Italian Expressionist Painter and Sculptor, 1884-1920 Amedeo Clemente Modigliani (July 12, 1884 ?C January 24, 1920) was an Italian artist of Jewish heritage, practicing both painting and sculpture, who pursued his career for the most part in France. Modigliani was born in Livorno (historically referred to in English as Leghorn), in northwestern Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and art movements, and by primitive art, Modigliani's œuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis, exacerbated by poverty, overworking, and an excessive use of alcohol and narcotics, at the age of 35.  Related Paintings of Amedeo Modigliani :. | Venus | Beatrice Hastings (mk38) | Caryatid (mk39) | Portrader Jeanne Heuterne in dunkler Kleidung | Reclining Nude (La Reveuse ) |
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Ernest Lawson
1873-1939 Ernest Lawson Galleries Ernest Lawson (March 22, 1873 ?C December 18, 1939) was a Canadian-American painter and a member of The Eight, a group of artists which included the group's leader Robert Henri, Everett Shinn, John Sloan, Arthur B. Davies, Maurice Prendergast, George Luks, and William J. Glackens. Lawson was born in Halifax, Nova Scotia. Though Lawson mostly painted landscapes, he also did some realistic urban scenes which were shown at the 1908 exihibition of The Eight. His painting style is heavily influenced by Impressionism, especially the style of John Henry Twachtman, Alfred Sisley, and J. Alden Weir. Lawson exhibited as a member of the Canadian Art Club from 1911 to 1915. He died in Miami Beach, Florida in 1939.
BADALOCCHIO, Sisto
Italian Baroque Era Painter, 1585-ca.1619 Italian painter and etcher. His formation as an artist took place within the Carracci circle. According to Malvasia, he may have attended the Carracci Academy in Bologna, before returning to Parma in 1600 as the pupil of Agostino Carracci when the latter entered the service of Ranuccio I Farnese, 4th Duke of Parma. After Agostino's death in 1602, Badalocchio and his fellow pupil Giovanni Lanfranco were sent by the Duke to Rome in order to complete their training in the studio of Annibale Carracci, who was then working in the Palazzo Farnese. Badalocchio remained with Annibale until the latter's death in 1609. He participated in most of the projects that occupied the studio assistants during those years, such as the frescoes on the walls of the Galleria in the Palazzo Farnese and those previously in the Herrera Chapel in S Maria di Monserrato, Rome (now detached and divided between Madrid, Prado, and Barcelona, Mus. A. Catalunya), although his precise share in them is still debated. His first signed works are etchings, one (1606) after the antique sculpture of the Laokoon (Rome, Vatican, Mus. Pio-Clementino) and 23 (1607, part of a series of 54 executed in collaboration with Lanfranco) after Raphael's frescoes in the Vatican Logge; they reveal the romanizing character of his training. Yet his independent paintings of this early period reveal the influence of Lanfranco, which was to last throughout his career; the lively play of light and shade suggests his allegiance to Emilian art.
Witold Pruszkowski
Polish Painter, 1846-1896 Polish painter and draughtsman. He spent his early years in Odessa and Kiev, subsequently living in France, in particular in Paris, where he studied under the Polish portrait painter Tadeusz Gorecki (1825-68), continuing (1868-71) at the Akademie der Kenste in Munich. In 1871 he moved to Krakew where he studied until 1875 under Jan Matejko at the School of Fine Arts. During ten years in Krakew he produced many striking portraits. In the portrait of Mrs Fedorowicz (1878; Krakew, N. Mus.) he achieved subtle effects of modelling by means of carefully differentiated tones and meticulously distributed light. The Realism of these portraits is subsumed into an advanced proto-Impressionist technique, on occasion using both small patches of distinct colour and broadly applied areas of impasto. Alongside such works, Pruszkowski produced paintings based on fantastic legends, fables and folk-tales. In these works one can trace influences going back to the artist's Munich period; but Pruszkowski's essentially Romantic vision translated his subjects into an entirely Polish context, as in Midsummer's Night (1875; Warsaw, N. Mus.) and Water Nymphs (1877; Krakew, N. Mus.). In 1882 Pruszkowski moved to the village of Mnikow outside Krakew, where he worked in the isolation he believed essential for creative activity. Contact with the country people, however, provided him with themes for his work; alongside his fantastic and legendary subjects he painted genre scenes of peasant life. He brought to his subjects a diversity of means of formal depiction, from the realistic to the near visionary. However, there are notable recurrent motifs, for example the image of the native willow, the symbolic haunt of spirits, as in Willow on Marshland (1892; Ledz, Mus. A.). The visionary element achieved its apogee in the pastel compositions from the last years of his life. In works such as Death of Ellenai (1892; Wroclaw, N. Mus.) the evanescent nature of forms is expressed through restrained colour schemes, generally tending towards silvery greyish azure or shades of pink.