(Romanian pronunciation: [nikoˈla.e toˈnit͡sa]; April 13, 1886 - February 27, 1940) was a Romanian painter, engraver, lithographer, journalist and art critic. Drawing inspiration from Post-impressionism and Expressionism, he had a major role in introducing modernist guidelines to local art.
Born in Bârlad, he left his home town in 1902 in order to attend the Iaşi National School of Fine Arts, where he had among his teachers Gheorghe Popovici and Emanoil Bardasare.The following year he visited Italy together with University of Bucharest students of archeology under the direction of Grigore Tocilescu.During that period, together with some of his fellow students, Tonitza painted the walls of Grozeşti church.
In 1908 he left for Munich, where he attended the Royal Academy of Fine Arts; he began publishing political cartoons in Furnica, and contributing art criticism articles to Arta Română. Tonitza spent the following three years in Paris, where he visited artists' studios, and studied famous paintings.Although the young artist's creation would initially conform to the prevalent style, his gift for colour and his personal touch would eventually lead him towards experiment.Throughout his life, he remained committed to the Munich School, hailing its innovative style over the supposedly "obscure imitators of Matisse".
Related Paintings of Nicolae Tonitza :. | Naked | Nicolae Tonitza | Tataroaica in cerdac | Natura statica cu fructe | Nicolae Tonitza |
Related Artists:Ulrich apt the Elder
Augsburg 1455/60-1532Atkinson Grimshaw
Atkinson Grimshaw Gallery
Grimshaw's primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he put forth landscapes of accurate color and lighting, and vivid detail. He often painted landscapes that typified seasons or a type of weather; city and suburban street scenes and moonlit views of the docks in London, Leeds, Liverpool, and Glasgow also figured largely in his art. By applying his skill in lighting effects, and unusually careful attention to detail, he was often capable of intricately describing a scene, while strongly conveying its mood. His "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene."
Dulce Domum (1855), on whose reverse Grimshaw wrote, "mostly painted under great difficulties," captures the music portrayed in the piano player, entices the eye to meander through the richly decorated room, and to consider the still and silent young lady who is meanwhile listening. Grimshaw painted more interior scenes, especially in the 1870s, when he worked until the influence of James Tissot and the Aesthetic Movement.
On Hampstead Hill is considered one of Grimshaw's finest, exemplifying his skill with a variety of light sources, in capturing the mood of the passing of twilight into the onset of night. In his later career this use of twilight, and urban scenes under yellow light were highly popular, especially with his middle-class patrons.
His later work included imagined scenes from the Greek and Roman empires, and he also painted literary subjects from Longfellow and Tennyson ?? pictures including Elaine and The Lady of Shalott. (Grimshaw named all of his children after characters in Tennyson's poems.)
In the 1880s, Grimshaw maintained a London studio in Chelsea, not far from the comparable facility of James Abbott McNeill Whistler. After visiting Grimshaw, Whistler remarked that "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures." Unlike Whistler's Impressionistic night scenes, however, Grimshaw worked in a realistic vein: "sharply focused, almost photographic," his pictures innovated in applying the tradition of rural moonlight images to the Victorian city, recording "the rain and mist, the puddles and smoky fog of late Victorian industrial England with great poetry."
Some artists of Grimshaw's period, both famous and obscure, generated rich documentary records; Vincent Van Gogh and James Smetham are good examples. Others, like Edward Pritchett, left nothing. Grimshaw left behind him no letters, journals, or papers; scholars and critics have little material on which to base their understanding of his life and career.
Grimshaw died 13 October 1893, and is buried in Woodhouse cemetery, Leeds. His reputation rested, and his legacy is probably based on, his townscapes. The second half of the twentieth century saw a major revival of interest in Grimshaw's work, with several important exhibits of his canon.August Peters
painted Cottage with lake and mountains in 1847