It also contains surprises: Corot's monochromatic ébauche, Cézanne's rawness and Matisse's delicate draughtsmanship.
|
|
His draughtsmanship, stylization, and the way space is broken down has always been inspiring to me.
|
|
Troilo combines a careful attention to contrast and draughtsmanship with impassioned splatters of paint, resulting in graceful yet chaotic displays.
|
|
Featuring Tagame's signature draughtsmanship, cinematic visual storytelling, and hypermasculine beefcake characters, the graphic novel is a beautiful, stirring, and deeply human work.
|
|
Yet at the core of his delicate "David," complex Sistine Chapel frescoes, and exquisite "Piéta" are the same refined draughtsmanship and sharp design.
|
|
The youngest entrant to the Royal Academy, with his draughtsmanship compared to Dürer and Michelangelo, it seemed Spare's star would continue to rise.
|
|
But around 1980, with the art world encouraging him to keep zigging, Mr. Posen zagged, taking a hard turn away from the virtuoso draughtsmanship that had made his name.
|
|
Many of the paintings demonstrate a new, exuberant use of colour; others, such as the full-size charcoal drawings on canvas, rely entirely and thrillingly on line – a formidable display of draughtsmanship.
|
|
Absorbed by such a polyvalent painterly language built upon bravura draughtsmanship and nearly trompe l'oeil renderings of enamel, engraving, arabesques, and jewelry, the visitor to Nahmad might be excused for passing rather quickly over the twelve modern and contemporary paintings set among Moreau's, almost none of which match his layered intensities.
|
|
Rita Donagh (born 30 April 1939) is a British artist, known for her realistic paintings and painstaking draughtsmanship.
|
|
The combination of draughtsmanship and shadowing give all his work a very strong 3-dimensional quality, whilst also being of extreme beauty.
|
|
The fine draughtsmanship of Cousins was as apparent in his prints as in his original lead-pencil portraits exhibited in London in 1882.
|
|
Sarah Natasha Raphael (10 August 1960 – 10 January 2001)Obituary, The Guardian was an English artist best known for her portraits and draughtsmanship.
|
|
Manifestations I, Santo Datta, Delhi Art Gallery, 2003, New Delhi He wrote articles and produced incisive cartoons and illustrations that displayed a natural talent for draughtsmanship.
|
|
Charles "Snaffles" Johnson Payne (1884–1967) was an English painter known for his humorous work and for his outstanding draughtsmanship and depiction of the horse in action.
|
|
Two years later Collingwood was working at Brantwood with Ruskin and his associates. Ruskin admired his draughtsmanship, and so Collingwood studied at the Slade School of Art between 1876 and 1878.
|
|
Ercole Setti (c.1530–1618) was an Italian engraver of the late-Renaissance period. Setti was born in Modena. His pen and ink drawings show a fine draughtsmanship without requiring cross-hatching.
|
|
Ron Herron was born in London on 12 August 1930, to a leather-working family. He studied draughtsmanship at the Brixton School of Building and architecture at the Regent Street Polytechnic in London.
|
|
He also taught draughtsmanship at the Polytechnical Institute (today Helsinki Technical University) in 1873–76. After his forced retirement in 1905 due to illness, he was granted a pension by the Finnish Senate.
|
|
This series, published in Tintin magazine, became very popular and ran through 18 adventures. In 1969 Paape began teaching draughtsmanship for comics at the Institut Saint-Luc art school in Brussels, where he remained until 1976.
|
|
They were students together of Tournefort in Paris in 1688. This is where Hermann perfected his botanical draughtsmanship. Later Sherard collected more of his notes and produced a catalog published as Musaeum Zeylanicum (1717, 2nd edn.: 1727).
|
|
Sandwith continued to visit unusual places and took up courses in drawing and design and also garnered an interest in etching on copper. She eschewed photography of human subjects as she believed draughtsmanship captured better details and delivered spontaneity.
|
|
Watercolours (also involving ink draughtsmanship) constituted an important second sphere of activity which, while present since the fifties, intensified after 1970. The watercolours are chiefly depicting landscapes, but run the gamut from “real” landscape drawing to imaginative scenarios exploiting surreal figurations.
|
|
Millgate, Michael. Thomas Hardy's public voice: the essays, speeches, and miscellaneous prose (Oxford University Press, 2001) p221. "The Studio" magazine commented on the "excellent draughtsmanship and the care with which architectural details are rendered".Review of "Wessex", (The Studio, vol 38, 1906, p89).
|
|
His style has the polish and attention to draughtsmanship and design characteristic of Florentines like Carlo Dolci. Among his pupils were Stefano della Bella, Alessandro Rosi, Antonio Giusti, Giovanni Domenico Ferrucci, and Jacopo Giorgi.Serie degli uomini i più illustri nella pittura, scultura, e architettura, page 119-120.
|
|
Károly Reich (8 August 1922 – 7 September 1988; also written Karoly Reich) was a Hungarian artist, best known for his children's books illustrations and for his original draughtsmanship. His illustrations were popular among Hungarian children throughout his 40-year career, during which he illustrated around 500 books.
|
|
By 1805 he was making looms at a factory in Kirkby Stephen, then moved first to Carlisle, then to Glasgow where he learned draughtsmanship from Peter Nicholson. By 1812 he was with Leys, Masson & Co. in Aberdeen, where he attended lectures in natural philosophy at Marischal College.
|
|
A further group of engravings, depicting both religious and secular subjects, has also been attributed to him on the basis of style; the works in question show coarse draughtsmanship, and their engraving technique is similar. These works have nonetheless been ascribed to various artists at one time or another.
|
|
This was followed by an invitation to exhibit her work in Arklow in the summer of 2007.The Irish Examiner, August 2007 In December 2007, her first solo Dublin exhibition took place at Airfield House, Dundrum. The exhibition, entitled "Reflections", was opened by Eoghan Harris who highlighted Holloway's draughtsmanship.
|
|
"Ken Howard RA" Royal Academy website. Accessed 14 June 2008 He paints in a "traditional" manner, based on strong observation and a high degree of draughtsmanship combined with tonal precision. The depiction of light is a strong and recurrent element of his work. A notable theme is the nude model in his studio.
|
|
The second (1922) contained an important statement of Lewis's visual aesthetic: "Essay on the Objective of Plastic Art in our Time".Tyro, scans of the publication at The Modernist Journals Project website. It was during the early 1920s that he perfected his incisive draughtsmanship. By the late 1920s, he concentrated on writing.
|
|
Of the heraldic representations of the hippogriff, Arthur Charles Fox-Davies states that hybrid fantastical creatures' depictions are "ugly, inartistic, and unnecessary. Their representation leaves one with a disappointed feeling of crudity of draughtsmanship." John Vinycomb states that the hippogriff is not used in the British heraldic tradition.Hippogriff, illustration by Gustave Doré for Orlando furioso.
|
|
Erik Dahlbergh was born in Stockholm, Sweden. His early studies involved the science of fortification. Orphaned at an early age, Dahlbergh's studies qualified him as a scribe and in 1641 he found employment in Hamburg with Gerdt Rehnskiöld (1610−1658), senior accountant for Pommern and Mecklenburg. Over a six year period, he was taught the fundamentals in draughtsmanship.
|
|
Also notable regarding his draughtsmanship was his ability to capture the subject with a minimum of brush strokes or charcoal lines. His work is included in the permanent collections of the High Museum of Art in Atlanta and the Hood Museum of Art at Dartmouth College. He was also the recipient of many distinguished awards, both locally and nationally.
|
|
Kersting came from a large and impoverished family in Güstrow, Mecklenburg-Schwerin, the son of a glazier. He studied at the progressive Copenhagen Academy between 1805 and 1808, where he adapted the visual clarity of the contemporary Danish school"Life of Georg Friedrich Kersting". Lib-Art. Retrieved on 24 March 2008. and was awarded a silver medal in draughtsmanship.
|
|
In 1936, Sofia headed a women's charitable foundation to support the education of poor students. The foundation, established in 1895, aimed at the economic independence of girls by training them in a vocation. A range of subjects were taught, including embroidery, tailoring, art and draughtsmanship. In 1910, the school library was set up with books donated by Hristo Danov.
|
|
The Lynn Painter-Stainers Prize is an annual art award, intended to encourage creative representational painting and draughtsmanship. It gives out prizes totalling £25,000. The prize originated in London in 2005, with a collaboration between the Worshipful Company of Painter-Stainers and the Lynn Foundation. The final exhibition has been held at the Mall Galleries, London, since 2012.
|
|
When he proved disinterested in the classics, he was allowed to apprentice to a cabinetmaker. Tomlinson spent seven years as an apprentice, and soon his work surpassed even that of his teachers. During this time, he also enrolled at the Mechanics' Institute in Newark, Nottinghamshire. He studied draughtsmanship and mathematics and was considered an outstanding student.
|
|
Giordano has been criticized as being a prolific trader of all styles, and master of none. Michael Levey remarks of him "Giordano was the ideal rococo painter, speedy, prolific, dazzling in colour, assured in draughtsmanship, ever-talented and never touching the fringe of genius."Levey, Michael. Rococo to Revolution: Major Trends in Eighteenth- Century Painting, 1985:24.
|
|
Paul Friedrich Wilhelm Balmer (1865-1922) was a painter from Basel. He was born in Basel as the son of mathematician Johann Jakob Balmer. He was educated in draughtsmanship under Fritz Schnider and later at the Academy of Fine Arts in Munich under Ludwig von Löfftz. During 1887-1892, he spent time abroad in Paris, London, Rome and in the Netherlands.
|
|
James Cowie (16 May 1886 – 18 April 1956) was a Scottish painter and teacher. The quality of his portrait paintings and his strong linear style made him among the most individual Scottish painters of the 1920s and 1930s. His work displayed meticulous draughtsmanship which was based on his studies of the Old Masters and his use of many preparatory drawings.
|
|
Doisneau worked at the Rapho agency until the outbreak of World War II, whereupon he was drafted into the French army as both a soldier and photographer. He was in the army until 1940 and from then until the end of the war in 1945 used his draughtsmanship, lettering artistry, and engraving skills to forge passports and identification papers for the French Resistance.
|
|
The chapel was also the site of an assault on Michelangelo by rival sculptor Pietro Torrigiano, who resented Michelangelo's critical remarks about his draughtsmanship. He punched the artist so severely that he "crushed his nose like a biscuit" (according to Benvenuto Cellini)Cf. H. Hibbard, Michelangelo, Folio Society (2007), p. 12. which deformed Michelangelo's face into that of a boxer's.
