Ukrainian-born Russian Realist Painter, 1844-1930 was a leading Russian painter and sculptor of the Peredvizhniki artistic school. An important part of his work is dedicated to his native country, Ukraine. His realistic works often expressed great psychological depth and exposed the tensions within the existing social order. Beginning in the late 1920s, detailed works on him were published in the Soviet Union, where a Repin cult developed about a decade later, and where he was held up as a model "progressive" and "realist" to be imitated by "Socialist Realist" artists in the USSR. Repin was born in the town of Chuhuiv near Kharkiv in the heart of the historical region called Sloboda Ukraine. His parents were Russian military settlers. In 1866, after apprenticeship with a local icon painter named Bunakov and preliminary study of portrait painting, he went to Saint Petersburg and was shortly admitted to the Imperial Academy of Arts as a student. From 1873 to 1876 on the Academy's allowance, Repin sojourned in Italy and lived in Paris, where he was exposed to French Impressionist painting, which had a lasting effect upon his use of light and colour. Nevertheless, his style was to remain closer to that of the old European masters, especially Rembrandt, and he never became an impressionist himself.   Related Paintings of Ilya Repin :. | Portrait of Leo Tolstoy | Portrait of Emperor Nicholas II. | Portrait of Pavel Tretyakov | bceeonoo muxaunoen | Potrait of Keliqifu |
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Fitz Hugh Lane
1804-1865 Fitz Henry Lane was born on December 19, 1804, in Gloucester, Massachusetts. Lane was christened Nathaniel Rogers Lane on March 17, 1805, and would remain known as such until he was 27. It was not until March 13, 1832 that the state of Massachusetts would officially grant Lane??s own formal request (made in a letter dated December 26, 1831) to change his name from Nathaniel Rogers to Fitz Henry Lane. As with practically all aspects of Lane??s life, the subject of his name is one surrounded by much confusion??it was not until 2005 that historians discovered that they had been wrongly referring to the artist as Fitz Hugh, as opposed to his chosen Fitz Henry, and the reasons behind Lane??s decision to change his name, and for choosing the name he did, are still very unclear. From the time of his birth, Lane would be exposed to the sea and maritime life??a factor that obviously had a great impact his later choice of subject matter. Many circumstances of his young life ensured Lane??s constant interaction with various aspects of this maritime life, including the fact that Lane??s family lived ??upon the periphery of Gloucester Harbor??s working waterfront,?? , and that his father, Jonathan Dennison Lane, was a sailmaker, and quite possibly owned and ran a sail loft. It is often speculated that Lane would most likely have pursued some sea-faring career, or become a sail-maker like his father, instead of an artist, had it not been for a life-long handicap Lane developed as a child. Although the cause cannot be known with complete certainty, it is widely accepted most plausible that the ingestion of some part of the Peru-Apple??a poisonous weed also known as jimsonweed??by Lane at the age of eighteen months caused the paralysis of the legs from which Lane would never recover. It is suggested, and seems logical to assume, that because he could not play games as the other children did, he was forced to find some other means of amusement, and that in such a pursuit he discovered and was able to develop his talent for drawing. To go a step further, as a result of his having a busy sea-port as immediate surroundings, he was able to develop a special skill in depicting the goings-on inherent in such an environment. It is true that Lane could still have become a sail-maker, as such an occupation entailed much time spent sitting and sewing, and that Lane already had some experience sewing from his short-lived apprenticeship in shoe-making. However, as evidenced in this quote from Lane??s nephew Edward Lane??s ??Early Recollections,?? his interest in art held much sway in his deciding on a career: ??Before he became an artist he worked for a short time making shoes, but after a while, seeing that he could draw pictures better than he could make shoes he went to Boston and took lessons in drawing and painting and became a marine artist.?? Lane acquired such ??lessons?? by way of his employment at Pendleton??s lithography shop in Boston, which lasted from 1832 to 1847. With the refinement and development of his artistic skills acquired during his years working as a lithographer, Lane was able to successfully produce marine paintings of high quality, as evidenced in his being listed, officially, as a ??marine painter?? in the Boston Almanac of 1840. Lane continued to refine his painting style, and consequently, the demand for his marine paintings increased as well. Lane had visited Gloucester often while living in Boston, and in 1848, he returned permanently. In 1849, Lane began overseeing construction of a house/studio of his own design on Duncan??s Point??this house would remain his primary residence to the end of his life. Fitz Henry Lane continued to produce beautiful marine paintings and seascapes into his later years. He died in his home on Duncan??s Point on August 14, 1865, and is buried in Oak Grove Cemetery.
GAREMIJN, Jan Antoon
Flemish Baroque Era Painter, 1599-1641
Baron Pierre-Narcisse Guerin
(13 May 1774 - 6 July 1833) was a French painter. Guerin was born in Paris. A pupil of Jean-Baptiste Regnault, he carried off one of the three grands prix offered in 1796, in consequence of the competition not having taken place since 1793. In 1799, his painting Marcus Sextus (Louvre) was exhibited at the Salon and excited wild enthusiasm. Part of this was due to the subject - a victim of Sulla's proscription returning to Rome to find his wife dead and his house in mourning - in which an allusion was found to the turmoil of the French Revolution. Guerin on this occasion was publicly crowned by the president of the Institute, and went to Rome to study under Joseph-Benoît Suvee. In 1800, unable to remain in Rome on account of his health, he went to Naples, where he painted the Grave of Amyntas. In 1802 Guerin produced Phaedra and Hippolytus (Louvre); in 1810, after his return to Paris, he again achieved a great success with Andromache and Pyrrhus (Louvre); and in the same year also exhibited Cephalus and Aurora (Louvre) and Bonaparte and the Rebels of Cairo (Versailles). These paintings suited the popular taste of the First Empire, being highly melodramatic and pompously dignified. The Restoration brought to Guerin fresh honours; he had received from the first consul in 1803 the cross of the Legion of Honour, and in 1815 Louis XVIII named to the Academie des Beaux-Arts. His style changed to accord with popular taste. In Aeneas Relating to Dido the Disasters of Troy (Louvre), Guerin adopted a more sensuous, picturesque style. Guerin was commissioned to paint for the Madeleine a scene from the history of St Louis, but his health prevented him from accomplishing what he had begun, and in 1822 he accepted the post of director of the French Academy in Rome, which in 1816 he had refused. On returning to Paris in 1828, Guerin, who had previously been made chevalier of the order of St. Michel, was ennobled. He now attempted to complete Pyrrhus and Priam, a work which he had begun at Rome, but in vain; his health had finally broken down, and in the hope of improvement he returned to Italy with Horace Vernet. Shortly after his arrival at Rome Baron Guerin died, on the 6th of July 1833, and was buried in the church of La Trinite de Monti by the side of Claude Lorrain.