Textual description of firstImageUrl

Jules Pascin (1885-1930) | Expressionist painter

Bulgarian🎨-born painter Jules Pascin, original name Julius Pincas, renowned for his delicate draftsmanship and sensitive studies of women.
Born of Italian Serbian and Spanish Jewish parents, Pascin was educated in Vienna before he moved to Munich, Germany, where he attended art school in 1903.
Beginning in 1904, his drawings were regularly published in satiric journals such as the Lustige Blätter and Simplicissimus. At the request of his family, who disapproved of his bohemian lifestyle, he changed his name to Pascin in 1905.

That same year he moved to Paris, where he continued to produce tragically satiric drawings of the demimonde. He was embraced by members of the Parisian art world.
To avoid service in the Bulgarian army, at the outbreak of World War I Pascin traveled for a time in the United States, spending most of his time in the South.
He became a U.S. citizen in 1920 and returned to Paris later that year. (He would spend most of the rest of his life in Paris).
There he began to create a series of large-scale, representational, and very sensitively drawn biblical and mythological paintings.
In the 1920s he painted the works for which he is best known, the delicately toned, thinly painted, but poetically bitter and ironic studies of women, usually prostitutes.
He was a financially successful artist, but he continued to lead a life of debauchery and excess. On the eve of an important one-man show of his work, Pascin hanged himself. | © Encyclopædia Britannica, Inc.

Pascin ‹pasẽ´›, Jules - Nome d'arte del pittore e grafico Julius Pincas (Vidin 1885 - Parigi 1930). Studiò a Vienna ed a Monaco dove collaborò con disegni satirici a Simplicissimus ed a Lustige Blätter.
A Parigi, in contatto con l'avanguardia artistica e sensibile alle esperienze fauves, sviluppò un linguaggio crudo e ironico dalle marcate linee disegnative.
Stabilitosi nel 1914 a New York, viaggiò a lungo attraverso gli USA (album di disegni, New York, Museum of modern art) per poi tornare, nel 1920, a Parigi dove produsse di preferenza ritratti e nudi femminili, dai delicati toni cromatici, pervasi da atmosfere voluttuose e melanconiche (Ragazza con la collana, 1924, Musée de Grenoble; ecc). | © Treccani, Enciclopedia Italiana