Bulgarian-born French Expressionist Painter, 1885-1930,American painter, draughtsman and printmaker of Bulgarian birth, active in France. He attended secondary school in Vienna, returning in 1901 to Bucharest, where his family had settled, and working briefly in the office of his father's grain-merchandizing business. He was, however, already becoming passionately interested in drawing, for which he showed precocious talent. At the age of 16 he became the lover of a woman who ran a brothel and was allowed by her to draw the residents. In 1903 he moved to Munich, where he attended the art school run by Moritz Heymann.   Related Paintings of Jules Pascin :. | Baby | Landscape of Cuba | Persia King | Cuba-s people | Profligate younger man |
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James Mcneill Whistler
American Painter and Printmaker, 1834-1903 James Abbott McNeill Whistler's deft brushwork and mighty ego made him one of London's best-known painters in the second half of the 1800s. Born in Massachusetts, Whistler spent most of his adult life in England and France, in an era when an American artist in Europe was something of a rarity. He specialized in landscapes and (especially later in his career) portraits; stylistically he is often linked with Claude Monet and August Renoir, though he was not exactly part of the Impressionist movement. His etchings also are highly regarded. Witty, cranky and a bit of a devil, Whistler was a regular gadabout in British society. He had a famous long-running feud with the playwright Oscar Wilde, each of them trying to outwit the other with cutting public remarks. Some critics of the era considered Whistler's work to be smudgy and too radical; after viewing Whistler's 1875 study of fireworks over the Thames, Nocturne in Black and Gold: the Falling Rocket, John Ruskin wrote: "I have seen, and heard, much of cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face." Whistler successfully sued Ruskin for libel but was awarded only a farthing in damages,
constant permeke
Constant Permeke (Dutch pronunciation: July 31, 1886 ?C January 4, 1952) was a Belgian painter and sculptor who is considered the leading figure of Flemish expressionism. Permeke was born in Antwerp but when he was six years old the family moved to Ostend, where his father became curator of the Municipal Museum of Arts. Permeke went to school in Bruges from 1903 until 1906, when he was drafted into the Belgian army. He served in a university company with whom he settled in Sint-Martens-Latem. After his military service ended in March 1908, Permeke returned to Ostend where he roomed together with another artist, Gustave De Smet but in 1909 he returned to Latem where he lived as a recluse. His work of this period is characterized by his heavy brush. In 1912 Permeke married Maria Delaere and the newlyweds settled in Ostend. His work from this period gains its expressive force through muted tonality and brutal forms. When World War I started, Permeke was mobilized and during the defense of Antwerp he was wounded in action near the town of Duffel. His wounds forced him to be evacuated to the United Kingdom where he was in hospital at South Hillwood. After his release from hospital he was reunited with his family in Folkestone, where his son John was born. In 1916 he moved to Chardstock in Devonshire and started painting again, mostly colorful English landscapes. After the end of the war, the Permeke family returned to Ostend in 1919. In contrast to the happy time in Devonshire, the harsh reality of the worker's life turns Permeke's work back to a gloomier mood as he mainly paints the harsh fisherman's life. In 1921 Permeke was able to exhibit his work in Antwerp and in Paris. Between 1922 and 1924, Permeke regularly went to Astene, in order to cooperate with Frits Van den Berghe. In 1926 Permeke went to Vevey in Switzerland where he mainly painted mountain scenes. In 1929 he moved to Jabbeke. During this period he changed his subject: instead of the fisherman and the sea he now focused on the farmer and his land. During this period, Permeke was enormously productive with works like "Gouden Oogst" (1935), "De Grote Marine" (1935), "Moederschap" (1936), "Het Afscheid" (1948), "Dagelijks Brood" (1950). Starting in 1937 Permeke tried his hand at sculpting as well. As a sculptor, Permeke tried to isolate the human figure in monumental efforts. "De Zaaier" (1939), "Niobe" (1946) and "De Drie Gratiën" (1949) are good examples of this period. During World War II, Permeke was forbidden to paint by the German occupiers as his art was seen by them as Entartete Kunst. Privately, things were even worse as his son Paul was arrested and sent to Germany as a forced labourer. After the war, Permeke was appointed director of the National higher Institute and of the Royal Academy in Antwerp but after only one year he offered his resignation. In 1947-1948, Permeke had a big retrospective exhibition in Paris but his happiness at the return of his son was soon shattered when in 1948 his wife died. Emotionally scarred and ailing, Permeke had to be nursed by his daughter.
