French Painter Louis Anquetin (1861-1932) settled in Paris in 1882. His apartment on the Avenue de Clichy and his parents' house at Étrépagny became the rendezvous for international artists. He studied art at the Ateliers of Bonnat and Cormon, where he was a contemporary and friend of Henri de Toulouse-Lautrec, Émile Bernard and Vincent van Gogh. His early work shows the influence of Impressionism and of Edgar Degas. In 1887 Anquetin and Bernard devised an innovative method of painting using strong black contour lines and flat areas of color; Anquetin aroused much comment when he showed his new paintings. This painting is said to have inspired Van Gogh in painting his famous Café Terrace at Night.
Michelangelo lost his mother at an early age. His father, Lodovico was horrified when he found out that Michelangelo decided to become an artist--often beating him for his choice. Lodovico was proud of his ancestry and believed that an artist son would bring disgrace upon the entire family. He wanted his son to become a bureaucrat.
Around 1870, growing numbers of Scandinavian artists took to visiting Paris, the modern metropolis with its many-sided art scene. When summer arrived the artists deserted the city. The coast of Brittany was especially popular for painting holidays. In the 1880s, there was a Swedish artists' colony at Grèz-sur-Loing, by the Fontainebleau woods. In due course the artists took the idea of the artists' colony back to Scandinavia with them. Anna Ancher (1859-1935) was a mistress of interior light and color. She generally used her effects to establish a quiet, contemplative mood. The sensitivity and gifted colorism of her paintings created soulful, intimate atmospheres. In the present canvas, she uses the contrast of sunlight and the silhouettes of potted plants and window crossbars on the wall and floor. Her color scheme is based on the contrasting blue of the wall and upholstery and the yellow of the curtains, an effect that is replicated in the blue smock and blonde hair of the girl sitting by the window.
Ivan Konstantinovich Aivazovsky (1817-1900) was Russian painter of Armenian descent, most famous for his seascapes, which constitute more than half of his paintings. He was born in the town of Feodosiya, Crimea, to a poor Armenian family. His parents family name was Aivazian. Some of artist's paintings bear a signature, in Armenian letters, "Hovhannes Aivazian”. Due to his long life in art, Aivazovsky became the most prolific Russian painter of his time. He is also said to be the most forged of all Russian painters. He left over 6,000 works at his death in 1900. With funds earned during his successful career as an artist he opened an art school and gallery in his home town of Feodosiya.
Italian painter Giuseppe Abbati (1836-1868) belonged to the group known as the Macchiaioli—who revolted against academic painting. Abbati was born in Naples and received early training in painting from his brother Vincenzo. He participated in Garibaldi's 1860 campaign, suffering the loss of his right eye at the Battle of Capua. Afterwards he moved to Florence where, at the Caffe Michelangiolo, he met Giovanni Fattori, Silvestro Lega, and the rest of the artists who would soon be dubbed the Macchiaioli. Abbati painted in the cloisters of Santa Croce in Florence in 1861-62 while the monument was being restored. Numerous black and white marble blocks were strewn around the grounds, offering clear-cut shapes and sharp, elementary contrasts. Beyond the empty foreground, a row of stones is placed against the shaded walkway of the cloisters, with only the figure of a worker or stonemason as a living element in this rather abstract composition.
IMAGE 5: Giuseppe Abbati - Cloister - 1861-62 - Oil on cardboard, 19 x 25 cm - Galleria dell'Arte Moderna, Palazzo Pitti, Florence
Italian Art; Italian avant’garde