketches", a word break Li Fang Ying painted plum mentality and intrinsic. The title of "plum volume" cloud: to love the plum, that is, no plum visible and seen nothing more than plum. The sun and the moon stars also, the mountains and rivers of Sichuan also Mei also, Shuo Dehong only plum, song dancing girl also plum also know me plum, sin also me also plum also. Li Fangying friends Yuan Mei evaluation of its plum said: "proud of the stump for plum roots, Wizards scattered as plum blossom, lonely long strokes of heaven and earth, fragrant fragrance."
https://hisour.com/artist/li-fangying/

Zhou Fang

Zhou Fang (730 AD - 800 AD), courtesy name Zhonglang, was an influential painter during the mid-Tang dynasty. Zhou lived in the Tang capital of Chang'an, which is now modern Xi'an, during the 8th century. He came from a noble background and this was reflected in his works, such as Court Ladies Adorning Their Hair with Flowers and Court Lady With Servants. He was influenced by the pure and detailed style of Gu Kaizhi and Lu Tanwei from the Six dynasties in his work. The late Tang art critic Zhu Jingxuan said: "Zhou Fang's Buddha, celestial beings, figures, and paintings of beautiful women are all incredible masterpieces."

Zhou Hao Zhou Fang is the long brother, if this to speculate, Zhou Fang was born in Kaiyuan (713-741) the end of the year. ), Was born in the official home, travel in the Qing and the nobility. Former Yuezhou (now Zhejiang Shaoxing) long history, Xuanzhou (now Anhui Xuancheng) long history do not drive, its position after a governor of the governor. Zhou Fang can get the official position and his brother's position, his brother Zhou Hao with the brother Shu-hu levy Tuke Fort stone city and other military exploits. In the early years of learning Zhang Xuan, he is also longer than the darling, good portrait, Buddha, its style as "simple clothes, color soft, rich to body."

Successor state more state, Xuanzhou long history. Workers and girls, beginner Zhang Xuan and to be sketched change, write aristocratic women, made excellent leisurely leisurely, plump, dressed gorgeous, with Jane Jin, soft color, for the then court, scholar of the heavy, said the first time. Painting statues, dignified dignified, when said God goods.

De Zong heard its name, Chao Zhang Ming Temple, after more than a month, when the first push. Zhang Ming Temple murals under the occasion of the fall of ink, many people competing, the temple only garden door, Xian Yu finished, or have their words, or have their flaws, after the change all sigh their subtle. Sculptor imitated, known as "Zhou family like". (679-781) son Zhao portrait portrait, failed to set the pros and cons, Zhao said that "both are similar, and dry painting its appearance, Fang painting can have both emotional "The painting of the flames hit the name of the Chinese and foreign, painting pommel horse, birds and animals, vegetation, when people learn a lot, Cheng Yi, Gao Yun, Wei Xian are his disciples. Good text, can book.

Often in the dream to see its image. Painted children for the ancient and modern crown. There are "muddy paternity banquet map", "Liu Xuanwu by dance", "Tokgo Princess by song powder". And "Zhongni asked Li Tu", "down the map", "five-star map", "flutter map", and write the real people, Wen Xuan Wang ten disciples, scroll up to. At the end of Zhen Yuan, some people in Silla, in the best price to close dozens of volumes. Will go, its painting Buddha really fairy children, are God also. Only pommel horse birds and animals, bamboo vegetation, not the poor its shape also.

Translation: Tang Dynasty people Zhou Fang, the word King Xuan, is the Kyoto area people. After the official Jiedushi, continue to good words, in the painting, he will learn all the skills of the hand. He was between the dignitaries, is a noble son brother. Zhou Fang's brother Zhou Zhizhong good riding archery, with the general brother of Shu Shu Han expedition (by: this Tibet.) To recover the stone Fort city, because of the return of war after the official grant of gold, control of Kyoto's law and order. At that time, Tang Dezong was repair Zhang Jing Temple, summoned Zhou said: "love Qing, your brother Zhou Fang good at painting, I would like to ask him to draw the statue of King Temple, please tell him." After some days, Zhou 晧 please once, Zhou Fang began to draw. Originally drawn out of the statue, Zhou Fang will be the same as the screen on the monastery, the whole of Kyoto people can see. Zhang Jing Temple in front of the palace, whether it is virtuous people, or foolish people, have to see the portrait. Some people say that painting is good, some people say that painting is not good. Some people pick out the trouble, Zhou Fang at any time to modify.

After more than a month, the comments are good or bad people, people are admiring this statue painted very good! Finally, the painting finished, at the time the world number first. Guo Ziyi's assistant minister Zhao longitudinal, once let Han Qian painted a portrait, we all praise painting well. Later, he also invited Zhou Fang portrait. Han, Zhou was the most famous painter. Once, Guo Ling Gong these two portraits and put together, let people comment on the pros and cons, who can not assess it.

Is to catch his daughter Zhao returned home to visit relatives, so that the public asked: "This is the two pairs of painting who?" Replied: "is my Zhao Lang gentleman." Q: "Which image is most like?" The two images are very much like, but after the best one. Q: "Why do you say that? "A:" The first portrait only painted Zhao Lang's appearance, after a demeanor, expression, jokes are painted out of the posture. "Let the public question:" Who is painting after the one? "Someone replied:" is Zhou Fang painted. "The same day set out the advantages and disadvantages of the two pictures, Guo Ziyi sent to Zhou Fang sent a few hundred pieces of gold to the table to express gratitude. Kyoto Changan a Taoist view of the water on the Guanyin statue, The portrait, the portrait of the Buddha, the portrait of the two sides of the temple before the Buddha, are exotic wonderful. These portraits are Zhou Fang's works. Zhou Fang later served as Xuanzhou do not drive during his tenure, he painted a statue of the Northern King. After painting, he often in the dream to see the king to him here.Zhou Fang painting the world of men and women, can be regarded as the ancient and ancient first hand.

This kind of painting: "mud paternity banquet map", "Liu Xuanwu by dance", "Tokgo Princess by song powder". There are many pictures of "Zhongnian Li Li Tu", "Xian Zhen Zhen", "Five Star", "Fu Pui Tu", and the reality of you, Tang Dezong Zhen Yuan years, there is a return from the people of Xinluo, in the JAC area, with a very high price to buy dozens of volumes of Zhou Fang's paintings. He was about to leave, found that he bought these paintings on the immortal, live, and men, women are immortal, gone. Only pommel horse birds and animals, bamboo vegetation, still painting above.

"Ming Fei ride from the map," "Palace ride map" "You Chunshi female map" and so have been lost, the existing "hairpin ladies" Figure "" fan fan ladies figure "" tune piano chime tea map "and several other pass for its work.

