Uemura Shōen (上村 松園, April 23, 1875 – August 27, 1949) was the pseudonym of an important artist in Meiji, Taishō and early Shōwa period Japanese painting.
Her real name was Uemura Tsune. Shōen was known primarily for her bijin-ga paintings of beautiful women in the nihonga style, although she produced numerous works on historical themes and traditional subjects.
Shōen was born in Shimogyō-ku, Kyoto, as the second daughter of a tea merchant. She was born two months after the death of her father and, thus, grew up with her mother and aunts in an all-female household.
Her mother's tea shop attracted a refined, cultured clientele for the art of Japanese tea ceremony. As a child at age 12 (1887), Shōen drew pictures and exhibited considerable skill at drawing human figures. By the age of 15 (1890) she was exhibiting her work and winning awards in official art contests as well as commissioning work for private patrons.
Shōen became obsessed with the ukiyo-e, Japanese woodblock print, works of Hokusai. Her mother supported her decision to pursue an artistic career. This was quite unusual for the time, and although Shōen did have successful contemporaries who were female, such as Ito Shoba (1877-1968) and Kajiwara Hisako (1896-1988), women were largely still not part of the Japanese public art scene outside of Tokyo.
Shōen is considered a major innovator in the bijin-ga genre despite the fact she often still used it to depict the traditional beauty standards of women.
Bijin-ga gained criticism during the Taisho era while Shōen worked due to its lack of evolution to reflect the more modern statuses of women in Japan. During bijin-ga's conception in the Tokugawa, or Edo, period, women were regarded as lower class citizens and the genre often reflected this implication onto its female subjects. Within the Taisho era, women had made several advancements into the Japanese workforce, and artistry specifically was becoming more popular, which opened way for Shōen's success.
Shōen received many awards and forms of recognition during her lifetime within Japan, being the first female recipient of the Order of Culture award, as well as being hired as the Imperial Household's official artist, which had previously only employed one other official woman in the position.
In 1949 Uemura Shōen died of cancer just a year after receiving the Order of Culture Award.
Georges de Feure (real name Georges Joseph van Sluÿters, 6 September 1868 – 26 November 1943) was a French painter, theatrical designer, and industrial art designer in the symbolism and Art Nouveau styles.
De Feure was born in Paris. His father was an affluent Dutch architect, and his mother was Belgian.
In the 70s, the family had to move to the Netherlands due to the Franco-Prussian war, and they were back to Paris in the 80s.
In 1886, de Feure was one of the eleven students admitted at the Rijkscademievoor Beeldende Kunsten(Royal Academy of Arts) in Amsterdam, but he left for Paris in 1889 since he felt that formal academic training had nothing to offer him. Being of very independent nature, de Feure never again took up formal artistic studies, and forged his own independent path.
Georges de Feure lived in Montmarte, and became part of the bohemian community. Later he would become friend of Claude Debussy, Erik Satie and Maurice Ravel.
His main subject was woman, not any woman in particular, but woman as an ideal, as an existence, beautiful yet anxious, sometimes he even put them in menacing environment to show their anxiety.
In 1890, Georges was recognised by French painter Puvis de Chavannes as one of the most important painters of French Symbolism movement.
« un des ensembles décoratifs les plus exquis et parfaits que notre époque ait créés »
From 1900, the career of the artist took a different direction. Samuel Bing (1838-1905), founder of the House of Art Nouveau, asked him to design the facade of the Pavilion of Art Nouveau at l'Exposition Universelle de 1900 and later also some part of the interiors as well as some furniture. This is the beginning of a fruitful collaboration, Georges de Feure would design not only furniture but also vases and jewellery.
Afterwards, Georges de Feure also worked for newspapers, created theatre designs for Le Chat Noir cabaret and posters.
In August 1901, de Feure was nominated Chevalier de la Légion d'honneur for his contribution to the decorative arts.
In 1903, there held a retrospective exhibition in Paris of Georges de Feure, and after that he went to Hambourg and La Haye.
During the first 10 years of 20th century, he continued his decorative design, and his style slowly evolved from Art Nouveau to that of Art Deco.
During the First World War, he moved to London where he designed costumes and set for the theatres.
In the 1920s, he was artistic adviser for the shops of French haute couturiere Madeleine Vionnet.
