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 :. | Mystical Knight | Stained-Glass Window | Parsifal | Lady of the Flowers. | Vase of Flowers |
Related Artists:
ZUCCARO Taddeo
Italian Mannerist Painter, 1529-1566 Painter and draughtsman. Taught to draw by his father, at the age of 14 he went alone to Rome where, according to Vasari, he was employed in various workshops and studied independently, particularly the works of Raphael. Through assisting Daniele de Porri (1500-77), who had trained in Parma, he learnt of the work of Correggio and Parmigianino. He first became known for his paintings on fa?ades, notably scenes from the Story of Furius Camillus on the palazzo of a Roman nobleman Jacopo Matteo, executed in 1548. Vasari claimed that Taddeo's fa?ade decorations equalled those of Polidoro da Caravaggio; none survives, although some are documented in drawings (e.g. London, BM; Paris, Louvre) and show his assimilation of Polidoro's style. Taddeo's earliest extant works date from 1553 when he collaborated with Prospero Fontana on the decoration (part destr.) of the villa of Pope Julius III outside the Porta del Popolo in Rome; Taddeo's contributions included scenes of The Seasons in the loggia of the nymphaeum. In these, clarity of form and space, natural proportions and idealization of human form demonstrate his affinity with the classicism of the High Renaissance. He also assimilated the sculptural sensibility of Mannerism, derived from Michelangelo.
Artemisia gentileschi
1593-1652 was an Italian Early Baroque painter, today considered one of the most accomplished painters in the generation influenced by Caravaggio. In an era when women painters were not easily accepted by the artistic community, she was the first female painter to become a member of the Accademia di Arte del Disegno in Florence. She was one of the first female artists to paint historical and religious paintings, at a time when such heroic themes were considered beyond a woman's reach. Artemisia Gentileschi was born in Rome, July 8, 1593, the first child of the Tuscan painter Orazio Gentileschi, one of the best representatives of the school of Caravaggio. Artemisia was introduced to painting in her father's workshop, showing much more talent than her brothers, who worked alongside her. She learned drawing, how to mix color and how to paint. Since her father's style took inspiration from Caravaggio during that period, her style was just as heavily influenced in turn. But her approach to subject matter was different from her father's, as her paintings are highly naturalistic, where Orazio's are idealized. The first work of the young 17-year-old Artemisia (even if many at the time suspected that she was helped by her father) was the Susanna e i Vecchioni (Susanna and the Elders) (1610, Schönborn collection in Pommersfelden). The picture shows how Artemisia assimilated the realism of Caravaggio without being indifferent to the language of the Bologna school (which had Annibale Carracci among its major artists). It is one of the few Susanna paintings showing the two men planning their sexual harassment. It is likely that Artemisia had been sexually harrassed and painted Susanna as a reflection. In 1612, despite her early talent, Artemisia was denied access to the all-male professional academies for art. At the time, her father was working with Agostino Tassi to decorate the vaults of Casino della Rose inside the Pallavicini Rospigliosi Palace in Rome, so Orazio hired the painter to tutor his daughter privately. During this tutelage, Tassi raped Artemisia. Another man, Cosimo Quorlis had helped Tassi with the rape. After the initial rape, Artemisia continued to have sexual relations with Tassi, with the expectation that they were going to be married. However, Tassi reneged on his promise to marry Artemisia after he heard the rumor that she was having an affair with another man. Quorlis had threatened that if he could not have her, he would publicly humiliate her. Orazio pressed charges against Tassi only after he learned that Artemisia and Tassi were not going to be married. Orazio also claimed that Tassi stole a painting of Judith from the Gentileschi household. The major issue of this trial was the fact that Tassi had deflowered Artemisia. If Artemisia had not been a virgin before Tassi raped her, the Gentileschis would not be able to press charges. In the ensuing 7-month trial, it was discovered that Tassi had planned to murder his wife, had enjoined in adultery with his sister-in-law and planned to steal some of Orazio??s paintings. During the trial Artemisia was given a gynecological examination and was tortured using a device made of thongs wrapped around the fingers and tightened by degrees ?? a particularly cruel torture to a painter. Both procedures were used to corroborate the truth of her allegation, the torture device used due to the belief that if a person can tell the same story under torture as without it, the story must be true. At the end of the trial Tassi was imprisoned for one year. The trial has subsequently influenced the feminist view of Artemisia Gentileschi during the late 20th century. The painting Giuditta che decapita Oloferne (Judith beheading Holofernes) (1612 - 1613), displayed in the Capodimonte Museum of Naples, is impressive for the violence portrayed, and has been interpreted as a wish for psychological revenge for the violence Artemisia had suffered. One month after the trial, in order to restore her honor, Orazio arranged for his daughter to marry Pierantonio Stiattesi, a modest artist from Florence. Shortly afterwards the couple moved to Florence, where Artemisia received a commission for a painting at Casa Buonarroti and became a successful court painter, enjoying the patronage of the Medici family and Charles I. It has been proposed that during this period Artemisia also painted the Madonna col Bambino (The Virgin and Child), currently in the Spada Gallery, Rome. While in Florence,
Charles Furneaux
(1835 - 1913) was born in Boston and became a drawing instructor in that area. For many years he lived in the town of Melrose, Massachusetts. In 1880, Furneaux moved to Hawaii, where he cultivated the friendship King Kalakaua and other members of the Hawaiian royal family, from whom he later received several commissions. In the late 1880's,he was commissioned in Honolulu by Alexander Joy Cartwright, widely credited as the "father of baseball" and another dear friend of King Kalakaua, to paint the only oil portrait of his 72 year life. While living in Honolulu he taught at the private schools Punahou and St. Albans (now known as Iolani School). In 1885, he received the order of Chevalier of Kapiolani from King Kalakaua in 'recognition of his services in advancing Hawaiian art'. He died in Hawaii in 1913. His reputation is mainly based on the paintings he executed in Hawaii, especially those of erupting volcanoes. The Bishop Museum (Honolulu), the Brooklyn Museum, the Honolulu Academy of Arts, Iolani Palace (Honolulu) and Mount Holyoke College Art Museum (South Hadley, Massachusetts) are among the public collections holding works by Charles Furneaux.