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| www.2poppies.com | Holiday Rentals in Provence |
| www.alansorrell.com | Alan Sorrell 1904–1974
Muralist, artist in oil, gouache and watercolour, teacher, illustrator and lithographer of landscapes and figure subjects with a strong interest in early history. Sorrell's illustrations to Henry Loyri s Norman Britain, 1966, and Medieval Britain, 1917, are exemplary in blending a clear, informative text with superb artistic reconstruction. Born in London, Sorrell studied at Southend School of Art. He worked for several years as a commercial designer, entered the Royal College of Art, 1924-7, then was awarded a scholarship to the British School at Rome, 1928. Exhibited at RA, NEAC and RWS. Taught at the Royal College, 1931-48, during which time he visited Iceland. During World War II Sorrell served as a war artist with the Royal Air Force for several years, his work - which has a strong Neo-Romantic flavour, typical of its time - being held by the Imperial War Museum. Tate Gallery, Ashmolean Museum in Oxford, London Museum and National Museum of Wales in Cardiff also own examples. In 1947 Sorrell married the artist Elizabeth Tanner, their children being the artists Richard and Julia Sorrell. Completed a series of murals after World War II, including one for the Festival of Britain, 1951. Commissioned by the Ministry of Works to make drawings of ancient monuments. Lived at Daws Heath, near Thundersley, Essex. |
| www.albertdebelleroche.com | Albert de Belleroche, 1864-1944
Although born in Wales, he was the son of the Marquis de Belleroche, of one of the most ancient French noble families who, being Huguenots, had fled to England in 1685. In 1871, following the death of his father, he moved back to Paris with his family. After he had finished school there, he studied at the studio of Carolus Duran, and spent long hours copying at the Paris museums. He soon became familiar with the leading painters and intellectuals of the day, and became a founder member of the Salon d'Automne, exhibiting alongside the Impressionists and associating with Emile Zola, Oscar Wilde, Albert Moore, Renoir, Degas, Helleu and Toulouse-Lautrec. Toulouse-Lautrec and Belleroche were exact contemporaries, who first met at the age of eighteen. Belleroche painted Toulouse-Lautrec's portrait and shared with him a passion for the model Lili, who epitomised the Belle Epoch aesthetic of Toulouse-Lautrec's most celebrated posters. Lili became Belleroche's favourite model and mistress. In 1882 Belleroche also met the already acclaimed American painter John Singer Sargent, who recognised Belleroche's talent and empathised with his free drawing style and sensitivity to light. They became life-long friends. Sargent's handling of pastel was a great inspiration to Belleroche, while Belleroche's sensitivity to tone and creation of form through the modeling of light exerted a strong influence on Sargent. In 1900, Belleroche became fascinated by the medium of lithography and by 1905 he was a leading figure in the field of lithographic portraiture. A.M. Hind, a former keeper of prints at the British Museum, described his works in lithography as "amongst the greatest achievements of the craft since its discovery." He held commercial exhibitions at the Goupil Gallery (1903), Graves, London (1906), Colnaghi's (1941) and Walker Gallery, London (1942). As however he had no need to live from his art, he rarely took on commissioned portraits, instead choosing models and sitters who interested him. This in part - though not entirely - explains why he is so little known. A room in the Musée D'Orange is dedicated to Belleroche. He was the subject of numerous publications during his lifetime, and in 2001 the San Diego Museum of Art organised an exhibition and produced a catalogue entitled The Rival of Painting: the Lithographs of Albert Belleroche. |
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| www.brangwyn.net | Frank Brangwyn 1867-1956
Frank Brangwyn was born in Bruges, Belgium, the son of an English father and Welsh mother. The family returned to London in 1874, Brangwyn's father gaining work as a designer of buildings, embroideries and furniture. Although Brangwyn appears to have had little formal education, whether academic or artistic, his earliest mentors were three of the most influential men in design at the turn of the century: Arthur Heygate Mackmurdo, William Morris and Siegfried Bing. Between 1884 and 1887 Brangwyn travelled to Kent, Cornwall and Devon, before venturing further with trips to Turkey in 1888, South Africa in 1891, Spain in 1892 and Morocco in 1893. Brangwyn was an independent artist, an experimenter and innovator, capable of working on both large and small scale projects, ranging from murals, oil paintings, watercolours, etchings, woodcuts and lithographs to designs for architecture, interiors, stained glass, furniture, carpets, ceramics and jewellery, as well as book illustrations, bookplates and commercial posters. It is estimated that he produced over 12,000 works during his lifetime. Mural commissions included the Worshipful Company of Skinners, London (1902-09), St Aidan's church, Leeds (1908-16), Manitoba Legislative Building, Winnipeg, Canada (1918-21), Christ's Hospital, Horsham (1912-23), State Capitol, Jefferson City, USA (1915-25), the British Empire panels, Swansea (1925-32), and Rockefeller Center, New York (1930-34). Brangwyn married Lucy Ray in 1896 and took on the lease of Temple Lodge, Hammersmith, in 1900. In 1918 the artist purchased The Jointure, Ditchling, where he spent most of his time following his wife's death in 1924. Elected RA in 1919, knighted in 1924, holder of countless artistic awards, Brangwyn was modest about his singular achievements, regarding art as an occupation and describing himself as a designer. |