|
|
He preferred strong contours, dynamic imagery, and color balanced. "The refinement of Herran's draughtsmanship and use of colour balances the naturalistic imagery in these works combining drawing with watercolour, a technique adapted from Spanish painters such as Néstor de la Torre". Along with integrating well- developed techniques, his work displays a deep knowledge of the human psyche. His art links eminence and dignity to Mexican heritage.
|
|
Self-Portrait in a Striped T-shirt 1906, Statens Museum for Kunst, Copenhagen, Denmark. This is an incomplete list of works by the French modern artist Henri Matisse (31 December 1869 – 3 November 1954). He is admired for his use of color and his fluid, brilliant and original draughtsmanship. He was a Master draughtsman, printmaker, and sculptor, but is known primarily as a painter.
|
|
Flowers by the artist (Rosa centifolia, anemone, and clematis) After Empress Joséphine's death (1814), Redouté had some difficult years until he was appointed a master of draughtsmanship for the National Museum of Natural History in 1822. In 1824, he gave some drawing classes at the museum. Many of his pupils were aristocrats or royalty. He became a Chevalier of the Legion of Honour in 1825.
|
|
46 His work is characterised by sophisticated draughtsmanship and placement of figures, and also by its remarkable stylistic development, indicating that such artists were open to absorbing new ideas during the course of their careers.Marks, p.46 Along with the work of John Thornton of Coventry, Glazier's style was highly influential. It is possible that Robert Lyen, who made windows for Exeter Cathedral, was his apprentice.
|
|
Edward Dayes said of him: 'He passed like a meteor through the region of art'. Original drawings by him are rare, often in oval format, and owe much to the influence of Kauffman. The draughtsmanship is of the highest quality and some his pictures are described as 'ornamented' by R. W. Satchwell, who occasionally drew the surrounds. His promising career was cut short by illness.
|
|
Proctor was always exquisitely groomed and considered beautiful. She was still creating and exhibiting drawings of sure and subtle draughtsmanship until late in life, with her work showing at the Macquarie Galleries in Sydney. Two of several portraits by Lambert of Proctor hang in the Art Gallery of New South Wales and the National Portrait Gallery in Australia has a portrait in charcoal, also by Lambert.
|
|
In later years he became less prolific, and unsuccessfully attempted to establish himself as an abstract artist. Hergé's works have been widely acclaimed for their clarity of draughtsmanship and meticulous, well-researched plots. They have been the source of a wide range of adaptations, in theatre, radio, television, cinema, and computer gaming. He remains a strong influence on the comic book medium, particularly in Europe.
|
|
Leonardi was born on 18 November 1915 in Spoleto, in Umbria in central Italy, to Fernando Leonardi and Giuseppina Magni. One of his grandfathers was a cabinet-maker, the other a maker of musical instruments, and his father taught draughtsmanship at the Istituto Tecnico of Spoleto. In 1926 Leonardi started at the same school. From 1931 to 1935 he studied at the Istituto d'Arte of Perugia, in northern Umbria.
|
|
He was awarded citizenship to Basel on the 18th of July, 1572. He is likely to have educated the young Joseph Heintz in draughtsmanship. From 1588 to 1591, he cooperated with the scholar Basilius Amerbach in the excavation of the Roman theater Augusta Raurica, providing illustrations of the newly excavated site. Bock had five children; Emanuel Bock the Elder, Felix Bock, Hans Bock the Younger, Niklaus Bock and Peter Bock.
|
|
The academy was established in 1718 as the Oefenschool der Tekenkunst ("practice school of draughtsmanship"). In 1741, the school was renamed Tekenacademie on the initiative of Jan Maurits Quinkhard and others. The early history was marked by frequent arguments between members, which led most to abandon the school again. However, a new start was made in 1750 with 20 artists and regenten who were art collectors or patrons to the arts.
|
|
Landy made little art in the year following Break Down before returning with a solo show in late 2002, entitled Nourishment. The exhibition consisted of a series of detailed etchings of weeds, rendered in the traditional style of botanical draughtsmanship. The intricate detailing is reported to have resulted in lasting eye damage for Landy. In 2003, Landy was selected to chair the judging panel for the Beck's Futures art prize.
|
|
Brief notices are given on Meares' able draughtsmanship, his sketches, and other works. The well-appointed house at Guildford was named "Bower". A single artwork by Meares remains, a drawing of a mill at York, though records of others, since destroyed, include one of his residence at York. The walls of his residence, a typical rammed earth construction, contained murals by Meares, depicting scenes from Waterloo and "the battle of Pinjarrah".
|
|
Boulter's Lock, Sunday Afternoon Lady Lever Art Gallery Gregory's illustrations, which were sometimes signed by both himself and Hall, revealed the variety and ingenuity of his draughtsmanship. He ceased to work regularly for the Graphic about 1875. Gregory was not a frequent exhibitor at Burlington House. He first made his mark as a painter with the oil painting Dawn (now in the possession of John Singer Sargent, R.A.), originally shown at Deschamps' gallery in 1879.
|
|
Aside from a series of carefully composed still lifes, many of Cumming's later works were derived from investigations into recent discoveries with the electron microscope. This latter period has its apotheosis in the painting ‘Metaphase’ (Acceleration) 1971, which demonstrates Cummings exceptional abilities in composition, draughtsmanship and his acute colour sensitivity. Cumming's paintings, spanning a 30-year period, were celebrated most recently during an exhibition of his work at the Talbot Rice Gallery in Edinburgh.
|
|
George was impressed both by Bauer's draughtsmanship and his poems, publishing several of them in Blättern für die Kunst and invited Bauer to join his circle in Munich. In 1893 he studied in Paris. He was back in Munich in the autumn of 1895, when George acquainted him with the young poet Karl Gustav Vollmoeller, for whom he created illustrations. His graphic work includes mainly lithographs, pen-and- ink drawings and etchings.
|
|
He then studied draughtsmanship under Antonio Fabres, a Catalan painter and color under German colorist Gedovious. His work was highly inspired by European theories of modern art including Greek and Roman aesthetics and a high degree of naturalism. He was an "outstanding student" receiving "honorable mentions" in multiple courses. Herrán immersed himself in Mexican art, mixing that with his training in academic European technique, for he saw art as a spiritual experience.
|
|
Mary Reese was a sister of the Rev. William Reece, the curate of Llantilio Crossenny who had married Ann Mackafee. Their son, Richard Reece was an eminent physician and wrote a number of works on medicine. Young Edwards had a precocious talent for draughtsmanship and when only 11 years old had copied plates from Flora Londinensis for his own enjoyment. A certain Mr. Denman visited Abergavenny in 1779 and saw some of Edwards' work.
|
|
There he took a position as tutor at Saumarez station, in the employ of William Dumaresq. The main building at Saumarez Homestead, near Armadale, New South Wales Gardner was a keen horseman and he travelled extensively over the district and compiled the first detailed map of northern New South Wales. This was published in Baker’s Australian County Atlas (1844). Gardner's map reveals competent draughtsmanship and detailed attention to roads, tracks and pastoral properties.
|
|
Bidlake was born in Wolverhampton, the son of local architect George Bidlake (1830-1892) from whom he received his earliest architectural training. He attended Tettenhall College and Christ's College, Cambridge. In 1882 he moved to London where he studied at the Royal Academy Schools and worked for Gothic Revival architects Bodley and Garner. In 1885 he won the RIBA Pugin Travelling Fellowship for his draughtsmanship, which enabled him to spend 1886 travelling in Italy.
|
|
The bird was almost certainly intended to be an eagle, the symbol of John the Evangelist, who was both the namesake and the patron saint of King John. The plant sprig is interpreted as broom (planta genista in Latin), a badge of the Plantagenet dynasty. Also visible on the seal is a star and crescent, one of King John's personal badges. The shoddy draughtsmanship of the seal has given rise to other theories.
|
|
Mennim attended Pocklington School. By the time he left in 1938 he already had the idea of becoming an architect, having spent a year in articles and a year of draughtsmanship. Then the War started and he joined the Royal Artillery in 1941. After training in England and Scotland he was posted to India for officer training in 1943; was commissioned in 1944 in the Indian Mountain Artillery Regiment and posted to Ambala.
|
|
Born in Florence on May 13, 1856 to Pasquale Romanelli and his wife Elisa a descendant of Francesco Ferruccio, daughter of Vincenzo Mangoni, he was the fourth born of six children. From an early age Raffaello could be found in his father's studio, where he acquired the first skills of draughtsmanship. His first official work was the hand of Lorenzo Bartolini in marble, gifted to the Russian Princess Olga Orloff, a family friend of his parents.
|
|
In On Painting, Alberti uses the expression "We Painters", but as a painter, or sculptor, he was a dilettante. "In painting Alberti achieved nothing of any great importance or beauty," wrote Vasari. "The very few paintings of his that are extant are far from perfect, but this is not surprising since he devoted himself more to his studies than to draughtsmanship." Jacob Burckhardt portrayed Alberti in The Civilization of the Renaissance in Italy as a truly universal genius.
|
|
He is part of a group of young painters based in Leipzig, along with Matthias Weischer, Christoph Ruckhaberle and others. The common trait of the group is their production of large figurative oil paintings. His paintings derive from social realist works and propaganda posters in their draughtsmanship and dramatic use of shadow. Baumgärtel has shown work in exhibitions including “7 x Malerei” at Museum der Bildenden Künste in Leipzig, FUTURE/Five Artists From Germany at Sandroni.
|
|
During her visits to California, she recorded her concern with the destruction of the redwoods. She spent all of 1878 in various parts of India. In 1878 The Graphic reported an exhibition of Marianne North's works at Kensington, in which 512 of her oil paintings were put on public display. In a long article, the critic praised North for "her freedom of hand, the purity and brilliancy of colour and the accurate draughtsmanship of a consummate artist".
|
|
Burton developed Waterloo Place, St. James's, between 1815 and 1816. In 1815, James Burton took Decimus to Hastings, where the two would later design and build St Leonards-on-Sea, and, in 1816, Decimus commenced work in the James Burton's office. Whilst working for his father, Decimus was present in the design and construction of Regent Street St. James (Lower Regent Street). Simultaneously, George Maddox taught Decimus architectural draughtsmanship, including the details of the five orders.
|
|
Atkinson, Young Woman with a Violin, and Interior with Figures are intimist works painted in a traditional style characterised by subdued colour and transparent glazes.Langdale 1987, p. 9. Even as a student, Augustus's brilliant draughtsmanship and personal glamour made him a celebrity, and stood in contrast to Gwen's quieter gifts and reticent demeanour. Augustus greatly admired his sister's work but believed she neglected her health, and urged her to take a "more athletic attitude to life".
