Art Masterpieces to Color

60 Great Paintings from Botticelli to Picasso

INTRODUCTION
Have you ever v anted to create a memorable: work of art? With this unique:

collection, covering a wide range of styles and movements, now art lovers of fill ages can experiment by attering the colors and hues of some very wellknown master-pieces of an. lncluded here are sixty black-and-white line renderings of artistic treasures by some of the greatest artists in history, among them Bnnieelli, Vermeee, 001'<1, Degas. van Gogh. and PtC:ii~S.O_ To color these magnificent paintings, aspiring artist'S may use watercolors, crayons, markers, acrylics. felt-tip pens, Or any other type of media. Color renditions' of the original works are featured on the covers of this book if you want to reproduce the artist's colors, JUSt remember I,hat there is no right or wrOl1g way to color rbese artworks. Explore your own creativity by mixing different styles and artists. \Vhy don't you tTy Seurat's Pointillist
technique on a different pain ring and gloomy sec what happens? Or, change the color and tone of El Greco's interpretation,

Viei\' of Toledo to sec how it affects: its

These ptares are printed on One side only', so dark markers and paints will not how through. while vou're working, you may also want to slide a piece of cardboard between the pages so that the colors won't bleed. To remove a
page. for framing, X~ACTO knife. please carefully cut along arc arranged the gray dotted alphabetically tine with an

by artist. A section of brief notes. about each artist and painting begins on page 121. to llewin g the p tares,
The paintings

C(}prrigJu QP~rilJ'ht 'C 1(1(14by QQ"i!T Pllb'i£3jiQ!lI'ii. lee. All riplns reserved. Bibliographical
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.\'1 Eros. \ViIliam-Adolphe Bouguereuu. 188. linnig Oid D~fomibrg llt:r'.0.:1.Xt'l[ogclin.

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I~ _ 'fIll the tns: tSOS..t 2. Thf! M_adOlma.. . . .echt Durer. Albr.

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14. t 716. Jean Honore Fragonard. . A Young GM RetltJi/Jg.

J '. 1770. .Thorn as GJ lasbcrcugh. Till! Bluo 80): ca.

. IVI.16. PO" I Coug1lin./arrp'. . 1892."" Will You t.

':t\'s.ll.... . 190:). William G~aclu. CJrI.'v!outjurn..

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' de Zw'liga. Franclsco Goya. Dtm l~lmrud OsoriO' MmrrhJH. 1787.f. .[9.

20. El Greco. View of Toledo. 1604-14. .

1624.ghing Cm'lllfer. TIle Lau. . Fraes Hats.21.

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2;, F,ida Kahle. S.Ij·Po""ai, H"fII, MOllke)'.

1940.

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Ham/JIg June. Frcderfc. . l89 j.27. Lord L'elghton..

l5-D6. Leonardo da Vinci" }.28. .{omj Lisa.

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1'>Iichel.ngclo Bnuucrrnd. . 1508-12.33. Delphic Sibyl.

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~s Before . 1949. Joan MirO.' Sm •. .35.Il. I"'cplc mid DG.

'~ Lunia . . 1919.36.Czechovr k 11 ~~'ilha Fall.cd"" J\'todigJiam.. A".

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1881 .~'s. Claude Monet. Swrf1m.38.

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1.40. The Scream. Edrard Munch. . 189.

The Lillie Fmi' Sell". . 1670-75.41. Bartolome Murillo.

Les Demoiseltes a'Avrgmm.42" Pablo Picasso .. 1. .907.

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.44.' M udonna.rl i11't. Raphael. I j 13-14. Till! Si.

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. _. Rembrandr ean Rljn.46. (653.hisl(Hlf! CtJrJfentplGiing stse Bust of Homer.

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.48. Flolf:t!. Diego R"·era.f Do)" .5.• 92.

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r Pl:lul Rubens. .f.51. 16"25. Pe. Portrait of SU.\'mmf Four-mew.

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58 . 1901.• John William \VatcJ-house. A Mf:rnJ{~rd. .

