Bulgarian-born French Expressionist Painter, 1885-1930,American painter, draughtsman and printmaker of Bulgarian birth, active in France. He attended secondary school in Vienna, returning in 1901 to Bucharest, where his family had settled, and working briefly in the office of his father's grain-merchandizing business. He was, however, already becoming passionately interested in drawing, for which he showed precocious talent. At the age of 16 he became the lover of a woman who ran a brothel and was allowed by her to draw the residents. In 1903 he moved to Munich, where he attended the art school run by Moritz Heymann.   Related Paintings of Jules Pascin :. | Younger Gril | Mexico-s old people | Compare | Composition of picture of Cuba | Two Nude |
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Jacques Blanchard
(1600 - 1638), also known as Jacques Blanchart, was a French baroque painter who was born in Paris. He was raised and taught by his uncle, the painter Nicolas Bollery (ca. 1560-1630). Jacques's brother and son, Jean-Baptiste Blanchard (after 1602-1665) and Gabriel Blanchard (1630-1704), respectively were also painters. Jacques spent the years from 1624 to 1628 studying in Bologna and Venice. After briefly working in Turin at the court of the Charles Emmanuel I, Duke of Savoy (ca. 1628) he returned to France and set himself up in Paris in 1629. Jacques Blanchard is best known for his small religious and mythological paintings. He died in Paris in 1638. This painter should not be confused with the French sculptor of the same name who lived from 1634 to 1689. Nothing seems to be known of his work before he left for Rome at the age of twenty-four. After two years he moved to Venice, where he remained for two more years. It was there that his style was formed. He then went to Turin, where he worked for the Dukes of Savoy, before returning to France 1628. It is from the brief but productive period after his return that all his dated works survive. They show him to stand quite apart from his contemporaries, not only in his painting style but also in his choice of sensual subject-matter, for example the Bacchanal at Nancy. The chief influences were the sixteenth century painters, especially Titian and Tintoretto with their rich, warm colours, and Veronese, whose blond and silvery colour and limpid light he used most effectively in his small religious and mythological subjects. The several versions of Charity, depicted as a young woman with two or three children, are excellent examples of his tenderness of colour handling, and of a softness of sentiment nearer to the 18th than to the 17th century.
Ilja Jefimowitsch Repin
1844-1930
COPLEY, John Singleton
American Colonial Era Painter, 1738-1815 American portrait painter, b. Boston. Copley is considered the greatest of the American old masters. He studied with his stepfather, Peter Pelham, and undoubtedly frequented the studios of Smibert and Feke. At 20 he was already a successful portrait painter with a mature style remarkable for its brilliance, clarity, and forthright characterization. In 1766 his Boy with the Squirrel was exhibited in London and won the admiration of Benjamin West, who urged him to come to England. However, he remained in America for eight years longer and worked in New York City and Philadelphia as well as in Boston. In 1774 Copley visited Italy and then settled in London, where he spent the remainder of his life, enjoying many honors and the patronage of a distinguished clientele. In England his style gained in subtlety and polish but lost most of the vigor and individuality of his early work. He continued to paint portraits but enlarged his repertoire to include the enormous historical paintings that constituted the chief basis of his fame abroad. His large historical painting The Death of Lord Chatham (Tate Gall., London) gained him admittance to the Royal Academy. His rendering of a contemporary disaster, Brook Watson and the Shark (Mus. of Fine Arts, Boston), stands as a unique forerunner of romantic horror painting. Today Copley's reputation rests largely upon his early American portraits, which are treasured not only for their splendid pictorial qualities but also as the most powerful graphic record of their time and place. Portraits such as those of Nicholas Boylston and Mrs. Thomas Boylston (Harvard), Daniel Hubbard (Art Inst., Chicago), Governor Mifflin and Mrs. Mifflin (Historical Society of Pennsylvania, Philadelphia), and Paul Revere (Mus. of Fine Arts, Boston) are priceless documents in which the life of a whole society seems mirrored.