|
|
In 1915, Erwin Aichele joined the army and was sent to France as part of a communications team. His talent in draughtsmanship quickly came to the notice of his commanding officer and he was given the official function of war artist. Most of his surviving war drawings were executed in 1916 when, as part of the Third Battery FAR 185, he was stationed in Liry in Champagne. In June 1916, the troops moved to northern France.
|
|
Her forms of signature include: "SUSANNE COURT, SUSANNE DE COURT, SC or SDC", usually on the front of pieces. According to the British Museum, she was "renowned for work with translucent enamels over foil, and draughtsmanship; specialising in secular, usually mythological scenes".British Museum biographySuzanne de Court, Plaque depicting The Annunciation, c. 1600 at alt=The scenes she painted were often copied from Italian prints, where religious series were widespread in both print and in enamel.
|
|
His work is very well drawn and lively, with the interest in detail typical of Early Netherlandish painting. Arthur Mayger Hind notes of his style that "he is an artist with a freedom of draughtsmanship quite remarkable at this epoch. If his manner of engraving has something of the irregularity of an amateur, his power of expression is vigorous and masterly." A high proportion depicts secular subjects, more than is typical with artists of the period.
|
|
Although he did not possess Hokusai's dignity, power or reticence, he compensated with a fantastic exuberance, which always lent interest to his technically excellent draughtsmanship. He created what is considered to be the first manga magazine in 1874: Eshinbun Nipponchi, with Kanagaki Robun. The magazine was heavily influenced by Japan Punch, founded in 1862 by Charles Wirgman, a British cartoonist. Eshinbun Nipponchi had a very simple style of drawings and did not become popular with many people, and ended after just three issues.
|
|
Adriaen de Vries (c.1556-1626) was a Northern Mannerist sculptor born in the Netherlands but working in Central Europe, whose international style crossed the threshold to the Baroque; he excelled in refined modelling and bronze casting and in the manipulation of patina and became the most famous European sculptor of his generation. He also excelled in draughtsmanship. Partly as a result of the disturbances of the Thirty Years' War, and also changes in style, Adriaen de Vries had no direct follower.
|
|
All demonstrate the precision and fluidity of his draughtsmanship. In the view of art historian Susan Foister, "These qualities so animate his decorative designs, whether individual motifs, such as his favoured serpentine mermen and women, or the larger shapes of cups, frames, and fountains, that they scintillate on paper even before their transformation into precious metal and stone". Holbein's way of designing objects was to sketch preliminary ideas and then draw successive versions with increasing precision. His final draft was a presentation version.
|
|
Jones was born in Burton upon Trent, Staffordshire, and left his private school after the failure of his father's timber business. He began work as a window dresser at 16 and took classes in engineering draughtsmanship. Harsh living conditions during World War II, and a hard winter in 1942 led to Jones suffering from double pneumonia. His illness led to him leading an open air life, working in farming made him exempt from military service when he came of age.
|
|
Nonetheless, from the first Sharaku's prints appeared amongst the technical vanguard, with unusually realistic portrayals of their subjects and using extravagant techniques such as the dusting of mica in the backgrounds. From such beginnings, though, the quality of his work quickly fades. To Jack Ronald Hillier, there are occasional signs of Sharaku struggling with his medium. Hillier compares Sharaku to French painter Paul Cézanne, who he believes "has to struggle to express himself, hampered and angered by the limitations of his draughtsmanship".
|
|
After graduating, he moved to Dunedin to live with his sister. He first worked for builder Robert Crawford, while studying architectural draughtsmanship in night classes. Mandeno worked as an assistant at the architectural firm Mason and Wales, before setting up his own practice, with offices in the New Zealand Express Company building, in 1911. Mandeno's first major commission was the King Edward Technical College (which now has Category I heritage listing), for which he needed to take on an assistant, Roy Fraser.
|
|
He possessed considerable scientific attainments, and in 1790 was elected a Fellow of the Royal Society and in 1813 the Linnaean Society. A few years before his death he published the results of his investigations as to a substitute for common yeast, and his discoveries excited some attention. Elford was also an artist of great excellence. He was a constant contributor to the Royal Academy exhibitions from 1774 to 1837, and his pictures were marked by great taste and good draughtsmanship.
|
|
Interior of St. Bavochurch, Haarlem According to the RKD he was a painter known for his Italianate landscapes as well as portraits and cavalry pieces. His influences include Pieter Saenredam's style (for church interiors), refined draughtsmanship and dispassionate attitude—in short, the qualities of "Dutch Classicism", akin to Vermeer. Berckheyde favoured views of monuments on large open squares, rather than giving up clarity for the sake of pictorial effect by painting views along canals as the other great Dutch cityscape painter, Jan van der Heyden, did.
|
|
Consequently, his influences ranged from Old Masters to the modern artists of his day, including Giorgio de Chirico, Pablo Picasso, Salvador Dalí, and Georges Rouault. Castellón attended Erasmus High School, where his teachers recognized his draughtsmanship. After graduation, he completed a mural for the school based on the subject of arts and sciences. The mural was informed by Castellón's interest in the modern European movements, and it attracted critical attention when exhibited at Raymond & Raymond Galleries in New York before it was installed permanently in the school.
|
|
Her exceptional contributions to Kew Gardens led to her being designated the first official botanical artist of Kew Gardens in 1898. In 1921, the year she retired from Kew, she was named an associate of the Linnean Society—only the second woman to have achieved this honor. She was also awarded the Silver Veitch Memorial Medal of the Royal Horticultural Society for her botanical draughtsmanship generally and for her contributions to Curtis's Botanical Magazine in particular. The plant genera Smithiantha (in the family Gesneriaceae) and Smithiella (viz.
|
|
He exhibited in many major art galleries in London, America and Paris. In 1939, Maze had his first New York City exhibition and in the foreword to the catalogue, Winston Churchill wrote, "His great knowledge of painting and draughtsmanship have enabled him to perfect his remarkable gift. With the fewest of strokes, he can create an impression at once true and beautiful. Here is no toiling seeker after preconceived effects, but a vivid and powerful interpreter to us of the forces and harmony of Nature".
|
|
According to the RKD he learned architecture and draughtsmanship from his father, Jan van der Hart, and became an architect specialized in Neoclassicism, who built the Hodson house and Barnaart house in Haarlem. In Amsterdam, he built the theatre De Kleine Komedie and redesigned the Trippenhuis in 1815-1817 to house an art and print cabinet that later merged with the Rijksmuseum. Trippenhuis in Bureau of Monuments, Amsterdam He was member of the Royal Institute, predecessor to the Royal Netherlands Academy of Arts and Sciences, since 1808.
|
|
For the church of San Niccoló he painted in 1520 the Virgin Mary and Infant Jesus with several Saints; for Santa Maria de' Servi the Nativity and in San Lorenzo, the Adoration of the Magi. From 1512 to 1524 he worked at Ferrara. His masterpiece, a picture of rich colour and fine draughtsmanship, representing Saint Sebastian, Saint Roch and Saint Demetrius, is in the National Gallery, London. It was brought from the church of Bondeno near Ferrara in 1844, and purchased by the gallery in 1861.
|
|
Rabin Mondal graduated in Commerce from Calcutta University in 1952. His first formal education in art was at the Indian College of Art and Draughtsmanship, Calcutta. He continued his artistic studies at the Asutosh Museum of Indian Art of the University of Calcutta.Manifestations II, Rabina Karode, Delhi Art Gallery 2004, In 1964 Rabin and what is now known as the "Group of Eight", (which consisted of Nikhil Biswas, Prokash Karmakar, Bijan Chowdhury, Gopal Sanyal, Bimal Banerjee, Mahim Rudra, Gunbritt Svensson and Mondal himself) formed the Calcutta Painters.
|
|
Arikha painted directly from the subject in natural light only, using no preliminary drawing, finishing a painting, pastel, print, ink, or drawing in one session. His profound knowledge of art techniques and masterly draughtsmanship enabled him to abide by this principle of immediacy, partly inspired by Chinese brush painting. It was a principle he shared with his close friend Henri Cartier- Bresson, to whose "instant décisif" it was analogous. He never drew from memory or photographs, aiming to depict the truth of what lay before his eyes at that moment.
|
|
Mann owed his drawing skills to Rodolphe Julien who regarded the study of the live model as indispensable to those who desired skilled draughtsmanship. However, his painterly techniques was required from Mihály Munkácsy although the apprenticeship with him didn't last long due to some incompatibility of temperament. Through Carolus Duran, Mann learned the importance of tonal values for the purpose of self-expression, which had been shown in some of his early figure paintings, such as Artificial Flower Workers and The Tapestry Workers. Mann preferred the arcadia of the countryside.
|
|
The two principal periods in Cumming's painting are the figurative abstraction of the early sixties derived in main part from his Lewis experience and the more geometrical and purer abstraction of the seventies onwards. The "painterly" yet thinly applied textures of Cumming’s early work contrasts with the heavy impasto and rich colour themes of his contemporaries in the Edinburgh School. His later colour experimentations were to be as much intellectual as expressive, leading to a deeper synthesis of harmony and contrast. A strong element of fine draughtsmanship is a constant throughout Cumming’s work.
|
|
Clavering was born and educated in Sunderland, the son of a schoolmaster. At the age of seventeen he was articled to a firm of architects in South Shields while studying architecture at Armstrong College, Newcastle, where he was introduced to the work of Le Corbusier, Willem Marinus Dudok, Erich Mendelsohn and Berthold Lubetkin. With a travelling scholarship he visited the major architecture centres of Italy, Austria and Germany in 1929 and 1930. Clavering's work at the time included the draughtsmanship or design of several cinemas in South Shields and Newcastle upon Tyne.
|
|
Kelley and Dee settled in the town of Třeboň and continued their research there (in Dee's journal, he states "Oct. 26th, Mr. Edward Kelly came to Trebona from Prage"), and according to Dee's diary it was during this time that Kelley is said to have performed his first alchemical transmutation (on 19 December 1586). Kelley's skilled draughtsmanship is evident in the notes taken by Dee during certain séances (these notes are available in Dee's Book of Enoch). These notes show Kelley's initial commitment to the alchemists' mutual goal.
