konrad magi(1878 to 1925),was an Estonian landscape painter. He was one of the most colour-sensitive Estonian painters of the first decades of the 20th century, and Magi works on motives of the island of Saaremaa are the first modern Estonian nature paintings. Magi received his elementary art education from the drawing courses of the German Artisans Society of Tartu (1899?C1902.) At the same time, he was keenly engaged in theater, violin, and various sports. Magi continued his art education as an unattached student in Saint Petersburg (1903?C1905.) In the autumn of 1907, he went to Paris. There Magi studied at a free academy. From 1908 to 1910, he lived in Norway. In 1912, Magi returned to Tartu, where he worked as an art teacher. In Åland, he created delicate plant vignettes in the style of Art Nouveau: Kahekesi (Two together; 1908; China ink drawing). In Paris, Magi was influenced by Impressionism and Fauvism, which had a significant impact on his colours: Lilleline vali majakesega (A flower field with a little house; 1908?C1909), Norra maastik manniga (A Norwegian landscape with a pine; 1910). From 1918, the influence of Expressionism is manifest, fostered by Mägi extreme sensitivity and emotional response to the anxious times: Puhajarv (Lake Puha); 1918?C1920), Otepaa maastik (Landscape of Otepaa; 1918?C1920). Also influenced by Expressionism are his big figure compositions Piet?? (1919), Kolgata (Golgatha; 1921). Konrad Magi - Rannamaastik (Beach landscape)Magi new artistic period, begun on a trip to Italy, brought calmer tempers: Varemed Capril (Ruins in Capri; 1922?C1923). Along with nature pictures, he painted flowers and portraits. Magi mostly beautiful female models express the Art Nouveau ideal of beauty: Holsti (1916). In his later portraits from the 1920s, a more serious temper is expressed: Madonna (1923?C1924).   Related Paintings of konrad magi :. | Norwegian Landscape | Norra maastik | Veneetsia | Lake Puhajarv | Tulpide valjak |
Related Artists:
BARTOLOMEO DI GIOVANNI
Italian Early Renaissance Painter, active 1475-1511 Bartolomeo di Giovanni, also known as Bartolommeo di Giovanni and as Alunno di Domenico, was an early renaissance Italian painter of the Florentine School who was active from about 1480 until his death in 1501. He studied with and assisted Domenico Ghirlandaio, painting the predella of Ghirlandaio's Adoration of the Magi in the Ospedale degli Innocenti (Foundling Hospital) in Florence, in 1488. Bartolomeo di Giovanni also worked under the guidance of Sandro Botticelli.
Thomas Luny
(1759-1837), born in Cornwall, probably at St Ewe, was an English artist and painter, mostly of seascapes and other marine-based works. At the age of eleven, Luny left Cornwall to live in London. There he became the apprentice of Francis Holman, a marine painter who would have a great and long lasting artistic influence on Luny: Luny remained until 1780 in Holman's London studio, which, was first situated in Broad Street, St. George, and later relocated to Old Gravel Lane. In September 1777, Luny left Holman's studio for a while, to journey to France. During this particular expedition, Luny almost certainly strayed from France itself; his first exhibited picture in London, seen at the Society of Artists that same year, was given the title A distant view of the island of Madeira and Porto Santo, suggesting that an engraving had inspired his choice of subject. Similarly, it is unlikely that Luny was on hand for the Battle of the Nile, 1798, and the bombardment of Algiers, 1816, both of which he illustrated with dramatic atmosphere and credible realism. After leaving Holman's studio in 1780, Luny moved to Leadenhall Street during 1783. It was around this time that Luny was frequently exhibiting at the Royal Academy, in a total of twenty-nine exhibitions between 1780 and 1802. In Leadenhall Street, Luny became acquainted with a "Mr. Merle", a dealer and framer of paintings who promoted Luny's paintings for over twenty years, to great success. Luny also found a wealthy source of business in Leadenhall Street, where the British East India Company had their headquarters; their officers commissioned many paintings and portraits from Luny. This relationship between the Company and Luny also had several non-monetary benefits for Luny; it seems probable that, considering the great detail and realistic look of many of his sketches of locations such as Naples, Gibraltar, and Charleston, South Carolina, Luny was occasionally invited as a guest on the Company's ships on special occasions and voyages.
MIJN, George van der
Flemish Painter, 1719-1783