(8 May 1850 ?C 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira, the countrymen that are a kind of a symbol of the rural areas of the São Paulo state. While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiet?? River. Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters. He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting. He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.   Related Paintings of Almeida Junior :. | Votorantim Falls | Votorantim Falls | Tightening the Harness | Allegory | Repouso |
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Lucas Cranach
1472-1553 German Lucas Cranach Locations Lucas Cranach the Elder was born at Kronach, Franconia. He was apparently trained by his father, Hans, a painter, and from 1495 to 1498 undertook work at Kronach for Coburg and Gotha. There is evidence that Cranach resided in Vienna between about 1500 and 1504. In 1504 he married Barbara Brengbier of Gotha; they had three daughters and two sons, Hans (died 1537) and Lucas the Younger (1515-1586), both of whom were painters. In 1505 Cranach established residence at Wittenberg, where he was court painter to three successive electors: Frederick the Wise, John the Constant, and John Frederick the Magnanimous. Cranach was a prosperous and respected citizen. He owned several houses and land, held the office of councilor, and was a burgomaster. He also worked for other princely patrons and was a follower and lifelong friend of Martin Luther. In 1550 Cranach followed John Frederick the Magnanimous to Augsburg, where the elector was in exile, and in 1552 accompanied him to Weimar. Cranach died in Weimar on Oct. 16, 1553.
Laszlo Moholy-Nagy
Hungarian 1895-1946 was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism. He was a strong advocate of the integration of technology and industry into the arts. Moholy-Nagy was born L??szl?? Weisz to a family of mixed Jewish and Hungarian heritage. His cousin was Georg Solti. He changed his German-Jewish surname to the Magyar surname of his uncle, Nagy. Later, he added the pseudonym Moholy to his surname, after the town in which he grew up (Mol, today in Serbia). After studying law in Budapest and serving in World War I, Moholy-Nagy was in Vienna in 1919, where he first discovered constructivism in exhibitions of works of Malevich, Naum Gabo and El Lissitzky. In 1923, he replaced Johannes Itten as the instructor of the preliminary course at the Bauhaus. This effectively marked the end of the school's expressionistic leanings and moved it closer towards its original aims as a school of design and industrial integration. The Bauhaus became known for the versatility of its artists, and Moholy-Nagy was no exception. Throughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, and industrial design. One of his main focuses was on photography. He coined the term "the New Vision" for his belief that photography could create a whole new way of seeing the outside world that the human eye could not. His theory of art and teaching was summed up in the book The New Vision, from Material to Architecture. He experimented with the photographic process of exposing light sensitive paper with objects overlaid on top of it, called photogram. While at the Bauhaus, Moholy's teaching in diverse media -- including painting, sculpture, photography, photomontage and metal -- had a profound influence on a number of his students, including Marianne Brandt. He was editor of the art and photography department of the European avant-garde magazine International Revue i 10 from 1927 to 1929. Moholy-Nagy resigned from the Bauhaus in 1928 and worked in film and stage design in Berlin, where he was required to submit his work to be censored, and then in Paris and Holland before moving to London in 1935. In England, Moholy-Nagy formed part of the circle of ??migr?? artists and intellectuals who based themselves in Hampstead. Moholy-Nagy lived for a time in the Isokon building with Walter Gropius for eight months and then settled in Golders Green. Gropius and Moholy-Nagy planned to establish an English version of the Bauhaus but could not secure backing, and then Moholy-Nagy was turned down for a teaching job at the Royal College of Art. Moholy-Nagy made his way in London by taking on various design jobs including Imperial Airways and a shop display for men's underwear. He photographed contemporary architecture for the Architectural Review where the assistant editor was John Betjeman who commissioned Moholy-Nagy to make documentary photographs to illustrate his book An Oxford University Chest. In 1936, he was commissioned by fellow Hungarian film producer Alexander Korda to design special effects for Things to Come. Working at Denham Studios, Moholy-Nagy created kinetic sculptures and abstract light effects, but they were rejected by the film's director. At the invitation of Leslie Martin, he gave a lecture to the architecture school of Hull University. In 1937, at the invitation of Walter Paepcke, the Chairman of the Container Corporation of America, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus. The philosophy of the school was basically unchanged from that of the original, and its headquarters was the Prairie Avenue mansion that architect Richard Morris Hunt designed for department store magnate Marshall Field. Unfortunately, the school lost the financial backing of its supporters after only a single academic year, and it closed in 1938. Paepcke, however, continued his own support, and in 1939, Moholy-Nagy opened the School of Design. In 1944, this became the Institute of Design. He authored an account of his efforts to develop the curriculum of the School of Design in his book Vision in Motion. Moholy-Nagy died of leukemia in Chicago in 1946.
Christian Molsted
(1862-1930) was a Danish artist who specialized in marine painting. He is best known for his painting of the frigate Niels Juel during the Battle of Helgoland on 9 May 1864. Born in Dragør on 15 October 1862, Mølsted was the son of fisherman Andreas Adolf Nikolaj Mølsted and Ane Hans-Nielsdatter. With financial support from a relative, he completed his school education in Copenhagen at Det tekniske Selskab where he graduated in 1879. After sailing to Madeira that summer on the frigate Jylland, he entered the Danish Academy in October 1880 with mentors such as Frederik Vermehren, Jorgen Roed, Julius Exner and Carl Bloch. During his studies, Mølsted travelled to Paris and London where he was able to observe contemporary art. He graduated from the Academy with a painting diploma in January 1885. He first exhibited in December 1884 and thereafter at the spring exhibitions. In 1889, he was awarded the Neuhausen Prize for his Skibe i Havnen ved Larsens Plads. His subjects are for the most part taken from the coasts around Copenhagen or in Jutland. Among the artist favorite subjects were the heroic battles of captains Tordenskjold and Willemoes. Historical details, as well as detailed information about the ships, was provided for the paintings by Otto Dorge, a Dragør local expert. Later in life, he also made genre paintings. Mølsted's works were widely appreciated for his perfectionist approach, his attention to historical detail and his ability to bring things to life. He died on 10 May 1930 in Dragør.