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 :. | Head portrait of woman | Lucy wearing fur shawl | Woman catch the flea | Younger mestizo | Still Life |
Related Artists:
Hieronymus Bosch
Netherlandish Northern Renaissance Painter, ca.1450-1516, Flemish painter. His surname was originally van Aeken; Bosch refers to 's Hertogenbosch, where he was born and worked. Little is known of his life and training, although it is clear that he belonged to a family of painters. His paintings, executed in brilliant colors and with an uncanny mastery of detail, are filled with strangely animated objects, bizarre plants and animals, and monstrous, amusing, or diabolical figures believed to have been suggested by folk legends, allegorical poems, moralizing religious literature, and aspects of late Gothic art. Such works as the Garden of Earthly Delights (Prado) appear to be intricate allegories; their symbolism, however, is obscure and has consistently defied unified interpretation. Bosch clearly had an interest in the grotesque, the diabolical, the exuberant, and the macabre. He also may have been the first European painter to depict scenes of everyday life, although often with a strong element of the bizarre. King Philip II of Spain collected some of his finest creations. The Temptation of St. Anthony (Lisbon) and The Last Judgment were recurring themes. Other examples of his art may be seen in the Escorial and in Brussels. Examples of the Adoration of the Magi are in the Metropolitan Museum and in the Philadelphia Museum, which also has the Mocking of Christ. Bosch, who deeply influenced the work of Peter Bruegel the Elder, was hailed in the 20th cent. as a forerunner of the surrealists, and his work continues to influence many contemporary artists.
Peale, James
American, 1749-1831 Painter, brother of Charles Willson Peale. Charles encouraged him to become a painter; James also worked as a frame-maker for his brother until the Revolution, in which he served as a lieutenant. From 1779 James shared Charles's practice, specializing in miniatures. His early work, occasionally confused with Charles's, shows his brother's influence. After 1794, his style became clearly his own: more delicate with subtle colour harmonies, softened outlines and free handling; it may be distinguished by a faint violet tone in the shadows and the inconspicuous signature 'IP'. His miniatures of male subjects are frequently superior to his portraits of women, for example Benjamin Harwood (1799; Baltimore, Mus. & Lib. MD Hist.), but his meticulous attention to costume and his success in imparting colour and sparkle to skin and eyes,
Giovanni Paolo Lomazzo
1538 - 1600 was an Italian painter, belonging to the second generation that produced Mannerism in Italian art and architecture. Gian Paolo Lomazzo was born in Milan from a family emigrated from the town of Lomazzo. His early training was with Giovan Battista della Cerva in Milan. He painted a large Allegory of the Lenten Feast for San Agostino in Piacenza (1567). He also painted an elaborate dome with Glory of Angels for the Capella Foppa in San Marco in Milan. He also painted the Fall of Simon Magus in the wall of the chapel. Lomazzo became blind in 1571, and turning to writing, produced two complex treatises that are milestones in the development of art criticism. His first work, Trattato dell'arte della pittura, scoltura et architettura (1584) is in part a guide to contemporary concepts of decorum, which the Renaissance inherited in part from Antiquity, which controlled a consonance between the functions of interiors and the kinds of painted and sculpted decors that would be suitable; Lespingola offered a systematic codification of esthetics that typifies the increasingly formalized and academic approaches typical of the later sixteenth century. His less practical and more metaphysical Idea del tempio della pittura ("The ideal temple of painting", 1590) offers a description along the lines of the "four temperaments" theory of the human nature and personality,