Henryk Hektor Siemiradzki (1843 – 1902) was a Polish 19th-century painter active in the period of foreign Partitions of Poland, and best remembered for his monumental Academic art. He was particularly known for his depictions of scenes from the ancient Graeco-Roman world and the New Testament, owned by national galleries of Poland, Russia and Ukraine. Many of his paintings depict scenes from antiquity, often the sunlit pastoral scenes or compositions presenting the lives of early Christians. He also painted biblical and historical scenes, landscapes, and portraits. His best-known works include monumental curtains for the Lwów Theatre of Opera and for the Juliusz Słowacki Theatre in Kraków. Henryk Siemiradzki's large-scale canvasses, influenced by the French Académie des Beaux-Arts, are on display at the national museums of Poland, Russia and Ukraine; notably, at the Sukiennice Museum, the National Museum, Poznań, Lviv National Art Gallery, Tretyakov Gallery and others.
William Holman Hunt (1827 – 1910) was an English painter, and one of the founders of the Pre-Raphaelite Brotherhood. His paintings were notable for their great attention to detail, vivid color and elaborate symbolism. These features were influenced by the writings of John Ruskin and Thomas Carlyle, according to whom the world itself should be read as a system of visual signs. For Hunt it was the duty of the artist to reveal the correspondence between sign and fact. Out of all the members of the Pre-Raphaelite Brotherhood Hunt remained most true to their ideals throughout his career. He was always keen to maximize the popular appeal and public visibility of his works. He eventually had to give up painting because failing eyesight meant that he could not get the level of quality that he wanted. He had many pupils including Robert Braithwaite Martineau.
Evelyn De Morgan (1855 – 1919) was an English Pre-Raphaelite painter. During her lifetime Evelyn De Morgan produced approximately 102 oil paintings and over 300 drawings. At first glance, works like Flora (1894), Cadmus and Harmonia (1877), Eos (1895) and Night and Sleep (1878) appear to be that of a typical mid-century literary painter influenced by the work of Spencer Stanhope, Watts and Burne-Jones. Consequently, this was the way in which most contemporary critics assessed her paintings: Many do reflect the usual conventions and literary themes of late Victorian art with its Pre-Raphaelite traces and neo-classical tendencies. However, looking closer, one discovers Symbolist works that employ the language of Christian allegory to reveal the artist’s engagement with the contemporary issues of her time. These works may be divided into three categories: spiritualist allegories, depictions of sacred heroines, and war paintings.
Claude Monet was an important figure in the Impressionism that changed painting in the end of the 19 century. During his livelihood, he constantly painted the landscape and leisure time behavior of Parisians and its surrounding area in addition to the Normandy coast. He traces the approach to 20-century modernism by mounting a distinctive method that strove to imprison on canvas the extremely act of perceiving nature. Follow in the pathway of the Barbizon, Monet accepted and widened their dedication to close up observation and naturalistic depiction. While the Barbizon artists painted only brief sketches en plein air, Monet frequently worked openly on significant canvases outdoors, then reworked and finished them in his studio. His pursuit to capture nature more precisely also provoked him to reject European conventions leading composition, color, and perspective. He brought a vibrant vividness to his paintings by unmediated colors, adding a variety of tones to his shadows, and preparing canvases with pale primers as a replacement for of the shady grounds used in conventional landscape paintings.
Joseph Mallord William Turner was English painter, one of the greatest and most original of all landscape painters. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivaling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolor landscape painting. He is commonly known as "the painter of light" and his work is regarded as a Romantic preface to Impressionism.
John Constable was English painter, ranked with Turner as one of the greatest British landscape artists. Although he showed an early talent for art and began painting his native Suffolk scenery before he left school, his great originality matured slowly. Constable rejected the formal or "picturesque" rendering of nature found in the works of artists like Gainsborough. Instead, he tried to capture informally the effects of changing light and the patterns of clouds moving across the country sky. He loved the countryside, and his best work was of outdoor scenes in his native Suffolk and his London home in Hampstead. He worked in the open air, though he returned to his studio to finish his paintings. Often completing primary sketches prior to starting a large canvas, Constable would draw on the inspiration nature gave him and tries to capture a moment in time, testing his composition first in sketches. In England Constable had no real successor and the many imitators (who included his son Lionel) turned rather to the formal compositions than to the more direct sketches. In France, however, he was a major influence on Romantic painters such as Delacroix, on the members of the Barbizon School, and ultimately on the Impressionists.
