French (1880-1950) Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversi??re-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart fought in World War I. He relied on his art to stem his anguish, sketching on every available surface. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. When he returned from the front he made prints from those drawings. The prints, most of which were aquatints and drypoints, showed great skill. Because they were much in demand, Icart frequently made two editions (one European, the other American) to satisfy his public. These prints are considered rare today, and when they are in mint condition they fetch high prices at auction. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honor?? Fragonard. In Icart's drawings, one sees the Impressionists Degas and Monet and, in his rare watercolors, the Symbolists Odilon Redon and Gustave Moreau. In fact, Icart lived outside the fashionable artistic movements of the time and was not completely sympathetic to contemporary art. Nonetheless, his Parisian scenes are a documentation of the life he saw around him and they are nearly as popular today as when they were first produced. In 1914 Icart had met a magical, effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin. She would eventually become his wife and a source of artistic inspiration for the rest of his life.   Related Paintings of Louis Lcart :. | Dream | Friends | Pigeon | Roof 3 | Aircraft |
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SALUCCI, Alessandro
Italian painter, Roman school (b. 1590, Firenze, d. 1655/60, Roma). Italian painter. He specialized in imaginary architectural perspectives and harbour views, in which the figures were executed by other artists, most notably Jan Miel and Michelangelo Cerquozzi. His pictures were praised by contemporary and near contemporary writers, including Carlo Malvasia, and during the 17th century were popular with private collectors in both Florence and Rome. However, many of the paintings mentioned in contemporary sources remain untraced. He is first documented in Rome in 1628, when, with Andrea Sacchi and Pietro da Cortona, he worked on the fresco decorations of the Villa Sacchetti (now Chigi), Castelfusano (nr Ostia), to which he contributed personifications of the River Nile and the River Rh?ne (in situ). He became a member of the Accademia di S Luca in Rome in 1634, and after 1635 he was engaged on frescoes (in situ) depicting sacred subjects in S Maria in Vallicella, Rome. From the mid-1630s onward Salucci collaborated with Miel on the imaginary architectural subjects for which he is best known, including the Perspective with Portico
Theodoros Vryzakis
Thebes 19 October 1814 - Munich 6 December 1878) was a major Greek painter of the 19th century. Vryzakis's father died in the Greek War of Independence. He is the first Greek painter who studied in Munich and the main representative of the type of historical painting that was popular in Greece in the 18th century. He is considered the first painter of modern Greece, a recorder of the Greek War of Independence, which he viewed in a romantic and nostalgic way. His paintings' characters are pompous, theatrical and detached figures. His interest in the traditional costumes and the decoration and the absence of any individual facial expression is according to art critics the result of the eye of a "foreign" artist, who looks for the conventional element in another land. The monumental size of his pictures, the ceremonial and theatrical compositions, and the meticulous style of academic idealistic romanticism make his style unique for among Greek Artists. Today, many of his works are exhibited at the National Gallery of Athens and the Benaki Museum in Athens.
Jacopo Chimenti
(30 April 1551 - 30 September 1640) was an Italian late-mannerist painter. Born in Florence as Jacopo Chimenti (Empoli being the birth place of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary in Counter-Maniera (Counter-Mannerism), Santi di Tito, he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like Vasari. He collaborated with Alessandro Tiarini in some projects. Among his pupils were Felice Ficherelli, Giovanni Battista Brazze (Il Bigio), Giovanni Battista Vanni, and Virgilio Zaballi. In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the Baroque period.