|
|
In 1883 he succeeded Sir George Murray Humphrey in the chair of anatomy at Cambridge, and held this post for thirty-six years. He was a prolific writer. Besides his "Text-book of Human Anatomy"(1889) for which he is best known, he was the author of "Introduction to Animal Morphology"(1876) and "Morphology of Vertebrate Animals" (1878) as well as of numerous papers on animal, morphology, human anatomy and small text-books for students. He was a man of remarkable versatility, being an able mathematician as well as versed in archæology, Egyptology and draughtsmanship.
|
|
Isherwood was born in Marrickville, Sydney in 1911. At the age of fourteen she won a scholarship to the National Art School at East Sydney Technical College. In the dramatic architectural surroundings which had previously comprised Darlinghurst Gaol, Isherwood learned an appreciation of linear perspective and accurate draughtsmanship which she later applied with great skill to her rural landscapes. In 1929 she commenced work as a fashion artist with an advertising agency, continuing her studies for a further five years at the National Art School and Royal Art Society as an evening student.
|
|
A 1950 L.A. Times review of his solo exhibition at the Frank Perls Gallery (Beverly Hills) praises the still lifes "that stress the geometrical aspects of common objects." Over time, he moved in the direction of greater abstraction, but rejected more progressive movements such as Abstract Expressionism and Action Painting. His work was characterized by expert draughtsmanship. He is particularly remembered for the "classic modernism" of his late work, in which masses reminiscent of ancient ruins figure prominently, inspired in part by an important trip to Greece in 1970.
|
|
He was a severe critic of his own work, seldom satisfied with the quality of work he produced, and emphasized greatly on accuracy in his observation and draughtsmanship. In fact, it was important to Lim to paint directly from his subjects, and often take time to look around and compose them before selecting for the right pose / position to paint. This also applies to plein-air paintings with his friends, even if it meant for him to paint under the blazing sun. Lim also read widely and acquired books on art history, criticism and techniques.
|
|
De scheve fles (the Tilted Bottle), 1932 : il on canvas, 48 x 66 cm, private coll. Patrick Bakker (12 November 1910 in Apeldoorn, the Netherlands - 28 December 1932 in Amsterdam) was a Dutch artist in oil paintings and pen or pastel drawings in the first half of the twentieth century. At the time of his death he was considered a "prodigy", in the words of Bénézit's Dictionnaire. Despite his short life, he left a large collection of works characterized by an expressive freedom in his use of colour, confident draughtsmanship, and controlled impetuosity.
|
|
He was let go from the firm in 1997, however, because its business had declined and "his draughtsmanship was not needed" after it bought a CAD system.McDermott (2005), p. 47 Among other odd jobs to supplement his income, Atta sometimes worked at a cleaning company and sometimes bought and sold cars. Atta had harbored a desire to return to his native city, ever since he finished his studies in Hamburg; but he was prevented by the dearth of job prospects in Cairo, his family lacking the "right connections" to avail the customary nepotism.
|
|
From Manchester Kemp moved to Glasgow in 1820 and worked there for another four years while attending evening classes at Anderson's Institution, probably studying practical subjects like draughtsmanship, geometry and science. While in Glasgow he made a hugely detailed study of the Cathedral there, drawing many views of the building, and plans, sections and elevations, all of which enabled him to suggest restorations and additions. In May 1824 Kemp went to London but he failed to find permanent work there and disliked it, so he stayed only a little over a year.
|
|
He was born in Derby, the son of the antiquarian writer Thomas Blore. Blore's background was in antiquarian draughtsmanship rather than architecture, in which he had no formal training. Nevertheless, he designed a large palace for Count Vorontsov in Alupka, Crimea (see 'Later career', below) and important ecclesiastical furnishings designed by him included organ cases for Winchester Cathedral and Peterborough Cathedral (the Peterborough case since removed) and the choir stalls in Westminster Abbey. Charles Locke Eastlake, writing in 1872, believed that he had been apprenticed to an engraver,Eastlake 1873, p.
|
|
Arab Horsemen by Schreyer Schreyer was, and is still, especially esteemed as a painter of horses, of peasant life in Wallachia and Moldavia, and of battle incidents. His work is remarkable for its excellent equine draughtsmanship, and for the artist's power of observation and forceful statement; and has found particular favour among French and American collectors. Of his battle-pictures there are two at the Schwerin Gallery, and others in the collection of Count Mensdorff-Pouilly and in the Raven Gallery, Berlin. His painting of a Charge of Artillery of Imperial Guard was formerly at the Luxembourg Museum.
|
|
They have been criticised for their poor colouring, for instance by Miklos Rajnai, who described his technique as 'clotted' and 'treacley' with a tendency towards yellows and browns. Sandlings Ferry (1838), Norfolk Museums Collections Hodgson's reputation rests upon his ability as a painter of oils, but not for his etchings. These were influenced to an extent by John Sell Cotman, and were also possibly influenced by George Cuitt (1774-1854), according to the historians Andrew Moore and Russell Searle. The etchings of Henry Ninham are finer in quality, and whilst Hodgson was technically accomplished, he lacked Cotman's skills and draughtsmanship.
|
|
La Esmeralda, Act III, Scene 1 La Esmeralda, Act III, Scene 2. Although Cambon, like most contemporary scenographers, created scenery of various types and styles during his long career, it was in architectural settings that he achieved true excellence. In keeping with the romantic need for couleur locale and couleur historique, Cambon aimed at the illusionistic rendering of architectural space, the character and atmosphere of which he enhanced through the use of dramatic points of view and clair-obscur. Cambon's designs and scale-models in Conté crayon, sepia or pastel furthermore reveal an exquisite draughtsmanship in its own right.
|
|
Hamilton was born in Pimlico, London on 24 February 1922. Despite having left school with no formal qualifications, he managed to gain employment as an apprentice working at an electrical components firm, where he discovered an ability for draughtsmanship and began to do painting at evening classes at Saint Martin's School of Art and at the Westminster School of Art. In 1938, he enrolled in the Royal Academy of Arts. After spending the World War II working as a technical draftsman, he re-enrolled at the Royal Academy Schools but was expelled in 1946 on grounds of "not profiting from the instruction".
|
|
Portrait of Lodewijk Toeput by Hans von Aachen Lodewijk Toeput, called il PozzoserratoName variations: Lodewyk Toeput, Lodewijck Toeput, Lodewyck Toeput, Ludovico Fiammingo, Lodovico Pozzo da Treviso, il Pozzoserrato ( c. 1540/1550 – between 1603 and 1605)Teréz Gerszi, The Draughtsmanship of Lodewijk Toeput, Master Drawings Vol. 30, No. 4 (Winter, 1992), pp. 367-395Lodewijk Toeput at the Museum Boijmans Van Beuningen Lodewijk Toeput at the Netherlands Institute for Art History Lodewijk Toeput at Art Institute of Chicago Lodewijk Toeput in the 'Jahrbuch des Kunsthistorischen Institutes, Graz, 1968' was a Flemish landscape painter and draftsman active in Italy.
|
|
Her favoured medium was always oil on canvas, but she also painted on board or wood (mainly flowers), and (especially in the later 1970s and 1980s) in watercolour. After her second marriage, she favoured brighter colours and a softer, less precise draughtsmanship than before the War and she was a very rapid worker, whether painting portraits or landscape. She always painted directly from life: never from photographs and usually without preparatory drawings. Her landscapes and flower paintings were exhibited at the Paris Salon, and in London by the Royal Society of British Artists and the Association of Women Artists.
|
|
The Quakers had long viewed slavery as immoral, a blight upon humanity. By 1807 the abolitionist groups had a very sizable faction of like-minded members in the British Parliament. At their height they controlled 35–40 seats. Known as the "Saints", the alliance was led by the best known of the anti-slave trade campaigners, William Wilberforce, who had taken on the cause of abolition in 1787 after having read the evidence that Thomas Clarkson had amassed against the trade.William Wilberforce (1759–1833) These dedicated Parliamentarians had access to the legal draughtsmanship of James Stephen, Wilberforce's brother-in-law.
|
|
In the 1980s Brătescu began working with textiles, describing this practice as 'drawing with a sewing machine'. Brătescu was interested in numerous literary figures, including Aesop, Faust and Medea. The latter, a somewhat anti-feminine figure who killed her children, was the subject of a series of textile works made using scraps of cloth given to Brătescu by her mother, reflecting Brătescu's complex relationship with feminism. Throughout Brătescu's works the line is a dominant feature, functioning as a mode of definition, measurement and movement, from the classical draughtsmanship of Hands (1974–76) to the body performing in space in The Studio (1978).
|
|
Christ and Coatlicue coalesce in "a vivid expression of his theme concerning the mixture of the two races" Our Gods is arguably Herrán's greatest, most infamous work due to its deep calling to the viewer to accept others, think spiritually, and unify two cultures. It was never fully completed as he worked on it until the day he died. Due to his clear skill with draughtsmanship, some of Herrán's contemporaries criticized his style, calling his paintings "painted drawings" or "effeminate", yet others believe his "superb draftsmanship of the human figure [provided] the strength of his best work".
|
|
During World War II his cartoon technique was used to more serious effect to help with the subject of aircraft recognition being published in the British training journal Aircraft Recognition. His association with Punch lasted over 30 years, and he was art editor from 1949 to 1960. Brockbank's cartoons were characterised by a high degree of draughtsmanship and he often went to great lengths to ensure that the cars and aircraft in his cartoons were as true-to-life as possible. The Russell Brockbank Partnership, set up by his family to commemorate his life and works, have published a website RussellBrockbank.
|
|
E.' The flesh tones are coloured by reddish tints over a pale ground, with the facial features accentuated using a bluish- grey tone. During the period circa 1780–1795, Engleheart developed his very distinctive style, with his draughtsmanship and use of colour becoming consistent and high quality. He still sometimes paints small sized miniatures, but he more frequently paints on ivories of around 2½ inches in height. His works are easily recognisable: he often portrays his sitters with deep eyes under strong eyebrows, together with a slightly lengthened nose, and the flesh colour of the face is painted using a brownish yellow tone.
|
|
O'Brien's manner showed his background in measured draughtsmanship but also represented a kind of neo-classical painting. In the colonial context he was unusual in taking buildings and townscape as his subject matter. In 1876 he attended a meeting of the Otago Art Society and was well represented in that body's inaugural annual exhibition held later that year. His paintings were ill-received by one critic, probably Thomas Bracken, which represents the arrival in New Zealand of the new taste for Turneresque Romantic landscape and the beginning of the demise of O'Brien's more old-fashioned neo-classicism.
