Belgian 1860-1949 Belgian painter, printmaker and draughtsman. No single label adequately describes the visionary work produced by Ensor between 1880 and 1900, his most productive period. His pictures from that time have both Symbolist and Realist aspects, and in spite of his dismissal of the Impressionists as superficial daubers he was profoundly concerned with the effects of light. His imagery and technical procedures anticipated the colouristic brilliance and violent impact of Fauvism and German Expressionism and the psychological fantasies of Surrealism. Ensor most memorable and influential work was almost exclusively produced before 1900, but he was largely unrecognized before the 1920s in his own country. His work was highly influential in Germany, however: Emil Nolde visited him in 1911, and was influenced by his use of masks; Paul Klee mentions him admiringly in his diaries; Erich Heckel came to see him in the middle of the war and painted his portrait (1930; Cologne, Wallraf-Richartz-Mus.); Alfred Kubin owned several of his prints, while Marc Chagall and George Grosz also adapted certain elements from Ensor. All the artists of the Cobra group saw him as a master. He influenced many Belgian artists including Leon Spilliaert, Rik Wouters, Constant Permeke, Frits van den Berghe, Paul Delvaux and Pierre Alechinsky.  Related Paintings of James Ensor :. | Demons Trashing Angels and Archangels | Calvary | Self-Portrait,Called The Little Head | The Adoration of the Virgin | Christ Calming the Storm |
Related Artists:
Jean-Louis Voille
painted Ivan Perfilevich Elagin in 1789
Callisto Piazza
(1500-1561) was an Italian painter. Callisto, a member of the Piazza family of painters, was born in Lodi, Lombardy. In 1523 he was working in Brescia. His first dated and signed work is from the following year, and shows a typical Brescian style. This style was then emerging, and included artists such as Romanino and Moretto. Piazza shows influences from contemporaries such as Dosso Dossi and Ludovico Mazzolino of the Ferrarese school, as well as Giovanni Agostino da Lodi. In 1526-1529 Piazza worked in Val Camonica, at Erbanno, Borno, Breno, Esine and Cividate Camuno. In 1529 he returned to his native Lodi where he formed a workshop with his brothers Cesare and Scipione (died 1552). In 1538, while in Crema, he married the noblewoman Francesca Confalonieri. Later Callisto moved to Milan, where he received numerous commissions, such as the decoration of the San Girolamo chapel in Santa Maria Presso San Celso (1542); the decoration of the refectory of the convent of Sant'Ambrogio (1545); the frescoes for the Saletta Negra in the Castello Sforzesco; and the decoration of the Simonetta chapel in San Maurizio al Monastero Maggiore (1555), largely executed with the assistance of his son Fulvio. He also worked in Lodi at the Incoronata (1454), Novara, at the Abbey of Chiaravalle and other areas of Lombardy.
Georges Seurat
French Pointillist Painter, 1859-1891 Georges-Pierre Seurat (2 December 1859 ?C 29 March 1891) was a French painter and draftsman. His large work Sunday Afternoon on the Island of La Grande Jatte, his most famous painting, altered the direction of modern art by initiating Neo-impressionism, and is one of the icons of 19th century painting Seurat took to heart the color theorists' notion of a scientific approach to painting. Seurat believed that a painter could use color to create harmony and emotion in art in the same way that a musician uses counterpoint and variation to create harmony in music. Seurat theorized that the scientific application of color was like any other natural law, and he was driven to prove this conjecture. He thought that the knowledge of perception and optical laws could be used to create a new language of art based on its own set of heuristics and he set out to show this language using lines, color intensity and color schema. Seurat called this language Chromoluminarism. His letter to Maurice Beaubourg in 1890 captures his feelings about the scientific approach to emotion and harmony. He says "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of color and of line, considered according to their dominance and under the influence of light, in gay, calm or sad combinations". Seurat's theories can be summarized as follows: The emotion of gaiety can be achieved by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm is achieved through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness is achieved by using dark and cold colors and by lines pointing downwards.