In 1943, Georges de Feure died in poverty at the age of 75 years in the occupied Paris.
Original name: Lourens Alma Tadema
Name: Lawrence Alam-Tadema
birth place: Dronryp, Netherland
birth date: 8 January 1836
zodiac sign: Capricorn
death place: Wiesbaden, Germany
death date: 25 June 1912
Profile of Lawrence Alma-Tadema:
Sir Lawrence Alma-Tadema, was a Dutch painter of special British denizenship. Born in Dronrijp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art.
Life of Lawrence Alma-Tadema:
Lourens Alma Tadema was born on 8 January 1836 in the village of Dronrijp in the province of Friesland in the north of the Netherlands.
The Tadema family moved in 1838 to the nearby city of Leeuwarden, where his father Pieter's position as a notary would be more lucrative, but Pieter died two years later when Lourens was only four, leaving his mother with five children. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers.
It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown and given only a short time to live, he was allowed to spend his remaining days as he wanted, drawing and painting. Thus miraculously he regained his health and decided to pursue a career as an artist.
From 1858, Tadema began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation.
In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist.
In September 1863, Lawrence Alma-Tadema married to Marie-Pauline Gressin Dumoulin, the daughter of a French journalist, they had two daughters and one son, who died after a few months of birth.
While on his honeymoon, Tadema went to Italy with his wife, his first visit there, and it was that he developed his interest in depicting the life of ancient Greece and Rome, especially the latter which fascinated him and would inspire much of his work in the coming decades.
In 1869, Tadema's wife died and he himself suffered health problems, he went to London in search of better medical opinion, and there he met and fell in love with Laura Theresa Epps, which made him decide to move to London, where he would spend the rest of life.
After his arrival in England, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork.
In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system would make it difficult for fakes to be passed off as originals.
On 19 June 1879, Alma-Tadema was made a full Academician, his most personally important award. Three years later a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures.
In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life.
One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman Emperor Elagabalus (Heliogabalus), the painting depicts the Emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the Riviera for four months during the winter of 1887–1888.
Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour.
During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects.
In 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. Three years later in the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach.He died there on 28 June 1912 at the age of seventy-six.
Style of Lawrence Alma-Tadema
Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling, and charms us with gentle sentiment and playfulness.
From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he would see at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy in the details of his compositions.
Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One humorous story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his adversaries to take up arms against his almost encyclopaedic works.
Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning to their paintings.
birth place: Rome Italy
birth date: 6 April 1849
zodiac sign: Aries
death place: London England
death date: 10 February 1917
Profile of John William Waterhouse
John William Waterhouse was an English painter known for working first in the Academic style and for then embracing the Pre-Raphaelite Brotherhood's style and subject matter. His artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.
Born in Rome to English parents who were both painters, Waterhouse later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece.
Life of John William Waterhouse
John William Waterhouse was born in the city of Rome to the English painters William and Isabella Waterhouse in 1849, and his early life in Italy has been cited as one of the reasons many of his later paintings were set in ancient Rome or based upon scenes taken from Roman mythology.
In 1854, Waterhouses' parents returned to England and moved to a newly built house in South Kensington, London. Waterhouse was encouraged to draw, and often sketched artworks that he found in the British Museum and the National Gallery.
In 1871 he entered the Royal Academy of Art school, initially to study sculpture, before moving on to painting.
John William Waterhouse's early works were not Pre-Raphaelite in nature, but were of classical themes in the spirit of Alma-Tadema and Frederic Leighton.
In 1874 his painting Sleep and his Half-brother Death was exhibited at the Royal Academy summer exhibition. The painting was a success and Waterhouse would exhibit at the annual exhibition every year until 1916, with the exception of 1890 and 1915.
In 1883 Waterhouse married Esther Kenworthy, the daughter of an art schoolmaster from Ealing who had exhibited her own flower-paintings at the Royal Academy and elsewhere.
In 1895 Waterhouse was elected to the status of full Academician. He taught at the St. John's Wood Art School, joined the St John's Wood Arts Club, and served on the Royal Academy Council.
Subjects of John William Waterhouse:
One of Waterhouse's best known subjects is The Lady of Shalott, a study of Elaine of Astolat as depicted in the 1832 poem by Alfred, Lord Tennyson, who dies of a mysterious curse after looking directly at the beautiful Lancelot. He actually painted three different versions of this character, in 1888, 1894, and 1916.
