Hungarian Painter, 1861-1927 After his studies at the highschool in Kaposvar he went to study to Budapest, where he got a degree in pharmacy. In 1884 he travels to Munich to study painting at the Academy. 2 years later he gets a grant and that makes him able to move to Paris and study by Munkacsy. In 1888 he meets with the members of Les Nabis and under their influence he paints his first important work The Inn at Pont-Aven, a very deep paining with dark atmosphere. His first big success was the paining My Grandmother (1894). Later he travels back to Hungary, first the critics does not accept him very warmly, but finally he celebrates a success with the exhibition Rippl-Ronai Impressions 1890-1900. He believes that for an artist there is important not only his work, but also how he lives and what he wears. That is why he becomes also a designer (Andrassy dining room and the window-pane in the Ernst Museum). His exhibitions in Frankfurt, Munich and Vienna have got a great success in 1911-1913. He paints his last big work in 1919 (portrait of his friend Zorka) and in 1927 dies in his villa Roma in Kaposvar.  Related Paintings of Jozsef Rippl-Ronai :. | Lajos and odon | Living on Memories | Woman in red | Anella is Holding Flowers | Aristide Maillol |
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Egon Schiele
1890-1918 Austrian Egon Schiele Gallery Egon Schiele (12 June 1890 ?C 31 October 1918) was an Austrian painter, a protege of Gustav Klimt, and a major figurative painter of the early 20th century. Schiele's body of work is noted for the intensity and the large number of self-portraits he produced. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings make the artist an early exponent of Expressionism, although still strongly associated with the art nouveau movement (Jugendstil). The most important collection of Schiele's work is housed in the Leopold Museum, Vienna. In 1907, Schiele sought out Gustav Klimt. Klimt generously mentored younger artists, and he took a particular interest in the gifted young Schiele, buying his drawings, offering to exchange them for some of his own, arranging models for him and introducing him to potential patrons. He also introduced Schiele to the Wiener Werkstätte, the arts and crafts workshop connected with the Secession. In 1908 Schiele had his first exhibition, in Klosterneuburg. Schiele left the Academy in 1909, after completing his third year, and founded the Neukunstgruppe ("New Art Group") with other dissatisfied students. Sitzender weiblicher Akt, 1914Klimt invited Schiele to exhibit some of his work at the 1909 Vienna Kunstschau, where he encountered the work of Edvard Munch, Jan Toorop, and Vincent van Gogh among others. Once free of the constraints of the Academy's conventions, Schiele began to explore not only the human form, but also human sexuality. At the time, many found the explicitness of his works disturbing.
LUINI, Bernardino
Italian High Renaissance Painter, ca.1480-1532 Italian painter and draughtsman. He was one of the generation of Lombard painters active around 1500 who, influenced by Leonardo and Raphael, blended High Renaissance innovations with indigenous Milanese elements to create a Lombard Renaissance style. Luini's paintings were extremely popular with both collectors and critics from c. 1790 to the end of the 19th century. This widespread popularity, however, had unfortunate consequences: many of his frescoes were detached from their original settings, many of the panel paintings were transferred to canvas and other works were heavily restored. As a result few survive in a good state. About 700 works are attributed to Luini, but many of these attributions are over optimistic.
Frederick Remington
1861-1909 Frederic Sackrider Remington (October 4, 1861 - December 26, 1909) was an American painter, illustrator, sculptor, and writer who specialized in depictions of the Old American West, specifically concentrating on the last quarter of the 19th century American West and images of cowboys, American Indians, and the U.S. Cavalry. Remington was the most successful Western illustrator in the ??Golden Age?? of illustration at the end of the 19th Century and the beginning of the 20th Century, so much so that the other Western artists such as Charles Russell and Charles Schreyvogel were known during Remington??s life as members of the ??School of Remington??. His style was naturalistic, sometimes impressionistic, and usually veered away from the ethnographic realism of earlier Western artists such as George Catlin. His focus was firmly on the people and animals of the West, with landscape usually of secondary importance, unlike the members and descendants of the Hudson River School, such as Frederic Edwin Church, Albert Bierstadt, and Thomas Moran, who glorified the vastness of the West and the dominance of nature over man. He took artistic liberties in his depictions of human action, and for the sake of his readers?? and publishers?? interest. Though always confident in his subject matter, Remington was less sure about his colors, and critics often harped on his palette, but his lack of confidence drove him to experiment and produce a great variety of effects, some very true to nature and some imagined. His collaboration with Owen Wister on The Evolution of the Cowpuncher, published by Harper??s Monthly in September 1893, was the first statement of the mythical cowboy in American literature, spawning the entire genre of Western fiction, films, and theater that followed. Remington provided the concept of the project, its factual content, and its illustrations and Wister supplied the stories, sometimes altering Remington??s ideas. (Remington??s prototype cowboys were Mexican rancheros but Wister made the American cowboys descendants of Saxons??in truth, they were both partially right, as the first American cowboys were both the ranchers who tended the cattle and horses of the American Revolutionary army on Long Island and the Mexicans who ranched in the Arizona and California territories).