American Hudson River School Painter, 1819-1904 Martin Johnson Heade (August 11, 1819-September 4, 1904) was a prolific American painter known for his salt marsh landscapes, seascapes, portraits of tropical birds, and still lifes. His painting style and subject matter, while derived from the romanticism of the time, is regarded by art historians as a significant departure from that of his peers. Art historians have come to disagree with the common view that Heade is a Hudson River School painter, a view given wide currency by Heade's inclusion in a landmark exhibition of Hudson River School landscapes at the Metropolitan Museum of Art in 1987. The leading Heade scholar and author of Heade's catalogue raisonn??, Theodore E. Stebbins, Jr., wrote some years after the 1987 Hudson River School exhibition that "...other scholars??myself included??have increasingly come to doubt that Heade is most usefully seen as standing within that school." According to the Heade catalogue raisonn??, only around 40 percent of his paintings were landscapes. The remaining majority were still lifes, paintings of birds, and portraits, subjects unrelated to the Hudson River School. Of Heade's landscapes, perhaps only 25 percent were painted of traditional Hudson River School subject matter. Heade had less interest in topographically accurate views than the Hudson River painters, and instead focused on mood and the effects of light. Stebbins writes, "If the paintings of the shore as well as the more conventional compositions...might lead one to think of Heade as a Hudson River School painter, the [marsh scenes] make it clear that he was not."  Related Paintings of Martin Johnson Heade :. | Singing Beach, Manchester | Cattleya Orchid and Three Brazilian Hummingbirds | Haystacks | Apple Blossoms | Magnolia |
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BORDONE, Paris
Italian High Renaissance Painter, 1500-1571 Bordone was born at Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily (according to Vasari) with Titian. Vasari may have met the elder Bordone. From the 1520s, we have works by Bordone including the Holy Family in Florence, Sacra Conversazione with Donor (Glasgow), and Holy Family with St. Catherine (Hermitage Museum). The St. Ambrose and a Donor (1523) is now in Brera. In 1525-6, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George (now in the Palazzo Tadini collection at Lovere). A second altarpiece, Pentecost, is now in Brera gallery. In 1534-5, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of the Fisherman delivering the Marriage Ring of Venice to the Doge (Accademia). However, when this latter painting is compared to the near-contemoporary, and structurally similar, Presentation of the Virgin, Bordone's limitations, his use of superior perspective, which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian. Bordone is best at his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space.
Florine Stettheimer
(August 29, 1871 - May 11, 1944) was an American artist. She has been described as "a Deco-influenced early Modernist whos never really gotten her due". Florine was born in Rochester, New York to Joseph Stettheimer and Rosetta Walter. Her father, a banker, left the family before the children were grown. She was the fourth of five children: Walter, Stella, Carrie, Florine, and Ettie. After Walter and Stella married, the youngest three immured with their mother to form an epicurean way of life.She spent much of her early life traveling, studying art in Italy, Spain, France, Germany, and Switzerland. She studied for three years in the mid-1890s at the Art Students League of New York, but came into her own artistically upon her permanent return to New York after the start of World War I. In October 1916, the only one-person exhibition of her work during her lifetime took place at New York's Knoedler & Company. She exhibited 12 "high-keyed, decorative paintings", none of which were sold. Cushioned by family resources, Stettheimer refrained from self-promotion and considered her painting "an entirely private pursuit". She intended to have her works destroyed after her death, a wish defied by her sister Ettie, her executor. Stettheimer's privileged position pervades her work. As one critic has written, "money she regarded as a birthright, decidedly not something to be flaunted in the shape of a dozen yachts, but rather to be used as a palliative against the more unpleasant aspects of the world outside... In this frame of mind, she felt free to depict life as a series of boating parties, picnics, summertime naps, parades and strolls down Fifth Avenue." She created the sets and costumes for the 1934 production of Four Saints in Three Acts, an opera by Virgil Thomson with a libretto by Gertrude Stein. Her designs, which used cellophane in innovative ways, proved to be the project for which she was best known during her lifetime. She assisted her sister Carrie in the creation of the Stettheimer Dollhouse, now in the collection of the Museum of the City of New York. The house is a whimsical depiction of an upper-class residence, filled with works by Stettheimer's artist friends, including William Zorach, Alexander Archipenko, and Gaston Lachaise.
VIGNON, Claude
French Baroque Era Painter, 1593-1670 French painter, printmaker and illustrator. Born into a prosperous family in Tours, he received his early training in Paris, probably in Jacob Bunel's studio. In 1609-10 he travelled to Rome; although his presence there is recorded only in 1618-20, he was probably based there throughout that decade, becoming a member of the community of young French artists that included Simon Vouet and Valentin de Boullogne. They were all predominantly influenced by the art of Caravaggio and of his most direct follower Bartolomeo Manfredi. Vignon's severe half-length figures (St Paul, Turin, Gal. Sabauda; Four Church Fathers, on loan to Cambridge, Fitzwilliam), executed possibly even earlier than 1615, are in a Caravaggesque style, as are his paintings of singers, musicians and drinkers (e.g. the Young Singer, Paris, Louvre), although the latter group owes more to the style of contemporary genre painting. However, Vignon was already showing an interest in new artistic experiments, the origins of which were northern, Venetian and Mannerist. His sensitivity to the splendid colouring of Venice and to the art of Jacques Bellange, Georges Lallemand and Jacques Callot is manifest in his Martyrdom of St Matthew (1617; Arras, Mus. B.-A.), a work with striking references to Caravaggio's painting of the same subject (Rome, S Luigi dei Francesi), and still more so in his Adoration of the Magi (1619; Dayton, OH, A. Inst.), which also shows clear links with the art of several precursors of Rembrandt, including Adam Elsheimer, Pieter Lastman, Jakob Pynas and particularly Leonard Bramer.