Zayasaikhan Sambuu, 1975 | Magic Realism painter

Mongolian painter Zayasaikhan Sambuu, also known as Zaya was born in an isolated village in the Gobi Desert.

At fifteen he decided to become a Buddhist monk but the strict rules of the monastery were at odds with his irrepressible creativity.

By the time he was a teenager, communist Mongolia was becoming less oppressive, and freedom of religion returning.

Nikolai Shurygin

Shurygin was born in 1957 in Kimry, Russia. In 1979 he graduated from Moscow School of applied arts (design). During 10 years the painter has been studying multilayered painting which secrets were lost in the beginning of XIX. This unique technique was used by flemish painters as well as russian painters such Kiprensky, Levitsky, Borovikovsky and many others.

Michael Bergt, 1956 | Magic Realism painter

Michael Bergt was born in a small Nebraska farming community.

At the age of five, he decided he wanted to be an artist. When he was eight years old, his family moved to Denver.

At nineteen, Michael became friends with a group of artists, Beat poets and late-night coffee drinkers in lower downtown Denver.

Boris Grigoriev [1886-1939]

Бори́с Дми́триевич Григо́рьев was born in Rybinsk and studied at the Stroganov Art School from 1903-1907. Grigoriev went on to study at the Imperial Academy of Arts in Saint Petersburg under Aleksandr Kiselyov, Dmitry Kardovsky and Abram Arkhipov from 1907-1912.

Camille Pissarro | L'Impressionismo ed il Neoimpressionismo

Pissarro e l'impressionismo

Considerando la sua partecipazione a tutte le 8 esposizioni del gruppo è inevitabile dare per scontato che Camille Pissarro risponda alla generica definizione di «pittore impressionista».

Egli, in realtà, si pose in maniera ambivalente davanti alle ambizioni del gruppo: se da un lato decantava la mobilità della luce e degli effetti cromatici e le potenzialità del principio compositivo en plein air, impiegando al contempo macchie di colori piccole e irregolari, dall'altra dava vita a composizioni che, seppur in assenza di linee di contorno, sono solide e ben congeniate, inondate di una luce che «modella ed evidenzia le forme con dolcezza e vivacità, pur non arrivando mai a dissolverle» come, nella maturità pittorica, avevano fatto alcuni suoi colleghi come Monet o Renoir.