France.1881-1955   Related Paintings of Fernard Leger :. | The fem Sew clothes | The disk in the city | Radiator | The tree in the Stair | Two Sister |
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Gustavus Hesselius
(1682 - May 25, 1755) was a Swedish born painter who emigrated to the New World in 1711. He was the father of painter John Hesselius and cousin of the religious leader Emanuel Swedenborg. Hesselius left his home country of Sweden for Wilmington, Delaware in 1711. There he lived until 1717 when he moved to Philadelphia, Pennsylvania, where he lived until 1721. In 1721, he moved to Prince George's County, Maryland and became a portrait painter, though he had been trained in Sweden. That same year, he received the first recorded public art commission in the American colonies, he painted The Last Supper. He also painted a Crucifixion. Some time around 1735, Hesselius returned to Philadelphia where spent the rest of his life and traveling. He was listed as a member of the Gloria Dei (Old Swedes') Church in Philadelphia. He also worked as an organ builder, having built an organ for the Moravian Church in Bethlehem, Pennsylvania in 1746. From about this time on, he focused on building organs, referring painting commissions to his son John. J. Hall Pleasants has said that Hesselius became "America's earliest portrait painter of note." In 1994 he was named to the Prince George's County Hall of Fame.
LIPPI, Fra Filippo
Italian Early Renaissance Painter, ca.1406-1469 Filippo Lippi was born in Florence. He took his vows in 1421 in the monastery S. Maria del Carmine, where Masaccio frescoed the Brancacci Chapel in the church (1426-1427). By 1430 Lippi is mentioned in church documents as "painter." Masaccio's influence, as well as Donatello's, can be seen in Lippi's early works, such as the Tarquinia Madonna of 1437 (National Gallery, Rome) and the Annunciation (S. Lorenzo, Florence) and Barbadori Altar (Louvre, Paris), both begun in 1437/1438. However, the severity of Masaccio and Donatello was mitigated by Lippi, who was instrumental in salvaging from the Gothic past the lyrical expressiveness of a linear mode which Masaccio had all but given up for modeling in chiaroscuro. Toward the middle of the 15th century Lippi's pictures became more finely articulated and his surface design more complex. It is probable that he had a large workshop, and the hand of assistants may be observed in the important fresco decoration started in 1452 in the choir chapel of the Prato Cathedral. After delays and strong protests this commission was finally completed in 1466. The cycle, a highly important monument of Early Renaissance painting, demonstrates Lippi's increasingly more mature style, revealing him to be witty, original, and well versed in all the artistic accomplishments of his time, to which he himself contributed. Through linear perspective Lippi was able to render a convincing illusion of recession and plausible three-dimensional figures. He knew how to express emotions, and he was a keen observer of nature. Lippi painted astonishing portrait likenesses and combined figures and space with an animated surface rhythm, the best example of which can be seen in the Feast of Herod, one of the last scenes in the Prato cycle. During his stay at Prato he was the cause of a scandal (later resolved by papal indulgence): he ran off with a nun, Lucrezia Buti, who bore him two children, one of whom, Filippino Lippi (ca. 1457-1504), was also a painter. In the Prato frescoes as well as in his contemporary panel pictures, such as the Madonna with Two Angels (Uffizi Gallery, Florence), or in the exquisite tondo of the Madonna (Pitti Palace, Florence), Filippo Lippi anticipated later developments in 15th-century painting. In these pictures are to be found the sources of Sandro Botticelli, Lippi's most illustrious pupil. Lippi's innovations extended also to iconography. In his quest for realism he introduced the "bourgeoise" Madonna: the type of contemporary Florentine lady elegantly dressed in the fashion of the time with the hair on her forehead plucked to stress the height of it. He also introduced the subject of the Madonna adoring the Child in the woods (Museum of Berlin, and Uffizi, Florence).
Marie Bashkirtseff
(Russian: November 11, 1858 October 31, 1884) was a Ukrainian-born Russian diarist, painter and sculptor. Marie BashkirtseffBorn Maria Konstantinovna Bashkirtseva in Gavrontsy near Poltava, to a wealthy noble family, she grew up abroad, traveling with her mother across most of Europe. Educated privately, she studied painting in France at the Acad??mie Julian, one of the few establishments that accepted female students. The Acad??mie attracted young women from all over Europe and the United States. One fellow student was Louise Breslau who Marie viewed as her only rival. Marie would go on to produce a remarkable body of work in her short lifetime, the most famous being the portrait of Paris slum children titled The Meeting and In the Studio, (shown here) a portrait of her fellow artists at work. Unfortunately, a large number of Bashkirtseff's works were destroyed by the Nazis during World War II. From the age of 13, she began keeping a journal, and it is for this she is most famous. Her personal account of the struggles of women artists is documented in her published journals, which are a revealing story of the bourgeoisie. Titled, I Am the Most Interesting Book of All, her popular diary is still in print today. The diary was cited by an American contemporary, Mary MacLane, whose own shockingly confessional diary drew inspiration from Bashkirtseff's. Her letters, consisting of her correspondence with the writer Guy de Maupassant, were published in 1891. The grave of Marie BashkirtseffDying of tuberculosis at the age of 25, Bashkirtseff lived just long enough to become an intellectual powerhouse in Paris in the 1880s. A feminist, in 1881, using the nom de plume "Pauline Orrel," she wrote several articles for Hubertine Auclert's feminist newspaper, La Citoyenne. One of her famous quotes is: Let us love dogs, let us love only dogs! Men and cats are unworthy creatures.