But in her web she still delights
Another of Waterhouse's favorite subjects was Ophelia which could have been inspired by paintings of Ophelia by Dante Gabriel Rossetti and John Everett Millais. He submitted his 1888 Ophelia painting in order to receive his diploma from the Royal Academy.
Waterhouse would paint Ophelia again in 1894 and 1910, and the 1894 version is perhaps the most familiar one which depicts Ophelia just before her death, putting flowers in her hair as she sits on a tree branch leaning over a lake.
John William Waterhouse had planned another painting in the series, called Ophelia in the Churchyard but could not finish it because he was gravely ill with cancer by 1915, and died two years later.
name: John William Godward
birth place: Wimbledon London, England
birth date: 9 August 1861
zodiac sign: Leo
death place: London England
death date: 13 December 1922
Profile of John William Godward:
John William Godward (9 August 1861 – 13 December 1922) was an English painter from the end of the Neo-Classicist era. He was a protégé of Sir Lawrence Alma-Tadema but his style of painting fell out of favor with the rise of modern art. He committed suicide at the age of 61 and is said to have written in his suicide note that "the world is not big enough for myself and a Picasso".
His estranged family, who had disapproved of his becoming an artist, were ashamed of his suicide and burned his papers. Only one photograph of Godward is known to survive.
Life of John William Godward:
John William Godward was born on 9 August 1861. His father was an investment clerk at the Law Life Assurance Society in London, and the family eventually lived in Wimbledon.
Being the firstborn and the oldest son, it was assumed that Godward would follow his father into the world of insurance. Even though Godward was already showing more interest in his creative side, he found himself training to be an insurance clerk.
But when Godward’s father decided to offer him a job, John Williams Godward refused, so his father arranged for him to train as an architect – a much more lucrative, respectable career than a simple artist.
Between 1879 and 1881, Godward studied under William Wontner, a family friend who was also an architect and designer. But happily for Godward, he \worked alongside Wontner’s son, William Clarke Wontner, himself a painter who would go on to become a popular painter of landscapes and murals.
As for Godward’s own artistic training, it’s not known where he trained and with whom. There are no records of him at the Royal Academy Schools. However, it could be that Godward was helped in some way by William Clarke Wonter who, in 1885, was teaching at the St John’s Wood Art School, whose students typically went on to the Royal Academy Schools.
His first work dates from around 1880, and in 1887, Godward had one of his paintings, ‘The Yellow Turban’, accepted at the Royal Academy Summer Exhibition.
Godward greatly admired the leading Classicists of the time; Sir Lawrence Alma-Tadema’s influence can be seen in Godward’s use of marble and textiles, and that of Sir Frederic Leighton can be seen in the glossy finish of his paintings.
Like Alma-Tadema, who was not only a painter but also an archaeologist who visited historical sites, Godward, too, meticulously studied details such as architecture and dress to give his work authenticity. He also painstakingly studied any feature he used in his paintings, from wild flowers to animal skins.
Godward’s father died in 1904. The following year, Godward made his first visit to Italy, which he found captivating.
Unlike many of his contemporaries, Godward had always preferred privacy and anonymity. In 1912, he left for Italy with one of his models (the one in ‘Dolce Far Niente’). Outraged, his family severed all contact with him.
By 1921, with his health failing, suffering from depression and no longer enchanted with Italy, he returned to England. But the country he returned to was no longer interested in the Classical style. In fact, it proved to be nothing short of hostile toward his style of art. As the world’s artistic preference started to embrace modern art, Godward would become one of the last, best European Classical painters.
Although not as prolific as he had been, Godward continued painting. What was possibly his last completed work, titled, ‘Contemplation’, was sold to a firm of art dealers.
Godward chose to end his life on 13th December 1922. According to the newspaper report of his death, the cheque for his last painting Contemplation had been left pinned to his door.
Although saddened by his death, his family also felt disgraced; no Godward had committed suicide before, and to have it so publicly reported, with the accompanying inquest, left them more angry than sad. His mother, Sarah, literally cut his image from family photographs, and his personal papers were destroyed. If he was mentioned at all, it was only in whispers.