Handed down the works of "fans fan figure" volume, silk, color, depicting the palace of the ladies summer cool, view embroidery, makeup and other life scenes, full of plump, penny Jinzhuo, flowing, Elegant style, now possession of the National Palace Museum; "Hairpin Ladies" Volume (Biography) description of the palace aristocratic women in the spring and summer at the turn of the scene in the garden, possession of Liaoning Province Museum; "tune pique tea map" , The United States Nelson Art Museum. Art activities about in the Tang calendar, Zhen Yuan.
Zhou Fang was a famous religious painter and figure painter. About his activities, the following two interesting little stories. Zhou Fang, Han Qian have painted Guo Ziyi's son-in-law portrait of Zhao. Two paintings hanging together, everyone can not tell the pros and cons. Later, Guo Ziyi's daughter in person, that Han Gan's painting "empty Zhao Lang appearance", and Zhou Fang can "and shift its air, had Zhao Lang affectionate like words." Thus, Zhou Fang's art is considered more than Han Gan. It is said that Zhou Fang's portrait can be vividly reached a higher level. Zhou Fang in Changan Tonghua outside the new Zhang Ming Temple (big calendar two years, AD 767 years) painting murals, painting on the draft later, the capital of the audience to tens of thousands of juice, and have to make comments, some people say good, Some people pointed out the shortcomings, Zhou Kang humbly listen, after a month of modification, so that the public that is completely satisfied, and was pushed as the first time. This story not only shows Zhou Fang as a good artist has the virtue, but also specifically explains how the religious art and the demands and aspirations of the masses have been combined.
Zhou Fang painting is very serious, it is said that when the creation of non-stop thinking "As for the feeling of sleep, showing that phase instrument, pass the Carpenter." Dream to see the pursuit of the image.

Zhou Fang created the most famous Buddhist image is "Water Moon Goddess of Mercy", seen in the record. Changan Guangde Square Shengguang Temple tower southeast of Zhou has been painted, Dunhuang Mogao Grottoes found in a frame and Anxi Wanfo Gorge of the incitement of the murals are still examples of the Tang Dynasty water moon Guanyin map. Zhou Fang's Buddhist painting has become a long-term popular standard, and called "Zhou family sample."

Zhou Fang's works, according to the records of people at that time is "clothes Jane Jane", "color soft", depicting the image of women is "rich as the body", these features can be in the existing Zhou Fang's works: Ladies figure "," hairpin ladies figure "to see.

"Tune piano chime map" and "fan fan figure" in the past are considered Zhou Fang's works. The era and style of the works are close to Zhou Fang. "The tune of the puppet sip tea map" performance of two women in the quiet look forward to another woman naughty strings ready to play. In the picture, the dusk of the gods and the fine movements of the tunes are depicted to be very precise and expressive. This picture, through an instant gesture of action, describes the ancient aristocratic women in the monotonous life of leisurely mood. "Fan fan ladies figure" at this point also succeeded. Open book a lady lazily leaning on, thoughtful demeanor also revealed their loneliness of life. "Fan fan ladies figure" full volume of thirteen people, the performance of the official life of the scene.

"Hairpin ladies scrolls" drawn from the palace of women's life, decorative gorgeous luxury Yan concubines in the garden leisurely. The characters are plump, calm and gentle movements, the expression of peace and peace, concubines of the identity and life characteristics of the performance was very full. The environment is only by two cranes and puppies implied and not directly described. The main success of this painting is in the image and dynamic scoring aspects.

The most popular theme of these ladies' paintings is the loneliness, idleness and boredom of the ancient aristocratic women in the narrow and poor life. Depicting their gorgeous appearance, but also through their demeanor to reveal their emotional life, to a certain extent, reflects the feudal society for women's bondage.

Zhou Fang works have been lost a lot, but the title can be seen from the general content, such as: You spring, cooking tea, railing, flute, dance crane, lap, flute, Go and other names of the ladies figure.

Zhou Fang works in the Tang Dynasty was very popular with the Korean people. So far can also see Japan to retain the Zhou Fang style ancient ladies painting. The image of the abundance of women in the Tang Dynasty, especially in the Tang Dynasty and its later is widely popular. Xinjiang Turpan Tomb also found. Tang Dynasty pottery figurines are also many.

Zhou Fang's disciples have Cheng Xiu, Wang, Zhao Bo Xuan, Zhao Bowen and so on. Which Cheng has been pursued Zhou Zhou for twenty years, and Zhou Fang the deepest relationship, at the time the most attention.

Zhou Fang's theme covers the subject matter of Zhang Xuan and other ladies' painters at that time. Which in addition to the general aristocratic women's life outside the subject matter, especially noteworthy that there is a specific description of Tang Ming Huang Li Longji and Yang Yuhuan various activities of the works, such as "Ming Huang satisfied cool map", "Ming imperial cockfighting bird" Ming Huang hit the Indus map "," Ming Huang night tour "," Yang Fei bathing map "," too teach parrot map ", as well as the picture of Mrs. Guo Guo. These works directly show the emperor and his life in the extravagant romantic life without causing discrimination, and is repeated by many painters. It can also be seen when the ladies painting to flourish the social psychological background.

In the example of the Tang Dynasty ladies' painting, "the tune of the piano chime tea", "Guo Guo wife spring map" and "pounding map" are obvious plot, the action description also get greater success, At that time, ladies and dancers depict ladies' swifts, railing, flute, flapping and other activities, whose purpose is to show the emotional state of people engaged in these activities, rather than simply describe their appearance activities, can be seen at the time The actual level. And all the art of the Tang Dynasty ladies' paintings (including the new unearthed painted maids and silk paintings) embodies the characteristics of the life of the times and aesthetic ideas, but also of great significance.

Painting Buddha, also especially Zhou dry director. Since the Wei and Jin Dynasties, the Northern and Southern Dynasties to drop, Buddhism increasingly prosperous, Taoism is also very popular. Temple view throughout the country, so the Tang Dynasty painting art to reflect the majority of religious content. But the obvious difference between the painting and the past was that the Buddhist scriptures were harmonized with the real-life characters, so that the works were able to draw new material from the real life and thus give them a vigorous vitality , Zhou Fang in this area of ​​artistic creation is more typical.
According to records, Zhou Fang had a lot of temples in the brush painting. Zhang Jing Temple, Guangfu Temple, Shengguang Temple, Zen Temple, on the water and other view of the temple have his handwriting. Xuan and Royal House collection of his sixty-two pictures, of which all kinds of kings like, Laojun and other statues of thirty-two, accounting for 44 percent of the total. Tang Ren Zhang Huai said: "Today are on the concept of Bodhisattva, when people cloud water month, big cloud west Buddha temple front monk, Guangfu Temple in front of two gods, are wonderful also." Also said: "The painting Buddha, really Fairy, character, ladies, all gods also.

In the painting of Buddha, Zhou Fang played a high degree of artistic creativity. "Qinghe painting and calligraphy Square" records, rumors that he painted women like "eye wave bright fresh, no eyebrows, lips and white teeth, repair ear hanging nose", not for delicate and beautiful gesture. It is clear that Zhou Fang secluded religious art. This is undoubtedly prompted the art of painting to the realism of the creative path. In this regard, Zhou Fang has gradually formed its own unique artistic style - water on the body. This kind of water on the body is on the view of the Buddha in the portrait of the show, to soft strokes, the image of strict and famous, so later known as the water on the concept. Zhang Yanyuan said: "clothes Jin Jane, color color soft, Bodhisattva end strict, wonderful water of the body of the month."

