He studied with his father, H. Ruiz, at the schools of fine arts in La Coruña, Barcelona and at the Madrid San Fernando Academy, carried away by French art, familiar from reproductions. He was influenced by anarchism. In 1900 Picasso first came to Paris, since 1904 he has been living there permanently. Exhibited since 1901 with “Aunt Weil” and with A. Vollard. At this time, he was moving away from the influence of the Art Nouveau style, which for a long time remained in the manner of emphasizing the silhouettes of figures, as well as in coloristic monochromy. Picasso elects Van Gogh, Gauguin, Cezanne, Toulouse-Lautrec as his “teacher”. He begins to write in bright pasty strokes in the manner of Continue reading
Coming from a family of military lawyer. He studied at the Academy of Arts (1880-84) under P. P. Chistyakov; watercolor lessons took from I. E. Repin. Of the foreign contemporaries, M. Fortuny had the greatest influence on him; much in common in his art also with the work of the Pre-Raphaelites. But even more important for Vrubel were the impressions of the painting of the Italian Renaissance, as well as the images of literature (V. Shakespeare, I.V. Goethe, M. Yu. Lermontov).
The mature manner of the master – with his “crystalline” pattern, crushing the world into ornamental planes Continue reading
Already in the early paintings, written before moving to Florence, the harmonious warehouse of talent inherent in Raphael had an effect, his ability to find perfect agreement of forms, rhythms, colors, movements, gestures – and in such small-format works, almost miniatures like Madonna Conestabile (c. 1502-03, Hermitage), “The Knight’s Dream” (c. 1504, National Gallery, London), “Three Graces” (Conde Museum, Chantilly), “St. George” (c. 1504, National Gallery, Washington) , and in a larger format “Mary’s Betrothal” (1504, Brera, Milan).
Florence period (1504-08)
Relocation played a huge role in the creative development of Raphael. Of primary importance to him was familiarity with the method of Leonardo da Vinci. Following Leonardo, he begins to work a lot from nature, studies anatomy, mechanics of movements, complex poses and camera angles, searches for compact, rhythmically balanced composition formulas. In the latest Florentine works of Raphael (“Position in the Sepulcher”, 1507, Borghese Gallery, Rome; “St. Catherine of Continue reading