59. Pierret: Gdtes: (n t. Jean-Antoine watteau. .

60. American Gothic. . 19JD. Gront Wood.

Ott on tilnVol.tlsscls. L-I. Sir Vam((ge. She W3:. HiiS: !.J"Sh pnimic. 1445-1 10). possess a Bouguereau's ~qujiiitc p-a~n[~ngsportray his: love or.ydiroloBY in t. nur.C:~ providinS ill . and theater SC~$.d dC'..led ... "I. 'Il. Borrlcelf b(oSilJl hi~ ~. end his passion ""'iLbln It l~'H)se<lrre:2ih.Most of bi~ :mbjm matter is roored in the . Oil on canvas.H':!o(lWf)life.ute crc::t~oo effects of dtpEb lind 'S(1!lodil!r' varying tM by Renaissance urtist. As it membL'T of the S!~rrcalisl mC\'l:lnel'l1.i. 1 9." motifs..pi!'d a hi~hly ill."l 11 in. al]!t$ in his nattve landscape. Tempera 011 CO\'n\':I:. and EgYPlian IlnLiq_lJt-ty.v:as ~dut.111Jl of arum. 1:561-68..lil~c. 24 in.gtl ofL1!i'I depleted L~LI: pens9'..rim!UlV! of . French Impressionist painter Ed!l:at DJ::."i:-. 011 O~ pam!inl!l's of Ti!titlQut In). TnC' Pt'r. mOfi1361! of Chfl@:il. ~'hry Ca. most adored p:lif.ltlnl:l.rnillg h~1Jl ~he: nickname Admin. Spanish puITll-:=rSill~1J.oJOI'CQ fis-ures predominate oolor.. l. p~imcf 10. goildcd 5oCaUOP ~hell.not Ai1~ in M::Jodridbc:fo!emo\iflt£ 1. Ymmg GfrJ lnteracttcn of p13n~ of paint.l fOr !be clll~51~~ 4.al_ mcdtC'\.rnt a pupil Qr Dante Gabri(:t RMsetti. His me(icvlo~I~' p.S. OIo. 1"'1iS" Om$. SaOOm 80nicelli (ca. t9. . .("$ firSt pupjll.(hl!'(tin Munich.ii. 18'18. N rl'l..rich a surrealisric quality and fn:QHfmly appear in a dreamlike seutng. Pi£tcI Bruegel [ca.. 1525-1569). III his wqrk. .:d. tn= W() .mlil!. Sir [dwIU~ ElI!_:rne-JOOl"S (I &ll -! 8-91) .""ail of . .~ P~ti:!am W(!dding. ~Wj 1~. 11is.She S..ecmrt:lLlf:i]OO 10 !bl' U. 19!2. In Surreaflsm. ~uL CctlLDlJt (l5lQ-]9(}tlJ..be 'kind beantllul ilnd impeccable eeamel )lQu find VertHLI:'S( ll.110~udjoo iU the Amwerp Academy of A Ft.lml)'1 in ie theories ('If E='~eud and ilhoorml!! p:§.e fcka1s of the P~R:apha~ti~M. for his: treatment of m)'~hol(}tiCli.. I~gj.tJ.". ~L~hi'l.mt'b CanVIU.1 ~UbjEC{:s.\Jeft!f1ry.m~nlilllly. the sub~e('t of tbis: portrait.lurued art 211L' e Pe. in..orj. (1l35(! "-::to. .il~ 1 Qr .tro Whe'ell. in. a sm~1l but mt'lUe-ij· tinl grl.u1Ji!~Oll . as or prime' import. Dotticelli was rediscovered in tnt nineieentb tcnllUY by dIe 'Pre. It Is the: pilinting that Russian-Jewlsh roH:.5.2.::d lomliJl1...s. 6d. His superb 8.)Ll1door~ wi th Pissatro i~ 1872. WiltllOO 100ret:apt'Ure Ihe silTIlJiitl!)· hll .J~wcn io iM 1} .and ewn 5."'cmlI!'Lh-ttntur~' art.GrtJ~ classes atW he P:-iJdaeed j)'O'.'l. J.5.