Eugène Delacroix. In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic.[2] Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.[3] However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist.
In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible. "[4] Early life[edit] Maturity[edit] Romanticism[edit]
John Quinn (collector) John Quinn circa 1913 John Quinn (1870–1924) was a second generation Irish-American corporate lawyer in New York, who for a time was an important patron of major figures of post-impressionism and literary modernism, and collector in particular of original manuscripts. John Quinn became a successful New York lawyer, art patron and collector, and collector of manuscripts. He was the principal supporter and purchaser of manuscripts of Joseph Conrad during his lifetime. He met W. B. Yeats in 1902, and was a major supporter. He was an organizer and spokesperson for the 1913 Armory Show, and later legal defender of James Joyce and T. He was a supporter of the Irish nationalist cause and associated with figures such as John Devoy and Roger Casement, though he worked for British Intelligence services before, during and after World War I. In 1913 he represented Margaret Kieley in a $2,000,000.00 legal contest over the Last Will and Testament of her husband Timothy J.
William M. Solon Borglum. Solon Hannibal de la Mothe Borglum (December 22, 1868 – January 31, 1922)[1] was an American sculptor. He is most noted for his depiction of frontier life, and especially his experience with cowboys and native Americans. He was awarded the Croix de Guerre by France[2] for his work with Les Foyers du Soldat service clubs during World War I.[3] Early life[edit] Born in Ogden, Utah, Borglum was the younger brother of Gutzon Borglum and uncle of Lincoln Borglum, the two men most responsible for the creation of the carvings at Mount Rushmore.
Solon's Danish immigrant father James Borglum was a Mormon polygamist, being married to two sisters, Ida and Christina Michelson. When the family, each wife had two children, moved to Nebraska they could no longer openly be husband and wives, so Solon and Gutzon's mother Christina was listed as the family servant. When the father moved the family again the St. Education[edit] In 1893 Solon went to Omaha to study with J. Borglum working, 1902 Works[edit] Robert Henri. Robert Henri (24 June 1865 – 12 July 1929) was an American painter and teacher. He was a leading figure of the Ashcan School of American realism and an organizer of the group known as "The Eight," a loose association of artists who protested the restrictive exhibition practices of the powerful, conservative National Academy of Design. Early life[edit] Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio to Theresa Gatewood Cozad of and John Jackson Cozad, a gambler and real estate developer.[1] Henri was a distant cousin of the noted American painter Mary Cassatt.[2] In 1871, Henri's father founded the town of Cozaddale, Ohio.
In 1873, the family moved west to Nebraska, where Robert Cozad founded the town of Cozad.[3] In October 1882, Henri's father became embroiled in a dispute with a rancher, Alfred Pearson, over the right to pasture cattle on land claimed by the family. When the dispute turned physical, Cozad shot Pearson fatally with a pistol. Education[edit] Work[edit] George Luks. George Benjamin Luks, (August 13, 1867–October 29, 1933) was an American realist artist and illustrator. His vigorously painted genre paintings of urban subjects are examples of the Ashcan School of American art.
Early Life and Career[edit] Luks was born in Williamsport, Pennsylvania to Central European immigrants. His father was a physician/apothecary and his mother was an amateur painter and musician. Luks began his working life in vaudeville. "Luks's experience as a Press artist-reporter proved seminal to his career, not so much for the work he accomplished as for the lifelong friends he acquired In 1896, Luks moved to New York City and began work as an artist for Joseph Pulitzer's New York World, where one of his assignments was to draw the popular Hogan's Alley comic-strip series.
"The Eight"[edit] Ashcan School[edit] Luks painted working-class subjects and scenes of urban life, the hallmarks of Ashcan realism, with great gusto. Luks was respected as a master of strong color effects. Marcel Duchamp. Marcel Duchamp (French: [maʁsɛl dyʃɑ̃]; 28 July 1887 – 2 October 1968) was a French-American painter, sculptor, chess player, and writer whose work is associated with Dadaism[1][2] and conceptual art,[3] although not directly associated with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.[4][5][6][7] Duchamp has had an immense impact on twentieth-century and twenty first-century art.
By World War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as "retinal" art, intended only to please the eye. Instead, Duchamp wanted to put art back in the service of the mind.[8] Importance[edit] Early life[edit] Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists. Portrait of the Artist Before and After. There was probably no better time for Thomas Hart Benton to write his autobiography than in 1937.
An Artist in America describes Benton’s life and thoughts, his tumultuous role in the art world, and his plans for further glory, all with the bravado of an artist at the height of his renown. By the mid 1930s, Benton may well have been the most famous artist in America and, for all he squawked about money in his book, probably the best paid. When he published his life story, Benton was only forty-eight years old. Life was far from over. For another thirty-eight years, all the way into the 1970s, he’d go on living and painting.
In that time many things changed in the art world. For one, his own reputation plummeted. In the course of those thirty-eight years, An Artist in America was republished twice as new editions, in 1951 and 1968, and in each Benton appended a new last chapter. I. Benton made enemies easily. Such disparagement was not simply for its own sake. II. III. Armory Show. ArmoryShow poster History[edit] "A slight attack of third dimentia [sic] brought on by excessive study of the much-talked of cubist pictures in the International Exhibition at New York" by John French Sloan, April 1913. On 14 December 1911 an early meeting of what would become the Association of American Painters and Sculptors (AAPS) was organized at Madison Gallery in New York. Four artists met to discuss the contemporary art scene in the United States, and the possibilities of organizing exhibitions of progressive artworks by living American and foreign artists, favoring works ignored or rejected by current exhibitions.
The meeting included Henry Fitch Taylor, Jerome Myers, Elmer Livingston MacRae and Walt Kuhn.[3] The AAPS members spent more than a year planning their first project: the International Exhibition of Modern Art, a show of giant proportions, unlike any New York had seen. The Armory Show was the first, and, ultimately, the only exhibition mounted by the AAPS. Legacy[edit]