Tang Dynasty Yousheng figure painting, this may be the needs of the times. Zhou Fang is in Sheng, Zhong Tang Changan most famous religion, figure painter. He started school Zhang Xuan, after the style of their own, good painting rich and rich ladies, and very portrait. The story of the world: Guo Ziyi's son-in-law Zhao vertical and Han dry for their paintings a portrait, and hung in the room, Guo's daughter after the view, said: Zhou Fang Zhao Lang painted "temperament smile" The The story was passed on. And his Buddhist statues, such as "Water Moon Goddess of Mercy" at that time was regarded as a model, once known as "Zhou family like." His works at the time spread to Japan, Silla (now the middle of the Korean Peninsula), so far there are still authentic to find. Because the age is long, although the ancient pass, the original is no longer seen so far. Readers can only from the Ming Dynasty Tang Yin, Qiuying and other ladies in the painting, a little knowledge of its legacy.
Zhou Fang's artistic activity is longer, up to three or four decades, that is, the calendar to Zhenyuan years (766-805), its activities mainly concentrated in Chang'an and Jiangnan two places. Zhou Fang's official career and aristocratic status so that he long tour in the nobility of the children, it has the opportunity to accept Zhang Xuan's painting theme and artistic techniques. (Zhou Zhang's style and Zhang Xuan of the traces are so similar, so that future generations from the Zhou Fang is not in the ladies of the roots of the stained with the color of this "Small different" to distinguish between the two works.In fact, there are many Zhou Fang Zhang Fang did not have a new creation

Zhou Fang is good at painting less than its division Zhang Xuan Guangbo, he is longer than the ladies painting, portraits and Buddhist paintings, only in the figure of the various branches. But Zhou Fang has many artistic unique, he created a dignified body of the "water on Guanyin", the Guanyin painted in the water on the moon, quite artistic charm. This is not only for the painter imitation, but also become a sculptor craftsman's style, spread very wide. More importantly, the descendants of Zhou Fang's character painting, especially the ladies painting and the image of the Buddha statue as "Zhou like", and "Cao like" (North Qi Cao Zhongda), "Zhang like" (Southern Liang (The Tang Dynasty Wu Daozi) and together, collectively known as the "four samples", is the ancient Chinese painting with the nature of the first style, respected by the ancient painter.

"Zhou family" marks the emergence of Zhou Fang's artistic achievements and artistic status has been beyond the Zhang Xuan, but also shows that Zhou Fang's painting has a deep foundation of the people. "Zhou family like" the emergence and Zhang Xuan made the art of bedding is closely related. More importantly, before this, both the court painter and folk painter, are in the shape of the ladies painting to form a certain program, in the painting, color and composition of the performance language has reached a fairly mature level. Such as Dunhuang Tang Dynasty many of the frescoes on the female image is the former source of Zhou Fang figure painting, but also there is the cross between Zhou Fang and folk painters. So it can be said, "Zhou like" is not Zhou Fang imagination, it has a profound social foundation and strong artistic foundation. "Zhou family sample" summed up and concentrated and refined the former Yin and contemporary artists who have the basis of the development of the art language, by the people and future generations as a model of the figure is also inevitable.

From the following two stories of rumors, you can find out how Zhou Fang is the pack, in the art reached the point of praise. Zhou Fang, although the aristocratic children, but pay great attention to listen to the lower people to improve their painting art views.

Once, Zhou Fang Feng Tang Zong Li Li Gong, painting King Zhang Temple God, an instant attracted to the capital million people come to watch, there are words of their wonderful, but also refers to the flaws, Zhou Fang can humbly listen to modify the views, More than until the public said, had just stopped pen. Zhou Fang's portrait in revealing the spirit of the character of the essence of victory. According to legend, the Tang Dynasty champion Guo Ziyi's son-in-law minister Zhao asked Han Qian and Zhou Fang has for his portrait, after painting, Zhao portrait portrait placed on the side, and sometimes difficult to determine the pros and cons, Zhao lady back home after the comment: Painting is like, the former artist empty Zhao Lang appearance, after the painting and moved his air, Zhao Lang temperament joke of the posture. "The words of Zhou Fang's art of the place.

Zhou Fang not only in the portrait to dig the depths of the characters, but also more carefully in the palace of all kinds of ladies mentality subtlely displayed on the silk, such as melancholy, sad, lament, melancholy and grievances, etc., generally demonstrated through "An Shi chaos", the Tang Palace ladies who decadent state of mind. This is also a downward trend to the Tang Dynasty empire of a microcosm, reflects the sense of crisis Zhou Fang and was confiscated in the palace of the palace of the sympathy, deepened the theme of Zhang Xuan female painting. Zhang Xuan and Zhou Fang, respectively, living in the "Anshi chaos" before and after the times the difference will inevitably be in their ladies in the female spirit of the painting reflected.

Zhou Fang's ladies' painting represents the leading style of the ladies' painting in the middle of the Tang Dynasty. His female image is rich in body, rich in cheeks, full of skin and beauty, and all the ladies' Colorful. The painting reflects the palace ladies monotonous lonely life, such as fluttering butterfly, zheng, chess, fan, music, yawn (yawn) and so on. The Northern Song Dynasty "Xuanhe painting" recorded his seventy-two paintings, have been buried in the world.

Unfortunately, Zhou Fang did not copy the text, there are some ancient paintings for his masterpiece. The so-called "biography" is today's reference to the predecessors of the more reliable identification and a considerable collection of historical records. Although there are questions, but with Zhou Fang's ideas and style is similar, and Zhou Fang's life is similar or not far away. Such as "hairpin ladies figure" volume, "fan fan ladies figure" volume and "tone Qin Shi Tu" volume, on behalf of Zhou Fang unique painting features. Another frame "barbarians Gonggong map" Although the style and the three different, but the spread of the thread, can be learned and Zhou Fang era similar to the painting style. As for the old biography for Zhou Fang's "doubleman map" volume has been identified as a copy of the Song Dynasty.

Zhou Fang's artistic influence is through the "Zhou family" spread in later generations. His ladies painting has long been criticized by the critics of "painting children for the ancient and modern crown" (Tang Zhu Jingxuan "Tang Dynasty paintings"). The ladies of the late Tang Dynasty were almost all in the stage of "Zhou Zai-like", and "Zhou-like" controlled the women's painting in the late Tang Dynasty. To the fifth generation, this art pattern continues to remain in the Zhou area has been active in the Jiangnan area, such as the Southern Tang Li Jing Li Yuzhao (958-975) Zhou Wenzhong, propaganda Zhou Fang's ladies painting art. Five generations of the north of the ladies tend to look thin and thin, such as the Five Dynasties to the Northern Song Dynasty Ruan Gao "Langyuan Palace cents map" volume, the Northern Song Dynasty image of the ladies still visible Zhang Xuan, Zhou Fang's intention, but the body has tended to slim. Southern Song Mu Yi is the inheritance of Zhang Xuan, Zhou Fang style of the ladies painter, "pound Tuyi" volume (Taipei Palace Museum) is his typical. In the Song Dynasty, many figures painters in varying degrees by the "Zhou like" facial modeling effect. Yuan Zhao Zhao by virtue of his "Rongji five dynasties," the lofty status, in the Yuan Ting both inside and outside the highly respected Tang style of painting, Zhang Xuan, Zhou Fang's ladies modeling again popular painting. The most outstanding is the Yuan Shunde dynasty (1333-1368) of the court painter Zhou Lang, his "Du Qiutu" volume is entirely from the "Zhou family like" shape, but a pen with a pen elegant Free and easy rhythm. Until the Ming and Qing dynasties, due to the whole society on the feminine aesthetic has undergone a fundamental change, no longer appreciate the rich body of the Guanzhong woman's beauty, turned to describe the delicate and exquisite, clear thin Jiangnan women, widely popular Scroll painting. Because of the religious murals of the manuscripts from generation to generation, with relative stability, religious themes in the female image more to save the "Zhou like" modeling features.

