French Realist/Impressionist Painter and Sculptor, 1834-1917 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 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.  Related Paintings of Edgar Degas :. | Bathers on the Grass | Dancers Practicing at the Barre | Dance have a break | The Woman Play Parasol | Cabaret |
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Laszlo Moholy-Nagy
Hungarian 1895-1946 was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism. He was a strong advocate of the integration of technology and industry into the arts. Moholy-Nagy was born L??szl?? Weisz to a family of mixed Jewish and Hungarian heritage. His cousin was Georg Solti. He changed his German-Jewish surname to the Magyar surname of his uncle, Nagy. Later, he added the pseudonym Moholy to his surname, after the town in which he grew up (Mol, today in Serbia). After studying law in Budapest and serving in World War I, Moholy-Nagy was in Vienna in 1919, where he first discovered constructivism in exhibitions of works of Malevich, Naum Gabo and El Lissitzky. In 1923, he replaced Johannes Itten as the instructor of the preliminary course at the Bauhaus. This effectively marked the end of the school's expressionistic leanings and moved it closer towards its original aims as a school of design and industrial integration. The Bauhaus became known for the versatility of its artists, and Moholy-Nagy was no exception. Throughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, and industrial design. One of his main focuses was on photography. He coined the term "the New Vision" for his belief that photography could create a whole new way of seeing the outside world that the human eye could not. His theory of art and teaching was summed up in the book The New Vision, from Material to Architecture. He experimented with the photographic process of exposing light sensitive paper with objects overlaid on top of it, called photogram. While at the Bauhaus, Moholy's teaching in diverse media -- including painting, sculpture, photography, photomontage and metal -- had a profound influence on a number of his students, including Marianne Brandt. He was editor of the art and photography department of the European avant-garde magazine International Revue i 10 from 1927 to 1929. Moholy-Nagy resigned from the Bauhaus in 1928 and worked in film and stage design in Berlin, where he was required to submit his work to be censored, and then in Paris and Holland before moving to London in 1935. In England, Moholy-Nagy formed part of the circle of ??migr?? artists and intellectuals who based themselves in Hampstead. Moholy-Nagy lived for a time in the Isokon building with Walter Gropius for eight months and then settled in Golders Green. Gropius and Moholy-Nagy planned to establish an English version of the Bauhaus but could not secure backing, and then Moholy-Nagy was turned down for a teaching job at the Royal College of Art. Moholy-Nagy made his way in London by taking on various design jobs including Imperial Airways and a shop display for men's underwear. He photographed contemporary architecture for the Architectural Review where the assistant editor was John Betjeman who commissioned Moholy-Nagy to make documentary photographs to illustrate his book An Oxford University Chest. In 1936, he was commissioned by fellow Hungarian film producer Alexander Korda to design special effects for Things to Come. Working at Denham Studios, Moholy-Nagy created kinetic sculptures and abstract light effects, but they were rejected by the film's director. At the invitation of Leslie Martin, he gave a lecture to the architecture school of Hull University. In 1937, at the invitation of Walter Paepcke, the Chairman of the Container Corporation of America, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus. The philosophy of the school was basically unchanged from that of the original, and its headquarters was the Prairie Avenue mansion that architect Richard Morris Hunt designed for department store magnate Marshall Field. Unfortunately, the school lost the financial backing of its supporters after only a single academic year, and it closed in 1938. Paepcke, however, continued his own support, and in 1939, Moholy-Nagy opened the School of Design. In 1944, this became the Institute of Design. He authored an account of his efforts to develop the curriculum of the School of Design in his book Vision in Motion. Moholy-Nagy died of leukemia in Chicago in 1946.
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.
Tobias Verhaeght
1561-1631 was a painter and draughtsman active in Antwerp, Florence and Rome. Primarily a landscape painter, his style is indebted to mannerist world landscapes of artists like Joachim Patinir with high viewpoints, fantastic distant perspectives and three-colour scheme. Before Verhaecht entered Antwerp's guild of St. Luke in 1590?C91, he had already spent time in Italy, first in Florence, and then as a fresco painter in Rome. Peter Paul Rubens, who was a relative by marriage, studied with him around 1592, and another student was his own son, Willem van Haecht.