1880-1916 German Franz Marc Locations Franz Marc was born in 1880, in the German town of Munich. His father, Wilhelm, was a professional landscape painter, and his mother Sophie was a strict Calvinist. He began study at the Academy of Fine Arts, Munich in 1900. In 1903 and 1907 he spent time in Paris and discovered a strong affinity for the work of Vincent van Gogh. Marc developed an important friendship with the artist August Macke in 1910. In 1911 he formed the Der Blaue Reiter artist circle with Macke, Wassily Kandinsky, and other artists who decided to split off from the Neue K??nstlervereinigung movement. He showed several of his works in the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912. The exhibition was the apex of the German expressionist movement and also showed in Berlin, Köln, Hagen, and Frankfurt. In 1912, Marc also met Robert Delaunay, whose use of color and futurist method was a major influence on Marc's work. Marc became influenced by futurism and cubism, and his art became stark and abstract in nature. His name was on a list of notable artists to be withdrawn from combat in World War I. Before the orders were carried out, he was struck in the head and killed instantly by a shell splinter during the Battle of Verdun (1916).   Related Paintings of Franz Marc :. | Horse in a Landscape | Cows, Yellow, Red, Green | Colorful Flowers (mk34) | The Lamb | The fate of the animals |
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Paxton, William McGregor
American Painter, 1869-1941 was an American Impressionist painter. Born in Baltimore, the Paxton family came to Newton Corner in the mid-1870s, where William's father James established himself as a caterer. At 18, William won a scholarship to attend the Cowles Art School, where he began his art studies with Dennis Miller Bunker. Later he studied with Jean-L??on G??rôme in Paris and, on his return to Boston, with Joseph DeCamp at Cowles. There he met his future wife Elizabeth Okie, who also was studying with DeCamp. After their marriage, William and Elizabeth lived with his parents at 43 Elmwood Street, and later bought a house at 19 Montvale Road in Newton Centre. Paxton, who is best known as a portrait painter, taught at the Museum School from 1906 to 1913. Along with other well known artists of the era, including Edmund Charles Tarbell and Frank Benson, he is identified with the Boston School. Like many of his Boston colleagues, Paxton found inspiration in the work of the seventeenth-century Dutch painter Johannes Vermeer. Paxton was fascinated not only with Vermeer's imagery, but also with the system of optics he employed. He studied Vermeer's works closely, and discovered that only one area in his compositions was entirely in focus, while the rest were somewhat blurred. Paxton ascribed this peculiarity to "binocular vision," crediting Vermeer with recording the slightly different point of view of each individual eye that combine in human sight. He began to employ this system in his own work, including The New Necklace, where only the gold beads are sharply defined while the rest of the objects in the composition have softer, blurrier edges.
shah-u-gada
In Vishnudharmottara Purana, Kubera is described as the embodiment of both Artha ("wealth, prosperity, glory") and Arthashastras, treatises related to it and his iconography mirrors it. Kubera's complexion is described as that of lotus leaves. He rides a man - the state personified, adorned in golden clothes and ornaments, symbolizing his wealth. His left eye is yellow. He wears a armour and necklace upto his large belly. His face should be inclined to the left, sporting a beard and moustache and with two small tusks protruding from the ends of his mouth, representing his powers to punish and bestow favours. His wife Riddhi - representing the journey of life - is seated on his left lap, with her left hand on the back of Kubera and right holding a ratna-patra ("jewel-pot"). He should be four-armed, holding a gada (mace - symbol of dandaniti - administration of justice) and a shakti (power) in his left pair and standards bearing a lion - representing artha and a shibika (a club, the weapon of Kubera). The nidhi treasures Padma and Shankha stand besides him in human forms with their heads emerging from a lotus and a conch respectively. Agni Purana states that Kubera should be installed in temples as seated on a goat with club in his hand. Kubera's image is prescribed to be of gold with multi-coloured attributes
Christopher Wood
1901-30