The Giverny Art Colony, 1885-1915

Between 1885 and 1915, the village of Giverny attracted more than 350 artists (Americans accounted for the majority) from at least eighteen countries around the world (including Argentina, Australia, Canada, Great Britain and Poland) - transforming from a sleepy community to a vibrant and important Artists' Colony.

The presence of master Claude Monet (known to the American artists through both Parisian and American exhibitions), who settled in the village in 1883, attracted a small band of artists, including Theodore Robinson, Willard Metcalf, Louis Ritter, Theodore Wendel and John Leslie Breck.

John Leslie Breck | Garden at Giverny, 1887-91

Louis Ritter (1854-1892)

Born: 1854, Cincinnati, Ohio, United States of America.

Died: 1892, Boston, Massachusetts, United States of America.

Biography

Louis Ritter’s landscape paintings of scenes in Europe and on the New England coast demonstrate the influence of new trends in European art that were just beginning to infiltrate American painting in the 1870s and 1880s.

Born in Cincinnati, he studied at the McMicken School of Design in 1873-74.

In 1878 he went to Munich, Germany, like many of his fellow compatriots, to enroll in the prestigious Royal Academy of Munich, where he won a silver medal in drawing.

Ritter studied with influential American painter and teacher Frank Duveneck, a native of the Cincinnati area.

Rupert Bunny | Colorist / Symbolist painter

Australian painter Rupert Charles Wulsten Bunny (1864-1947) was one of the most successful expatriate artists of his generation.

No other Australian artist achieved the critical acclaim that he enjoyed in Paris. An erudite painter of ideal themes, and the creator of the most ambitious Salon paintings produced by an Australian, Bunny is an exotic in the history of Australian art.

An exhibition, Rupert Bunny artist in Paris, curated by Deborah Edwards, Senior Curator of Australian Art, will honour the work of this great Australian artist.

The exhibition at the Art Gallery of New South Wales will showcase more than 85 of his most significant paintings, many unseen in Australia, including works from the Musée d’Orsay and Fonds national d’art contemporain in Paris and private lenders including Kerry Stokes, Jeffrey Archer and Dame Elisabeth Murdoch.

George Underwood, 1947 | Fantasy painter

George Underwood was born in Bromley Kent. George Underwood joined Beckenham Art School in 1963. At art school George Underwood became more and more interested in music. As a result he pursued a career in the music world.

Along with life long friend David Bowie he made one record -The King Bees- and also a solo record under the name Calvin James. After deciding that the music business was not for him, George returned to art studies and then worked in design studios as an illustrator. Initially he specialised in fantasy, horror and science fiction book covers.

Many of George Underwood's colleagues in the music business asked him to do various art works for them. This led to George becoming a freelance artist. Art work for the first T Rex album and later David Bowie’s Hunky Dory and Ziggy Stardust album covers established him as a leading and creative art illustrator.

Leonardo da Vinci | Del color verde fatto dalla ruggine di rame

Trattato della Pittura - Parte seconda | Capitoli 186-216

Il Testo Integrale

Indice

186. Dell'accompagnare i colori l'uno con l'altro, in modo che l'uno dia grazia all'altro.

187. Del far vivi e belli i colori nelle tue pitture.

188. De' colori delle ombre di qualunque colore.

189. Delle varietà che fanno i colori delle cose remote o propinque.

190. In quanta distanza si perdono i colori delle cose integralmente.

191. In quanta distanza si perdono i colori degli obietti dell'occhio.

192. Colore d'ombra del bianco.

193. Qual colore farà ombra piú nera.

194. Del colore che non mostra varietà in varie grossezze d'aria.

195. Della prospettiva de' colori.

Lawton Silas Parker | Painter of Giverny Art Colony

Lawton Silas Parker (1868-1954) was an American impressionist painter. A farm-boy from Kearney, Nebraska, Lawton Silas Parker began his training at the Art Institute of Chicago as a teenager.

In 1888, he went to Paris, where he met the stringent entrance requirements for the prestigious École des Beaux-Arts; he later transferred to the Académie Julian, a favorite among American art students.

One of Parker’s paintings was juried into the Paris Salon exhibition of 1890.

In the following decade, he led a peripatetic life that included further study at the Art Students League in New York City and in Paris; teachings stints in St. Louis, Chicago, New York, Paris, and Beloit, Wisconsin; and work on commissioned portraits and a mural.

Eugene de Blaas | Pittore di genere

De Blaas, Eugenio - Nacque ad Albano (Roma) il 24 luglio 1843 dal pittore austriaco Carl von Blaas e da Agnese Auda, italiana.

Carl (Manders, Tirolo, 1815-Vienna 1894), che era stato chiamato in Italia nel 1832 dallo zio Francesco Purtscher di Eschenburg per frequentare l'accademia di Venezia, fu dal 1837 a Roma dove venne in contatto con il circolo dei Nazareni e ritornò a Vienna nel 1851; dall'estate 1856 fu a Venezia come professore presso l'accademia; ritornò definitivamente a Vienna nel 1866.

Un suo ritratto del figlio Eugenio a 5 anni è stato esposto a Vienna nel Belvedere superiore nel 1985.

Il de Blaas, dapprima allievo dei padre all'accademia di Venezia, si formò successivamente a Roma (nel 1862 vinse il pensionato; Marini, 1905, p. 249). Chiese e ottenne nel 1888 la cittadinanza italiana, stabilendosi a Venezia (Il Gazzettino, 12 febbr. 1931).

Leonardo da Vinci | Come il buon pittore ha da dipingere l'uomo e la sua mente

Trattato della Pittura - Parte seconda | Capitoli 169-185

Il Testo Integrale

Indice

169. Del modo d'imparar bene a comporre insieme le figure nelle istorie.

170. Del porre prima una figura nell'istoria.

171. Del collocar le figure.

172. Modo del comporre le istorie.

173. Del comporre le istorie.

174. Varietà d'uomini nelle istorie.

175. Dell'imparare i movimenti dell'uomo.

176. Come il buon pittore ha da dipingere due cose, l'uomo e la sua mente.