For many years after his death, Godward’s paintings held little value. They couldn’t be found at art dealers; between the 1940s and 1960s, many of them had passed their Godwards to Harrod’s to sell. By the end of the 1970s, Godward the painter and his art had faded into obscurity.
Ironically Godward’s art is seeing a huge revival. His painting Dolce Far Niente was sold foralmost 1.5 million dollars in New York in 2012, and another painting Summer Idleness: Day Dreams for which the buyer has paid £100 only at Harrods, an ‘impulse buy’ after a lunch in London, was sold by the daughter of the buyer in October of 2012 for £320,000, yet another one ‘A Fair Reflection’, which would have been worth about £5,000 in 1979, sold for £900,000.
American author and art historian Vern Grosvenor Swanson interviewed three remost family members of John William Godward and wrote a book about the latter: ‘JW Godward: The Eclipse of Classicism’.
name: john singer sergeant
birth place: Florence Italy
birth date: 12 January 1856
zodiac sign: Capricorn
death place: London England
death date: 14 April 1925
languages: English, French, Italian, German
John Singer Sargent ( 12 January, 1856 – 14 April, 1925) was an American expatriate artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian-era luxury.He created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.
He was born in Florence to American parents, and trained in Paris before moving to London, living most of his life in Europe. He enjoyed international acclaim as a portrait painter, although not without controversy and some critical reservation; an early submission to the Paris Salon, his Portrait of Madame X, was intended to consolidate his position as a society painter, but instead resulted in scandal. From the beginning his work is characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. Art historians generally ignored "society" artists such as Sargent until the late 20th century.
"the unrivaled recorder of male power and female beauty in a day that, like ours, paid excessive court to both."
John Singer Sargent, né le 12 janvier 1856 à Florence (Grand-duché de Toscane), et mort le 14 avril 1925 à Londres (Angleterre), est un peintre américain qui vécut essentiellement en Europe.
Élève de Carolus-Duran, de Léon Bonnat et d'Adolphe Yvon, il étudie à l'École des beaux-arts de Paris. Il est ami ou proche de grands artistes de l'époque, comme Claude Monet, Paul Helleu, Albert Besnard, Gabriel Fauré ou encore Edmund Gosse. Sargent est particulièrement connu pour son habileté dans les portraits, caractérisés par un style sophistiqué, une virtuosité visuelle et une certaine audace théâtrale. Il réalise sur commande des portraits d'hommes et de femmes les plus célèbres, riches ou puissants d'Europe ou des États-Unis, comme ceux de l'académicien Édouard Pailleron et de son épouse, Auguste Rodin, John D. Rockefeller, Robert Louis Stevenson, ou encore ceux des présidents, Theodore Roosevelt
Subjects: society ladies
name: James Tissot
original name: Jacques-Joseph Tissot
birth place: Nantes France
birth date: 15 October 1836
zodiac sign: Libra
death place: Chenecey-Buillon France
death date: 8 August 1902
Profile of James Tissot
James Tissot was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871, where he became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. Toward the end of his life, he dedicated all his time to painting scenes and characters from the Bible after a revelation in 1888.
Life of James Tissot
1856: From Nante to Paris
James Tissot was born in Nantes, a bustling sea port in a well to do family of successful drapery business.
By the time Tissot was 17, he knew he wanted to pursue painting as a career despite his father's opposition.
An acquired Anglophile, he began using James as his first name instead of his own given name Jacques and 1854 he was commonly known as James Tissot.
In 1856 or 1857, Tissot travelled to Paris to pursue an education in art at the Ecole des Beaux-Arts as well as studying in the studios of Hippolyte Flandrin and Louis Lamothe. He also studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, Tissot made the acquaintance of the American painter James McNeill Whistler, and French painters Edgar Degas with whom he would maintain long term friendship.
In 1859, Tissot exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethe's Faust. These works show the influence in his work of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom Tissot had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter von Cornelius and Moritz Retzsch.
The French government paid 5,000 francs for his painting La Renconcontre de Faust et de Marguerite (The Meeting of Faust and Marguerite) in 1860.
That same year, the young James Tissot travelled to both Italy and London, and just a few years later, the period of his interest changed suddenly from Medieval times to his own times, and his subject matters also changed to the daily life scenes of modern fashionable women. Because of that, James Tissot quickly acquired fame ,fortune as well as high critical acclaim.
