1861-1932 Russian Konstantin Korovin Galleries Konstantin was born in Moscow to a merchant family officially registered as peasants of Vladimir gubernia. His father, Aleksey Mikhailovich Korovin, earned a University degree and was more interested in arts and music than in the family business established by Konstantin's grandfather. Konstantin's older brother Sergey Korovin was a notable realist painter. Konstantin's relative Illarion Pryanishnikov was also a prominent painter of the time and a teacher at the Moscow School of Painting, Sculpture and Architecture. In 1875 Konstantin entered the Moscow School of Painting, Sculpturing and Architecture, where he learned from Vasily Perov and Alexei Savrasov. His brother, Sergey was already a student of the School. During their scholar years Korovins became friends with their fellow students Valentin Serov and Isaac Levitan, Kontantin kept these friendship through the whole of his life. In 1881-1882, Korovin spent a year at the Imperial Academy of Arts in Saint Petersburg, but returned disappointed to the Moscow School of painting, sculpturing and architecture. He studied at the school under the new teacher Vasily Polenov until 1886. In 1885, Korovin made traveled to Paris and Spain. Paris was a shock for me?? Impressionists?? in them I found everything for what I was scolded back at home, in Moscow, he later wrote. Korovin. On the balcony, Spanish women Leonora and Ampara. 1897-1898.Polenov introduced Korovin to Savva Mamontov's Abramtsevo circle: Viktor Vasnetsov, Apollinary Vasnetsov, Ilya Repin, Mark Antokolsky and others. The Abramtsevo circle's love for stilized Russian themes is reflected in Korovin's picture A Northern Idyll. In 1885 Korovin works for Mamontov's Opera house. He designed the stage decor for Giuseppe Verdi's Aida, L??o Delibes' Lakme and Georges Bizet's Carmen. St. Triphon's Brook in Pechenga. 1894.In 1888, Korovin traveled with Mamontov to Italy and Spain, where he produced painting On the balcony, Spanish women Leonora and Ampara. Konstantin traveled within Russia, Caucasus and Central Asia, exhibited with Peredvizhniki. He was painting in the Impressionist and later in the Art Nouveau style. In the 1890s, Korovin became a member of the Mir iskusstva art group. Korovin's subsequent works was strongly influenced by his travel to the North. In 1888 he was captivated by the stern northern landscapes, as seen in The Coast of Norway and The Northern Sea. His second trip to the North, with Valentin Serov in 1894, coincided with the construction of the Northern Railway. Korovin painted a large number of landscapes: Norwegian Port, Saint Trifon's Brook in Pechenega, Hammerfest: Aurora Borealis, The Coast at Murmansk and others. The paintings are built on a delicate web of shades of grey. The etude style of these works was typical for the Korovin's art of the 1890s. Using material from his northern trip, Korovin designed the Northern Railway pavilion at the All Russia Exhibition of 1896 at Nizhny Novgorod. In 1900, Korovin designed the Central Asia section of the Russian Empire pavilion on the Paris World Fair; and was awarded the Legion of Honour by the French government. Spring, 1917In the beginning of the 20th century Korovin focused his attention on the theatre. He moved from Mamontov's opera to Mariinsky Theatre in Saint Petersburg. Departing from the tradition of the stage decor, which only indicated the place of action, Korovin produced a mood decor, which conveyed the general emotions of the performance. Korovin designed sets for Constantin Stanislavski's dramatic productions, as well as Mariinsky's operas and ballets. He did the stage design for such Mariinsky's productions as Faust (1899), The Little Humpbacked Horse (1901) and Sadko (1906) that became famous for their expressiveness. Pier in Gurzuf, 1914In 1905, Korovin became an Academician of Painting, and in 1909-1913 he was a professor at the Moscow School of Painting, Sculpture and Architecture. One of the artist's favourite themes was Paris. He painted A Paris Cafe (1890s'), Cafe de la Paix (1905'), La Place de la Bastille (1906), Paris at Night; Le Boulevard Italien (1908'), Night Carnival (1901), Paris in the Evening (1907) and others. During the World War I Korovin worked as a camouflage consultant at the headquarters of one of the Russian armies and was often seen at