Visualizzazione post con etichetta Award winning Artist. Mostra tutti i post
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Sir Luke Fildes (1843-1927) | Genre painter

Sir Samuel Luke Fildes KCVO RA was a British painter and illustrator born in Liverpool and trained at the South Kensington and Royal Academy Schools. He was the grandson of the political activist Mary Fildes.


At the age of 17, Fildes became a student at the Warrington School of Art. Fildes moved to the South Kensington Art School where he met Hubert von Herkomer and Frank Holl.
All three men became influenced by the work of Frederick Walker, the leader of the social realist movement in Britain.

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Amy Werntz, 1979 | Portrait painter

Amy Werntz is a contemporary realist artist currently residing in Dallas, Texas. Originally from the midwest, Amy’s appreciation and interest in art developed as a child, in a family full of talented artists.
She has always been drawn to faces and the human figure.
Through the years her inspiration has evolved to now focus on those around her.
She is fascinated by the postures and expressions of people within their everyday lives.
Amy got her BFA in Interior Design and currently splits her time between design and creating art.

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Ludovic Alleaume (1859-1941) | Academic painter

An excellent painter and draughtsman, Ludovic Alleaume worked in an academic style that owed little to the more avant-garde trends in contemporary French art🎨.
He exhibited regularly at the Salon🎨 des Artistes Français between 1883-1938, winning several prizes🎨 including a second prize in the category of lithography in 1896 and a second class medal for painting in 1905.
Alleaume also exhibited at the Salon des Humoristes and the Salon d'Hiver and, outside of Paris, took part in exhibitions in Angers, Nantes, Nice, Rouen and Toulouse, as well as London.
Born in Angers, France, Alleaume studied with Hérbert and Luc-Oliver Merson at l’École des Beaux-Arts in Paris.

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Paul César Helleu | Belle Époque painter

Paul César Helleu (1859-1927) was a French🎨 oil painter, pastel artist, drypoint etcher, and designer, best known for his numerous portraits of beautiful society women of the Belle Époque.
He also conceived the ceiling mural of night sky constellations for Grand Central Terminal in New York City. He was also the father of Jean Helleu and the grandfather of Jacques Helleu, both artistic directors for Parfums Chanel.
His work epitomises the charm and elegance of French culture at the time - the Belle Époque - with all its verve and focus on fashion.
Helleu immortalised many beautiful women in paint and graphite because he became the darling of fashionable, aristocratic ladies at the time, including Coco Chanel🎨.

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Guillaume Seignac | Reunited, 1918-1919

This work was probably executed by Guillaume Seignac (French🎨 Academic painter, 1870-1924) in 1918-1919.
It represents two women symbolizing France and Alsace.
Seignac painted another composition in 1914, representing "Belgium, France and England before the German invasion" (Sale, Paris, April 22nd 2009, lot 87).

Our painting was painted after the war, once France is glorious and has won Alsace-Lorraine back and thus echoes back to the previous composition. | © Sotheby's

Guillaume Seignac | Belgium, France and England before the German Invasion, 1914 (detail)

Guillaume Seignac | Belgium, France and England before the German Invasion, 1914 (detail)

"Reunited" fu probabilmente eseguita da Guillaume Seignac (Pittore Accademico Francese🎨, 1870-1924) nel 1918-1919.
Raffigura due donne che simboleggiano la Francia e l'Alsazia.
Seignac dipinse un'altra composizione nel 1914, che rappresentava il "Belgio, la Francia e l'Inghilterra prima dell'invasione tedesca" (Sale, Parigi, 22 aprile 2009, lotto 87).
"Reunited" è stato dipinto dopo la guerra, una volta che la Francia è gloriosa e ha riconquistato l'Alsazia-Lorena e fa eco alla composizione precedente.