( G21~ in. 9 rn .fiCC:.1'11:duFilippo Lippi.'QJli:~ Bouguerceu o!:nji.romanhis dcized "'i:io10rL. 'born in Il]t as 1!1 ~rl'llnds .5CIoll:5 hi ~ 1'1 l't.m pJ.experiences.ga[J tlt'.h:Jl historical accuracy ..l~'ed und hj~ family. ~ lOI.t.Srooftop l'iddl<l!:~s nd fiL'toltil'g brides. in.:f' Selllllg.'I.ensc-color.g. ~M W..cBI.r. (n. aud Tkt Pe-rmml {)(i1t('t. J41. 190. iolndachieved recogJll!iOI1 fOOfthese tender representations. T'lt' BirlhlJ/ Vem~ ca.. and blbli~~l Ihe:meS. Bcugucreau oppOsed the edmhuon 01 tmpressionist WQl"ksto Ihe :&11011.pS hi. i'nt.'M!:tand everyday Stt':). . Roman. Th~ lJJJU! l1. Oil On pan!!I.. 44\ in.~ignel M2N: Cl'til. Pr.aIJJcmDne was Ihe onl)' son of a w~lti. ~:di. tbl!!fc'~Ottly one kind of p'1jming.. WUII:lun-AdoIJlht" 'SolJgllert. He France and I'.d'i\"ld\l. Doril ''-'Ol!eh:r..yl'n.\1i.( tbe UIllL~'ersil)' L)f Oxforo ~nod SC:~11. LSS5-:R7. .atLOUS L'Esmque ''lnO MOnt Saiate-victoire 13.tt fro."Around 1551.ml..k.ln.re6C'icn::'y. mosaics..nj. .I: 138j.m.aod high mom] 10n!! [)f med~~l p::sintin~ Md dC'$lSl'l. French i'fJstimpressioni'St painter P. inrorporali.. srylc. Bom [n ~'Ilns)'h-.. 6.m~:·Jont=$·S _p.i~ rocuf'ri'll~ preserws the cYI= 'i"llh perfection. Rnphuelites.::il andpersanahzed ~IJPporr~r Qf tbe .. Alrbough • e died in ob$C1ir~ty. L:I'II'-['(~ I.: I 10 in.tg ch:m~nt1i 01" Russian Expressionism.1:r :roo ~t~ll Hfel Mel m:Ul~ VCLri. itr-t noted rQr their d."Cne-ra. . tit dcvdo:ped a f!llllge! iJf unforgc-nable inrugl:ty... ':lIS-()\'e!)' much illnuen£C'LI 'b)' Japanese: wOQdCU1~ una execlled in making 1A"CIo<k:ll1 print~.aly.:d Titian.AJ'm:l-Tilodem<L feh o. D:tssal~~rlet3 \\. The two a~'isIS shared r}. TiI. He painted mos~Jy ponro!jlt5 and religious works. ~~ct the rO~C'cf The LlllCOl.hed \I. teaches. Based OJ) real-hfc or w or obseevaricn.se1j o:.31111klbru:!bs~f'Ok'_". HeT eycsight began to f.E:t.'I'. 6l1~ in.a Academ)' of Art and th-en lTl!i'r·t)ed to Euro~ sptndi. A prime influence Ott.$ U~Ll~J!)' :J'Onm·~'[.'!.!.c:arly \io'D:tk:~had a dfl..All .-(!tIIIS. C~. AJ1tlil. A unlque bl-end of 1"I:::!li!L!1' LLnG bcliev-lil:Q. 6l!. Oil 0['1 canvas. :Prof~'iQmdl)..tse.i. He is best k.academic Salon pa-iu rers.cJ ~OOp. S:ilh"AdorOilli (1904 1 $9).ile-rt h-!l III bceli.rkiiibictechnical p. u1.lpon 'f. he: began to tr<l"cI thrQtlgh Chase Wa$ bono in lndinna and ~"'I.l~ :6'TC'-all~ inllucnced b~' her close (r~nd.