the front line. After the October Revolution Korovin continued to work in the theatre, designing stage for Richard Wagner's Die Walk??re and Siegfried as well as Pyotr Ilyich Tchaikovsky's The Nutcracker (1918-1920). In 1923 Korovin moved to Paris by the advice of the Commissar of Enlightenment, Anatoliy Vasilievich Lunacharsky, to cure his heart condition and help Korovin's handicapped son. There was supposed to be a large exhibition of Korovin's works but the works were stolen and Korovin was left penniless. For years he produced the numerous Russian winters and Paris boulevards just to make ends meet. In the last years of his life he produced stage designs for many of the major theatres of Europe, America, Asia and Australia, the most famous of which is his scenery for a production by the Turin Opera House of Nikolai Rimsky-Korsakov's The Golden Cockerel. Korovin died in Paris on September 11, 1939. Konstantin's son Alexey Korovin (1897-1950) was a notable Russian-French painter. Because of an accident during his childhood he had both feet amputated. Alexey committed suicide in 1950.  Related Paintings of Konstantin Korovin :. | Rose and Violet | Artist in studio | The park of Paris | Portrait | Pier in Gurzuf |
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Karl Nordstrom
Swedish Painter, 1855-1923 was a Swedish painter and one of the leading members of Konstnärsförbundet, which he chaired from 1896 until its dissolution in 1920. Born on Gotland, but growing up on Tjörn on the Swedish West Coast, Nordström studied at principskolan, the preparatory school of the Royal Academy of Arts in Stockholm and the private painting school of Edvard Perseus, but was never promoted to the "Antique school" of the Academy but had to continue on his own. Traveling to Paris in 1881, he was influenced by the impressionists. He spent a couple of years in Grez-sur-Loing, the site of an important colony of Scandinavian artists, practising his plein air painting in the strong French sunlight. In 1885, he joined the group of young artists protesting against the policies and leadership of the Academy, and he was ever since 1886 one of the leading members of Konstnärsförbundet, the formalization of the opposition group. He was its chairman from 1896 until its dissolution in 1920. In 1886, he married xylographer and photographer Tekla Lindeström in Paris. Later the same year, he settled on Tjörn, using what he had learnt in France about light and colours to depict the landscape where he had grown up. He spent the summer of 1889 in Visby. Around 1890, he moved from his earlier impressionism towards a more synthetist style. His influences came from Japanese art, which he had encountered in Paris, and from Gauguin, whose paintings he first saw in photographs he had received from Ivan Agueli. One of Nordström's old friends from the time at the Academy and in Perseus' school, Nils Kreuger, had lived in the city of Varberg since 1888. He convinced Nordström to move there in 1892, and they were joined by another of their old friends, Richard Bergh, in 1893.
Emilian School
painted Ludovico Carracci in 17th century
Fede Galizia
(1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre. Fede Gallizi, better known as Galizia, was born in Milan in 1578. Her father, Nunzio Galizia, also a painter of miniatures, had moved to Milan from Trento. Fede (whose name means "faith") learned to paint from him. By the age of twelve, she was sufficiently accomplished as an artist to be mentioned by Gian Paolo Lomazzo, a painter and art theorist friend of her father, who wrote, "This girl dedicates herself to imitate our most extraordinary art." At a young age, Fede was already an established portrait painter handling many commissioned works. Perhaps it was her father's influence as a miniaturist that led to Fede's attention to detail in her portraits. Her treatment of jewels and clothing made her a very desirable portrait painter. She was often commissioned to paint religious and secular themes as well. Several of her paintings based on the deuterocanonical story of Judith and Holofernes, a popular theme in art of the period, survive in private collections. Perhaps her earliest was Judith and Her Handmaiden painted in 1596 which is now in Sarasota Florida at the Ringling Museum of Art. She also created miniatures and altarpieces for convents.