Pierre Renoir - The female nude was one of his primary subjects!

Renoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings.
His initial paintings show the influence of the colorism of Eugène Delacroix and the luminosity of Camille Corot. He also admired the realism of Gustave Courbet and Édouard Manet, and his early work resembles theirs in his use of black as a color. As well, Renoir admired Edgar Degas' sense of movement. Another painter Renoir greatly admired was the 18th century master François Boucher.
A fine example of Renoir's early work, and evidence of the influence of Courbet's realism, is Diana, 1867. Ostensibly a mythological subject, the painting is a naturalistic studio work, the figure carefully observed, solidly modeled, and superimposed upon a contrived landscape. If the work is still a 'student' piece, already Renoir's heightened personal response to female sensuality is present. The model was Lise Tréhot, then the artist's mistress and inspiration for a number of paintings.
In the late 1860s, through the practice of painting light and water en plein air (in the open air), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them. Several pairs of paintings exist in which Renoir and Monet, working side-by-side, depicted the same scenes (La Grenouillère, 1869).
One of the best known Impressionist works is Renoir's 1876 Dance at Le Moulin de la Galette (Le Bal au Moulin de la Galette). The painting depicts an open-air scene, crowded with people, at a popular dance garden on the Butte Montmartre, close to where he lived.


On the Terrace, oil on canvas, 1881, Art Institute of Chicago
The works of his early maturity were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid 1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women, such as The Bathers, which was created during 1884-87. It was a trip to Italy in 1881, when he saw works by Raphael and other Renaissance masters, that convinced him that he was on the wrong path, and for the next several years he painted in a more severe style, in an attempt to return to classicism.[18] This is sometimes called his "Ingres period", as he concentrated on his drawing and emphasized the outlines of figures.
After 1890, however, he changed direction again, returning to the use of thinly brushed color which dissolved outlines as in his earlier work. From this period onward he concentrated especially on monumental nudes and domestic scenes, fine examples of which are Girls at the Piano, 1892, and Grandes Baigneuses, 1918-19. The latter painting is the most typical and successful of Renoir's late, abundantly fleshed nudes.
A prolific artist, he made several thousand paintings. The warm sensuality of Renoir's style made his paintings some of the most well-known and frequently-reproduced works in the history of art. The single largest collection of his works - 181 paintings in all - is at theBarnes Foundation, near Philadelphia, Pennsylvania.

Visit Fine Art Image archive Awesome Art for an extensive collection of Renoir!

Toulouse-Lautrec - Painter of Montmartre!

Toulouse-Lautrec, Henri de 1864–1901, French painter and lithographer, b. Albi. Son of a wealthy nobleman, Lautrec fell and broke both legs when he was a child. His permanently stunted growth has traditionally been seen as the result of this accident, but more recently doctors have theorized that it may have been the result of a rare genetic abnormality. Showing an early gift for drawing, he studied with Bonnat and Cormon and set up a studio of his own when he was 21. As a youth he was attracted by sporting subjects and admired and was influenced by the work of Degas.

His own work is, above all, graphic in nature, the paint never obscuring the strong, original draftsmanship. He detailed the music halls, circuses, brothels, and cabaret life of Paris with a remarkable objectivity born, perhaps, of his own isolation. His garish and artificial colors, the orange hair and electric green light of his striking posters, caught the atmosphere of the life they advertised. Lautrec's technical innovations in color lithography created a greater freedom and a new immediacy in poster design. His posters of the dancers and personalities at the Moulin Rouge cabaret are world renowned and have inspired countless imitations.

After a life of enormous productivity (more than 1,000 paintings, 5,000 drawings, and 350 prints and posters), debauchery, and alcoholism, Lautrec suffered a mental and physical collapse and died at the age of 37. His life has inspired numerous biographies, of varying accuracy. Although exhibitions of his work were not well received in his lifetime, he is now one of the world's most popular artists and is represented in most of the major museums of France and the United States. Many of his sketches and some paintings are in the Musée Lautrec of his native Albi. His painting At the Moulin de la Galette (1892) is in the Art Institute, Chicago; the lithograph Seated Female Clown (1896) is at the Philadelphia Museum of Art.
Visit Fine Art image archive Awesome Art for an extensive collection of high resolution Toulouse-Lautrec art!

Lovis Corinth - Fused Impressionism and Expressionism!

Lovis Corinth (21 July 1858 – 17 July 1925) was a German painter and printmaker whose mature work realized a synthesis of impressionism and expressionism.

Corinth studied in Paris and Munich, joined the Berlin Secession group, later succeeding Max Liebermann as the group's president. His early work was naturalistic in approach. Corinth was initially antagonistic toward the expressionist movement, but after a stroke in 1911 his style loosened and took on many expressionistic qualities. His use of color became more vibrant, and he created portraits and landscapes of extraordinary vitality and power. Corinth's subject matter also included nudes and biblical scenes.

