Edouard Vuillard
Edouard Vuillard's Oil Paintings
Edouard Vuillard Museum
November 11, 1868-June 21, 1940. French painter.

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Vincent Van Gogh
Two Cut Sunflowers (nn04)

ID: 23728

Vincent Van Gogh Two Cut Sunflowers (nn04)
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Vincent Van Gogh Two Cut Sunflowers (nn04)


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Vincent Van Gogh

Dutch Post-Impressionist Painter, 1853-1890 Vincent Willem van Gogh (30 March 1853 ?C 29 July 1890) was a Dutch Post-Impressionist artist. Some of his paintings are now among the world's best known, most popular and expensive works of art. Van Gogh spent his early adult life working for a firm of art dealers. After a brief spell as a teacher, he became a missionary worker in a very poor mining region. He did not embark upon a career as an artist until 1880. Initially, Van Gogh worked only with sombre colours, until he encountered Impressionism and Neo-Impressionism in Paris. He incorporated their brighter colours and style of painting into a uniquely recognizable style, which was fully developed during the time he spent at Arles, France. He produced more than 2,000 works, including around 900 paintings and 1,100 drawings and sketches, during the last ten years of his life. Most of his best-known works were produced in the final two years of his life, during which time he cut off part of his left ear following a breakdown in his friendship with Paul Gauguin. After this he suffered recurrent bouts of mental illness, which led to his suicide. The central figure in Van Gogh's life was his brother Theo, who continually and selflessly provided financial support. Their lifelong friendship is documented in numerous letters they exchanged from August 1872 onwards. Van Gogh is a pioneer of what came to be known as Expressionism. He had an enormous influence on 20th century art, especially on the Fauves and German Expressionists.  Related Paintings of Vincent Van Gogh :. | The Iris (nn04) | Landscape wiith Carriage and Train in the Background (nn04) | Still Life with Grapes, apples, lemons and pear | The Shepherdess (nn040 | The Seated Zouave (nn04) |
Related Artists:
CRETI, Donato
Italian painter, Bolognese school (b. 1671, Bologna, d. 1749, Bologna) Italian painter and draughtsman. His individual and poetic art represents, with that of Marcantonio Franceschini, the last significant expression of the classical-idealist strain in Bolognese painting. His activity was almost wholly confined to Bologna, where he painted decorative frescoes, altarpieces and easel pictures for private collectors. Two qualities are paramount: a perfected finesse of handling and poetic suggestiveness of situation and mood. He sought the ideal beauty of the individual figure and was thus at his best in meditative pictures with few figures; his subjects combine grace of form and precision of contour with flesh that attains the surface delicacy of porcelain and colours that have a mineral-like refulgence.
wright barker
fl.1891-1953,d.1941
Arkhip Ivanovich Kuindzhi
Russian Painter, 1842-1910 Ukrainian painter, active in Russia. Initially self-taught as an artist, he twice failed the St Petersburg Academy's entrance examination, despite coaching by the marine painter Ivan Aivazovsky. In 1868, however, he was accepted as an external student. He persevered against conservative prejudice and poverty throughout his early career, supplementing his income by retouching photographs. In his early landscape paintings he often sought to capture seasonal moods, as in Autumn Mud (1872; St Petersburg, Rus. Mus.). A more human focus, however, is noticeable after 1874, when he joined the travelling exhibitions society the WANDERERS: the village houses dominate the landscape setting in Evening in Ukraine (1878; St Petersburg, Rus. Mus.). Kuindzhi's principal interest, however, was in lighting, and he obtained striking effects by using vivid colours, chiaroscuro contrasts and simple but cleverly conceived designs. Spectacular paintings, such as the Birch Grove (1879; Moscow, Tret'yakov Gal.), greatly moved contemporary viewers. Through years of experimentation, Kuindzhi developed a highly original technique, which he applied to an increasingly typical, at times almost visionary, treatment of subjects such as snow-covered mountains and moonlight (e.g. Elbnis: Moonlit Night, 1890-95; Moscow, Tret'yakov Gal.). Due to imperfections in the paints he used, many of his canvases soon darkened.






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