( 441..ln::~ were l \'l::r)' WPUiLlf umcng t.1."cork of the 6. h~s rrzm.JirLt_np in his lift1.. Ptt·Rl)phaoClitl!' Sir E[3\mrd 8I1Tll'C'·JOm::!i .A rlgel P/{I}"il'lg n pilfl iC\.Oor D'l~i slmjied at Ih~ Academy [)f f.11-:=r.~ "Peasant 9J'U~geJ.2).n~ uf peasunt ·dl' life reach their fineltl c:(pr~ofl in rill' Blind ~ldilfg 11". tOtrlaiUi· ci~1Xl5't:. later ~~tlitlt ill B:f..l'.iidS4. genre paiF1t. luct:d~rlil career as an academic prllnttT.. LL[]O sail'li.anoz.Ndll Whjs. .-s.blr ViC:lOrian m... TIre Birth of J....:t: 11'1 in. HC' s ~poci~!iled in subjeot~ from Greek.. wbo ~nl]' admired me .r". With ever 100 fil~1!. which d~pic~ da$.)' ban~r.. nmably..-:.~s 4Jt.ojt'_h the Impre iomsts' sote reliance Oi~ Ug1'ltcll'cc~ CCt-..."e1Im~'.i~ r-t:turn rrom E-urope.!Qrc cf bis c:l'lildhlXld..s..~n (1844-1IJ26).II:W'-. Z.MI.. A pulntcr of classieal genre SC'tlle~ Alm~-Ta:&nli:ll . T~t' 8ir'llt elf j!&mJ ccpi-c'~ venus ri~jn8 from 3.~iirln-bom paLlll-tr ilr.deJOil (1836--191. on on canvas.1imeO1'!.llH...1. .11 p&n.S.Ulitl. x 651.~.gb1cneo after he bepan I" p<i. dCCN-ati~'c $l~'le fut a liro. R)J. .ulne ccrcentrured on the use Of ~metrk fortn and censtrucuoa.. Dill[ prlJlJJQ~cd the idea or abs1. '5ouC'tJ. Yim'lg Moth.tI. Dfilf(i. where he.aimjflgs.no1mliug dis· ~()rtions of .). Cassen was tne cnly American member 0It" Ihe I_mprl!~:tiol1isu. H.h·.somber rene tbat bri.'i.llu (18:2.I1 adOptN ltlat anh:t'$ nal. them to be no '!'I'OJ~ than unfinished sketches. however. in.biog.rli. Scm in flOrf.'I1 for b~s portraits. 80iJgUCf~u e:xpl'ilioed his art ph~lo~oph}' b)' ~trl. hi'5:an b ~lJffU!i=dwtth poetic Imagc:ry ?F"l.lhotQgi.ril in 1900. und Cu.'10'lES A'ma-l":. and Cesssn stopped \\'orkipg by 19l4.'It': ilIlld!l'l:n~.. 29)~ i·n. 211.. 1ITflue-o¢Cl"l b)' Ihe p$~·tfu')a.0. dreams. Doutbly Cubism."C. Ca~~. i'lJ]d genN: subjects arc tarirl'ully compcsed and pai~tal<in...g!y executed.~I. of enu~. [Ialy. WUli3lm L\h:rriU ChaSi!' (1349 191ft).tn..t$. His composhtons include porlrn.tin~.rH'lwn.1(85). and bim'5ottt Df!'jl!ndiftg HI!'I'.rly in rhl~llC(d b~' hnrcs.. WalercQlm. landsc:.be BlJnlO'lrlfonn alid limp ."tI1-~ a JOI'I.'(!:. A COill! (if lS9S..'tI'i1r.'Clseries of ilJl>1l1l..ni$1it trairnn B 1.~ III flne 1c:p. !!(l.8S[).dsrriklag visual m~(ilp.\bre CllIlIgall 03"137 . Oil on e... Hi! ~l~o dC'SL!:1r1:(O stained grass windcws. x 29 in.J~ a pkt~[] hb major wc. Tht' /'t'(J'lunr Dmtct'.S.'ckJ. OJ! (m canvas. Aiotl:n.llg mOtif Of her life i~ P1!irlS.a. nte FMdJt'r. ric--hly <. Ff(tJf«Jl-e1.l'Ltl!'d family scenes of mothers and children.. 1).1.-I90S).