The artistic influence of "Zhou Jia-like" was as early as the Tang Dynasty, and its artistic charm was dumped by the painters of neighboring Silla (now the middle of the Korean Peninsula). Zhenyuan years (785-805), the Silla to Zhou Fang has been active in the JAC area with the best price to buy Zhou Fang's paintings. "Zhou family" not only affects the figure of Silla, but also across the sea to the east, spread to the Japanese Nara era Buddhist statues, such as hidden in the Tokyo National Museum of Japan, "auspicious day portrait." This period the shape of the Japanese ladies painting is straight to take "Zhou like" shape, such as hidden in the Tokyo National Museum of Japan, "Bird Mao Li female screen" and so on.

Tang Dynasty people Zhou Fang, word Jing Xuan, is the Kyoto area people. After the official Jiedushi, continue to good words, in the painting, he will learn all the skills of the hand. He was between the dignitaries, is a noble son brother. Zhou Fang's brother Zhou Zhizhong good riding archery, with the general brother of Shu Shu Han expedition (by: this Tibet.) To recover the stone Fort city, because of the return of war after the official grant of gold, control of Kyoto's law and order. At that time, Tang Dezong was repair Zhang Jing Temple, summoned Zhou said: Zhou Aiqing, your brother Zhou Fang good at painting, I would like to ask him to draw the statue of King Temple, please tell him. After some days, Dezong let Zhou Zhou invited once, Zhou Fang began to draw. Originally drawn out of the statue, Zhou Fang will be the same as the screen on the monastery, the whole of Kyoto people can see. Zhang Jing Temple in front of the palace, whether it is virtuous people, or foolish people, have to see the portrait. Some people say that painting is good, some people say that painting is not good. Some people pick out the trouble, Zhou Fang at any time to modify. After more than a month, the comments are good or bad people, people are admiring this statue painted very good! Finally, the painting finished, at the time the world number first. Guo Ziyi's assistant minister Zhao longitudinal, once let Han Qian painted a portrait, we all praise painting well. Later, he also invited Zhou Fang portrait. Han, Zhou was the most famous painter. Once, Guo Ling Gong these two portraits and put together, let people comment on the pros and cons, who can not assess it. Is to catch up with his daughter Zhao came back to visit relatives, so that the public asked: who is the two pairs of painting? Zhao replied: is my Zhao Lang gentleman. Guo Ling Gong asked: Which image is most like? Mrs. Zhao A: The two images are very much like. But after the best one. Guo Kui-cong asked: why do you say that? Mrs. Zhao A: The first portrait is just Zhao Lang's appearance painted like, after a demeanor, expression, jokes are painted out of the posture. Guo Ling Gong asked: who is painted after a picture? Some people replied: is Zhou Fang painted. Set the day after the pros and cons of the two pictures, Guo Ziyi people sent to Zhou Fang Jin Pui hundreds of pieces, to express my gratitude. Kyoto, Chang'an, a temple in the view of the water on the concept of Goddess of Mercy, the Buddhist temple in front of the street monk portrait, Guangfu Temple Buddha before the two sides of the portrait, are wonderful wonderful. These images are Zhou Fang's works. Zhou Fang later official Xuanzhou do not drive. During his tenure, he painted a statue of the northern king. After the painting, he often saw the king in the dream to come to him here. Zhou Fang painting the world of men and women, can be regarded as the ancient and ancient first saint. This kind of painting: "mud paternity banquet map", "Liu Xuanwu by dance", "Tokgo Princess by song powder". There are many pictures of "Zhongnian Li Li Tu", "Xian Zhen Zhen", "Five Star", "Fu Pui Tu", and the reality of you, Tang Dezong Zhen Yuan years, there is a return from the people of Xinluo, in the JAC area, with a very high price to buy dozens of volumes of Zhou Fang's paintings. He was about to leave, found that he bought these paintings on the immortal, live, and men, women are immortal, gone. Only pommel horse birds and animals, bamboo vegetation, still painting above.
https://hisour.com/artist/zhou-fang/

Alexandre Falguière

Jean Alexandre Joseph Falguière (also given as Jean-Joseph-Alexandre Falguière, or in short Alexandre Falguière) (Toulouse Haute-Garonne 7 September 1831 – Paris 20 April 1900) was a French sculptor and painter.

A pupil of Albert-Ernest Carrier-Belleuse and François Jouffroy, Falguière is the winner, with Leon Cugnot, of the first grand prix of Rome of sculpture in 1859 with his bas-relief Mézence wounded, preserved by the intrepidity of his son Lausus.

Falguière was born in Toulouse. A pupil of the École des Beaux-Arts, he won the Prix de Rome in 1859; he was awarded the medal of honor at the Paris Salon in 1868 and was appointed Officer of the Legion of Honor in 1878.

Falguière's first bronze statue of importance was Le Vainqueur au Combat de Coqs (Victor of the Cockfight) (1864), and Tarcisius the Christian Boy-Martyr followed in 1867; both were exhibited in the Luxembourg Museumand are now in the Musée d'Orsay. His more important monuments are those to Admiral Courbet (1890) at Abbeville and the famous Joan of Arc. Other works include Eve (1880), Diana (1882 and 1891), Woman and Peacock (a. k. a. Juno and The Peacock), and The Poet, astride his Pegasus spreading wings for flight. He sculpted The Dancer, based on Cléo de Mérode which today is also in the Musée d'Orsay. In 1870 he helped create the snow sculpture, La statue de la Résistance.

To these works should be added his monuments to Cardinal Lavigerie and to General de La Fayette (in Washington, DC), and his statues of Alphonse de Lamartine (1876) and St Vincent de Paul (1879), as well as the Honoré de Balzac, which he executed for the Société des gens de lettres on their rejection of that by Auguste Rodin; and the busts of Carolus-Duran and Ernest Alexandre Honoré Coquelin (1896).

Falguière was a painter as well as a sculptor, but somewhat inferior in merit. He displays a fine sense of colour and tone, added to the qualities of life and vigour that he instils into his plastic work. His Wrestlers (1875) and Fan and Dagger (1882; a defiant Spanish woman) were in the Luxembourg, and other pictures of importance are The Beheading of St John the Baptist (1877), The Sphinx (1883), Acis and Galatea (1885), Old Woman and Child (1886) and In the Bull Slaughter-House.

In 1882 he was appointed professor at the School of Fine Arts and elected a member of the Academy of Fine Arts. Among the students of Falguière are Antonin Mercié, Laurent Marqueste, Gaston Schnegg, Camille Crenier, Achille Jacopin, Maurice Bouval and Jean-Marie Mengue, the most famous among them being Antoine Bourdelle.

In 1898, Falguiere received the commission of a statue of Honore de Balzac after the refusal of the Monument to Balzac of Auguste Rodin by the Society of the People of letters, its sponsors. The case provokes a scandal that the press calls "the second Dreyfus affair" because Emile Zola supports Rodin. In order to prove that this episode had nothing to do with their friendship, Falguière realized the bust of Rodin for the exhibition of 1897 and for his part Rodin carved a bust of Falguière.