| www.britishabstractart.com | Works of British Abstract Art
For two decades Liss Fine Art have championed some of the lesser known Pioneers and Unsung Heros of Twentieth Century British Abstract Art: Pioneers such as Jas Wood and R.A.Wilson, who produced pure Abstract pictures a full decade earlier than the official birth of Abstract Art in Britain; Unsung heroes such as Cecil Stephenson who exhibited alongside Moore, Hepworth, Nicholson and Hitchens and was credited by Herbert Read as being “. . . one of the earliest artists in the country to develop a completely abstract style.” Liss Fine Art was responsible for the Michael Canney and Cecil Stephenson exhibitions held at The Fine Art Society in March and November 2007. |
| www.britishneoromanticism.com | Works of British Neoromanticism
During the Depression and War years, between 1930 and 1955, the Romantic tradition in Britain underwent an extraordinary Renaissance. A distinctive style arose embracing an otherwise diverse group of artists - the British landscape became central to a new nostalgic pastoral vision which was broadly expressed through the language of Cubism - sometime adopted with intellectual and sometimes more decorative aims. Britishneoromanticism.com celebrates the movement by presenting work by some of the best known figures - Bawden, Minton, Piper, Ravilious, Spencer, Tunnard, Jones, alongside some of its lesser known unsung heroes such as Kenneth Rowntree, Charles Mahoney, John Bolam, Roy Turner Durrant, Humphry Spender, Harold Hitchcock, and Kathleen Guthrie. |
| www.britishpostimpressionism.com | Works of British Postimpressionism
In November of 1910 Roger Fry, art historian and critic, organised a show in London of Gaugin, Cézanne, and Van Gogh and created for it a new term: Post-Impressionism. [These artists] say in effect to the Impressionists: "You have explored nature in every direction, and all honour to you; but your methods and principles have hindered artists from exploring and expressing that emotional significance which lies in things, and is the most important subject matter in art . . . (Roger Fry, quoted in The Impressionists and their Legacy, P.645, Barnes & Noble, 1995) The show caused a sensation and had a marked and prolonged effect on the development of 20th Century Art in Britain. Britishpostimpressionism.com explores the legacy of this milestone, through the work of some of the Grand Old Men of British Post Impressionism such as, Sir Claude Francis Barry, Sir Frank Brangwyn, Sir Gerald Kelly, and Sir Tom Monnington, as well as through the work of lesser familiar unsung heroes and heroines. |
| www.britishsurrealism.com | Works of British Surrealism
As well as specialising in the purest of the British Surrealists – Banting, Colquhoun and Armstrong – Liss Fine Art have, for over two decades, drawn attention to artists less frequently associated with Surrealism: work from the interwar years by, for instance, the Zinkeisen sisters, Harry Epworth Allen, Charles Mahoney, Victor Wood, Kenneth Rowntree and Harold Yates. |
| www.cecilstephenson.com | John Cecil Stephenson 1889-1965 Painter, born in Bishop Auckland, Co. Durham. He studied at Darlington Technical College, 1906-08, at the Leeds School of Art, 1908-14, the RCA, 1914-18, and Slade, 1918. Between 1915 and 1918 he did war work, making tools. In 1919 he took on Sickert's studio, 6 Mall Studios, Hampstead, where he was later joined by Herbert Read, Barbara Hepworth and Henry Moore. From 1922 until 1955 he was Head of Art Teaching in the Architectural Department, Northern Polytechnic, Holloway Road. In 1932 he began making his first abstract works, exhibiting during the next decade in many abstract and constructive shows in England, France and the USA. In 1934 he exhibited with the 7&5 Society, along with the likes of Ben and Winifred Nicholson, Ivon Hitchens, Henry Moore, Barbara Hepworth and John Piper. During World War II he returned partly to figurative work, making paintings of the Blitz. From the 1950s he returned to large abstract paintings, realising many of the abstract compositions he had sketched out on a small scale in the previous decade, when materials had been in short supply. In 1951 he made a l0 ¥ 30 ft. fluorescent paint mural for the Festival of Britain, and began working with ply glass for murals. In 1958 he suffered three strokes, which left him unable to move or talk. Partly for this reason he is today less well-known than many of his contemporaries, but he was one of the key figures in the development of abstract art in Britain. He is represented in the collection of the Tate and internationally. Selected Literature Cecil Stephenson 1889-1965, Fischer Fine Art, London, 1976. Simon Guthrie, The Life and Art of John Cecil Stephenson: A Victorian Painter's Journey to Abstract Expressionism, Cartmel Press Associates, 1997. |
