Federico Moja (1802-1885) | Veduta painter

Federico Moja was an Italian painter🎨, known best for his vedute and views of interior architecture.

Born in Milan into a family of artists, Moja began studying at the Brera Academy of Fine Arts in 1818 and became a pupil of Giovanni Migliara at the same time.

His early work is characterised by perspective urban views, monastery interiors and subjects of a historical and literary nature addressed in strict accordance with his master's teachings.

Paul Cézanne at The Metropolitan Museum of Art

Paul Cézanne | Giocatori di carte, 1890-92

Tra il 1890-1896, Cézanne intraprese un ambizioso progetto di pittura dedicato al tema dei giocatori di carte. Arruolò dei contadini delle terre di famiglia, vicino ad Aix-en-Provence, come modelli.

Basandosi su numerosi studi preparatori, l’artista realizzò cinque composizioni che ampliano, sfidandole, le raffigurazioni tradizionali di questo tema, popolare fin dal Seicento. Pare che questa tela sia stata la prima della serie.

Dopo aver dipinto una successiva versione di grandezza doppia rispetto alla prima che comprendeva una nuova figura, un bambino in piedi, nelle tre versioni seguenti Cézanne eliminò i particolari superflui, raffigurando soltanto due giocatori, che si affrontano a viso duro attraverso il tavolo. | © The Metropolitan Museum of Art

Henri-Edmond Cross (1856-1910) | Divisionist painter

Henri-Edmond Delacroix started his studies in 1878 at the Écoles Académiques de Dessin et d'Architecture in Lille, where he attended Alphonse Colas' studio.

In 1881 he moved to Paris, where he continued his studies in Émile Dupont-Zipcy's atelier.

That year, exhibited the first time at the Salon and decided to change his name to "Henri Cross" (a reduced English version of his name), to avoid being mistaken for the romantic painter Eugène Delacroix. Later, in 1886 he finally adopted the name "Henri-Edmond Cross", to distinguish himself from the French painter Henri Cros.

Paul Cézanne at the Ermitage

The works of Paul Cézanne (1839-1906), to whom this hall - 410, is devoted, present the oeuvre of one of the chief figures in Post-Impressionism, from paintings of 1879-80 to works from the final years of his life.

Canvases of various genres were executed in the artist's mature manner.

Henry Lee Battle | Figurative painter

Henry Battle, a.k.a. Hbatto, a Californian native and well traveled Air Force veteran, now rooted in Atlanta GA, describes his style as richly realistic figurative snapshots of life. His subject matter ranges from spiritual and family-oriented, to romantic moments that he freezes in time.

Dalai Lama: "Quando perdi, non perdere la lezione"!

• Ci sono solo due giorni all’anno in cui non puoi fare niente: uno si chiama ieri, l’altro si chiama domani, perciò oggi è il giorno giusto per amare, credere, fare e, principalmente, vivere.

• La felicità è una combinazione di pace interiore, disponibilità economiche e, soprattutto, pace mondiale.

• Benché ci si possa trovare in un ambiente ostile, se l'atteggiamento mentale è fermo e stabile, l'ostilità non sarà causa di grande disturbo.

• Di fronte alla distruzione del mio popolo, mi dedico nell'esilio alla sola linea d'azione che mi è stata lasciata: ricordare al mondo per mezzo delle Nazioni Unite e di questo libro, quel che è accaduto e sta accadendo nel Tibet: e far piani per il futuro.

Andrew Benyei

Angel Ramiro Sanchez, 1974 | Figurative painter

Venezuelan painter Angel Ramiro Sanchez was born in 1974 in Maracaibo, Venezuela. At age six was accepted with full scholarship into the Instituto the Niños Cantores del Zulia, school for musically gifted children.

At age fourteen he began five years of apprenticeship with the realist painter, Abdon J. Romero, an eminent specialist in murals for churches and public buildings.

In 1993, a study grant from Mgr. Gustavo Ocando Yamarte, Founder the Niños Cantores, enabled him to travel to Florence, Italy, where he studied at the renowned Accademia di Belle Arti, graduating Magna Cum Laude in 1997.

André Derain: "The substance of painting is light"

• "Fauvism was our ordeal by fire... colours became charges of dynamite. They were expected to charge light... The great merit of this method was to free the picture from all imitative and conventional contact".

• "It was the era of photography. This may have influenced us, and played a part in our reaction against anything resembling a snapshot of life".