Falguière also taught; among his students were Francis Edwin Elwell, Ernest Henri Dubois, Julien Caussé, Laurent Marqueste, Henri Crenier and Théophile Barrau.

Falguière became a member of the Institut de France (Académie des Beaux-Arts) in 1882.

Among the public commissions are the statue of Cardinal Lavigerie for Bayonne, whose plaster is exhibited in Toulouse at the Musée des Augustins, the poet Goudouli for Toulouse, Gambetta for Cahors and La Fayette for Washington.

Weakened by illness, he went to Nimes to set up his monument to Alphonse Daudet and died a few hours after his return to Paris.

Falguière died in Paris in 1900 and was interred there in the Père Lachaise Cemetery, where his monument is by his pupil Marqueste.

Works:
1859 - Mézence wounded, preserved by the intrepidity of his son Lausus, plaster.
1864 - Winner of the cockfighting9 (1864), bronze statue, Paris, Musée d'Orsay, Toulouse, Musée des Augustins
1868 - Tarcisius, Christian martyr, statue, marble, Paris, Musée d'Orsay. The American painter Kehinde Wiley is inspired by the work of Falguière in his painting Christian Martyr Tarcisius (2008).
1870 - Resistance, Los Angeles County Museum of Art
1870-1900, Masks for children and women, Musée Magnin, Dijon.
1874 - Switzerland welcomes French army, terracotta, museum of the Augustins of Toulouse
1875 - Monument to Jean-Baptiste de La Salle, bronze group, Rouen, Place Saint-Clément
1877 - Germaine de Pibrac, marble, Church of Saint Germaine in Toulouse
1878 - Asia, statue, cast iron, Paris, parvis of the Musée d'Orsay: World Exhibition of 1878 in Paris, one of the six sculptures created for the series Six Six
1879 - The breeding, the City of Rouen and the Agriculture, allegorical groups of the fountain-reservoir Sainte-Marie, stone, Rouen
1879? - Mask of Louise Abbema, Musée Magnin, Dijon.
1882 - Mask of death of Léon Gambetta, Cahors, museum of Cahors Henri-Martin
1882 - Diane Plaster Museum of the Augustins of Toulouse
1882 - Triumph of the Revolution, a monumental group representing a chariot drawn by horses preparing to "crush Anarchy and Despotism", is installed at the top of the triumphal arch of the Etoile from 1882 to 1886
1884 - Monument to Léon Gambetta, Cahors
1887 - Bust of Léon Gambetta, Cahors, museum of Cahors Henri-Martin
1889 - The Music, Museum of the Augustins of Toulouse
1889 - At the door of the School, Museum of the Augustins of Toulouse
1890 - Woman with the Peacock, Museum of the Augustins of Toulouse
1892 - Monument to Léon Gambetta, Saigon
1892 - La Sasson, monument to the Savoy, Chambéry.
1892 - L'Épargne et le Travail, allegories for Department Stores Dufayel, Paris
1892 - Monument to the Abbe Dassy, ​​a group in marble located in the garden Puget, near the Institute of the blind young people in Marseilles.
1895 - Henri de La Rochejaquelein, plaster, museum of the Augustins of Toulouse
1896 - La Danseuse, marble cut from a plaster molded on nature on the body of Cleo de Mérode, Paris, Musée d'Orsay.
1898 - Monument to Goudouli, designed with his pupil Mercié and the architect Paul Pujol. Finally installed in 1908 in the basin of Place Wilson (then Place Lafayette) in Toulouse.
1900 - Monument to Pasteur, monumental group in marble. Falguiere could not finish the monument until his death. It was his collaborators Victor Peter and Louis Dubois who finished it. Built in 1908 in the center of Place de Breteuil in the 7th arrondissement of Paris.
1902 - Monument to Balzac, stone, located at the intersection of Rue Balzac and Avenue de Friedland, Georges-Guillaumin square, Paris.
1902 - Ambroise Thomas, Parc Monceau, Paris.
Statue of Abbot Louis-Toussaint Dassy accompanied by a young boy and a blind girl in the Pierre-Puget garden in Marseille.
Nymph running, marble, museum of the Augustins of Toulouse.
https://hisour.com/artist/alexandre-falguiere/

Jeremias Falck

Jeremias Falck (born in 1609 in Gdansk, died 1677) was an engraver of the 17th century Baroque, born and active in the Polish–Lithuanian Commonwealth. He signed his works as Falck Polonus or Falck Gedanensis.

He made about 500 pieces, mostly portraits of Polish, biblical and allegorical scenes (although many engravings left unprinted), proving his ritual mastery. He created his type of engraved portrait - profile, in oval.

Born probably around 1610 in Danzig (Gdańsk), in the province of Polish Prussia, a part of Poland. Falck studied and worked with Wilhelm Hondius. In 1639 he moved to Paris, and in 1649 he became Royal Swedish engraver for Queen Christina in Sweden until 1654, when she became a Catholic. He then went to the Netherlands, where he engraved a portrait of Willem Blaeu, and to Germany. In 1662 in Hamburg he published 16 engravings of flowers and plants. He engraved the royals of the places he worked and he intermittently worked in Danzig.

In 1639 he left for Paris, where a series of engravings illustrated four seasons. In the years 1649-1654 he was employed as court rider of the Swedish Queen Krystyna, after her abdication was released from service by Charles Gustav.

Jeremias' brother Hans Falck was as Messerschmidt (knife smith) at Neugarten, Danzig. In 1650 Jeremias' marriage in Danzig is recorded and later Hans and his Catharine were recorded as witnesses to the birth of Jeremias' child. A letter by Jeremias Falck from 1658 stated ...ich habe eine geraume Zeit sehr grosse Schmerzen im rechten Arm (...that for a long time he has great pain in his right arm).

Prints to the illustrated catalog of the Gerard de Reynst collection, published in 1660, mainly religious ones, were created in Amsterdam. In 1662 in Hamburg he made a series of 16 engravings on botanical subjects depicting various species of flowers and plants.

He lived again in Danzig. Many of Falck's engravings are based on portraits by Daniel Schultz and other painters. Falck's work was admired and used by publisher Georg Forster, such as engraved illustrations for "Selenography" of Johannes Hevelius and "Orationes" of Jerzy Ossoliński, Great Crown Chancellor of the Polish–Lithuanian Commonwealth.

Falck lies buried in St. Peter and St. Paul's Church. The 1890 book with dedication by the great-grandson Herman Eugen Falk thanks a number of Polish writers who collected works by Falck.

Of about three hundred portraits and pictures, which were personally inspected by J.C. Block for his book, nearly all works show J. Falck, sculp., but there are some that identify him as Swedish sculptor, when he was in salaried employment in Sweden. There are also listed about nine copper-etching Portrait Ovals mostly of Polish Bishops by Falck alone or with name: Dankert or Georg Förster (Georg Forster). These nine metal ovals are mounted on rectangles and the rectangles are inscribed with "Jeremias Falck Polonus".

The mainstream of Falck's works in Poland were copper plates according to portraits, most often by Daniel Schultz, the Younger. He collaborated in this field with the George Forster publishing house of Gdansk, illustrating the works he published there, including Heevil's Selenography and Ossolinski's Orationes, which still remain the subject of librarians and collectors.

