French (1880-1950) Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversi??re-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart fought in World War I. He relied on his art to stem his anguish, sketching on every available surface. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. When he returned from the front he made prints from those drawings. The prints, most of which were aquatints and drypoints, showed great skill. Because they were much in demand, Icart frequently made two editions (one European, the other American) to satisfy his public. These prints are considered rare today, and when they are in mint condition they fetch high prices at auction. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honor?? Fragonard. In Icart's drawings, one sees the Impressionists Degas and Monet and, in his rare watercolors, the Symbolists Odilon Redon and Gustave Moreau. In fact, Icart lived outside the fashionable artistic movements of the time and was not completely sympathetic to contemporary art. Nonetheless, his Parisian scenes are a documentation of the life he saw around him and they are nearly as popular today as when they were first produced. In 1914 Icart had met a magical, effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin. She would eventually become his wife and a source of artistic inspiration for the rest of his life.   Related Paintings of Louis Lcart :. | Blue bedroom | The Lost Lamb | A private message 2 | Dialogue | Deciduous |
Related Artists:
Charles M.Relyea
American, 1863-1932
Jacopo Bassano
Italian c1510-1592 Jacopo Bassano Gallery He was apprenticed to his father, with whom he collaborated on the Nativity (1528; Valstagna, Vicenza, parish church). In the first half of the 1530s Jacopo trained in Venice with Bonifazio de Pitati, whose influence, with echoes of Titian, is evident in the Flight into Egypt (1534; Bassano del Grappa, Mus. Civ.). He continued to work in the family shop until his fathers death in 1539. His paintings from those years were mainly altarpieces for local churches; many show signs of collaboration. He also worked on public commissions, such as the three canvases on biblical subjects (1535-6; Bassano del Grappa, Mus. Civ.) for the Palazzo Communale, Bassano del Grappa, in which the narrative schemes learnt from Bonifazio are combined with a new naturalism. From 1535 he concentrated on fresco painting, executing, for example, the interior and exterior decoration (1536-7) of S Lucia di Tezze, Vicenza, which demonstrates the maturity of his technique.
BELLINI, Jacopo
Italian Gothic Era Painter, ca.1400-1470 Born in Venice, Jacopo had been a pupil of Gentile da Fabriano. In 1411-1412 he was in Foligno, where with Gentile he worked at the Palazzo Trinci frescoes. In 1423 Bellini was in Florence, where he knew the new works by Brunelleschi, Donatello and Masaccio. In 1424 he opened a workshop in Venice, which he ran right up until his death. Many of his greatest works, including the enormous Crucifixion in the cathedral of Verona (1436), have disappeared. From c. 1430 is the panel with Madonna and Child, in the Accademia Carrara, once attributed to Gentile da Fabriano. In 1441, at Ferrara, where he was at the service of Leonello d'Este together with Leon Battista Alberti, he executed a portrait of that Marquess, now lost. Of this period the Madonna dell'Umilt??, probably commissioned by one of the brothers of Leonello. The influence from Masolino da Panicale towards more modern, early Renaissance themes is visible in the Madonna with Child (dated 1448) in the Pinacoteca di Brera: for the first time, perspective is present and the figure are more monumental. Later he contributed with works now lost to the Venetian churches of San Giovanni Evangelista (1452) and St. Mark (1466). From 1459 is a Madonna with Blessing Child in the Gallerie dell'Accademia. Later he sojourned in Padua, where he trained a young Andrea Mantegna in perspective and classicist themes and where, in 1460, he finished a portrait of Erasmo Gattamelata, now lost. Of his late phase, a ruined Crucifix in the Museum of Verona and an Annunciation in Sant'Alessandro of Brescia remain.