|
|
Anne Harvey of The Independent wrote of Farjeon, "She was recognised throughout her working life as an exceptional craftswoman, with a sharp, true eye for fine detail and accuracy and an enviable gift for draughtsmanship." She noted the designer's works "were so precise that they could be sent to a theatre abroad, and recreated for another production." Along with a collection of her costume and set designs and notebooks relating to her work in Nicolas Stuart Gray productions contained in the University of Bristol, the Harvard Depository of the Harvard Library holds some of Farjeon's personal papers and objects connected to her.
|
|
Erismolithus – one of the colour plates from his 1809 publication Petrificata derbiensia Petrificata Derbiensia, William Martin, 1809, retrieved 15 February 2011 Whilst still a child he appeared on the stage, both as a five-year-old dancer, and later giving recitations. It was arranged for Martin to learn draughtsmanship from James Bolton in Halifax. From 1782 to 1785 he was with a Derbyshire acting troupe when he met White Watson with whom he was to collaborate in a work on Derbyshire fossils. His work with fossils and natural history eventually led to Martin being elected a fellow of the Linnaean Society.
|
|
His mother was Judith Pottier and his father Pieter Goedaert died when he was eight years old. At the age of 18 he became a member of the Saint Lucas Guild for painters. Hardly anything is known about Goedaert’s training in draughtsmanship and painting. He was a contemporary of such painters as Adriaen van de Venne, Francois Ryckhals, Mattheus Molanus and Christoffel van den Berghe, who were active in Middelburg in the first half of the 17th century. As van den Berghe included paintings of insects in his work, it has been suggested that he might have been Goedaert’s teacher.
|
|
Hansom was born at 63 Micklegate,"Joseph Aloysius Hansom", History of York York (now #114, the Brigantes pub) to a large Roman Catholic family and baptised as Josephus Aloysius Handsom(e). He was the brother of the architect Charles Francis Hansom and the uncle of Edward J. Hansom. He was apprenticed to his father, Richard, as a joiner, but showing an early aptitude for draughtsmanship and construction, he was permitted to transfer his apprenticeship to a York architect named Matthew Philips."Joseph Aloysius Hansom (1803-1882)", York Civic Trust By 1829 he had completed his apprenticeship and became a clerk in Philips' office.
|
|
As Browne explains, "while [von Holst's] exceptional imagination and draughtsmanship were widely praised, his choice of subjects were out of step with the age and public taste. His penchant for the demonic, supernatural, and erotic led to a degree of neglect that was otherwise undeserved." However, Von Holst exhibited 49 paintings at major exhibitions in London and sold portraits to collectors. Also, Dante Gabriel Rossetti, greatly admired Von Holst's work and according to Browne "considered him a significant link between the older generation of English Romantic painters, such as Fuseli and William Blake, and the Pre-Raphaelite circle".
|
|
Jim Amaral (born 3 March 1933, Pleasanton, CA, USA) is an American-born Colombian artist known for his drawings and bronze sculptures. Over a career that spans more than half a century, Amaral has also been dedicated to painting, etchings, collages, furniture design, assemblages/objects, and artist’s books. The artist has been widely recognized for his draughtsmanship, the subtlety and refinement of his technique as well as his imaginative and cultured universe. As a constant experimenter, Amaral has developed a unique aesthetics and symbolism and therefore has never belonged to any style or movement in particular.
|
|
According to the media, G.F. Watts allegedly stated that "Young Spare has already done enough to justify his fame", while Augustus John was quoted as remarking that his draughtsmanship was "unsurpassed" and John Singer Sargent apparently thought that Spare was a "genius" who was the greatest draughtsman in England. Gaining a significant level of press attention, journalists arrived at the Spare family household in Kennington to interview him, leading to a string of articles in which he was praised as an artistic prodigy. One alleged that he aspired to eventually become the President of the Royal Academy itself, something he would quickly deny.Baker 2011. pp. 23-25.
|
|
But this modesty overlooks his constantly fresh and lively draughtsmanship, his crisp storytelling skills and his particular lifelong love affair with the female form, qualities that have kept him in constant demand... Writing about his experiences in the comics industry, his encounters with stars, presidents and models, his passions for playing music and golf, and his current success at devising crossword puzzles, Lubbers comes across as a genial, big-hearted man, who has always enjoyed his life and developing a variety of talents. This book concludes with the most thorough checklist of his work to date, 11 pages meticulously compiled by Beccattini with help from many experts.
|
|
The most widely used version of the school's coat of arms (the official one) has evolved with some changes. The silver quadrants of the escutcheon and the falcon itself have become white, the third quadrant's lion has emerged passant (walking past) while the fourth quadrant has lost its ermine (tail spots on fur). It's not clear if these small changes are attributable to artistic interpretation, simplified draughtsmanship (in the case of ermine) or possibly error (the lion). The modern coat of arms is supported by the letters "K" and "C" at the sides, and 1538, the year the college was founded at the bottom.
|
|
When Michelangelo and Giorgio Vasari visited Titian at his temporary studio in the Vatican Belvedere in November 1545, they were shown the original Farnese Danaë, then in the process of completion. Michelangelo highly praised Titian's use of colour, but later expressed reservations on his grasp of the "sound principles" of draughtsmanship and composition.Hale, 464-465 Vasari's account of Michelangelo's comment is: Vasari's account needs to be treated within context; in his view draftsmanship — disegno — was the highest achievement in art, while colour was secondary. This belief may have led to his fabrication of the anecdote in order to give more weight to his views.
|
|
The Selfe family landed at Sydney's Semi- circular Quay in January 1855, when Norman was 15 years old. One of the reasons they emigrated to the colony of New South Wales was to enable him and his brother Harry to undertake engineering apprenticeships without having to pay the heavy premium required by large firms in London. They initially resided in the nearby Rocks district in a small house that had previously been the first Sydney home of Mary Reibey, a former convict who became Australia's first businesswoman. Selfe's parents had high expectations of their children, particularly of Norman, whose ability in mathematics and draughtsmanship was apparent from a young age.
|
|
She started out as an Impressionist painter but over time moved towards a more realistic style founded in strong draughtsmanship. She became known especially for her portraits of leading New Zealand citizens, including Sir Robert Stout, Sir Frederic Truby King, Sir Michael Myers, William Edward Sanders, and the painter Dolla Richmond. In 1893, she became the first woman appointed to the council of the New Zealand Academy of Fine Arts, and she also influenced the founding of the National Art Gallery of New Zealand and its portrait collection. She was awarded the Coronation Medal in 1937, and died at her home in Wellington on 21 September 1939.
|
|
Brooks developed his interest in astronomy during a boyhood voyage to Australia, when he observed a navigator making measurements with a sextant. As a young man he worked in the Shepherd Iron Works in Buffalo, New York, gaining considerable mechanical and draughtsmanship skills: he went on to become a portrait photographer in Phelps before turning his attention to astronomy full- time.Proctor, M. 'DR. BROOKS, DISCOVERER OF 26 COMETS, NEARLY SCORES WORLD RECORD', New York Times, September 24, 1911 Brooks had a good knowledge of lens construction, and was able to design and make his own telescopes, taking a year to grind and polish the optics for his nine-inch reflector.
|
|
The works of Exekias are distinguished by their innovative compositions, precise draughtsmanship, and subtle psychological characterization, all of which transcend the inherent challenges of the black-figure technique. John Boardman, the eminent historian of Greek art, described Exekias' style as follows: "The hallmark of his style is a near statuesque dignity which brings vase painting for the first time close to claiming a place as a major art."Boardman, Athenian Black Figure Vases: A Handbook, 57. He was an innovative painter and potter, who experimented with new shapes and devised unusual painting techniques, such as the use a coral-red slip, to enhance colour.
|
|
Miller's style is variously described as surreal, gothic and nightmarish or grotesque. "Edgy and surreal, Miller combines intelligent geometric exactness with a messy, fluid sense of what it means to be human." As fellow contemporary illustrator Patrick Woodroffe comments in the introduction to Blanche and Miller's Ratspike: An illustration from Miller's Hollywood Gothic series, combining forms derived from fish and mechanical elements. According to Miller, his illustrations have a tendency to the 'frontalistic', and are also noted to often feature recurrent elements inspired by fishes, flies and robotic forms, and the gnarled haunting trees which he claims originated in an attempt to cover failures of draughtsmanship.
|
|
In Naples, his main work were twenty large frescoes illustrating the Life of St Benedict in the cloister of the monastery of Santi Severino e Sossio (now the State Archives), which are open to the elements though covered and are now greatly decayed; they present a vast variety of figures and details, with dexterous modeling and coloring. These were painted in the first years of the century. Sometimes Solario's color is crude, and he generally shows weakness of draughtsmanship in hands and feet. His tendency is that of a naturalist the heads lifelike and individual, and the landscape backgrounds better invented and cared for than in any contemporary.
|
|
The value of these is > due to the beautiful colouring added by Bernard Lory the elder. Soon after > he betook himself and his landscape factory (Prospektfabrik) to London, and > there associated himself with a certain Thomas Gowland as his partner, and > Cornelius Apostool as engraver. In the last ten years of the eighteenth > century this firm turned out a new series of views in Switzerland, France, > and Savoy, which are about on a level with their precursors, but had not the > advantage of Bernard Lory's tasteful brush. It must be acknowledged, > however, that the clean firm lines of Apostool's needle add as much to this > series as the other lost from the flaccid and insecure draughtsmanship of > Beaumont.
|
|
Although he had a clear leaning towards the polite arts, his family did not have the means to sustain him as a gentleman artist, and Blomfield at this date had no clear career. After Oxford, he spent a year travelling on the continent as a tutor before accepting an offer from his maternal uncle, Sir Arthur Blomfield, to become an articled pupil in his London practice in the autumn of 1881. He also enrolled in the Royal Academy Schools, where Richard Phené Spiers was Master of the Architectural School. He found the atmosphere in his uncle's office uncongenial and the practice's traditional Gothic Revival output hard and soulless, although he gained valuable mechanical skills at draughtsmanship and site experience.
|
|
At age 18 in September 1911, he began work as Alliott Verdon-Roe's (later Sir Alliott) personal assistant and the firm's draughtsman at A.V. Roe and Company, Avro, based at Brownsfield Mill, Manchester. Under the direction of A.V. Roe, Chadwick drafted the Avro D, a two-seater tractor biplane, the Avro E, which was converted to a floatplane, and in 1912, the Avro F, the world's first monoplane and cabin machine. He then worked on the draughtsmanship for the Avro 500, 501 and 503, which led to Avro's World War I light bomber and trainer, the Avro 504. In 1915 at age 22, Chadwick designed the Avro Pike, a twin-engined pusher biplane bomber.