Meanwhile, like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored japonisme, including Japanese objects and costumes in his pictures and expressing style influence.
1871: From Paris to London:
In 1970, the Franco-Prussian War broke out, James Tissot fought for his country in two regimes before he moved to London, said to have only 100 francs on him, but certainly with enough artistic and social connections from his earlier traveling and art exhibitions there to reestablish himself.
As he did in Paris almost a decade later, James Tissot focus his effort on depicting beautiful women in their elegant dresses doing ladylike things, that winning formula quickly enabled him to buy a house in the area of St. John's Wood in London, where he had 'a studio with a waiting room where, at all times, there is iced champagne at the disposal of visitors', according to Edmond de Goncourt, one of the Goncourt brothers.
In 1875-6, James Tissot met and fell in love with Kathleen Newton, an Irish divorcee. She moved into Tissot's household in St. John's Wood in 1876 and became the painter's mistress and muse. They lived together in a semi recluse status until her death in 1882 due to Tuberculosis. Tissot frequently referred to these years with Newton as the happiest of his life, a time when he was able to live out his dream of a family life.
1882: From London to Paris:
On 9 November 1882, Kathleen Newton killed herself after her consumption got worse and worse daily, and just a week later, James Tissot left London, never to return in his life time.
After returning to Paris, James Tissot tried to reestablish himself yet again with women as his protagonists, but this time in different styles, social contexts and much larger scale.
In 1885,Tissot chose 15 of those large paintings for a major exhibition at the Galerie Sedelmeyer, and would call them all La Femme à Paris, representing women of different social classes as well as physical traits engaged in yet seemed aloof from a variety of social scenes and activities, from balls to circus to shops and music gardens. Unlike his previous women who idled away their life in relative solitude or familiar ambiance like decoration, the women portrayed in this series seemed a different type of Femme Nouvelle, who went out, living their life and had their own thoughts, ideas dreams.
The series of La Femme à Paris also showed James Tissot's increasing affection of Japanese art, fashion and aesthetics, as he sometimes used unexpected angles and framing (like Degas with his ballet dancers) from that tradition, as if he were standing from a very close, at times intimate distance, looking at his objects.
1885-1886: Dedication to Bible:
Between 1885-1886, while working on his paintings Musique sacrée, one of his series of La Femme à Paris, James Tissot had a mystic vision, that rekindled his faith in Catholic religion, and he would dedicate the rest of his life to depicting the scenes of Bible.
At a time when French artists were working in impressionism, pointillism, and heavy oil washes, Tissot was moving toward realism in his watercolors. To assist in his completion of biblical illustrations, Tissot traveled to the Middle East in 1886, 1889, and 1896 to make studies of the landscape and people.
His series of 365 gouache (opaque watercolor) illustrations showing the life of Christ were shown to critical acclaim and enthusiastic audiences in Paris (1894–5), London (1896) and New York (1898–9), before being bought by the Brooklyn Museum in 1900. They were published in a French edition in 1896–7 and in an English one in 1897–8, bringing Tissot vast wealth and fame. During July 1894, Tissot was awarded the Légion d'honneur, France's most prestigious medal.
James Tissot spent the last years of his life working on paintings of subjects from the Old Testament. Although he never completed the series, he exhibited 80 of these paintings in Paris in 1901.
The religious graphic works James Tissot created the last phase of his life not only deviated dramatically in terms of subject matters, but also demonstrated a completely different sensibility. One can even say they were done someone else other than James Tissot himself, a portraitist of belle époque elegance. It seems as if the reawakening of his religious belief had not only changed his soul, but also his paint brush.
On 8 August 1902, James Tissot died in Doubs, France in the Château de Buillon, a former abbey which he had inherited from his father in 1888. His grave is in the chapel sited within the grounds of the chateau.
Widespread use of his illustrations in literature and slides continued after his death with The Life of Christ and The Old Testament becoming the "definitive Bible images". His images provided a foundation for contemporary films such as the lifestyle themes in The Age of Innocence (1993). In the first half of the 20th century, there was a re-kindling of interest in his portraits of fashionable ladies and some fifty years later, these were achieving record prices.
birth place: London England
birth date: 27 November 1853
zodiac sign: Sagittarius
death place: London England
death date: 17 October 1928
Sir Francis Bernard Dicksee (or Frank Bernard Dicksee) was an English Victorian painter and illustrator, best known for his pictures of dramatic literary, historical, and legendary scenes. He also was a noted painter of portraits of fashionable women, which helped to bring him success in his own time.
