French (1880-1950) Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversi??re-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart fought in World War I. He relied on his art to stem his anguish, sketching on every available surface. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. When he returned from the front he made prints from those drawings. The prints, most of which were aquatints and drypoints, showed great skill. Because they were much in demand, Icart frequently made two editions (one European, the other American) to satisfy his public. These prints are considered rare today, and when they are in mint condition they fetch high prices at auction. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honor?? Fragonard. In Icart's drawings, one sees the Impressionists Degas and Monet and, in his rare watercolors, the Symbolists Odilon Redon and Gustave Moreau. In fact, Icart lived outside the fashionable artistic movements of the time and was not completely sympathetic to contemporary art. Nonetheless, his Parisian scenes are a documentation of the life he saw around him and they are nearly as popular today as when they were first produced. In 1914 Icart had met a magical, effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin. She would eventually become his wife and a source of artistic inspiration for the rest of his life.   Related Paintings of Louis Lcart :. | Feelings can not be self | A private message 2 | Girl waiting for a carriage | Breast story 2 | Meditation |
Related Artists:
Master of Frankfurt
Flemish Northern Renaissance Painter, 1460-ca.1533.South Netherlandish painter. He takes his name from two paintings commissioned by patrons from Frankfurt am Main. His chief importance lies in his continuing the great tradition of 15th-century Netherlandish painting (particularly the compositions of Rogier van der Weyden and Hugo van der Goes) well into the 16th century, his development of a markedly earthy figure type, his apparently innovative management of a large workshop that 'mass-produced' paintings for the open market and his status
Henderson Frank
b.1862 d.1885
Jacob van Loo
(1614 - 26 November 1670) was a Flemish painter who is considered one of the Dutch Masters of the 17th Century. Van Loo is known for his conversational groupings, his use of a subtle color palette and his nudes. He was the founder of the Van Loo family of painters. Van Loo was born in Sluis, Zeeland, in the Dutch Republic. Some sources have spe,culated that his father, Jan van Loo, may have been a notary, but more often his father is described as a painter from whom Jacob van Loo received his early training. Little is known of Van Loo's early history due to the destruction of the city archives in Sluis during World War II. His early influences included Thomas de Keyser and Jacob Adriaensz Backer. In 1642, van Loo moved to Amsterdam, where his contemporaries included Rembrandt, Frans Hals, and Bartholomeus van der Helst. In 1643 he married the sister of the painter, Martinus Lengele. The couple had six children. They lived on Rozengracht in the Jordaan district of Amsterdam. Eglon van der Neer became one of his pupils. In 1660, Van Loo fled the city after fatally stabbing someone during an altercation at an inn. He was sentenced to death in absentia which forever prevented his return to Holland. Van Loo settled in Paris, where he was admitted to the Academie de peinture et de sculpture. He died in Paris in 1670. Van Loo's work was done in the Baroque style that had originated in Rome. The Baroque style was popular throughout Europe during this period. Van Loo was a major influence on Johannes Vermeer as can be seen in Vermeer's painting, Diana and Her Companions. Van Loo painted many portraits. Among his subjects were Johan Huydecoper van Maarssenveen; his sister, Leonara Huydecoper, who was married to Jan J. Hinlopen; Joan Ortt, who was later involved with Antoinette Bourignon; and his wife. Jacob van Loo's son, Louis Abraham van Loo, was also a painter, as were his grandsons, Jean-Baptiste van Loo and Charles-Andra van Loo.