Before his death he returned to his hometown of Gdansk, where he rested in the church of Sts. Peter and Paul.

His work was mostly signed by "Jeremias Falck Polonus".

Works:
Arcus Gratiae et Pacis, triumphal gate with Atlas and Hercules, built in Gdańsk in honour of Queen Marie Louise Gonzaga.
Proserpine la nuict, Queen Marie Louise Gonzaga as Proserpina.
Old woman at the mirror, reproduction of a painting by Bernardo Strozzi.
https://hisour.com/artist/jeremias-falck/

William Faithorne

William Faithorne the Elder(1616 - May 13, 1691), British painter and engraver, was born in London; He was the apprentice of Robert Peake, himself a painter and an art dealer, who was ennobled by Charles I.

Faithorne was born in London and was apprenticed to William Peake. On the outbreak of the Civil War Faithorne accompanied his master into the king's service, and being made prisoner at Basing House, he was confined for some time to Aldersgate, where, however, he was permitted to follow his profession of engraver, and among other portraits did a small one of George Villiers, 1st Duke of Buckingham.

At the earnest solicitation of his friends Faithorne very soon regained his liberty, but only on condition of retiring to France, where he received instruction from Robert Nanteuil. He was permitted to return to England in about 1650, and took a shop near Temple Bar, where, besides his work as an engraver, he carried on a large business as a print-seller.

When the First English Revolution broke out, he accompanied his master to the king's service; He was taken prisoner at Basinghouse, then locked up for some time at Aldersgate, where, however, he was allowed to pursue his profession of engraver; Among other portraits, he made that of Georges Villiers, first Duke of Buckingham.

Thanks to the insistence of his friends, he soon found freedom, but on the express condition that he left England to settle in France. There, he is fortunate to be trained by Robert Nanteuil. He was permitted to return to England around 1650, and opened a shop near Temple Bar, where, in parallel with his engraving, he carried on an important trade in prints.

In 1680 Faithorne gave up his shop and retired to a house in Blackfriars, occupying himself chiefly in painting portraits from the life in crayons, although still occasionally engaged in engraving. It is said that his life was shortened by the misfortunes, dissipation, and early death of his son William. He was buried in the church of St Ann Blackfriars on 13 May 1691.

Faithorne is especially noted as a portrait engraver, his subjects including Sir Henry Spelman, Oliver Cromwell, Henry Somerset, Marquis of Worcester, John Milton, Queen Catherine, Prince Rupert of the Rhine, Cardinal Richelieu, Sir Thomas Fairfax, Thomas Hobbes, Richard Hooker, Robert Devereux, 2nd Earl of Essex, and Charles I. The 1911 edition of the Encyclopædia Britannica describes Faithorne's engravings as "remarkable for their combination of freedom and strength with softness and delicacy", adding that "his crayon paintings unite to these the additional quality of clear and brilliant colouring".

In 1658 Faithorne engraved a large map of London which had been drawn by the Somerset landowner Richard Newcourt. Printed on four sheets, it provides important evidence for the geography of the City before the Great Fire. In 1662 he issued a translation of Abraham Bosse’s treatise, under the title of The art of graveing and etching, wherein is exprest the true way of graveing in copper. Also the manner and method of ... Callot and Mr. Bosse in their severall ways of etching".

Faithorne's son, William Faithorne the younger (1656–86), was a promising mezzotint engraver, but became idle and dissipated, and involved his father in financial difficulties.

The best account of the Faithorne family is that contained in Walpole's Anecdotes of Painting. A "life of Faithorne the Elder" is preserved in the British Museum among the papers of John Bagford, Faithorne's close friend and Lord Oxford librarian.

Faithorne is particularly known as a portrait painter; He counted amongst whom he painted a large number of eminent personalities, such as Sir Henry Spelman, Olivier Cromwell, Henry Somerset, Marquis of Worcester, John Milton, Queen Catherine, Prince Rupert of the Rhine, Cardinal de Richelieu , Sir Thomas Fairfax, Thomas Hobbes, Richard Hooker, Robert Devereux, 2nd Earl of Essex, and Charles Ier.

All his works are remarkable in a style that combines freedom and strength with softness and delicacy, and his pastels adds bright and luminous colors.

He translated into English the Abraham Bosse's treatise on the art of engraving (which disseminated the technical innovations of Jacques Callot in Europe) under the title The art of graveing ​​and etching, . (London, 1662), that is to say "Trait of the ways of engraving on the air by means of etchings . Also the manner and method of Messieurs Callot and Bosse in their various ways of engraving with etching "(London, 1662).
https://hisour.com/artist/william-faithorne/

Shepard Fairey

Frank Shepard Fairey (born February 15, 1970) is an American contemporary street artist, graphic designer, activist, illustrator and founder of OBEY Clothing who emerged from the skateboarding scene. He first became known for his "Andre the Giant Has a Posse" (…OBEY…) sticker campaign while attending the Rhode Island School of Design (RISD), which appropriated images from the comedic supermarket tabloid Weekly World News.

He became widely known during the 2008 U.S. presidential election for his Barack Obama "Hope" poster. The Institute of Contemporary Art, Boston has described him as one the best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Museum of Contemporary Art San Diego, the National Portrait Gallery in Washington, D.C., the Virginia Museum of Fine Arts in Richmond, and the Victoria and Albert Museum in London.

Fairey's first art museum exhibition, titled Supply & Demand (as was his earlier book), was held in Boston at the Institute of Contemporary Art during the summer of 2009. The exhibition featured more than 250 works in a wide variety of media: screen prints, stencils, stickers, rubylith illustrations, collages, and works on wood, metal and canvas. As a complement to the ICA exhibition, Fairey created public art works around Boston. The artist explains his driving motivation: "The real message behind most of my work is 'question everything'."

Fairey sits on the advisory board of Reaching to Embrace the Arts, a nonprofit organization that provides art supplies to disadvantaged schools and students. In 2007, Fairey was commissioned to create a logo for "Music Is Revolution Foundation" and became a board member of the Music Is Revolution Foundation, a nonprofit organization that supports music education for students in public schools.

Fairey created the "André the Giant Has a Posse" sticker campaign in 1989, while attending the Rhode Island School of Design (RISD). This later evolved into the "Obey Giant" campaign, which has grown via an international network of collaborators replicating Fairey's original designs. Fairey intended the Obey Giant to inspire curiosity and cause people to question their relationship with their surroundings. According to the Obey Giant website, "The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker". The website also says, by contrast, that those who are familiar with the sticker find humor and enjoyment from it and that those who try to analyze its meaning only burden themselves and may condemn the art as an act of vandalism from an evil, underground cult.

In a manifesto he wrote in 1990, and since posted on his website, he links his work with Heidegger's concept of phenomenology. His "Obey" Campaign draws from the John Carpenter movie They Live which starred pro wrestler Roddy Piper, taking a number of its slogans, including the "Obey" slogan, as well as the "This is Your God" slogan. Fairey has also spun off the OBEY clothing line from the original sticker campaign.[citation needed] He also uses the slogan "The Medium is the Message" borrowed from Marshall McLuhan. Shepard Fairey has also stated in an interview that part of his work is inspired by other street artists.