Tl'.::.iu.u crmtidHllblc .f\jl.. 58~.e~'l TU$tiC l:. x 3'9 in. encouI'i1~ 'l1.'di'lr urban hfl! ~S" ell II!. EngliSh palmer t'rMtlonllil rdtgl(lol. 1905. Europe. The Icadiflg figure Qf I he 1tilP~ '" i th ~uon:(l: outlines and bold coiors .ft with tlie Iris. Born III Phlladel'pnlil.b'Ntf'lhac. A m.~Ii~L~-t dCfJ~'1 Wn or ~i:J:~ i.fd]u~Jict IhrouSh his !(!i!(.. JC:m Honore fr:agormrd (liJ2-IS06l. GQ)'1l U:i!Q oornplt~cd O\·t-r 500 o!l pal.lin~if'lg:!iJ!~Opa.)me .. Vrl!'11 f r~fd().. 'lmo.from ~ilC"_~'~~elit(. aud hu. }.1$ bi~ttr !lillM i[1 under .I" ca.'Iorlhe ru . and ~Iltn to take an illti:'rt:. 1880. Don .'eOllth~ ~lIe pl£ilL:l~' [hL1: r:nuoe inm. 1888 Oil on eauva s.rlf in a .Y 1}pify van G gh'~\1Iniq. These kinds n{ :SUb.rt."j!I. 18. SC'rt. P~nIJ C:sugllitl (I~ . htlgtlni!n:J C't!'J1(1£.tto him to ('('Impc~t f()r portrait.JftL ..s pili"tin~io HC ..Gl..'a.His auempt to ol)!llllntz~all iJrt~(f community il'1 .. of nil.!inter. El G ~ "'i\~born i:n C~I!I: .a:li. figures.of lUnS Gwrg~ [[ [ and bi:~ [Qmrly al].. x j61~ an. -!oJ in.merou.....ung Girl M(if/rrC/IU' dt 7.'I. p.If.hite li~Ji( C'\"Qh~ ooth!be eerie: OCi:!lUijY .1~hou~llht «Ildjm:ror.:lubitoo 1!. H Bern in Pari:. ~ ~6 in. Dt.:!lld Mu:( ce~:. Hie pcnraas 1'lT'C charecterbed I)t!tbwtre.\2'.\'in ~ e\(..it (I'" .'(' the Pri1l. in. G.]~r:C'On ~1riM!I.lkiD. French arti~! PtmJ Gilu~u_iJ] pioneered au ~pf1te· Crill run cf Ihe ~~rn.alu S~} Ic or ~i!1l. 2'4). b.ChoolMu waa iJ. over lno of them pcnraits. ill..Diin'r W..mllld 0. 1. (0 the ca~~ ~l!li't wide-C")'i!d 1.::'\'eJl n hi~ own i diL~ foo hb .'j.gh uamercus ocmmiwicas Ilfc:[ir.tJt' rows il'\\.~ (011 dt: dl!' A I[ilJntr. The cMld n(11ds . l-hs r'tput:!III)R rcs-u Otl lim~ or hi'S< d(. A 40 in. The 8I11~ BU.~..!mr:!~hili. lriidittQ:llo:tlly a OlllSlJan FrCT1d\ Atad'::1UY jn R.(mdl/$.!111!.~rlt'$ ~RiO!..(. T1r~' lwmpion Sitlxhr SmUs C im[J-~ioJljsl p::m~to!'r tried ~t. !e'm~in~n~ lhtr~ unti~ symbol or th~ ~Oul.g_rei.~ .:I~.ts-da17..e.tended Lhl1:p(lrlraiL [0 Ix a ('Ottipalll!e. fc~dloCj". ~ and m or I.~m.s:s. Thf! Sluff' 8~).iLJ1\'It.aiH.d intltns. BuU.IlOC'. wt!J!:t' he est~hl1~.T'«1i\~s Ih<il have ~"Qme-o ~pilOI'll':tJt lL~ work.Qnlcmpon'lTY Ijf~ .l'JPS(' l149~).~/oul/uiJr.·r.o. -oodcut j[I~Lm[inll~ produdn. afforded 111m'!Lht "ll. lirt' I(lfitllrtl. In b~! l"~ni.:! llIa~l~ni (If pontailllfe illld !il!ld~c:J. OLI crt lime. J~Il-..b~ Ihal rore~.s.md i!:1~hinSl$luLUl!d I" Ital)' • . x .. H'III '~I~I .. De~·.rrom c..~ porLr~if5. m~i\'l. -. f:J.C' Du!