Related Paintings of unknow artist :. | Marine painting | Forjador of the Country, priest, leader and mason | Arab or Arabic people and life. Orientalism oil paintings 129 | Mona Lisa | Still life floral, all kinds of reality flowers oil painting 262 |
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Stanislaw Witkiewicz
(8 May 1851 in Pašiaušė - 5 September 1915 in Lovran) was a Polish painter, architect, writer and art theoretician. Witkiewicz was born in the Lithuanian village of Pašiaušė (Polish: Poszawsze) in Samogitia, at that time, in the partitioned Polish-Lithuanian Commonwealth lands ruled by the Russian Empire. Witkiewicz studied in Saint Petersburg, 1869-71, then in Munich, 1872-75. He created the Zakopane Style (styl zakopiaki) (also known as Witkiewicz Style (styl witkiewiczowski)) in architecture. He was strongly associated with Zakopane and promoted it in the art community. His son, Stanisław Ignacy Witkiewicz, became a famous painter, playwright, novelist and philosopher, also known (from the conflation of his surname and middle name) by the mononymous pseudonym "Witkacy." The son's godmother was the internationally famous actress Helena Modjeska (Helena Modrzejewska), whom the elder Witkiewicz in 1876 had nearly accompanied to California in the United States. Witkiewicz had strong views against formal education: "school is completely at odds with the psychological make-up of human beings". He applied this principle in his son's upbringing and was disappointed when the 20-year-old Witkacy chose to enroll at the Academy of Fine Arts in Krakew. In 1908, suffering from tuberculosis, the elder Witkiewicz left his family in Zakopane and relocated to Lovranno, a fashionable resort in what was then Austria-Hungary, which today is in Croatia. He died there in 1915.
Merson, Luc-Olivier
French Painter, 1846-1920 French painter and illustrator. He was the son of the painter and art critic Charles-Olivier Merson (1822-1902) and trained initially at the Ecole de Dessin in Paris under Gustave Adolphe Chassevent (1818-1901) and then at the Ecole des Beaux-Arts under Isidore-Alexandre-Augustin Pils. He made his d?but at the Salon in 1867 and won the Grand Prix de Rome in 1869 with the melodramatic work, the Soldier of Marathon (1869; Paris, Ecole N. Sup. B.-A.). As a prizewinner he then spent five years in Italy, where he was impressed and influenced by the works of the Italian Primitives, as is apparent in such works as St Edmund, King and Martyr (1871; Troyes, Mus. B.-A. & Arch?ol.), with its muted colours and rigid composition. In the Salon of 1875 he exhibited Sacrifice for the Country, St Michael, which had been commissioned as a design for a Gobelins tapestry for the Salle des Ev?ques in the Panth?on, Paris. Soon afterwards he was chosen to decorate the Galerie de St Louis in the Palais de Justice, Paris, with scenes from the life of Louis IX. This resulted in two large works, Louis Opening the Doors of the Gaols on his Accession and Louis Condemning Sire Enguerrand de Coucy (both 1877). He also used historical, often religious, subjects for his smaller-scale works, as in St Francis of Assisi Preaching to the Fish (1880; Nantes, Mus. B.-A.).
Ridolfo Schadow
1786-1822 Rome,Sculptor, son of Johann Gottfried Schadow. He trained in his father's studio in Berlin, exhibiting statues and reliefs at the Berlin Akademie exhibitions between 1802 and 1810. Work from this period included both mythological and religious subjects, such as the plaster relief The Flood (c. 1804; Berlin, Alte N.G.). In 1810, with his brother Wilhelm Schadow, Ridolfo moved to Rome, in 1811 taking over the Roman sculpture studio of Christian Daniel Rauch. Schadow's first Roman work, a statue of Paris (destr.; several copies, e.g. bronze, 1820; Potsdam, Schloss Charlottenhof) was exhibited at the Berlin Akademie in 1812, and it reveals the influence of the Danish sculptor Bertel Thorvaldsen. Although homesickness and lack of confidence drove Schadow briefly back to Berlin, he soon returned to Rome, along with Rauch. From this point Schadow's work is markedly individual: he brought a realistic, genre treatment to his figures, which drew on both classical tradition and the formal language of idealizing early 19th-century painting. He chose subjects that offered scope for idealization within a realistic context, as in the seated figures of a Woman Fastening her Sandals (marble, 1813; Munich, Bayer. Nmus.), a Woman Spinning (marble, 1816; Cologne, Wallraf-Richartz-Mus.) and a Girl with Doves (Innocence) (marble, 1820; Berlin, Alte N.G.). Under the influence of his brother Wilhelm and of Friedrich Overbeck, Schadow converted to Catholicism in 1814. His early death interrupted work on the plaster model for a sculptural group,