Related Paintings of unknow artist :. | People ride horses | Portrait of Dauphin Louis Charles of France | Landscape | David is creative chants | the otjimbengue british volunteer artillery |
Related Artists:
Louis Eilshemius
1864-1941 Louis Eilshemius Gallery Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League of New York. He subsequently studied under Bouguereau at the Acad??mie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life. His early landscapes, which show the influence of the Barbizon school and of Corot, George Inness and Albert Pinkham Ryder, gained him little recognition from critics or from the public. Around 1910, the element of fantasy in his work became more pronounced and his technique became coarser; henceforth, he often painted on cardboard instead of canvas. As his works became more idiosyncratic, so did his behavior, and he developed an unsettling habit of visiting galleries and loudly condemning the works on display. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air. His paintings of New York rooftops are as lyrical as his pastoral scenes, and like them are often bounded by sinuous "frames" he painted onto his pictures. Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his numerous, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures: suspecting that the length of his name was responsible for his neglect, in about 1890 he began signing his paintings "Elshemus" (he reverted back to the original spelling in 1913). On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: "Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages", as well as world-class athlete and marksman, "Spirit-Painter Supreme", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan. He was not without supporters, however. He was championed by Marcel Duchamp, who "discovered" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Soci??t?? Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937. The remainder of his life was dedicated to self-promotion, and in 1931 he took to referring to himself as "Mahatma". Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941. Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State.
Orozco, Jose Clemente
Mexican, 1883-1949 Mexican mural painter. When he lost his left hand at age 17, he abandoned architectural studies for painting, pursuing Mexican themes. As a caricaturist for a revolutionary paper, he explored Mexico City's slums and painted a series of watercolours, House of Tears, on the lives of prostitutes. The reaction of moralists forced him to flee to the U.S. in 1917, but in 1919 the new government of Álvaro Obreg??n welcomed him back, and he joined Diego Rivera and David Alfaro Siqueiros in creating large-scale murals for public buildings, in which he continued his radical social commentary. Again forced to abandon Mexico in 1927, he worked until 1934 in the U.S., where his style evolved and matured in murals from coast to coast. In 1934, his international reputation firmly established, he returned to Mexico and embarked on his most technically impressive and emotionally expressive murals, including Catharsis (1934),
Marinus van Reymerswaele
Flemish Northern Renaissance Painter, ca.1490-1567 South Netherlandish painter. He has been identified with Marino di Sirissea and with Marinus de Seeu, painter of Romerswaelen, mentioned respectively by Guicciardini and van Mander. He could quite possibly have been Moryn Claessone, native of Zeeland, who enrolled as a pupil of 'Simon the glassmaker' in the Antwerp Guild of St Luke in 1509. In that case he would have been born c. 1490-95. Claes van Ziericsee, an artist who became master of the Guild in 1475, is assumed to have been his father though this cannot be proved conclusively. Van Reymerswaele's work corresponds closely with Antwerp painting of the beginning of the 16th century