Francis Bernard Dicksee was born at a time when the first wave of Pre-Raphaelitism was beginning to make its presence felt in Britain and he inherited the romantic spirit of the movement that had been founded only a stone's throw from his childhood home in the Bloomsbury area of London.. After early success with his painting of unrequited love, Harmony, he rose to be one of the most popular artists of the late 19th-century, painting in a sumptuous and dramatic style.
Dicksee's family was a veritable dynasty of artists, his father, brother, and sister Margaret were all well-known painters, but it is Francis who is best known and loved today for his Pre-Raphaelite inspired subjects.
Dicksee's father, Thomas Dicksee, was a painter who taught Frank as well as his sister Margaret from a young age. Dicksee enrolled in the Royal Academy in 1870. Amongst the visiting lecturers who trained him, were the famous senior academicians Leighton [1830-1896] and Millais [1829-1896]. Dicksee was a star student, earning many distinctions and medals.
Like many other artists of the day his early career was largely spent in book illustration, as well as some stained glass window design. He started exhibiting at the RA in the mid 1870s, and also exhibited at the Grosvenor Gallery, though his real base was always the Academy. Dicksee made his reputation with Harmony, exhibited at the Academy in 1877, and bought by the Chantry Bequest.
Many of his pictures were of dramatic historical and legendary scenes. He also was a noted painter of elegant, highly-finished portraits of fashionable women, which of course helped to bring him material success.
He also painted landscapes. Dicksee lived in St John's Wood, and remained a bachelor. He was, of course, one of the nineteenth century artists who outlived his time, and was, to his credit, very unhappy with developments in the early twentieth century. Rather surprisingly, Dicksee was elected President of the Royal Academy in 1924, fulfilling the role with panache and tact. Physically he was a tall, good-looking, patrician figure, with a charming easy-going manner. Like his predecessor but one Edward Poynter [1836-1919], the traditional orientation of his art gradually isolated him from the artistic mainstream of the day.
He was knighted in 1925, and named to the Royal Victorian Order by King George V in 1927.
In 1921 Dicksee exhibited at the first exhibition of the Society of Graphic Art in London.
Dicksee painted The Funeral of a Viking (1893; Manchester Art Gallery), which was donated in 1928 by Arthur Burton in memory of his mother to the Corporation of Manchester. Victorian critics gave it both positive and negative reviews, for its perfection as a showpiece and for its dramatic and somewhat staged setting, respectively. The painting was used by Swedish Viking/Black metal band Bathory for the cover of their 1990 album, Hammerheart.
A book on Frank Dicksee's life and work with a full catalogue of his known paintings and drawings by Simon Toll was published by Antique Collector's Club in 2016.
Title: Frank Dicksee:1853-1928: His art and life
Author: Simon Toll
Takeheisa Yumeji (Takehisa Yumeji, 16 September1884- 1 September1934) is a Japanese poet, prose writer, graphic artist, designer, and romantic artist. His work falls on the era of Taisho (1912 - 1925), in his works the artist reflected all the features, all the unique beauty and charm of that era, in which there he interpreted both Japanese and Western cultures.
Takeshi Yumeji is called the romantic of the Taishi era, an era of dynamic development of society and the active perception of the whole western world by the Japanese. The main genres in which Takeshi Yumeji worked were the female and children's portrait, everyday scenes, landscape, floral and geometric patterns. Yumeji was self-taught, he never studied drawing in any art school. At first, his landscapes were executed in a manner close to European impressionism. But then the master found his own theme and developed his own unique style, depicting girls in a kimono, their faces, postures, gestures and inner peace, leaving a bright trace in the artistic world of Japan.
At present, there are several museums in Japan dedicated to the work of Yumeji: the museum house in the homeland of the artist in Okayama, the Ikaho museum in Ikaho (Gifu Prefecture), the Takeshi Yumeji Art Museum in the Bunkyo-ku district in Tokyo and the Kanazawa Museum Yuvaku Yumeji-kan 'in the city of Kanazawa. They hold exhibitions, thematic lectures, kimono and yukata displays of the Taisho era with models dressed in the style of the beautiful Yumeji. People still continue to admire his work, and artists of modern times draw inspiration from his works for their new works.