A self-portrait of 1924 is in the Museum of Modern Art, New York City.

Whistler - American eccentric!

Whistler, James Abbott McNeill, 1834–1903, American painter, etcher, wit, and eccentric, b. Lowell, Mass.

Whistler was dismissed from West Point for insufficient knowledge of chemistry and from the U.S. Coast and Geodetic Survey, where he had learned etching and map engraving, for erratic attendance. In 1855 he went to Paris, where he acquired a lifelong appreciation for the works of Velázquez and for Asian art, particularly the Japanese print. From these sources he developed a delicate sense of color and design evident in most of his mature works. His early work was largely inspired by the realism of Courbet. Settling in London in 1859, Whistler became known as an etcher, a wit, and a dandy. The Little White Girl (National Gall., Washington, D.C.) brought him his first major success in the Salon des Refusés (1863).

To advertise and defend his credo of art for art's sake, Whistler resorted to elaborate exhibits, lectures, polemics, and more than one lawsuit. In connection with his Falling Rocket: Nocturne in Black and Gold (Detroit Inst. of Arts) he sued Ruskin in 1878 for writing that Whistler asked “two hundred guineas for flinging a pot of paint in the public's face.” Whistler explained that the harmonious arrangement of light, form, and color was the most significant element of his paintings. To de-emphasize their subjective content, he called them by fanciful, abstract titles such as Nocturne in Black and Gold, and Arrangement in Gray and Black (the famed portrait of the artist's mother, 1872; Louvre). Whistler won the argument in court but payment of the court costs left him bankrupt.

Toward the end of his life Whistler won wide recognition for his admirable draftsmanship, exquisite color, and extreme technical proficiency both as painter and etcher. As an etcher he achieved a high reputation. More than 400 superb plates remain. He also excelled in lithography, watercolor, and pastel.

Fine examples of Whistler's painting are in the galleries of London, Paris, Pittsburgh, Washington, D.C., Chicago, and New York City. The most representative collection is that in the Freer Gallery of Art, Washington, D.C., which also contains an entire room that he decorated in a style that anticipated art nouveau, for the Leyland home in London—the so-called Peacock Room. Nocturne in Green and Gold, Cremorne Gardens at Night, portraits of Sir Henry Irving, Connie Gilchrist, Theodore Duret, and several others are all in the Metropolitan Museum. Other important works are his portrait of Thomas Carlyle (Glasgow) and Old Battersea Bridge (Tate Gall., London).

Whistler was the author of brilliant critical essays and aphorisms. The lecture published under the title Ten O'clock (1888) was of enormous influence in art theory. The Gentle Art of Making Enemies (1890) was a clever selection of snippets from the critics, accompanied by acerbic rejoinders from Whistler.
Visit Fine art image archive Awesome Art for a collection of Whistler

Gustav Klimt - Painter of Women!

Gustav Klimt - Painter of Women

Gustav Klimt (1862-1918) was born in Vienna as the second child of Ernst and Anna Klimt. At the age of 15, he entered the Vienna Kunstgewerbeschule (1876-83). He was supposed to become a drawing teacher, but professor Ferdinand Laufberger recognized his talent. Klimt was influenced by Hans Makart and his teacher Julius Viktor Berger. In his early work from 1883 to 1892, Klimt was closely associated with his brother Ernst and with Franz Matsch. They created stage curtains, decorative wall and ceiling paintings, e.g. for the Burgtheater and the Kunsthistorisches Museum in Vienna. In 1893, Klimt began to work on his own. In 1897, Klimt was a cofounder and the first president of the "Vereinigung bildender Künstler Österreichs - Secession". Before the turn of the century, Klimt began to develop his distinctive neo-impressionist style. In 1899, he began to spend his summer holidays at lake Attersee every year, where he painted his most important sceneries. Around 1900, with his ornamented portraits of women, Klimt created a new type of picture. Women occupied the central place in his art. His portraits range from historicizing, to allegoric, mythological, erotic and classic. As with Judith I (see photograph below), women became icons. In 1900, a conflict about his works created for the University of Vienna made him largely leave the stage of public life and seek private customers. In 1907, the young Egon Schiele visited him for the first time in his atelier. A year later, Klimt held his protecting hands over Oskar Kokoschka and the expressionists, as, for the first time, they showed their works in Vienna. Klimt's late work showed abstract and expressionist elements. He died on February 6, 1918, at the age of 56.