After graduation, he founded a small printing business in Providence, Rhode Island, called Alternate Graphics, specializing in T-shirt and sticker silkscreens, which afforded Fairey the ability to continue pursuing his own artwork. While residing in Providence in 1994, Fairey met American filmmaker Helen Stickler, who had also attended RISD and graduated with a film degree. The following spring, Stickler completed a short documentary film about Shepard and his work, titled "Andre the Giant has a Posse". The film premiered in the 1995 New York Underground Film Festival, and went on to play at the 1997 Sundance Film Festival. It has been seen in more than 70 festivals and museums internationally.

Fairey was a founding partner, along with Dave Kinsey and Phillip DeWolff, of the design studio BLK/MRKT Inc. from 1997 to 2003, which specialised in guerrilla marketing, and "the development of high-impact marketing campaigns". Clients included Pepsi, Hasbro and Netscape (for whom Fairey designed the red dinosaur version of mozilla.org's logo and mascot).

In 2003 he founded the Studio Number One design agency with his wife Amanda Fairey. The agency produced the cover work for The Black Eyed Peas' album Monkey Business and the poster for the film Walk the Line. Fairey has also designed the covers for The Smashing Pumpkins' album Zeitgeist, Flogging Molly's CD/DVD Whiskey on a Sunday, Led Zeppelin's compilation Mothership and movie Celebration Day, and Anthrax's The Greater Of Two Evils. Along with Banksy, Dmote, and others Fairey also created work at a warehouse exhibition in Alexandria, Sydney, for Semi-Permanent in 2003. Approximately 1,500 people attended.

In 2004, Fairey joined artists Robbie Conal and Mear One to create a series of "anti-war, anti-Bush" posters for a street art campaign called "Be the Revolution" for the art collective "Post Gen". "Be the Revolution" kicked off with a night of performances featuring Z-Trip, Ozomatli and David J at the Avalon in Hollywood. Fairey also co-founded Swindle Magazine along with Roger Gastman.

In 2005 he collaborated for a second time with Z-Trip on a limited edition 12-inch featuring Chuck D entitled "Shock and Awe". In 2005 Fairey also collaborated with DJ Shadow on a box set, with T-shirts, stickers, prints, and a mix CD by Shadow. In 2005 he showed abroad, for instance in Paris at the Magda Danysz Gallery. In 2005 also, he was a resident artist at the Honolulu Museum of Art Spalding House (formerly known as The Contemporary Museum, Honolulu). Also in 2005, Fairey contributed the artwork for the posters, cover art, and graphics for Walk The Line the Johnny Cash biopic. In 2006, Fairey contributed eight vinyl etchings to a limited-edition series of 12" singles by post-punk band Mission of Burma, and has also done work for the musical group Interpol.

In 2006, Fairey joined NYC based Ad agency Project 2050 as founding Creative Director and was featured on the cover of Advertising Age magazine. While at Project 2050 Shepard developed creative work for Virgin Mega Store and Boost Mobile. The book Supply and Demand: The Art of Shepard Fairey was released in 2006. In 2008, Philosophy of Obey (Obey Giant): The Formative Years (1989–2008), edited by Sarah Jaye Williams, was published by Nerve Books UK, and praised by Fairey.

In June 2007, Fairey opened his one-man show entitled "E Pluribus Venom", at the Jonathan LeVine Gallery. The show made the arts section front page in the New York Times.

Fairey donated original cover art to the 2008 album Body of War: Songs That Inspired an Iraq War Veteran, produced for Iraq War documentary Body of War. Proceeds from the album benefit non-profit organization Iraq Veterans Against the War.

In 2008 Fairey teamed up again with Z-Trip to do a series of shows in support of then presidential candidate Barack Obama entitled Party For Change. Fairey also designed posters for the British goth band Bauhaus.

In September 2008, Shepard opened his solo show titled "Duality of Humanity" at The Shooting Gallery in San Francisco. His third solo show with the gallery featured one hundred and fifty works, including the largest collection of canvases pieces in one show that he's done.

Fairey was arrested on February 7, 2009, on his way to the premiere of his show at the Institute of Contemporary Art in Boston, Massachusetts, on two outstanding warrants related to graffiti. He was charged with damage to property for having postered two Boston area locations with graffiti, a Boston Police Department spokesman said. His arrest was announced to party goers by longtime friend Z-Trip who had been performing at the ICA premiere at Shepard Fairey's request.

On April 27, 2009, Fairey put three signed copies of his Obama inauguration posters up on eBay, with the proceeds of the auction going to the One Love For Chi foundation, founded by the family of Deftones bassist Chi Cheng following a car accident in November 2008 that nearly claimed Cheng's life.

Lance Armstrong rode a Trek Madone styled by Fairey in the 2009 Giro d'Italia, starting on May 9, 2009, in Venice, Italy.

In 2011 Time Magazine commissioned Fairey to design its cover to honor "The Protester" as Person of the Year in the wake of the Arab Spring, Occupy Wall Street and other social movements around the world. This was Fairey's second Person of the Year cover for Time, his first being of Barack Obama in 2008.

In January 2015, Shepard Fairey made a cameo appearance on Portlandia. In July 2015, Fairey was arrested and detained at Los Angeles International Airport, after passing through customs, on a warrant for allegedly vandalizing 14 buildings in Detroit. He subsequently turned himself in to Detroit Police.

On September 17, 2015, the Jacob Lewis Gallery presented Shepard Fairey’s exhibition "On Our Hands", his first solo opening in New York City in five years. The paintings reflect on contemporary issues facing our global community: political corruption, environmental apathy and abuse of power. The exhibition coincides with Fairey’s new monograph Covert to Overt, published by Rizzoli.

Fairey created a series of posters supporting Barack Obama's 2008 candidacy for President of the United States, including the iconic "HOPE" portrait. The New Yorker art critic Peter Schjeldahl called the poster "the most efficacious American political illustration since 'Uncle Sam Wants You'". Fairey also created an exclusive design for Rock the Vote. Because the Hope poster had been "perpetuated illegally" and independently by the street artist, the Obama campaign declined to have any direct affiliation with it. Although the campaign officially disavowed any involvement in the creation or popularization of the poster, Fairey has commented in interviews that he was in communication with campaign officials during the period immediately following the poster's release. Fairey has stated that the original version featured the word "PROGRESS" instead of the word "HOPE", and that within weeks of its release, the campaign requested that he issue (and legally disseminate) a new version, keeping the powerful image of Obama's face but captioning it with the word "HOPE". The campaign openly embraced the revised poster along with two additional Fairey posters that featured the words "CHANGE" and "VOTE".

Fairey distributed 300,000 stickers and 500,000 posters during the campaign, funding his grassroots electioneering through poster and fine art sales. "I just put all that money back into making more stuff, so I didn't keep any of the Obama money", explained Fairey in December 2009.

On November 5, 2008, Chicago posted banners throughout the downtown business district featuring Fairey's Obama "HOPE" portrait.

Fairey created a similar but new image of Barack Obama for Time magazine, which was used as the cover art for the 2008 Person of the Year issue. The original iconic "HOPE" portrait was featured on the cover of Esquire Magazine's February 2009 issue, this time with a caption reading, "WHAT NOW?" Shepard Fairey's influence throughout the presidential election was a factor in the artist himself having been named a Person of the Year for 2008 by GQ.