Profile in French
Martin Beaupré est né au Canada, à Québec en 1961. Il trouve son équilibre en associant art et énergie. Sa peinture est le reflet de son monde intérieur. Un parcours zen où se révèle la recherche de la beauté et de l'harmonie dans des tonalités feutrées, des compositions épurées et sereines.
Martin Beaupré prend plaisir à transmettre sa passion et vit maintenant de son art à plein temps. En 1995, il a fondé les ateliers Médit'Art, où il enseigna la peinture moderne et intuitive. Il a offert aussi des ateliers d'art thérapie pour peintres amateurs et professionnels, dans les déserts des États-Unis et à Hawaii.
Grâce à sa grande maîtrise des couleurs et à son approche libre de toutes résistances, ses toiles contemporaines suscitent de profondes émotions. Ce peintre conjugue l'énergie et le dynamisme avec le calme et la sérénité.
Inspiré par ses voyages, il crée des toiles empreintes de la culture asiatique. Cerisiers en fleurs, montagnes, visages de Bouddha, geishas, ainsi que symboles et écritures inspirés du Zenga composent ses oeuvres. Rien n'est laissé au hasard, chaque détail a sa raison d'être. Martin Beau Pré a fait la rencontre de moines bouddhistes en Thaïlande et au Japon qui sont devenus une grande source d'inspiration pour lui. Les principes de l'art Japonais sont sacrés à ses yeux. Le secret qui donne puissance à son art : embellir le vide et ne jamais remplir le vide. Créer le maximum d'effet avec le minimum de moyen.
L'intensité lumineuse qu'il préfère est le blanc parce qu'il lui offre les possibilités d'une rencontre avec l'infini. Ses tableaux respirent la quiétude. Il travail avec plusieurs médiums : l'huile, pâte de modelage, sable, cristal de Swarovsky, encre. Dans ses toiles, la forme et l'espace ne sont jamais en confrontation. Tout coexiste, tout est lié. Impression de calme, instant de grâce, maîtrise de sa vie, tout se dulcifie en soi.
Ses tableaux sont vendus partout dans le monde et certains font partie de plusieurs collections privées ou corporatives au Canada, aux Etats-Unis, en Europe et aux Antilles.
Martin Beaupré, nous propose une opération mystique des sens, une sorte de voyage vers les frontières de l'équilibre et de l'immensité qui nous habite. Une intense poésie à vivre et à découvrir!
Profile in English
Martin Beaupré was born in Quebec, Canada, in 1961. Over the years Martin has found his point of balance by associating art with energy. As a full-time painter Martin’s paintings are a reflection of his inner world. Martin takes us on a Zen journey which reveals a search for beauty and harmony in muffled tones, with serene, uncluttered compositions. In 1995, Martin founded the Médit’Art workshop, where he teaches modern and intuitive painting. Martin has also moderated art therapy workshops for amateur and professional painters, in the deserts of the United States and in the tropics of Hawaii.
Private and corporate collectors from all over the world find Martin’s contemporary canvases arouse profound emotions. Thanks to his accomplished mastery of colors and his completely resistance-free approach. Martin’s paintings combine energy and dynamism with tranquility and serenity. The preferred luminous intensity is white, because it offers the possibility of attaining the infinite. Martin works in various mediums: oil, modeling clay, sable, Swarovski crystal and ink.
Martin Beaupré has met with Buddhist monks in Thailand and Japan who have become a great source of inspiration. Martin believes the principles of Japanese art are sacred. The secret which lends power to his art is this: the void is to be embellished, but never filled. Create the maximum effect with the minimum means. Inspired by travels, Martin creates canvases imbued with Asian culture. We find works showing flowering cherry-trees, mountains, Buddha’s faces, geishas, and symbols and writings inspired by Zenga. Nothing is left to chance; there is a reason behind every detail.
One thing is for certain, there is never a confrontation between form and space. Everything coexists, everything is connected. Impression of calm, instant of grace, mastery of life, everything is softened. Martin Beaupré offers us a mystical operation of the senses, a sort of voyage to the borders of the equilibrium and the immensity which reside within us. An intense poetry to be lived and explored!