French Painter, ca.1885-1956 French painter, stage designer and illustrator. After studying porcelain painting at the Sevres factory (1901) and drawing in Paris under the French flower painter Madelaine Lemaire (1845-1928), in 1903-4 she studied at the Academie Humbert in Paris, where she met Georges Braque and Francis Picabia. In 1907 she first exhibited paintings at the Salon des Independants, met Picasso at Clovis Sagot gallery and through Picasso was introduced to the poet Guillaume Apollinaire. Laurencin and Apollinaire were soon on intimate terms, their relationship lasting until 1912.  Related Paintings of Marie Laurencin :. | Portrait of Baluji | Portrait of Jidelina | Self-Portrait | Anlixi | Angel |
Related Artists:
Mihaly Zichy
(Hungarian pronunciation: [ˈmihaːj ˈzitʃi]; German: Michael von Zichy; October 15, 1827, Zala, Hungary - February 28, 1906, St. Petersburg, Russia) was a Hungarian painter and graphic artist. Mihely Zichy was a significant representative of Hungarian romantic painting. During his law studies in Pest from 1842, he attended Jakab Marastoni's school as well. In Vienna he was Waldmeller's pupil in 1844. "Life Boat", his first major work, comes from this time. On Waldmeller's recommendation, he became an art teacher in St. Petersburg. He swore allegiance to freedom by painting the portrait of Lajos Batthyeny, the first Hungarian prime minister, in 1849. From 1850 onwards, he worked as a retoucher, but he also did pencil drawings, water colours and portraits in oil. The series on the Gatchina hunting ordered by the Russian tsar raised him to a court artist. He founded a society to support painters in need. "Autodafe" on the horrors of Spanish inquisition was painted in 1868. He travelled around Europe in 1871, and settled down in Paris in 1874. He painted "Queen Elisabeth is Laying Flowers by the Coffin of Ferenc Deek" on Treffort's order. "Drinking Bout of Henry III", his next large scale picture came from 1875. "The Victory of the Genius of Destruction" painted for the Paris Exhibition was banned by French authorities because of its daring antimilitarist message. He left Paris in 1881 and returned to St. Petersburg after short stays in Nizza, Vienna and Zala (village). From this time onwards, he was mostly engaged in illustrations ("The Tragedy of Man" by Made - h, 1887, and twenty-four ballads of Jenos Arany, 1894 - 98).
Leon Joseph Florentin Bonnat
(20 June 1833 - 8 September 1922) was a French painter. He was born in Bayonne, but from 1846 to 1853 he lived in Madrid, where his father owned a bookshop. While tending his father's shop, he copied engravings of works by the Old Masters, developing a passion for drawing. In Madrid he received his artistic training under Madrazo. He later worked in Paris, where he became known as a leading portraitist, never without a commission. His many portraits show the influence of Velezquez, Jusepe de Ribera and other Spanish masters, as well as Titian and Van Dyke, whose works he studied in the Prado. Following the period in Spain Bonnat worked the ateliers of the history painters Paul Delaroche and Leon Cogniet (1854) in Paris. Despite repeated attempts, he failed to win the prix de Rome, finally receiving only a second prize. However, a scholarship from his native Bayonne allowed him to spend three years in Rome (1858 - 60) independently. During his stay in Rome, he became friends with Edgar Degas, Gustave Moreau, Jean-Jacques Henner and the sculptor Henri Chapu. He won a medal of honor in Paris in 1869, going on to become one of the leading artists of his day. Bonnat went on to win the Grand Officer of the Legion d'honneur and became a professor at the Ecole des Beaux Arts in 1882. Bonnat was quite popular with American students in Paris. In addition to his native French, he spoke Spanish and Italian and knew English well, to the relief of many monolingual Americans. In May 1905 he succeeded Paul Dubois as director of the Ecole des Beaux-Arts. Bonnat "was a liberal teacher who stressed simplicity in art above high academic finish, as well as overall effect rather than detail," explains Julius Kaplan (see References). Bonnat's emphasis on overall effect on the one hand, and rigorous drawing on the other, put him in a middle position with respect to the Impressionists and academic painters like his friend Jean-Leon Gerôme.
Mota, Jose de la
Mexican, Active 1708-25