In January 2009, the "HOPE" portrait was acquired by the U.S. National Portrait Gallery and made part of its permanent collection. It was unveiled and put on display on January 17, 2009.

In 2009 Fairey's Obama portrait was featured in the book Art For Obama: Designing Manifest Hope and the Campaign for Change, which Fairey also edited.

In his December 8, 2010 appearance on The Colbert Report, Stephen Colbert asked Fairey how he felt about having done the "HOPE" portrait of Obama and how "that hope was working out for him now?" to which Fairey replied: "You know, I'm proud of it as a piece of grassroots activism, but I'll just leave it at that".[citation needed]

In an interview with Esquire in 2015 Fairey said that Obama had not lived up to his expectations, "not even close". He continued, "Obama has had a really tough time, but there have been a lot of things that he's compromised on that I never would have expected. I mean, drones and domestic spying are the last things I would have thought [he'd support]."

Fairey created a mutt version of the red, white, and blue poster, donating it to help support pet adoptions, from an image of a rescued shaggy dog taken by photographer Clay Myers. Four hundred limited edition prints were offered by Adopt-A-Pet.com, a nonprofit organization that helps shelters, humane societies and rescue groups advertise their homeless pets to potential adopters. The poster, which was also offered as a free download, was featured on the cover of the spring 2009 edition of Dog’s Life magazine.

Shepard Fairey has always been open about controversial social and political topics and often donates and creates artwork in order to promote awareness of these social issues and contributes directly to these causes.

In the early 2000s, Fairey began donating to organizations such as Chiapas Relief Fund, the ACLU, Feeding America, and the Art of Elysium. Following the Obama campaign, Fairey donated proceeds from these poster sales to the ACLU and Feeding America. In September 2010, Fairey created a poster for the ACLU with actress Olivia Wilde as the Statue of Liberty holding a megaphone and a clipboard, the ACLU’s weapons of choice.

The Obey Awareness Program, operated by Obey Clothing, was founded in 2007 as an extension of Fairey’s humanitarian efforts. This program allows Fairey to support causes he believes in by selling specially designed merchandise and donating 100% of the profits raised to handpicked organizations and their causes. Past non-profit organizations benefiting from this program include Hope for Darfur, 11th Hour Action, Feed America, earthquake relief in Haiti, Dark Wave / Rising Sun for Japan relief, and Adopt-a-Pet.com. Environmentally related non-profit organizations such as the Surfrider Foundation, Urban Roots, the Alaskan Wildlife Refuge and more also received donations. The latest Obey Awareness T-shirts benefitted the Go Campaign, an organization that improves the lives of orphans and vulnerable children around the world by partnering with local heroes to deliver local solutions.

As a type 1 diabetic, Fairey often contributes to non-profit organizations assisting in medical research. He is one of the earliest supporters of Give to Cure, a non-profit organization devoted to accelerating the process of finding cures for human diseases. Fairey created the first Give To Cure sticker series with 20 distinct designs. In addition, he created three special edition prints to commemorate the inaugural Give To Cure campaign. In January 2012, Fairey created an exclusive print called "The Cure" for the Juvenile Diabetes Research Foundation (JDRF), the leading global organization funding type 1 diabetes research. All proceeds from the sale went toward the JDRF. In June 2013, a feature documentary called "The Human Trial" about the quest to cure type 1 diabetes caught the attention of Fairey who then created the movie poster in order to raise funds for the film.

Every year since 2009, Fairey has contributed his art to raise funds for the RUSH Philanthropic Arts Foundation. In August 2011, Fairey donated the Buddhist inspired piece Mandala Ornament (valued at $12,000) to help raise funds for the Foundation through the ART FOR LIFE online auction, the primary annual fundraising effort that helps support thousands of underserved New York children. Proceeds from the annual gala and auction benefitted the Foundation’s signature arts education and gallery programs, which directly serve 2,300 students each year.

In June 2009, Fairey created a poster in support of the plight of Aung San Suu Kyi to bring awareness to the human rights cause in Burma. The proceeds from this print benefitted the Human Rights Action Center and the U.S. Campaign for Burma.

In 2009, Fairey teamed up with artist and activist Ernesto Yerena, activist Marco Amador and musician Zack de la Rocha of Rage Against the Machine, to create, distribute, and sell posters countering dehumanizing and anti-immigrant rhetoric for the We Are Human Campaign. A majority of the proceeds went to the National Day Labor Organizing Network (NDLON) and Puente, a grassroots community group that fights for human dignity.

Fairey has also created artwork to benefit the David Lynch Foundation for Consciousness-Based Education and World Peace (DLF). In April 2009, Fairey created a poster for the David Lynch Foundation’s "Change Begins Within" benefit concert. In April 2011, Fairey donated unique collector’s items to the foundation’s "Download for Good" campaign. In April 2015, Fairey created a commemorative poster for the 10-year anniversary of the music of David Lynch, with all proceeds from poster sales going to the foundation.

In November 2009, Fairey partnered with LGBT grassroots organization FAIR to auction "Defend Equality Love Unites" posters to raise awareness and funds for the fight for gay and lesbian marriage equality.

Fairey is a supporter of artist movements such as The Art of Elysium, an organization aiming to affect social change by making art available to striving artists and young people battling serious illnesses. In August 2010, Fairey donated one original Burmese Monk fine art piece as well as an opportunity for a live portrait sitting for Art of Elysium. In September 2014, Fairey curated The Art of Elysium’s GENESIS showcase of emerging L.A. artists, creatives, tastemakers, and social leaders.

In May 2010, Fairey partnered with Feeding America and The Advertising Council to create an outdoor public service advertisement to raise awareness about domestic hunger.

In 2011, Fairey was named honorary chair of the Young Literati, a philanthropic group of the Library Foundation of Los Angeles. Fairey has created artwork and curated several Young Literati Annual Toast events benefitting the Library Foundation. Fairey’s wife Amanda has held the position of chair of the Library Foundation since 2013.

In December 2011, Fairey contributed to the Robert Rauschenberg Foundation’s inaugural "Artist as Activist" print project to benefit the Coalition for the Homeless. Fairey created an original print called "The Future is Unwritten" to commemorate Rauschenburg’s dedication to important social issues and the mission of the Coalition for the Homeless. The print was sold on Artnet to raise over $150,000 to support the Coalition’s life-saving programs.

In July 2013, Fairey did a public arts project for the nonprofit L.A. Fund for Education. Fairey's design titled "Create Your Future" was one of three installments in the #ArtsMatter campaign, which was a collaborative effort with P.S. ARTS and featured the art displayed on billboards and buses across the city of Los Angeles to send the message that arts matter in schools. Again in 2015, Fairey contributed to P.S. Arts, and collaborated with Marc Phillips Decorative Rugs to create a one-of-kind rug for a benefit auction for P.S. Arts.

In March 2014, Fairey created a portrait of Ai Weiwei with Friends of Ai Weiwei, a group of Ai supporters who were trying to promote awareness of the artists’ legal status in China where authorities had confiscated his passport. Proceeds from the posters went toward Friends of Ai Weiwei’s efforts to help the artist and to promote free speech. In July 2015, Ai Weiwei was granted a full six-month UK visa, reversing a decision not to grant him the travel document.
https://hisour.com/artist/shepard-fairey/