(:l'L Po$t13.Bln lC'(bn iClaD imd DriH:l:J11lI col-orl:rt.ii!L[~d ~ubJi.7 . HJjJ Gog!IJ 8l'cJwmu.paiated the subtba move.1lpe~ mC1'Jq'1lr)' Lhi! t1ettin.!.t~ -on C:Ulo"'~\.g.t52 ). in.lmi~'1: ac-es. batlc! [b neers. \"er~ he pi. Spain. ihomsji. J]j6.o> 11fj I.\lh appointed ]Ji1ill'.~$.ttnr. de ltJ.I.1 in patm.l.]n\..9()). Oil on (_"..00 drilwin. .ms. end ether ~LiJgeperformor" of be deeiceed I?~ in clq.." a troup or roe<'llisl umrers wbo r. [)1.. h1 1114 hl' a(_'C'i!p~cda tof011 rn\i'~Lton 10 pillm pOrL(!lil'$ oi ~\ rk::t.IilO~' t1 ely? [ll!p.nt.·911~ l..]oo BoCl1.'!IMU$. Willlanl Gl.l r'lIU.~r:. \1i'Or~. b)' 8rn:~fu' figtlln::s Bcd thinly appl:M brushstrokes in deliII. Ht~ Ta. Oil on canvas.\ft'flw:r" D.. Fmnce.::.jtIl.ji:!rd(ld ID~J11':S. van Cogh pl"tKhJ~ SOO pllin~jF\].~ J8. Gainlsbon)ugb executed molt Ih:!Jn 500 p..'(d htrrt~ lou_ism.1 contoured or a C:UnHOl. E8kin. ~nd an intense cmo'innatil.~0 cue of "The druwlng.a OLJJ'Iiel\~U~ ilIu~Il3'iops .:1OJ. . I ]'Ol~ iii. l.bowllli=1l 0127-178S).lS-Sl...f{et.e-r end L1. begun to paim rQ~d.u m..ln C:)I~'-as.t6 i n.nf \':10 r.li~ pi:llnll:'u 1!!!~. ~tlfa~ld ~x"lme a iibl.. n~. ~Q1k ~lnimal~ [0 rt'ti.il of Tillii!ln..lJl!. \"inct.)".lil'l'!. I'rlJOD the \ icwer in ~ bQHl~Cclebml~ for inG during his lifetime.Hill~}' cady 19 hj1J career and !Ipenl IIl'l: 1\i~1 Icrt )'t:-H~ of b~ llfe p a inlinG ill 'falli1. Born m '?Mtwdll!!lfl'h~il. Gmer.S :1110~cat'ty 300 ttC'hlng. 0 ill.L scenes.I.\~t~m·~ O[.& 41': In.Ihn.0 ~['Ier.~/a \' ."S. !hc: Wi] ([of one ol" (111!" .(!U~ A:5 £1 OrC(o~ onty Lme landSCt1pot.n~ h.ln h ~pf'C ~h'C: r\:J)derj.. R£tldillJ. charectenzed by fl:.'1\.le he \\.r 11116. 8 i'·I.)·dw.tt.Hnt ..J:lr \\\ilrksp precision. 32 in. depl(H bh ~+IJ)OO rril.:J n 100paim L['J x 46~.H.iJI thorne rmm together in 1908.) o( unique p~'r. O"rtr of r~~i-hion:nhrc ~L}de[~~ jertccted the toCchrutwt (If . I-"ra~on:_ud. be' \'ii~ r~(:Iwr. o Oil ]-'~!l-'O:JlaRlC'ump~L'tl!tl :th(llli 500 p~..RQ.lndsc:a~~ ... ""hi!::.!!' ~harp 1.lf.~u:and ~lf-ponmils.\f(Jl'f}':'. Hc ~ncll ww. Oil I. and landL.COIll~II$. 20.I\kin I(J the vlew tfllrou~h the li!"fJ.Van Go-gh'$ volatile career lasted merely one decade: Schmut.ll1d~tl! member of 1h~ ~"31 Ac~dem)'.: such es the Apt)r"l.nfLJ~ with novet.. men famous -arc comprised cf nat! v ( I\gut"es. the htil!'ht-elll!!:(!use or in cresses iii. 0i1 011 (:.. x ]SI. L51.J ~'Ilbjl~t thlJ:t he (f~(lutntl)' u5-l!d in ~hc bilc:kgrOl.pe.hin~.i\m pitl.:t Albrtc:I'lL Olir~!I' Wi\S bern in urembuf£ and travon ('·8.(W:I.. . TILoJIii..11II'h Seas period. and preachc before he ~i1l1.jJ:ILlS U "me Q( the tTf'l.l· i.0il II!!nsra.or~s.u ~~'kw him [0 pilim his ~on'~ Chllrdit1:. A lo.. t hls Ister S(.903. E-hs Breton s:t)'lt. ExrR"$~h'c brushwork.i~ 12.hit~a.and d~L'Qm~iw pilll:~l:t.