|
|
Launch of the barque Vencedora, North Sands, April 1860. The founder of J.L. Thompson and Sons was Robert Thompson, the son of a Master Mariner, who was born in 1797. As a boy he had enjoyed a busy life on the River Wear, playing among the keels, and at 18 he started work as an apprentice shipwright. He spent his evenings, however, learning draughtsmanship on his kitchen floor and, by the age of 22, had built several craft in a berth below the Lambton Drops. Robert's first association with North Sands came in 1820, when he joined forces with seven business associates to build a 12 keel vessel in just six weeks.
|
|
Sloan's training consisted of his study and reproduction of works by painters such as Rembrandt, a few classes at various institutions, mentorship by Robert Henri, and his work experience as an etcher and draughtsman. The high school that Sloan attended had a good art department, but it is not known whether he gained any training there. Sloan worked several jobs in draughtsmanship, etching, and commercial artwork before he attended the Pennsylvania Academy of the Fine Arts, where he studied briefly under Thomas Anshutz. The experience Sloan gathered from his various press jobs provided him with a certain amount of knowledge and allowed room for him to explore and expand in his free time.
|
|
Falda's 1676 map of Rome Falda was sent as a boy to Rome, to work in the studio of Bernini, and his draughtsmanship caught the eye of the publisher Giovanni Giacomo de Rossi.Romamor: Giovanni Battista FaldaThe Fountains of Rome: Selected Plates Giovanni Battista Falda, Giovanni Francesco Venturini; Dover Publications, (2014). He engraved for Le fontane di Roma (Fountains in Rome)The Fountains of Rome: Selected Plates, Giovanni Battista Falda, Giovanni Francesco Venturini; Dover Publications, (2014), with engravings of Villa Ludovisi at Frascati, The Fountain of the Triton by Bernini in Rome, and one of the fountains by Carlo Maderno in the Piazza in front of St Peter's in Rome. and for Palazzi di Roma (Palaces of Rome).
|
|
Anthony's style is signified by a "naive draughtsmanship and conformity to a pattern [...] consistent with the abilities of a government official with a decent amateur grasp of form and colour". The rolls were all of roughly the same length, about , and would most likely have been presented side by side for display on a table or hung on a wall. The focal point of the whole composition is in the second, middle roll where the exceptionally well-executed painting of the Galley Subtle is placed. That this ship was intended to be the centrepiece illustration is made clear by the presence of the pinnace Mary James in the first roll, which is otherwise reserved for (sailing) ships.
|
|
In 1927 she became a part-time tutor at Elam, teaching the junior drawing classes, while at the same time taking a part-time position teaching art at Takapuna Grammar School. From 1934 she was full-time at Elam until her retirement in January 1963. Her career as a painter continued in concurrently with her teaching career, being accepted as a full "Working Member" of the Auckland Society of Arts in 1931 and exhibiting regularly with the Society. Lois was one of the founders of the New Group in 1948, a somewhat conservative group of artists concentrating on traditional form and draughtsmanship, somewhat in opposition to younger artists of the time who were pursuing modernist and abstract forms.
|
|
Chia also attributed the lack of interest to the difficult of mastering the discipline, and especially the few models willing to pose in the nude. Unafazed by negative perceptions, Brother Joseph McNally in 1987 decided to introduce life drawing and painting from a nude model inro the College art curriculum. He appreciated the immense value of knowledge of human anatomy to good draughtsmanship, and urged the then-College art lecturer S. Namaysivayam to instill good foundation training to the students of the College through the subject. Namasivayam, who himself had not drawn a life model since his art school days in the 1950s, was uncertain about his ability to teach the subject well.
|
|
Training excavations are normally run by university departments or large contractors and employ professional archaeologists to teach the basics of archaeological methodology, including photography, stratigraphy, illustration and draughtsmanship as well as survey, and finds treatment. The main element of a training excavation is the student or paying volunteer. Often the excavation site is large and rural, and can be worked on over the summer period for several weeks, with many groups arriving over the period for training. Many sites are only excavated due to this type of practice, where development is not pressing for completion and more time can be taken in the long term investigation of the site and training of new archaeologists.
|
|
In Richard Cork, "Alone in a Crowd", New Statesman, 3 May 2004, Cork describes his unsuccessful attempts to interview Roberts for his 1976 monograph Vorticism and Abstract Art in the First Machine Age (London: Gordon Fraser), and says that "One journalist who was rash enough to ring Roberts's doorbell ended up kneeling on the front step, struggling in vain to conduct a conversation with the retiring artist through his letter box." Unsurprisingly, in his eighties Roberts's draughtsmanship deteriorated, but he continued working until the end – Donkey Rides Donkey Rides, January 1980. was "pinned to his drawing board on the day on which he died [20 Jan. 1980]".John Roberts, "William Roberts RA: Watercolours, Drawings and Etchings" (Cambridge: Fitzwilliam Museum, 1985).
|
|
Portraiture, incident (but not anecdote), fantasy, landscape, and the sea were all treated by him, and if at times decorative intention and realism were imperfectly harmonised, and the execution and draughtsmanship, though bold, lacked mastery, the colour was nearly always striking and the result novel and interesting. But it was in sketches made spontaneously for themselves or as studies for more ambitious pictures that he was at his best. He worked in both oil and water-colour and possessed instinctive feeling for the proper use of each medium. Ross was familiar with the best art on the Continent, travelling much in Italy, and he was a frequent exhibitor at some of the leading exhibitions abroad, his 'Serata Veneziana' winning a diploma of honour at Dresden in 1892.
|
|
Hichberger, By the time of the American Civil War and the Crimean War photographers began to compete strongly with artists in coverage of scenes in camp, and the aftermath of battle, but exposure times were generally too long to enable them to take pictures of battles very effectively. War photography is not covered in this article. Illustrations for newspapers and magazines continued a heroic style with perhaps more confidence than painters, and Melton Prior followed British forces around Imperial troublespots for decades, working for the Illustrated London News; his scenes "helped to establish a style of action draughtsmanship which has left an indelible stamp on the art of the comic strip."Pepper, 3, (ii) Prior and other "special correspondents" such as Frederic Villiers were known as "specials".
|
|
Scornavacca was a true artist in the sense that public demand did not dictate what he painted. He received many requests from gallery customers to paint something 'in blue to match the furniture.' This made being both the artist and gallery owner difficult for Scornavacca and in true artist form he turned these incidences into a joke of some form - it was just too painful - and those closest to him are familiar with his numerous "one-liners." Scornavacca never, however, turned down a commission to do a portrait - this is where his genius draughtsmanship and ability to capture a subject's soul on canvas was stunning and sometimes haunting because he brought out something in a person that was not evident before.
|
|
His early style with its precise draughtsmanship and closeness to Rubens can be found in his oil sketch of The Triumph of David (Kimbell Art Museum) (1635) that was for a long time regarded as a work by Rubens.Kimbell Art Museum, Triumph of David , image of work and background information His Hercules between Vice and Virtue (Uffizi Gallery) shows the influence from both Rubens (particularly Rubens' style between 1610–1620) and Anthony van Dyck. The closeness of his style to that of Rubens may have led to the attribution in 1780 to van den Hoecke of the Massacre of the Innocents (now attributed to Rubens) when it was in the Liechtenstein Collection.Iain Robertson, The Art Business, Routledge, 28 Aug 2008, pp.
|
|
The architect George Dance the elder married Elizabeth Gould in 1719.page 29, George Dance Architect 1741–1825 Architect, Dorothy Stroud, 1971, Faber & Faber, Their fifth son, George, was born 1 April 1741 at the family home in Chiswell Street, Londonpages 31–32, George Dance Architect 1741–1825 Architect, Dorothy Stroud, 1971, Faber & Faber, and was educated at St Paul's School.page 16, Catalogue of the Drawings of George Dance the younger (1741–1825) and of George Dance the elder (1695–1768) from the Collection of Sir John Soane's Museum, Jill Lever, 2003, Azimuth Editions, Dance spent the six years between 1759 and 1765 studying architecture and draughtsmanship in Rome. Aged 17, he set off on his Grand Tour, sailing from Gravesend, Kent in December 1758.
|
|
His best-known paintings are April Love and The Long Engagement, both of which depict troubled couples contemplating the transience of love and beauty. They were inspired by John Everett Millais's earlier "couple" paintings but place far greater emphasis on the pathos of human inability to maintain the freshness of youthful feeling in comparison to the regenerative power of nature. Like Millais, Hughes also painted Ophelia which is housed at Toledo Museum of Art and illustrated Keats's poem The Eve of St. Agnes. Hughes's version of the latter is in the form of a secular triptych, a technique he repeated for scenes from Shakespeare's As You Like It. His works are noted for their magical, glowing colouring and delicate draughtsmanship.
|
|
Soon large oak trees, winding paths and panoramic views filled his paintings with an artful blend of minute detail and atmospheric mood. In Cleves, where he would spend the rest of his life, Koekkoek painted his most important landscapes, ranging from extensive river valleys to idyllic forest views dominated by one or more oaks. He often dramatized his trees as a means to emphasize man's paltriness in comparison to nature. By 1841, Koekkoek had earned such regard from his fellow artists that he decided to publish a book of lessons for students, Herinneringen en Mededeelingen van eenen Landschapsschilder ("Recollections and Communications of a Landscape Painter"), in which he aired the view that an artist must, above all, stay true to nature through meticulous observation and rigorous draughtsmanship.
|
|
The birds around us. Illustrated by Jill Adams and Norman Lighton. Fontein. p 11 This work resulted in new observations being made with respect the Hoopoe where male and female have different flight patterns, with indications that a reclassification might need to be made for Hoopoes into "more than their present number of species."Liversidge, R. 1990. The birds around us. Illustrated by Jill Adams and Norman Lighton. Fontein. p 21 The illustrations produced for The birds around us have been described as "the product of her outstanding draughtsmanship, coupled with a keen sense of observation and knowledge of the "natural pose" of birds." In order to keep the collection in the Northern Cape, the original paintings were purchased by the Gant family and donated to the McGregor Museum in 1991.
|
|
150px T. S. Clerk attended Basel Mission primary schools in Larteh Akuapem, the boys' boarding middle school, the Salem School at Osu and had his secondary education at Achimota School, as a member of one of the institution's earliest generations of students. He also took draughtsmanship or technical drawing lessons at the then Achimota College Engineering School where he was taught by Charles Deakin. At Achimota, Clerk's contemporaries included Kwame Nkrumah, Ghana's first president, R. P. Baffour, the first Vice-Chancellor of the Kwame Nkrumah University of Science and Technology (KNUST) as well as Charles Odamtten Easmon, the first Ghanaian surgeon. Clerk secured a government scholarship for a diploma course in architecture at the Edinburgh College of Art, a constituent college of the University of Edinburgh where he attended from October 1938 to June 1943.