Pierre Albert Marquet Prints
French 1875- 1947 Marquet was born in Bordeaux. In 1890 he moved to Paris to attend the Decorative Arts School, where he met Henri Matisse. They were roommates for a time, and they influenced each other's work. Marquet began studies in 1892 at the École des Beaux-Arts under Gustave Moreau, a symbolist artist who was a follower of the Romantic tradition of Eug??ne Delacroix. In these years, Marquet exhibited paintings at the Salon des Ind??pendants. Although he did not sell many paintings, the artistic community of Paris became aware of his work. His early compositions were characterised by a clear and painterly Fauvist approach, in which he had a fine control of the drawing and responded to light, not only by intensifying the strongest tones, but also by seeing the weaker ones in coloristic terms. In 1905 he exhibited at the Salon d'Automne where his paintings were put together with those of Henri Matisse, Maurice de Vlaminck, Andr?? Derain, Othon Friesz, Georges Rouault, Raoul Dufy, Henri Manguin, Georges Braque, Louis Valtat and Jean Puy. Dismayed by the intense coloration in these paintings, critics reacted by naming the artists the "Fauves", i.e. savage beasts. Although Marquet painted with the fauves for years, he used less bright and violent colours than the others, and emphasized less intense tones made by mixing complementaries, thus always as colors and never as grays. At the end of 1907 he stayed in Paris and dedicated himself, together with Henri Matisse, to a series of city views. The fundamental difference between the two is that while Matisse used strong colours, Marquet favored grayed yellows, greyed violets or blues. Black was usually used as a violent contrast to light colors for such forms as bare tree trunks or calligraphically drawn people contrasted with very light, often yellow or orange streets and sidewalks. Another difference is that Marquet used an approximation of traditional perspective, although his colors and compositions constantly referred to the rectangle and cut its plane with their calligraphy. From 1907 to his death, Marquet alternated between working in his studio in Paris and many parts of the European coast and in North Africa. He was most involved with Algeria and Algiers and with Tunisia. In his voyages he painted the sea and ships, but also the lights and animated life of the city, especially cities on the waterfront, like Algiers. Among European cities Marquet remained impressed particularly with Naples and Venice where he painted the sea and boats, accenting the light over water. He adopted a technique nothing like the Impressionists', painting water as a large area of simple tone which held the plane of the water surface without illusionistic perspective, from which the ships arise into a different plane. His views of the lagoon in Venice do this very economically. The water stays at a right angle to the picture plane and the large ships float with ease, with their reflections exactly the correct tone to project the required space. His color is much like Matisse of the 1920s, here. His contrasts of vivid colors describe the waves of the sea with simple drawing which accompany the exactly observed color tones, giving a scene of placid movement. The human figures are much simplified, calligraphically drawn in a way related to Japanese Shijo style work. Matisse is said to have called him "our Hokusai". During his voyages to Germany and Sweden he painted the subjects he usually preferred: river and sea views, ports and ships, but also cityscapes. Over the course of his career he often returned to the same subjects, even years later, recording subtle differences in the light. He painted a few portraits, and between 1910 and 1914 he painted a series of nudes in whorehouses, and prepared the illustration of a work on lesbian lovers. But he is best known for his many landscapes. Unlike Matisse, there are no obvious periods of change in his work. To the end he was one of Matisse's closest friends, and they discussed each other's work with the greatest openness. His death was unexpected and sudden, from a gall bladder attack and subsequently discovered cancer, for which at that time there was no therapy. Marquet died in Paris, on 14 June 1947.