[urcs.giQll:) ~mI m}'LhotogiCil.Hhi~Ilmorob:io ~ji. !Cen<!J) Hdnnrro LInd -oop·td b~ 1)[i1.modern art. t:':d~r Degas U83~ 19111. of (".:f8ji.:is in. (.. l!. in. HtS Innovative pt+P.-\(tu OoO)'a 1.utd 0. 15.. x ..':i'Wf! SCll-U j. birds ~~onboJi.'Hc:~.)r1 be(:1'lmC' l..1Lts.. }-\major precursor ECQIt: oes Beaux ArH.. of Spain II] . 1bj:j. em..oOQ!J:ni)Q-wD.:cd.ht billi[!>t<lf LiOI' pnine h~' 16. ~I'.191til..d:r 117ou. in 1156.he(! f. A'brl!ehl Olirf:r (14i11. which h4: wOn in 1752. thl: ilftis( he. a chumpicn oarsman.aL..-.iLl]~' TCi...1 1hl..l!1il>· to de-riel Clrcting mOlnc:!. .Ino. Iillnd 700 dr:)1.l'fl:.'n r tn f'lj..:iothemes es ""'i!U H. .hcd bhooel( e:s p ponr.. where c lor. ~r.um~ilJl Rl'lll!isl'Kl nee.)M dealer.g nature oJ )'UuLliJtd inn!JcC'.ilktnl enended . Consk!tmi om or ~hc :i1lel~d:in.~nd :a.:!ofi'[Clld. .'!:li G:!:t~bo:01l~ devebpcd 8n o!~eg. i. H~ lhrmL. ihQl'!'Il'!i EaJ..1L:!llby I):cg-o VC'M.~' LO lh~ Kill[:. Go~tl illi'ly h~c in. in..l3int!:'r of altarGtackena studied jjt die' Pennsylvania Academy' or Fine . 1541.~f.. prims ar-e cxt'mptary' fo: their detnlt :_tn:J Eight."'-t l. r~14l. l~l4.nLm. America and ~llLdjooart iJl Pari~ ~lnd Spain.uMo.ad sl[Jdi«i lIntJ:.!iJ!.<lth. tlfe in 1 90 A.~ oH 1m.le~1 the Postlmprcssiceisu.0(111 14..port~.n. he insUlJc!iofi (Iof plinll'r Rebert Ht~ui.Il'r:ld~lally mntnred into the rtt'hI)' colored \\o'(lrk.~tofof·~ rc ure Lou\'te'.'(IJ1'~mpor:J ry \~orkl.tqll't"i~ nJ.s.OIl.:..e.o(t_:li.l.ullnt lire in Br.:his: t:arl".R@ of the city. lit enrolled at I~ lIN2. ln tbe di. bird.jm.\ .jl5. cool colors. IJf{tJI'r: lht E.. lSi 1.t.:. nth~.d ~t"nri? picm~("5.Slyle. P. rc.adcDs(1810 lQ3SJ.:cll '''r1L'U careers as lai]~Uil8C' (. 1787.xum (iho? COIl:!:."'O(n ~L~le:.l .p~eund primlttve in an. Arou~d 1.o:edim. [I:i. in."m elcd wiuC'ly in Europe.rny [ C'!lrn(:~~ 1880. 40 m. In e~mqlle l~rt. Ott= ..u:kC'ns 'l&OIS a member of IttI!' Ash-Co.-'u· ()f ToJt'~~J". n.d Ji'ho@lr3ph~ Able [0 ('(jIW~)' joyJ'uJ human emolion oOr. Srrnngly Influenced by the tmpressicnists.<.1lEi polJ. 0 Gn".'c:I's.:ogb d8B-U.'!ts in pt. 1.!!' painthlm-.lr~ mOSI well-known p~!jJ1lin~.~lilDce. and IbC': MiUqu:l!$OloS ume und unusual angles. Oil 011 tan\"li. 70 In.lnd lanckl:'.~ pOrtrail CJlr Jcnarhan u D.I1I[~d I1I!lieiolJ."L1nS:l!ikw3 detail. he 'W'ttjl!l:l~n Tol~d.It. inil rnodcl"il Me ~uiDlttL:)..l ..11 M4.n works . W11h Touhnue-Lauuec -lind Gnugufn proverl 100 be unsucurnoort!l] his 'l!~hC fi. Ht.jjl... Genuan pllim. III tit~ i!'ilrJ~ ."·randscl'l CO"!! ~l7-'6-1S28).'QpyiJl:g the Old M3. WiIli.IC-f ill (I. Al\ li(.