|
|
Drawing : His ink drawings, on the other hand, are often very delicate and demonstrate his innate draughtsmanship : his later views of Paris, his pictures of woods or hills, are carried out in a fine, meticulous and elegant style, alternating blank areas of white paper with passages of great intricacy. The Chatterbox of the year 1933, cover project, 1931 : ink on paper, 27 x 37 cm, private coll.It must be added, too, that ever since he was a child, Patrick Bakker never stopped producing – parallel to his work – a wealth of caricatures, doodles and illustrations. Even his poems and texts, though strictly for private use, were carefully bound together by him and illustrated with imaginative scribbles, often swarming with figures and silhouettes that suggest, behind the social mockery, a fantastical and restless imagination.
|
|
He went up to London's St Martin's School of Art, where he had the tuition of a fine post-war generation of teachers who helped him to hone his draughtsmanship and other skills, and he swiftly showed a capacity for painting that drew the attention of his tutors and peers. On graduating he was offered and accepted a post-graduate place at the Royal College of Art, where in his second year he was awarded a Royal Scholarship and was a contemporary of a number of now better-known names including David Hockney. He was establishing a reputation for bolshiness with his teachers, and in later years he admitted, a degree of arrogance. It did not stop his talent being appreciated by the staff including his director Carel Weight.
|
|
Jonson's follower Richard Brome also took a swipe at Jones in The Weeding of Covent Garden. Over 450 drawings for the scenery and costumes survive, demonstrating Jones's virtuosity as a draughtsman and his development between 1605 and 1609 from initially showing "no knowledge of Renaissance draughtsmanship" to exhibiting an "accomplished Italianate manner"Orgel, Steven and Strong, Roy C., Inigo Jones and the theatre of the Stuart Court, 1973 and understanding of Italian set design, particularly that of Alfonso and Giulio Parigi. This development suggests a second visit to Italy, circa 1606,Gotch, A. J., Inigo Jones, 1968 influenced by the ambassador Henry Wotton. Jones learned to speak Italian fluently and there is evidence that he owned an Italian copy of Andrea Palladio's I quattro libri dell'architettura with marginalia that refer to Wotton.
|
|
A 1983 exhibition at the Victoria and Albert Museum represented "the first occasion when a group of miniatures has been assembled which can be attributed to Levina Teerlinc". Since the exhibition also performed the same function for her predecessor as court miniaturist, Lucas Hornebolte, it was especially useful in developing consensus on attributions. Five miniatures and two illuminated manuscript sheets were in the group, including a miniature of Lady Katherine Grey from the V&A;, and others from the Yale Center for British Art, the Royal Collection (both of these possibly of the young Elizabeth I, and private collections). Strong considered there was "a convincing group of miniatures that emerge as the work of a single hand, one whose draughtsmanship is weak, whose paint is thin and transparent and whose brushwork loose".
|
|
By Peckitt's time, the medieval art of manufacturing stained glass had been lost and “all that survived were the painting of enamels on to glass and the process of silver staining”. Although most of the work produced by Peckitt was painted glass he did experiment with stained glass and produced windows incorporating it, unlike his contemporaries. He “realised that colour is the sine qua non of Stained Glass”.Armitage, E. Liddall, "Stained Glass", Leonard Hill (Books) Limited, 1959 He continued these experiments throughout his life and in 1780 he patented an invention "for blending Coloured and Stained Glass". Although his contributions to the technical development of the craft have been well recognised and documented his draughtsmanship has sometimes been criticised;” his work has little merit in either design or colour”.
|
|
His works only attracted occasional interest in the local press, for instance when he was noted for his accurate and precise draughtsmanship by the Norwich Mercury, in an article dated 14 August 1824, which praised the "neat delineation" of his engravings. Following the announcement of his death in 1874, the Norfolk News wrote: "Mr. Ninham was at all times ready to impart his knowledge to others, and his kind and genial manner will, apart from his artistic abilities, cause him to be long remembered by all who had the pleasure of his acquaintance". John Moray-Smith, Needham Gate (1937) The art historian Harold Day, writing in the 1960s, described Ninham as having a "pleasing painter with a delicate sense of colour and a controlled touch", and the art historian Josephine Walpole regards Ninham as more naturally talented than his father.
|
|
The Society of Graphic Art (SGA) was founded in 1919 by Frank Lewis Emanuel, whose idea it was, in collaboration with Frank Brangwyn, RA. “They met one evening at Mr. Emanuel's house to discuss the idea, and a Provisional Committee to promote the scheme was the result. To all intents and purposes the Society of Graphic Art was born there and then…” Brangwyn was appointed President, and Emanuel Honorary Secretary. The Society was formed > for the purpose of holding periodical exhibitions of all the various forms > of black and white art in a comprehensive and dignified manner. Its aim will > be to firther the interests of British and Colonial artists who produce, in > monochrome, examples of sound draughtsmanship in pencil, pen-and-ink, > monotype, silver-point, dry-point, and in the various methods of engraving > on metal, wood, stone, etc.
|
|
In 1680 King Charles II gave two of the rolls to Samuel Pepys, who had them cut up and bound as a single volume book, which is now in the Pepys Library at Magdalene College, Cambridge. The third roll remained in the royal collection until it was given by King William IV to his daughter Lady Mary Fox, who sold it to the British Museum in 1858; it is now owned by the British Library. The Anthony Roll is the only known fully illustrated inventory of ships of the English navy in the Tudor period. As the work of a successful state official in 16th century England, the artistic value of the Anthony Roll has been described as being characterised by "naive draughtsmanship and conformity to a pattern" though its artistic aspects display "a decent amateur grasp of form and colour".
|
|
In the introduction Florence touches upon her involvement in the book's preparation for publication: "It is no doubt advantageous in botanical work … that the person who makes the original drawing from nature should also lithograph the plates and indicate the colours to be used by the colorist, for, by this means, the work passes through fewer hands and is more likely to turn out accurate. I have therefore pursued this method throughout the present work, and have, besides, touched up the colouring of every plate sent out, numbering nearly 9,000" Bound volumes of Woolward's paintings of orchids and fungi remain with the heirs of the Marquess. Her later works for the Natural History Museum are showpieces of draughtsmanship and botanical accuracy. Her work on elms and poplars concluded in about 1908, and her landscapes somewhat earlier.
|
|
Calman's trademark character was the angst-ridden "little man", who strongly reflected Calman's own lifelong depressions (in Who's Who he listed his recreations as "brooding and worrying"). Topics focused on the little man's anxieties about health, death, God, achievement, morality and women, a style of humour that his Times obituary described as "of the black, self-deprecating Jewish variety, in the style of his New York heroes, James Thurber, S. J. Perelman and Woody Allen".Mel Calman - Obituary, The Times, London, February 12, 1994 A small- format single-frame "pocket cartoon", the little man series used hand-lettered text in soft pencil and minimalist detail, a technique he had evolved due to early weaknesses in draughtsmanship. Calman is commemorated by a historic plaque on his former residence at 64 Linthorpe Road, Hackney; where he lived from 1931 until 1957.
|
|
While he had produced unsolicited but detailed designs for the theoretical reconstructions of Glasgow Cathedral, Rosslyn Chapel, Trinity College Kirk and Melrose Abbey he had never designed a new building. The Royal Institution, Edinburgh, drawn by George Meikle Kemp, 1837-1839 In order to support himself and his new family he became a cabinet-maker, but though he made impressively-crafted furniture he was not noted for his business acumen or his ability to promote himself and so he was largely unsuccessful. Through long practice he was skilled at draughtsmanship, and drawings he made of Melrose Abbey were exhibited in the Scottish Academy Exhibition of 1830. They were thought to be “exceedingly accurate in outline, minute in detail, and so exquisitely finished that they attracted considerable attention” and helped to make his name as an architectural illustrator.
|
|
Lucraft's prowess with the chisel, and his campaigning for the improvement of the education of apprentices, led him to be asked by the Royal Society of Arts to attend the Paris Universal Exhibition Exposition Universelle (1878), and report on his findings in respect of the training of workers in the furniture trade. He found matters far better arranged in France for the production of quality furniture and proposed wholesale changes to the apprentice system, many of which were later adopted. He was anxious that draughtsmanship should be a part of the training, as he himself always drew out his own work, and felt men were disadvantaged in their skills if they could not do the whole piece as a craftsman. He proposed the idea of a school or college for the furniture trade apprentices and this idea eventually became the London School of Furniture, now part of London Metrolitan University.
|
|
Lunenfeld compared Cameron's black and white pen-and-ink drawings to those of the English artist Aubrey Beardsley, noting that she was capable of a "ferocious, paradoxical line work—simultaneously precise and seductively unrestrained—that functions as both figurative depiction and unabashed emotional talisman". He believed that both "passion and craft" could be seen in her draughtsmanship, but that it also displayed "a guilelessness that is hard to relate to in our post post- ironic moment". He also discussed her lost multi-coloured watercolour paintings that were featured in Harrington's The Wormwood Star, suggesting that they were akin to a storyboard for an unrealised film by the director Alejandro Jodorowsky. Cameron's biographer Spencer Kansa was of the opinion that Cameron exhibited parallels with the Australian artist and occultist Rosaleen Norton, both in terms of her physical appearance and the similarities between their artistic styles.
|
|
Farr saw the 1946 colour version as poorer than the black and white original; he said it had lost its "vibrancy" and "atmosphere", and that the new depiction of the Congolese landscape was unconvincing and more like a European zoo than the "parched, dusty expanses of reality". Peeters took a more positive attitude towards the 1946 version, commenting that it contained "aesthetic improvements" and "clarity of composition" because of Hergé's personal development in draughtsmanship, as well as an enhancement in the dialogue, which had become "more lively and fluid". In his psychoanalytical study of the series, Jean-Marie Apostolidès highlighted that in the Congolese adventure, Tintin represented progress and the Belgian state was depicted as a model for the natives to imitate. In doing so, he argued, they could become more European and thus civilised from the perspective of Belgian society, but that instead they ended up appearing as parodies.
