Utagawa Hiroshige (歌川広重)

Utagawa Hiroshige (歌川広重)

Hiroshige, in full Andō Hiroshige, professional names Utagawa Hiroshige and Ichiyūsai Hiroshige, original name Andō Tokutarō, (born 1797, Edo [now Tokyo], Japan - died October 12, 1858, Edo), Japanese artist, one of the last great ukiyo-e ("pictures of the floating world") masters of the colour woodblock print.
His genius for landscape compositions was first recognized in the West by the Impressionists and Post-Impressionists.
His print series Fifty-three Stations of the Tōkaidō (1833-34) is perhaps his finest achievement.
Hiroshige was the son of Andō Genemon, warden of the Edo fire brigade. Various episodes indicate that the young Hiroshige was fond of sketching and probably had the tutelage of a fireman who had studied under a master of the traditional Kanō school of painting.
In the spring of 1809, when Hiroshige was 12 years of age, his mother died.


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Utagawa Hiroshige (歌川広重)

Hiroshige, in full Andō Hiroshige, professional names Utagawa Hiroshige and Ichiyūsai Hiroshige, original name Andō Tokutarō, (born 1797, Edo [now Tokyo], Japan - died October 12, 1858, Edo), Japanese artist, one of the last great ukiyo-e ("pictures of the floating world") masters of the colour woodblock print.
His genius for landscape compositions was first recognized in the West by the Impressionists and Post-Impressionists.
His print series Fifty-three Stations of the Tōkaidō (1833-34) is perhaps his finest achievement.
Hiroshige was the son of Andō Genemon, warden of the Edo fire brigade. Various episodes indicate that the young Hiroshige was fond of sketching and probably had the tutelage of a fireman who had studied under a master of the traditional Kanō school of painting.
In the spring of 1809, when Hiroshige was 12 years of age, his mother died.


William Kay Blacklock | Victorian genre painter

William Kay Blacklock | Victorian genre painter

William Kay Blacklock (1872-1924) was a British artist in the mediums of watercolours and oils.

Biography

William Blacklock was born in Bishopwearmouth, Sunderland, in North East England, in 1872.
He was one of three children of John Blacklock, an engine fitter, and his wife Isabella. His father died in 1886.
According to the 1891 census, William was 18 years old and was working as a lithographer's apprentice, while living with his widowed mother. He continued to live with his mother, at least until 1901, practising the trade of lithography. It seems that he added Kay as his middle name when he became an artist.


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William Kay Blacklock | Victorian genre painter

William Kay Blacklock (1872-1924) was a British artist in the mediums of watercolours and oils.

Biography

William Blacklock was born in Bishopwearmouth, Sunderland, in North East England, in 1872.
He was one of three children of John Blacklock, an engine fitter, and his wife Isabella. His father died in 1886.
According to the 1891 census, William was 18 years old and was working as a lithographer's apprentice, while living with his widowed mother. He continued to live with his mother, at least until 1901, practising the trade of lithography. It seems that he added Kay as his middle name when he became an artist.


Pablo Segarra Chias, 1945 | Genre painter

Pablo Segarra Chias, 1945 | Genre painter

Spanish painter Pablo Segarra Chias was born in Seville, a city impoverished and devastated by the recent Spanish civil war, Pablo lived in the Macarena District in the heart of the city.
At the tender age of 7yrs Chias completed his first oil on canvas painting.
His father would let him use a chair, outside the local tavern, as an easel and it was from here he sold his first painting for 10p encouraging him to start and go on with painting as a more vocational commitment.

Pablo Segarra Chias 1945 | Spanish Realistic Figurative painter

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Pablo Segarra Chias, 1945 | Genre painter

Spanish painter Pablo Segarra Chias was born in Seville, a city impoverished and devastated by the recent Spanish civil war, Pablo lived in the Macarena District in the heart of the city.
At the tender age of 7yrs Chias completed his first oil on canvas painting.
His father would let him use a chair, outside the local tavern, as an easel and it was from here he sold his first painting for 10p encouraging him to start and go on with painting as a more vocational commitment.

Pablo Segarra Chias 1945 | Spanish Realistic Figurative painter

Wilfrid Gabriel de Glehn | Impressionist painter

Wilfrid Gabriel de Glehn | Impressionist painter

Wilfrid Gabriel de Glehn (sometimes 'Wilfried') RA (1870-1951) was an Impressionist British painter, elected to the Royal Academy in 1932.

Biography

De Glehn's father was Alexander de Glehn of Sydenham, London. His mother was French.
Louise Creighton, a women's rights activist and author, and Alfred de Glehn, a French steam locomotive designer, were Alexander's sister and brother.


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Wilfrid Gabriel de Glehn | Impressionist painter

Wilfrid Gabriel de Glehn (sometimes 'Wilfried') RA (1870-1951) was an Impressionist British painter, elected to the Royal Academy in 1932.

Biography

De Glehn's father was Alexander de Glehn of Sydenham, London. His mother was French.
Louise Creighton, a women's rights activist and author, and Alfred de Glehn, a French steam locomotive designer, were Alexander's sister and brother.


Leonardo da Vinci | Gradi di pittura

Leonardo da Vinci | Gradi di pittura

Trattato della Pittura - Parte seconda | Capitoli 217-234


Indice
217. Della verdura veduta in campagna.
218. Qual verdura parrà partecipare piú d'azzurro.
219. Qual è quella superficie che meno che le altre dimostra il suo vero colore.
220. Qual corpo ti mostrerà piú il suo vero colore.
221. Della chiarezza de' paesi.
222. Prospettiva comune, e della diminuzione de' colori in lunga distanza.
223. Delle cose specchiate nelle acque de' paesi, e prima dell'aria.
224. Diminuzione de' colori pel mezzo interposto infra loro e l'occhio.
225. De' campi che si convengono alle ombre ed ai lumi.
226. Come si deve riparare quando il bianco termina in bianco o l'oscuro in oscuro.


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Leonardo da Vinci | Gradi di pittura

Trattato della Pittura - Parte seconda | Capitoli 217-234


Indice
217. Della verdura veduta in campagna.
218. Qual verdura parrà partecipare piú d'azzurro.
219. Qual è quella superficie che meno che le altre dimostra il suo vero colore.
220. Qual corpo ti mostrerà piú il suo vero colore.
221. Della chiarezza de' paesi.
222. Prospettiva comune, e della diminuzione de' colori in lunga distanza.
223. Delle cose specchiate nelle acque de' paesi, e prima dell'aria.
224. Diminuzione de' colori pel mezzo interposto infra loro e l'occhio.
225. De' campi che si convengono alle ombre ed ai lumi.
226. Come si deve riparare quando il bianco termina in bianco o l'oscuro in oscuro.