The exhibition "Klimt und die Frauen" (Klimt - Painter of Women) at the Österreichische Galerie Belvedere in Vienna is a huge success with over 120,000 visitors until today. The museum hosts the world's largest collection of Klimt paintings, but the last special exhibition of the painter's work at the Belvedere dates back to his 100th birthday in 1962. In the mid-1980s, at the exhibition "Dream and Reality" at the Wiener Künstlerhaus, Klimt's paintings were for the last time presented in a special exhibition to the public in Vienna. The permanent collection was of course always accessible and the Belvedere generously lent its Klimt's to important exhibitions around the world, such as in Zurich in 1992, in Tokyo in 1996 and in Milan in 1999. "Klimt und die Frauen" presents the first virtually complete overview of Klimt's female portraits.

At the center of the exhibition is the painter's probably most important and best-known work group, the portraits of women. It is complemented by allegoric paintings such Judith I and II, The Kiss or Water Snake. Among over 100 exhibited paintings and sketches are also works of European and American precursors and contemporaries of Gustav Klimt such as Ferdinand Hodler, Edouard Manet, Edvard Munch, James McNeill-Whistler and John Singer-Sargent. Last but not least, the Kunsthistorisches Museum in Vienna lent the portrait of the Infant Maria Teresa by Diego Velazquez to the Belvedere. Klimt used it as a model for his portrait of Fritza Riedler (the wife of a university professor in Berlin). In Vienna, Klimt is presented in his (art) historic context.

"Klimt und die Frauen" goes beyond a classical art exhibition and tries to give answers about the personal life and social status of the women Klimt portrayed. At the turn of the century with the "emergence of modernity", fundamental social change gave women a new position in society, culture and ideology. The exhibition also focuses on the influence of the haute bourgeoisie, the so-called "Ringenstrassengesellschaft", named after Vienna's most famous street, on art. Their patronage became vital to the art scene. The myth and ideal of Gesamtkunstwerk (total work of art) is another aspect of the exhibition. A symposium as well as a series of lectures accompany "Klimt und die Frauen". A publication on Vienna's collector's of the turn of the century should result from the symposium and constitute the exhibition's contribution to art history.

With the Portrait of Sonja Knips in 1898, Gustav Klimt managed to become the portraitist of the Jewish haute bourgeoisie in Vienna who, since the Jews had reached legal equality in 1867, had become a thriving force in commerce, finance, industry and art. Klimt's patrons were financiers, industrials and other members of the liberal (in the European sense) haute bourgeoisie. Ferdinand Bloch-Bauer (see Klimt's portrait of his wife below) was dominating the Austrian-Czech sugar industry. Karl Wittgenstein, another of his patrons, was often referred to as the "Austrian Krupp" and the creator of the steel cartel. August Lederer was the leading figure in the alcohol business in Central Europe. In the 1920s, he was considered "the richest man in Austria after Rothschild".
Visit fine art image archive Awesome Art for an extensive, exhaustive collection of Klimt & Expressionism in very high resolution

The art of Degas

(b Paris, 19 July 1834; d Paris, 27 Sept 1917). French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group’s exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues.
Visit Awesome Art for an extensive collection of Degas images

Mary Cassatt - American Original!

Mary Cassatt (1844-1926) lived in Europe for five years as a young girl. She was tutored privately in art in Philadelphia and attended the Pennsylvania Academy of the Fine Arts in 1861-65, but she preferred learning on her own and in 1866 traveled to Europe to study. Her first major showing was at the Paris Salon of 1872; four more annual Salon exhibitions followed.
In 1874 Cassatt chose Paris as her permanent residence and established her studio there. She shared with the Impressionists an interest in experiment and in using bright colours inspired by the out-of-doors. Edgar Degas became her friend; his style and that of Gustave Courbet inspired her own. Degas was known to admire her drawing especially, and at his request she exhibited with the Impressionists in 1879 and joined them in shows in 1880, 1881, and 1886. Like Degas, Cassatt showed great mastery of drawing, and both artists preferred unposed asymmetrical compositions. Cassatt also was innovative and inventive in exploiting the medium of pastels.

Initially, Cassatt was a figure painter whose subjects were groups of women drinking tea or on outings with friends. After the great exhibition of Japanese prints held in Paris in 1890, she brought out her series of 10 coloured prints--e.g., Woman Bathing and The Coiffure--in which the influence of the Japanese masters Utamaro and Toyokuni is apparent. In these etchings, combining aquatint, dry point, and soft ground, she brought her printmaking technique to perfection. Her emphasis shifted from form to line and pattern. Soon after 1900 her eyesight began to fail, and by 1914 she had ceased working. The principal motif of her mature and perhaps most familiar period is mothers caring for small children, e.g., The Bath (La Toilette, c. 1892; Art Institute of Chicago).

Cassatt urged her wealthy American friends and relatives to buy Impressionist paintings, and in this way, more than through her own works, she exerted a lasting influence on American taste. She was largely responsible for selecting the works that make up the H.O. Havemeyer Collection in the Metropolitan Museum of Art, New York City.
Visit Image archive Awesome Art for an extensive collection of Mary Cassatt