|
|
In 1900 Loy attended the Munich Künstlerinnenverein, or the Society of Female Artists' School, which was connected with the fine art school of Munich University, it was there that she claimed she learned draughtsmanship. Upon returning to the stifling environment of her family home in London, after the relative freedom she found in Munich, Loy suffered from "headaches, respiratory problems, and generalized weakness" which was then diagnosed as neurasthenia – "a catch-all term for a variety of psychosomatic complaints suffered by artistic or intellectual women and a few sensitive men" during that time period. Around the age of eighteen, Loy convinced her parents to allow her to continue her education in Paris with a chaperone – a woman called Mrs Knight. After much persuasion, she was allowed to move to Montparnasse, which in 1902 had not yet been urbanised, and attend the Académie Colarossi as an art student.
|
|
As part of its duty of maintaining and building harbours and fortifications, a department of the Board was in place to undertake surveys and to produce maps. This department developed into the Ordnance Survey, which remains in place today as Britain's national mapping agency.The purchase of the Ramsden theodolite in 1791, for use in the Principal Triangulation of Great Britain, is now taken as the starting point of the Ordnance Survey The principal offices and drawing room of the Survey were in the Tower of London; this not only accommodated surveyors and draughtsmen, but also functioned as a place where cadets (some as young as eleven or twelve) were trained in mathematics and draughtsmanship by leading practitioners. In 1841 a fire prompted the Survey to move to new premises in Southampton; following the demise of the Board, it became part of the War Department.
|
|
The rounded forms and luminous colours of Perugino, the lifelike portraiture of Ghirlandaio, the realism and lighting of Leonardo and the powerful draughtsmanship of Michelangelo became unified in the paintings of Raphael. In his short life he executed a number of large altarpieces, an impressive Classical fresco of the sea nymph, Galatea, outstanding portraits with two popes and a famous writer among them, and, while Michelangelo was painting the Sistine Chapel ceiling, a series of wall frescoes in the Vatican chambers nearby, of which the School of Athens is uniquely significant. This fresco depicts a meeting of all the most learned ancient Athenians, gathered in a grand classical setting around the central figure of Plato, whom Raphael has famously modelled upon Leonardo da Vinci. The brooding figure of Heraclitus who sits by a large block of stone, is a portrait of Michelangelo, and is a reference to the latter's painting of the Prophet Jeremiah in the Sistine Chapel.
|
|
The scope and scale of the scheme is purposely > large, as it is desired to form, for the first time in this country, a > powerful and thoroughly comprehensive body representing what has truly been > described as the most potent and varied side of British art. According to a respected art journal in 1921 “The foundation of a body to protect the existence of draughtsmanship was never more needed than at the present time.” The editorial welcomed the formation of the SGA, as part of “a renascent school of thought”, and praised the inaugural exhibition, held at the RBA Galleries in Suffolk Street, London on 1–29 January, 1921. By international standards the SGA was a late starter: the Canadian Society of Graphic Art was formed in 1904, and the Society of American Graphic Artists in 1915. Over the years the “black and white” Society adopted the use of colour and broadened the range of techniques employed by its artists.
|
|
John Harris of the Otago University Library wrote in the catalogue that O'Brien's 'combination of skilled draughtsmanship and genuine feeling for the pattern and colour of our hills and bush and harbour give [his works] historical as well as artistic significance'. His 'Designs of R.A.Lawson', now in the Otago Settlers Museum Dunedin, is often reproduced and his 'Dunedin from the Junction' 1869, in the same repository, is well known. His 'Water of Leith Brewery' of about 1865 (also in the Otago Settlers Museum) is an excellent example of his urban vision while 'Lawyer's Head from Forbury Head...' of 1870, in the collection of the Dunedin Public Art Gallery represents his pure landscape work somewhere near its best. He is represented in the State Library of Victoria, Melbourne, the National Gallery of Victoria Melbourne, and in all the major New Zealand public collections, but most notably in the Otago Settlers Museum and the Hocken Collections, Dunedin.
|
|
Having made exceptionally rapid progress, he was soon employed by his master to introduce figures into his landscape compositions, and he rendered a similar service to Hobbema, Ruisdael, Verboom and other contemporary artists. According to Houbraken, he died while in collaboration with Jan van der Heyden and Frederik de Moucheron, painting animals on their paintings. Adriaan vanden Velde biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature Agony in the Garden His favourite subjects were scenes of open pasture land, with sheep, cattle and goats, which he executed with dexterity, with much precision of touch and truth of draughtsmanship, and with clear silvery colouring. He painted a few small winter scenes with skaters, and several religious subjects, such as the Descent from the Cross, for a Roman Catholic hidden church in Amsterdam and The Migration of Jacob (1663, Wallace Collection).
|
|
The rounded forms and luminous colours of Perugino, the lifelike portraiture of Ghirlandaio, the realism and lighting of Leonardo, and the powerful draughtsmanship of Michelangelo became unified in the paintings of Raphael. In his short life he executed a number of large altarpieces, an impressive Classical fresco of the sea nymph, Galatea, outstanding portraits with two popes and a famous writer among them, and, while Michelangelo was painting the Sistine Chapel ceiling, a series of wall frescoes in the Raphael Rooms of the Apostolic Palace nearby, of which the School of Athens (1509–11) in the Stanza della Segnatura is uniquely significant. This fresco depicts a meeting of all the most learned ancient Athenians, gathered in a grand classical setting around the central figure of Plato, whom Raphael has famously modelled upon Leonardo da Vinci. The brooding figure of Heraclitus who sits by a large block of stone, is a portrait of Michelangelo, and is a reference to the latter's painting of the Prophet Jeremiah in the Sistine Chapel.
|
|
This figure (a) is used again two times, higher each time; this section is repeated" . "Hermeneutic reading of a musical text is based on a description, a 'naming' of the melody's elements, but adds to it a hermeneutic and phenomenological depth that, in the hands of a talented writer, can result in genuine interpretive masterworks.... All the illustrations in Abraham's and Dahlhaus's Melodielehre (1972) are historical in character; Rosen's essays in The Classical Style (1971) seek to grasp the essence of an epoch's style; Meyer's analysis of Beethoven's Farewell Sonata (1973: 242–68) penetrates melody from the vantage point of perceived structures." He gives as a last example the following description of Franz Schubert's Unfinished Symphony: "The transition from first to second subject is always a difficult piece of musical draughtsmanship; and in the rare cases where Schubert accomplishes it with smoothness, the effort otherwise exhausts him to the verge of dullness (as in the slow movement of the otherwise great A minor Quartet). Hence, in his most inspired works the transition is accomplished by an abrupt coup de théâtre; and of all such coups, no doubt the crudest is that in the Unfinished Symphony.
|
|
Samuel Pepys Cockerell, advisor to the Governors of the Foundling Hospital, a contemporary of James Burton, commended James Burton's architectural excellence: > Without such a man, possessed of very considerable talents, unwearied > industry, and a capital of his own, the extraordinary success of the > improvement of the Foundling Estate could not have taken place... By his own > peculiar resources of mind, he has succeeded in disposing of his buildings > and rents, under all disadvantages of war, and of an unjust clamour which > has repeatedly been raised against him. Mr Burton was ready to come forward > with money and personal assistance to relieve and help forward those > builders who were unable to proceed in their contracts; and in some > instances he has been obliged to resume the undertaking and complete himself > what has been weakly and imperfectly proceeded with.... In 1815, James Burton took Decimus to Hastings, where the two would later design and build St Leonards-on-Sea and, in 1816, Decimus commenced work in James Burton's office. Whilst working for his father, Decimus was present in the design and construction of Regent Street St. James. Simultaneously, Maddox taught Decimus architectural draughtsmanship, including the details of the five orders.
|
|
The emphasis in teaching at the Slade was on technique and draughtsmanship, to which Bomberg was well suited — winning the Tonks Prize for his drawing of fellow student Rosenberg in 1911. His own style was rapidly moving away from these traditional methods, however, particularly under the influence of the March 1912 London exhibition of Italian Futurists that exposed him to the dynamic abstraction of Francis Picabia and Gino Severini, and Fry's second Post Impressionist exhibition in October of the same year, which displayed the works of Pablo Picasso, Henri Matisse and the Fauvists alongside those of Wyndham Lewis, Duncan Grant and Vanessa Bell. Bomberg's response to this became clear in paintings such as Vision of Ezekiel (1912), in which he proved "he could absorb the most experimental European ideas, fuse these with Jewish influences and come up with a robust alternative of his own." His dynamic, angular representations of the human form, combining the geometrical abstraction of cubism with the energy of the Futurists, established his reputation as a forceful member of the avant-garde and the most audacious of his contemporaries; bringing him to the attention of Wyndham Lewis (who visited him in 1912) and Filippo Marinetti.
|
|
Bomberg's superb draughtsmanship was expressed also in a lifelong series of portraits, from the early period of his Botticelli-like "Head of a Poet" (1913), a pencil portrait of his friend the poet Isaac Rosenberg for which he won the Henry Tonks Prize at the Slade, to his "Last Self-Portrait" (1956), painted at Ronda, a meditation also on Rembrandt. Unable to get a teaching position after World War II in any of the most prestigious London art schools, Bomberg became the most exemplary teacher of the immediate post-war period in Britain, working part-time in a bakery school at the Borough Polytechnic (now London South Bank University) in the working- class borough of Southwark. Though his students received no grant and were awarded no diploma, he attracted devoted and highly energetic pupils, with whom he exhibited on an equal basis in London, Oxford, and Cambridge in two important artists' groupings in which he was the leading light, the Borough Group (1946–51) and the Borough Bottega (1953–55). He developed a deeply considered philosophy of art, set out in several pieces of writing, which he summed up in the phrase, "The Spirit in the Mass".
|
|
Almost all of her work involved traditional copper wheel engraving, with oil and carborundum powder as abrasive. Her work is "marked by elegant stylised design balanced with beautifully observed natural detail". Her skill in lettering and draughtsmanship brought her to the attention of Jan Tarnowski, director of the Scottish Craft Centre, whose advice and guidance were instrumental in bringing her many commissions. These works attracted widespread recognition. A set of engraved goblets, representing ten of the heraldic Queen’s Beasts (comprising the lion of England, the griffin of Edward III, the falcon of the Plantagenets, the black bull of Clarence, the yale of Beaufort, the white lion of Mortimer, the red dragon of Wales, the unicorn of Scotland, and the white horse of Hanover), was presented to Her Majesty the Queen by the High Constables and the Guard of Honour of Holyrood House for the Coronation in 1953. Several of Geissler’s works are in the ownership of the British Royal Family, and several are in collections, at the National Museum of Scotland, Edinburgh, Kelvingrove Art Gallery and Museum, and the Corning Museum of Glass, New York.
|
|