Guillaume Seignac | Belgium, France and England before the German Invasion, 1914 | Sotheby's

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Bryan Larsen, 1975

Bryan Lamont Larsen Jr. is an American realist painter, born in Salt Lake City, Utah.
Larsen was inspired by the figurative works of the Pre-Raphaelite painters, William-Adolphe Bouguereau, Lawrence Alma-Tadema, and other nineteenth century European painters.
He was educated at Utah State University and at the Grand Central Academy Summer Intensives.
Larsen's work includes architectural elements and figurative works, with themes emphasizing beauty, innovation, aspiration, and optimism for the future.

His work can be found in private art collections around the world.
He is represented by Quent Cordair Fine Art, an art gallery in downtown Napa, California.
Larsen has completed large commissions and smaller works for private collectors and companies. Larsen is supportive of ongoing efforts by the Art Renewal Center, a leading organization working to foster a re-emergence of realism and classical technique in art culture.

Bryan Lamont Larsen Jr. è un pittore realista Americano, nato a Salt Lake City, nello Utah.
Larsen è stato ispirato dalle opere figurative dei pittori pre-Raphaelite, William-Adolphe Bouguereau, Lawrence Alma-Tadema e altri pittori europei del XIX secolo.
Ha studiato alla Utah State University e alla Grand Central Academy Summer Intensives.
Il lavoro di Larsen comprende elementi architettonici e opere figurative, con temi che enfatizzano la bellezza, l'innovazione, l'aspirazione e l'ottimismo per il futuro. Le sue opere sono presenti in collezioni d'arte private in tutto il mondo.
È rappresentato da Quent Cordair Fine Art, una galleria d'arte nel centro di Napa, in California.
Larsen ha completato grandi commissioni ed opere più piccole per collezionisti privati ​​e aziende. Larsen sostiene gli sforzi in corso dell'Art Renewal Center,  un'organizzazione leader che lavora per favorire una riemersione del realismo e della tecnica classica nella cultura dell'arte.

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Camille Corot (1796-1875) | Paysages | Page 2

In the 1860s, Jean-Baptiste-Camille Corot🎨 became interested in photography, taking photos himself and becoming acquainted with many early photographers, which had the effect of suppressing his painting palette even more in sympathy with the monochromatic tones of photographs.
This had the result of making his paintings even less dramatic but somewhat more poetic, a result which caused some critics to cite a monotony in his later work.

Théophile Thoré wrote that Corot "has only a single octave, extremely limited and in a minor key; a musician would say. e knows scarcely more than a single time of day, the morning, and a single color, pale grey".
Corot responded: "What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones".
In his aversion to shocking color, Corot sharply diverged from the up-and-coming Impressionists, who embraced experimentation with vivid hues.

Nel 1860, Jean-Baptiste-Camille Corot🎨 si interessò alla fotografia, scattando foto e conoscendo molti dei primi fotografi, che ebbe l'effetto di sopprimere ancora di più la sua tavolozza pittorica in sintonia con i toni monocromatici delle fotografie.
Ciò ebbe il risultato di rendere i suoi dipinti ancora meno drammatici ma un po 'più poetici, un risultato che fece sì che alcuni critici citassero una monotonia nelle sue opere successive. 
Théophile Thoré scrisse che Corot "ha una sola ottava, estremamente limitata e in una chiave minore; direbbe un musicista. Sa poco più di una sola ora del giorno, la mattina e un solo colore, grigio chiaro".
Corot rispose: "Quello che c'è da vedere nella pittura, o piuttosto quello che sto cercando, è la forma, il tutto, il valore dei toni ... Ecco perché per me il colore viene dopo, perché amo più di ogni altra cosa il generale effetto, l'armonia dei toni, mentre il colore ti dà una specie di shock che non mi piace. Forse è l'eccesso di questo principio che induce le persone a dire che ho toni di piombo".
Nella sua avversione per il colore scioccante, Corot si scostò nettamente dagli impressionisti emergenti, che abbracciarono la sperimentazione con tonalità vivide.