| www.charlescundall.com | Charles Cundall 1890-1971 Painter, potter and stained glass artist, born in Stratford, Lancashire. After working as a designer for Pilkington's Pottery Company under Gordon Forsyth, Cundall studied at Manchester School of Art, obtaining a scholarship to the Royal College of Art, 1912. After World War I army service he returned to the Royal College in 1918, then from 1919 to 1920 attended the Slade, and furthered his studies in Paris. Cundall traveled widely in several continents and became noted for his panoramic pictures, such as Bank Holiday Brighton, in the Tate Gallery (accession no. NO4700). He was a member of NEAC, RP, RWS and other bodies and was a prolific RA exhibitor. He had first solo show at Colnaghi 1927. He was an Official War Artist in World War II, during which time he was sent to Quebec (1944). In the same year he was elected RA. His wife was the artist Jacqueline Pietersen. His technical facility - especially when working on large panoramic canvases - was remarkable. His pictures are rich with texture, light and movement. He was equally at ease with aerial views, landscapes, seascapes and cityscapes, and was a master of crowd scenes. His work as an Official War Artist has never received the attention it merits. |
| www.charlesmahoney.com | Charles Mahoney, 1903-1968 Painter, muralist, draughtsman and teacher. Born Cyril Mahoney in London - his fellow-student Barnett Freedman re-christened him Charlie at the Royal College of Art, which he attended 1922-6 after a period at Beckenham School of Art under Percy Jowett. Early on, Mahoney established a reputation as a conscientious teacher. He was at the Royal College 1928-53, from 1948-53 as a painting tutor, and was noted there for his concern for academic discipline. His portrait is included in Rodrigo Moynihan's celebrated Teaching Staff of the Painting School at the Royal College of Art, 1949-50. From 1954 to 1963 he taught at the Byam Shaw School of Drawing and Painting and from 1961 to 1968 at the Royal Academy Schools. He painted murals at Morley College 1928-30 with his colleagues Eric Ravillious and Edward Bawden. Unfortunately these murals were destroyed during World War II. The work led to further murals: at Brockley School, Kent, with Evelyn Dunbar; and at Campion Hall Lady Chapel, Oxford. His oil paintings are frequently of a religious nature. He was a skilled botanist, and many of his drawings depict his garden at Wrotham, Kent. He exhibited at NEAC and the RA, being made an RA elect in 1968. He is represented in the Tate Gallery and other public collections. The Ashmolean Museum, Oxford, held a memorial exhibition in 1975. Exhibitions were held in 2000 at the Harris Museum and Art Gallery, Preston, Royal Museum and Art Gallery, Canterbury, and the Fine Art Society plc in association with Liss Fine Art. Mahoney is now increasingly recognised as an influential figure alongside his better-known contemporaries, Bawden and Ravillious. |
| www.colingill.com | Colin Gill, 1892-1940 Decorative and genre painter, born in Bexley Heath, Kent. He was a cousin of the sculptor and printmaker Eric Gill. He studied at the Slade School, and in 1913 won a scholarship to the British School at Rome. His scholarship was interrupted by the First World War: he served in France 1915-18 and was appointed an Official War Artist. From 1922-25 he was a member of staff at the Royal College of Art. He died in South Africa in 1940, while working on a series of murals for the Magistrates Court in Johannesburg. His work is held in the Tate Gallery and the Imperial War Museum. Gill can lay claim both to being the first painter to win a scholarship to the British School at Rome and to have produced its most iconic image: Allegory, 1921. He also started the fruitful tradition of scholars taking up residence in the small village of Anticoli Corrardo, just south of Rome, during the hot summer months. However, like many of the Rome Scholars who came after him, there is a sense that Gill never fulfilled the remarkable promise of his early work. After returning from Italy his paintings appear to be caught uncomfortably between two desires: on one hand, to continue in the nineteenth-century tradition in which he had been trained, and, on the other, to embrace something more contemporary and avant-garde. He was a keen photographer and also a novelist. |
| www.daimon.ch | Daimon Publishers Online bookstore devoted to books on Jungian Psychology, Relationships, Personal Development and Growth of Consciousness |
| www.davidmaes.com | I like to draw people. I travel with a sketchbook and if a person I meet is in agreement, he or she poses for about 20 – 30 minutes and his or her portrait becomes part of my project « 1000 présences ». Perhaps one day I will present all of the portraits – at the moment there are hundreds – on an enormous wall. This blog was created to present the portraits I have made up until now. |
| www.didierlacroix.com | Born in 1959 in Poitiers, France, I am passionate, first and foremost, about music and my craft as a luthier. I was lucky enough, in the eighties, to train in both the restoration of wind instruments (brass and woodwind) as well as in string quartet instruments making. |
| www.emperorsclothes.info | Emperor's Clothes This site seeks to demonstrate that there is no relationship between artistic and monetary values. Just because a work of art is expensive it does not mean that it is good; conversely just because something is affordable it does not mean that it is mediocre. |
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