American Hudson River School Painter, 1823-1900 Jasper Francis Cropsey (February 18, 1823 - April 23, 1900) was an important American landscape artist of the Hudson River School. Cropsey was born on his father Jacob Rezeau Cropsey's farm in Rossville on Staten Island, New York, the oldest of eight children. As a young boy, Cropsey had recurring periods of poor health. While absent from school, Cropsey taught himself to draw. His early drawings included architectural sketches and landscapes drawn on notepads and in the margins of his schoolbooks. After studying architecture for five years, he turned his attention to landscape painting, under the instruction of Edward Maury. He visited England, France, Switzerland, and Italy in 1847, went abroad again in 1855, and resided seven years in London, sending his pictures to the Royal Academy and to the International exhibition of 1862. After his return home in 1863, he opened a studio in New York, where he resided until 1885, when he removed to Hastings-on-Hudson. Trained as an architect, he set up his own office in 1843. Cropsey studied watercolor and life drawing at the National Academy of Design and first exhibited there in 1844. A year later he was elected an associate member and turned exclusively to landscape painting in the 1840s, shortly after he was featured in an exhibition entitled "Italian Compositions." Cropsey married Maria Cooley in May 1847, traveled in Europe from 1847-1849, was elected a full member of the Academy in 1851, and lived in England 1856-1863. During this time he specialized in autumnal landscape paintings of the northeastern United States, often idealized and with vivid colors. One such painting is "The Valley of the Wyoming" set in eastern Pennsylvania. The name of this valley was given to the western state of Wyoming. He co-founded, with ten fellow artists, the American Society of Painters in Water Colors in 1866.  Related Paintings of Jasper Cropsey :. | Starrucca-Viadukt | Sunset Sailing | Herbst am Hudson River | Greenwood Lake,New Jersey | Lake George |
Related Artists:
Walter Sickert
German 1860-1942 Walter Sickert Gallery Walter Richard Sickert (May 31, 1860 in Munich, Germany ?C January 22, 1942 in Bath, England) was a German-born English Impressionist painter. Sickert was a cosmopolitan and eccentric who favoured ordinary people and urban scenes as his subjects He developed a personal version of Impressionism, favouring sombre colouration. Following Degas' advice, Sickert painted in the studio, working from drawings and memory as an escape from "the tyranny of nature".[3] Sickert's earliest major works were portrayals of scenes in London music halls, often depicted from complex and ambiguous points of view, so that the spatial relationship between the audience, performer and orchestra becomes confused, as figures gesture into space and others are reflected in mirrors. The isolated rhetorical gestures of singers and actors seem to reach out to no-one in particular, and audience members are portrayed stretching and peering to see things that lie beyond the visible space. This theme of confused or failed communication between people appears frequently in his art. By emphasising the patterns of wallpaper and architectural decorations, Sickert created abstract decorative arabesques and flattened the three-dimensional space. His music hall pictures, like Degas' paintings of dancers and caf??-concert entertainers, connect the artificiality of art itself to the conventions of theatrical performance and painted backdrops. Many of these works were exhibited at the New English Art Club, a group of French-influenced realist artists with which Sickert was associated. At this period Sickert spent much of his time in France, especially in Dieppe where his mistress, and possibly his illegitimate son, lived
HEINTZ, Joseph the Younger
Swiss/German painter (b. ca. 1600, Augsburg, d. ca. 1678, Venezia)
abstract composition
Russian painter, sculptor, designer and photographer. He was a central exponent of Russian Constructivism, owing much to the pre-Revolutionary work of Malevich and Tatlin, and he was closely involved in the cultural debates and experiments that followed the Revolution of 1917. In 1921 he denounced, on ideological grounds, easel painting and fine art, and he became an exponent of Productivism (see CONSTRUCTIVISM,