French 1848-1903 Paul Gauguin Art Locations (born June 7, 1848, Paris, France ?? died May 8, 1903, Atuona, Hiva Oa, Marquesas Islands, French Polynesia) French painter, sculptor, and printmaker. He spent his childhood in Lima (his mother was a Peruvian Creole). From c. 1872 to 1883 he was a successful stockbroker in Paris. He met Camille Pissarro about 1875, and he exhibited several times with the Impressionists. Disillusioned with bourgeois materialism, in 1886 he moved to Pont-Aven, Brittany, where he became the central figure of a group of artists known as the Pont-Aven school. Gauguin coined the term Synthetism to describe his style during this period, referring to the synthesis of his paintings formal elements with the idea or emotion they conveyed. Late in October 1888 Gauguin traveled to Arles, in the south of France, to stay with Vincent van Gogh. The style of the two men work from this period has been classified as Post-Impressionist because it shows an individual, personal development of Impressionism use of colour, brushstroke, and nontraditional subject matter. Increasingly focused on rejecting the materialism of contemporary culture in favour of a more spiritual, unfettered lifestyle, in 1891 he moved to Tahiti. His works became open protests against materialism. He was an influential innovator; Fauvism owed much to his use of colour, and he inspired Pablo Picasso and the development of Cubism.   Related Paintings of Paul Gauguin :. | Merahi Metua No Teha'amana | The Orana Maria | Nevermore, O Tahiti | The Sudio of Schuffenecker or The Schuffenecker Family (mk07) | The artist s mother |
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Harriet Powers
African-American Textile Artist, 1837-1911
Anna Maria Ehrenstrahl
1666-1729,as married Wattrang, (1666-1729), was Swedish painter, the first female painter in her country. She was a baroque-artist and painted allegorys, portraits and group portraits in the style of the Baroque. Born as child of the court painter David Klocker Ehrenstrahl and Maria Momma, she was instructed as a student by her father to copy and finish his works and to paint details and other such smaller things to complete the paintings in his studio. She is confirmed as her fathers assistant from ca 1680. Her learning as an artist was therefore not complete, as he never intended her to become an independent artist, just as a form of artistic secretary in his studio, but she was in fact to create paintings herself eventually. In 1688 she married Johan Wattrang, vice president in Svea Hovratt, and painted six portraits of this courts former presidents, which she gave the court signed with her own name (1717). Her way of painting was in the same barocque style as her father; she painted allergorys and portraits of both single people and groups, bot real people and mytholocigal figures in the style of the time. Among them was portraits of king Charles XI of Sweden, Prince Ulrik (in 1685), an allegory over the four seasons (1687) and an allegory of Cupid and Psyche. She painted the four king's under her lifetime, the Princes Gustaf and Fredrik, Ulrika Eleonora of Denmark and Aurora Konigsmarck.
Andrea Sacchi
1559-1661 Italian Andrea Sacchi Gallery As a young man, Sacchi had worked under Cortona in Castel Fusano (1627-1629). But in a set of public debates later developed in the Roman Artist's Guild, Accademia di San Luca, he strongly criticized Cortona's exuberance. In particular, Sacchi advocated that since a unique, individual expression needs to be assigned to each figure in a composition, a painting should not consist of more than about ten figures. In a crowded composition, the figures would be deprived of individuality, and thus cloud the particular meaning of the piece. In some ways this is a reaction against the zealous excess of crowds in paintings by men such as Zuccari of the prior generation, and by Cortona among his contemporaries. Simplicity and unity were essential to Sacchi. Cortona argued that large paintings were more like an epic, that could avail themselves of multiple subplots. The encrustation of a painting with excess decorative details, including melees of crowds, would represent "wall-paper" art rather than focused narrative. Among the partisan's of Sacchi's argument for simplicity and focus were his friends, the sculptor Algardi and painter Poussin. The controversy was however less pitched than some suggest, and also involved the dissatisfaction that Sacchi and Albani, among others, shared regarding the artistic depiction of low or genre subjects and themes, such as preferred by the Bamboccianti and even the Caravaggisti. They felt that high art should focus on exalted themes- biblical, mythologic, or from classic history. Sacchi, who worked almost always in Rome, left few pictures visible in private galleries. He had a flourishing school: Poussin and Carlo Maratta were younger collaborators or pupils. In Maratta's large studio, Sacchi's preference for grand manner style would find pre-eminence among Roman circles for decades to follow. But many others worked under him or his influence including Luigi Garzi, Francesco Lauri, Andrea Camassei and Giacinto Gimignani. Sacchi's own illegitimate son Giuseppe, died young after giving very high hopes. Sacchi died at Nettuno in 1661.