(1904 - 1931) was an Armenian-American painter. He was the oldest of three children born to a Christian Armenian family in Constantinople. As a teenager, he survived the Armenian Genocide. Manookian immigrated to the United States in 1920, at the age of 16, and studied illustration at the Rhode Island School of Design. He also took classes at the Art Students League of New York before enlisting in the United States Marine Corps in 1923. While serving in the U. S. Marine Corps he was assigned as a clerk to the author and historian, Major Edwin North McClellan. In 1925, McClellan and Manookian were transferred to Pearl Harbor. The latter supplied illustrations for Leatherneck Magazine and produced about 75 ink drawings for McClellanes history of the United States Marine Corps, which was never published. These drawings are now in the collection of the Honolulu Academy of Arts. In 1927, Manookian was honorably discharged from the Marine Corps, but remained in Hawaii. He worked for the Honolulu Star-Bulletin and for Paradise of the Pacific. His paintings are rare and highly valued due to his early death, by suicide, in 1931, and fewer than 30 are in existence. The Honolulu Academy of Arts held a memorial exhibition shortly after Manookianes death and a retrospective exhibition titled Meaning in Color/Expression in Line: Arman Manookianes Modernism Nov. 4, 2010 through April 24, 2011. The Bishop Museum and the Honolulu Academy of Arts are among the public collections holding works by Arman T. Manookian. According to the State of Hawaii's House of Representatives, he is "known as Hawaii's Van Gogh". In early 2010 a group of seven Manookian paintings owned by the Hotel Hana-Maui were removed from public display. They were the only Manookian oil paintings known to be on public display anywhere in the world. Two of the murals, Red Sails and Hawaiian Boy and Girl, are now on long-term loan to the Honolulu Academy of Arts.   Related Paintings of Arman Manookian :. | Portrait of Prince Clemens Wenceslaus of Saxony | Bridge | Portrait of Juliet | L Inondation a Port Marly | The Large Enclosure (mk10) |
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Juan Antonio Escalante
Spanish Baroque Era Painter, 1633-1670 Spanish painter. He was an outstanding figure in decorative Baroque art. When quite young he moved from Andalusia to Madrid, where he apparently worked with and was influenced by Francisco Rizi. His artistic development reveals an increasing admiration for Veronese, Tintoretto and Titian, although elements of the style of Alonso Cano persist. Among his first works is Andromeda and the Dragon (c. 1659; Madrid, Prado), whose mannerist elements derive from an engraving of the subject by Agostino Carracci. The two brilliant works St Catherine of Alexandria (Madrid, Las Maravillas) and Road to Calvary (Madrid, Real Acad. S Fernando), signed and dated 1660, are executed with an agile and self-assured technique, in colours that stem from Venetian painting. Like other Spanish painters of the period, he painted numerous versions of the Immaculate Conception (e.g. 1660, Colegio de Villafranca de los Barros; 1663, Budapest, Mus. F.A.; c. 1666, Benedictine monastery of Lumbier, Navarre), which are more Baroque in style and expression than those of Jose Antolenez and Mateo Cerezo. In these the faces, surrounded by luxuriant hair, is expressed an innocent candour that contrasts with the turbulent appearance of the cherubs. Also characteristic of his style are the versions of the Annunciation (1653; New York, Hisp. Soc. America Mus; B?ziers, Mus. B.-A.). He treated the theme of St Joseph with great nobility, as in the Dream of St Joseph (1666; New York, Chrysler Col.). His deep lyrical feelings pervade the various paintings of the Infant St John (Madrid, Prado).
MORETTO da Brescia
Italian High Renaissance Painter, 1498-1554 Italian painter. Together with Romanino and Giovanni Girolamo Savoldo, he was one of the most distinguished painters of Brescia of the 16th century. Influenced by both Lombard verism and contemporary Venetian painters, Moretto created an individual style in which realism and Venetian light and colour were perfectly balanced. He was personally involved in the local movement of Roman Catholic reform, and this is reflected in his direct, solemn and often moving depictions of religious subjects.
Mossa, Gustave Adolphe
Flemish, 1534-1598