George Romney was a British painter who was one of the leading society portraitists of the 18th Century. Romney was a prolific painter and produced about 2,000 paintings and 5,000 drawings during his lifetime. He was the most fashionable artist of his day, painting many leading society figures – including his artistic muse, Emma Hamilton, mistress of Lord Nelson. Romney studied art as an apprentice to Christopher Steele, whose clean, neat style can be seen in Romney’s early works. Romney left his wife and children in the north of England to pursue a career in London. He was reasonably successful in London, but then embarked on a grand tour of France and Italy to study the Old Masters. His painting style matured in this time and his skills were much in demand when he returned to London. Romney became obsessed with the beauty of Emma Hart, the mistress of Sir William Hamilton. He painted her in various poses and used her as a model for a number of his historical and Shakespearean paintings. At the end of his life, in failing health, Romney returned to his wife in the north of England after an absence of almost 40 years. She nursed him until he died. Famous works include Lady Hamilton as Nature, and Major General Sir Archibald Campbell.
Francisco Goya is considered as the most significant painter of Spain for the late 18-th and near the beginning 19-th centuries. Over the line of his extended career, he transformed from cheerful and bright to deeply negative in his paintings and drawings. Goya completed some 500 oil paintings and murals, about 300 etchings and lithographs, and many hundreds of drawings. He was exceptionally versatile and his work expresses a very wide range of emotion. His technical freedom and originality likewise are remarkable. In his own day he was chiefly celebrated for his portraits, of which he painted more than 200; but his fame now rests equally on his other work.
This book is about documenting and analyzing the living archive around the figure of Vasil Levski (1837–1873), arguably the major and only uncontested hero of the Bulgarian national pantheon. The processes described, although with a chronological depth of almost two centuries, are still very much in the making, and the living archive expands not only in size but constantly adding surprising new forms. The monograph is a historical study, taking as its narrative focus the life, death and posthumous fate of Levski. By exploring the vicissitudes of his heroicization, glorification, appropriations, reinterpretation, commemoration and, finally, canonization, it seeks to engage in several broad theoretical debates, and provide the basis for subsequent regional comparative research. The analysis of Levski's consecutive and simultaneous appropriations by different social platforms, political parties, secular and religious institutions, ideologies, professional groups, and individuals, demonstrates how boundaries within the framework of the nation are negotiated around accepted national symbols.
Claude Monet was an important figure in the Impressionism that changed painting in the end of the 19 century. During his livelihood, he constantly painted the landscape and leisure time behavior of Parisians and its surrounding area in addition to the Normandy coast. He traces the approach to 20-century modernism by mounting a distinctive method that strove to imprison on canvas the extremely act of perceiving nature. Follow in the pathway of the Barbizon, Monet accepted and widened their dedication to close up observation and naturalistic depiction. While the Barbizon artists painted only brief sketches en plein air, Monet frequently worked openly on significant canvases outdoors, then reworked and finished them in his studio. His pursuit to capture nature more precisely also provoked him to reject European conventions leading composition, color, and perspective. He brought a vibrant vividness to his paintings by unmediated colors, adding a variety of tones to his shadows, and preparing canvases with pale primers as a replacement for of the shady grounds used in conventional landscape paintings.
Francisco Goya is considered as the most significant painter of Spain for the late 18-th and near the beginning 19-th centuries. Over the line of his extended career, he transformed from cheerful and bright to deeply negative in his paintings and drawings. Goya completed some 500 oil paintings and murals, about 300 etchings and lithographs, and many hundreds of drawings. He was exceptionally versatile and his work expresses a very wide range of emotion. His technical freedom and originality likewise are remarkable. In his own day he was chiefly celebrated for his portraits, of which he painted more than 200; but his fame now rests equally on his other work.
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