French Symbolist Painter, 1840-1916 Bertrand-Jean Redon, better known as Odilon Redon (April 20, 1840 ?C July 6, 1916) was a Symbolist painter and printmaker, born in Bordeaux, Aquitaine, France. Odilon was a nickname derived from his mother, Odile. Redon started drawing as a young child, and at the age of 10 he was awarded a drawing prize at school. At age 15, he began formal study in drawing but on the insistence of his father he switched to architecture. His failure to pass the entrance exams at Paris?? Ecole des Beaux-Arts ended any plans for a career as an architect, although he would later study there under Jean-L??on Gerôme. Back home in his native Bordeaux, he took up sculpture, and Rodolphe Bresdin instructed him in etching and lithography. However, his artistic career was interrupted in 1870 when he joined the army to serve in the Franco-Prussian War. At the end of the war, he moved to Paris, working almost exclusively in charcoal and lithography. It would not be until 1878 that his work gained any recognition with Guardian Spirit of the Waters, and he published his first album of lithographs, titled Dans le R??ve, in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a cult novel by Joris-Karl Huysmans titled, À rebours (Against Nature). The story featured a decadent aristocrat who collected Redon's drawings. In the 1890s, he began to use pastel and oils, which dominated his works for the rest of his life. In 1899, he exhibited with the Nabis at Durand-Ruel's. In 1903 he was awarded the Legion of Honor. His popularity increased when a catalogue of etchings and lithographs was published by Andr?? Mellerio in 1913 and that same year, he was given the largest single representation at the New York Armory Show. In 1923 Mellerio published: Odilon Redon: Peintre Dessinateur et Graveur. An archive of Mellerio's papers is held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. In 2005 the Museum of Modern Art launched an exhibition entitled "Beyond The Visible", a comprehensive overview of Redon's work showcasing more than 100 paintings, drawings, prints and books from The Ian Woodner Family Collection. The exhibition ran from October 30, 2005 to January 23, 2006.   Related Paintings of Odilon Redon :. | Peyrelebade | Vase of Flowers | The red poppy | Still Life | Pegasus |
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SANCHEZ COELLO, Alonso
Spanish Painter, ca.1531-1588 was a portrait painter of the Spanish Renaissance and one of the pioneers of the great tradition of Spanish portrait painting. Alonso Senchez Coello spent his childhood in Benifair de les Valls, until the death of his father when he was around ten years old. He was educated in Portugal at his grandfather's home. Coello's years in Portugal and his family name of Portuguese origin led to a long-standing belief that he was in fact Portuguese. His grandfather (after whom he was named) was in the service of King John III of Portugal who sent the young painter to study with Anthonis Mor (also known as Antonio Moro) in Flanders around 1550. He was under the service of Antoine de Granville, bishop of Arras, learning from Mor. While studying in Flanders, Coello also spent time copying some of Titian's works. In 1552, the painter went to Lisbon with Anthonis Mor when Charles V commissioned Mor to paint the Portuguese royal family. For a few years, Senchez Coello remained in Portugal working for the court of the heir to the throne, John, Crown Prince of Portugal. After the prince's death, Senchez Coello moved to the Spanish court of Philip II, having been recommended by the widow of John, Juana, who was the sister of the Spanish king. In 1555, S??nchez Coello was in Valladolid working for the Spanish court, and when Mor left Spain in 1561, Senchez Coello took his former master's place as Court Painter. Senchez Coello married Louisa Reyaltes in either 1560 or 1561 in Valladolid, and they had seven children. Coello's daughter, Isabel Senchez (1564-1612),
Woolner, Thomas
1825 - 1892,English sculptor and poet. He ranks with John Henry Foley as the leading sculptor of mid-Victorian England. He trained with William Behnes and in 1842 enrolled as a student at the Royal Academy, London. In 1844 he exhibited at Westminster Hall, London, a life-size plaster group, the Death of Boadicea (destr.), in an unsuccessful attempt to obtain sculptural commissions for the Houses of Parliament. His earliest important surviving work is the statuette of Puck (plaster, 1845-7; C. G. Woolner priv. col.), which was admired by William Holman Hunt and helped to secure Woolner's admission in 1848 to the Pre-Raphaelite Brotherhood. The work's Shakespearean theme and lifelike execution, stressing Puck's humorous malice rather than traditional ideal beauty, made it highly appealing. Although eclipsed by Hunt, John Everett Millais and Dante Gabriel Rossetti, Woolner was an important figure in the Brotherhood. He contributed poetry to its journal, The Germ (1850), and his work was committed to truthfulness to nature more consistently than that of any other Pre-Raphaelite, except for Hunt. This is evident in Woolner's monument to William Wordsworth (marble, 1851; St Oswald, Grasmere, Cumbria).
Foucquieres,Jacques
French , vers 1580-paris 1659