1887-1927 Born in Madrid, he studied mechanical drawing at the Escuela de Artes y Manufacturas in Madrid from 1902 to 1904, during which time he contributed drawings to local periodicals. From 1904 to 1905 he studied painting with the academic artist Jose Maria Carbonero. In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque, Fernand Leger, and in 1915 he was painted by his friend, Amedeo Modigliani. In Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso. His portrait of Picasso in 1912 is a significant early Cubist painting done by a painter other than Picasso or Georges Braque. (Although he regarded Picasso as a teacher, Gertrude Stein acknowledged that Gris "was the one person that Picasso would have willingly wiped off the map.") Portrait of Picasso, 1912, The Art Institute of Chicago.Although he submitted darkly humorous illustrations to journals such as Le Rire, L'assiette au beurre, Le Charivari, and Le Cri de Paris, Gris began to paint seriously in 1910. By 1912 he had developed a personal Cubist style. At first Gris painted in the analytic style of Cubism, but after 1913 he began his conversion to synthetic Cubism, of which he became a steadfast interpreter, with extensive use of papier coll??. Unlike Picasso and Braque, whose Cubist works were monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. In 1924, he first designed ballet sets and costumes for Sergei Diaghilev and the famous Ballets Russes. Gris articulated most of his aesthetic theories during 1924 and 1925. He delivered his definitive lecture, Des possibilit??s de la peinture, at the Sorbonne in 1924. Major Gris exhibitions took place at the Galerie Simon in Paris and the Galerie Flechtheim in Berlin in 1923, and at the Galerie Flechtheim in D??sseldorf in 1925. He died in Boulogne-sur-Seine (Paris) in the spring of 1927 at the age of forty, leaving a wife, Josette, and a son, Georges.  Related Paintings of Juan Gris :. | The Fiddle in front of window | The head of man | Breakfast | Winebottle Daily and fruit dish | The fem portrait of the whole body |
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Ludwig Emil Grimm
1790-1863,German draughtsman, engraver and painter. He was a brother of the philologists and fairy-tale collectors Jakob Grimm (1785-1863) and Wilhelm Grimm (1786-1859). He attended the Kunstakademie in Kassel from 1805 to 1807. He then moved to Munich to study with the engraver Carl Ernst Hess (1755-1828), and he became a student at the Akademie der Bildenden Kenste there. He revealed a talent for portraiture in numerous sketches of his family and friends. In 1814 he served with the Prussian army in the military campaign against France, then completed his studies in Munich. In 1816 he visited Italy,
Louis-Francois, Baron Lejeune
(3 February 1775, Strasbourg - 29 February 1848) was a French general, painter, and lithographer. His memoirs have frequently been republished and his name is engraved on the Arc de Triomphe. He studied painting in the studio of Pierre-Henri de Valenciennes, alongside Jean-Victor Bertin, but left the studio to volunteer in the Compagnie des arts de Paris in 1792. He received his baptism of fire in the battle of Valmy later that year. He became a sergeant in the 1st Arsenal battalion and in 1793 moved to the artillery at La Fere, assisting in the sieges of Landrecies, Le Quesnoy and Valenciennes. At Valenciennes he became aide-de-camp to general Jacob then, as a lieutenant on attachment to the engineers, took part in the 1794 Holland campaign and the 1795 campaign. Called to the depot in 1798, he succeeded brilliantly in his exams and was made a captain on attachment to the engineers. He became aide-de-camp to marshal Berthier in 1800, a post he retained until 1812 and in which he took an active part in practically all of the Napoleonic campaigns. He was wounded and captured in Spain. He was promoted to full captain after Marengo and chef de bataillon after Austerlitz, also become a knight of the Legion d'honneur and a colonel at the Siege of Saragossa. The German campaign of 1806 brought him to Munich, where he visited the workshop of Alois Senefelder, the inventor of lithography. Lejeune was fascinated by the possibilities of the new method and whilst there he made the drawing on stone of his famous Cossack (printed by C. and ~f. Senefelder, 1806). Whilst he was taking his dinner, and with his horses harnessed and waiting to take him back to Paris, one hundred proofs were printed, one of which he subsequently submitted to Napoleon. The introduction of lithography into France was greatly due to the efforts of Lejeune. In 1812, during the French invasion of Russia, he was made general de brigade and chief of staff to Davout. Frostbitten on the face, Lejeune left his post during the retreat from Russia and was arrested on the orders of Napoleon. Freed in March 1813, Lejeune was then sent to the Illyrian provinces, before rejoining the army under the orders of marshal Oudinot, becoming his chief of staff. During the Saxony campaign, Lejeune was present at the Battle of Lutzen (1813), the crossing of the River Spree and at Bautzen. He was made an officer of the Legion d'honneur and a commander of the Order of Maximilian of Bavaria. At the battle of Hoyersverda, when Below's corps wiped out the 12th corps formed up in square on the plain, Lejeune (at risk of being kidnapped) ventured into the enemy lines with one battalion, general Wolf's cavalry and six 12 pounder guns. He thus broke the whole of the Prussian artillery and saved marshal Oudinot and his army. Wounded several times and lastly at Hanau, he was authorised to leave the army in November 1813 after more than 20 years' service. After his departure from the army, he devoted himself to painting.
Demuth, Charles
American Precisionist Painter, 1883-1935 American painter and illustrator. He was deeply attached to Lancaster, where his family had run a tobacco shop since 1770. Although not a Regionalist, Demuth maintained a strongly localized sense of place, and Lancaster provided him with much of the characteristic subject-matter of both his early and later work. He trained in Philadelphia at the Drexel Institute of Art, Science and Industry (1901-5) and at the Pennsylvania Academy of the Fine Arts (1905-11), where his teachers included Thomas Anshutz, Henry McCarter (1864-1942), Hugh Breckenridge (1870-1937) and William Merritt Chase.