(1855-1938), Danish art historian, director of Statens Museum for Kunst  Related Paintings of karl madsen :. | Sheepfold | Still-Life with Flowers and Fruit swg | Unknow work 54 | Daubigny's Garden (nn04) | Blumenstillleben |
Related Artists:
diisseldorf

Teodor Axentowicz
born May 13, 1859 in Braşov, Romania - August 26, 1938 in Krakew) was a Polish-Armenian painter and university professor. A renowned artist of his times, he was also the rector of the Academy of Fine Arts in Krakew. As an artist, Axentowicz was famous for his portraits and subtle scenes of Hutsul life, set in the Carpathians. Axentowicz was born May 13, 1859 in Braşov, Hungary (now Romania), to a family of Polish-Armenian ancestry. In 1893 in Chelsea, London, he married Iza Henrietta Gielgud, aunt of Val Gielgud and John [Arthur] Gielgud of the theatrical dynasty. A son, Philip S.A.D. Axentowicz was born in Chelsea in 1893. Between 1879 and 1882 he studied at the Academy of Fine Arts in Munich. From there he moved to Paris, where he continued his education until 1895. During that time he started a long-time cooperation with various journals and started his career as a copyist, duplicating the works of Tizian and Botticelli. He also made numerous travels to London and Rome, where he prepared a set of portraits, one of the first in his career.
Victor Borisov-Musatov
(Russian), (April 14 [O.S. April 2] 1870 - November 8 [O.S. October 26] 1905) was a Russian painter, prominent for his unique Post-Impressionistic style that mixed Symbolism, pure decorative style and realism. Together with Mikhail Vrubel he is often referred as the creator of Russian Symbolism style. Victor Musatov was born in Saratov, Russia (he added the last name Borisov later). His father was a minor railway official who had been born as a serf. In his childhood he suffered a spinal injury, which made him humpbacked for the rest of his life. In 1884 he entered Saratov real school, where his talents as an artist were discovered by his teachers Fedor Vasiliev and Konovalov. He was enrolled in the Moscow School of Painting, Sculpture and Architecture in 1890, transferring the next year to the Imperial Academy of Arts in Saint-Petersburg, where he was a pupil of Pavel Chistyakov. The damp climate of Saint-Petersburg was not good for Victor's health and in 1893 he was forced to return to Moscow and re-enroll to the Moscow School of painting, sculpturing and architecture. His earlier works like May flowers, 1894 were labelled decadent by the school administration, who sharply criticised him for making no distinction between the girls and the apple trees in his quest for a decorative effect. The same works however were praised by his peers, who considered him to be the leader of the new art movement. The Pool. 1902In 1895 Victor once again left Moscow School of painting, sculpturing and architecture and enrolled in Fernand Cormon's school in Paris. He studied there for three years, returning in summer months to Saratov. He was fascinated by the art of his French contemporaries, and especially by the paintings of "the father of French Symbolism" Pierre Puvis de Chavannes and by the work of Berthe Morisot. In 1898 Borisov-Musatov returned to Russia and almost immediately fell into what it is called "fin de siecle nostalgia". He complained about "the cruel, the truly iron age", "dirt and boredom", "devil's bog", and he had acute money problems that were somewhat alleviated only in the last years of his life when collectors started to buy his paintings. Musatov's response was creating a half-illusory world of the 19th century nobility, their parks and country-seats. This world was partially based on the estate of princes Prozorvky-Galitzines Zubrilovka and partially just on Musatov's imagination. Borisov-Musatov also abandoned oil-paintings for the mixed tempera and watercolor and pastel techniques that he found more suitable for the subtle visual effects he was trying to create.