art was pHshed in anatomy.dL. 48 in.I··pemait$ I"ith m. It Ifh·':n. ll7iip.. Oil 21. sUlge$.ti:'emcdi or rhe Italian Rl..s most famous \I.[l. x 36 in.... supported hi~ . JotS in.t~.[!:s b)' the most ~..p rll .215..gs durine h i~li~c.!wa~ publis].A.l'"'ld il11!p:!.i~ repare cl'J::U. gn~!I)' Impressed $:uch nineteenth-century artis!~ es ! ')~. Ll'i!lIt!o ~\ ht:~riLl. \''lS'~ yOUl'.1U'doda \'ioci {l452-1:519}.~ in . ibe miimcd M~iCBn bu~ t. H~$ ltt.c. !ike the om:: S¢E1'l btn=-.t W. The Xi!. d E'.. Hick~ i 11(:0 r· panel. SUm!. Painted in an era .nci!d~'Iilont:t) inclif1. F~nch pi!tin. Thjs the '"'(tr~. and eJiI'rtical DutkJj. f!.lo of\-ot'I ~~(.-1Ctorian· eru !. oJ::arly il1nO"rl1tl)f of 1h. the flrn versicn or wh.!!: .) 30.p.H..C'1 1)0 O~h:r Kok.he WaSoften crilidl~ for hi$ mooeff'tit~. 1n( e"mcc of American uT'b::m life.t:1 of Coml'l'nmt~.gh.'. )..o crt[.8:55 to 185. se1. ften often steeped in ~nIJm{:iI].~ Ul.\ thffn~ from Mexican fOlk ~rt 10 ht:r pillm. 29 in. Hopper} "'·0* plI.N in 1853:and circuhned \"'idcl~'.Em1Lnl...fIllr.COllmy. j".-cri!. Oil on or t_hll. .1(:1t.isui. 22h in. Th~ grea~ \Io'OT:" c:mplO)'.l. eugineenng.fi~i$1 painter FriOI) Ka~lo wil. IWt06t. he produced [] series bi! numerous c.$.i~ioneO for publit:: buildiin. }-'r('d.d in P(lri~ teom 1..1f'6r 1M 101.S man of twcn!}"-sl.ij·nj· ~.n.': -i:'Qrrnn@.e1l11.(:lI~tll' Klinll 086.ltiug$ that seem 10 wus dCS1'r'O)'cd in a bombing ratd dlldng World Wat lJ.\(rI"l::su~mdly depicted hlstorical..LrtsVi. J mii:5-iof panens and shapes dQmim:uts It.:hboQks.2-191:&:).aDi!t (1g32-1883)..itl~ o~ C6.l ever cne hundred dtfrl·rt:nl .l:Dlus il.ilhin pkllU~ illusions. "'he Ihtmc is drawn from Chapter 11 of tbe 800k thiS sensuous paimin.c:s .mlike im3ges. at n rea)iJn~bl( psrce. His work hild it j. as is his profill. as .""lto d:.u.oJleui:'eM and alienation foOutli3In our ~acI~!r. IUflfi' ts l.:m L'l:Cp~C100 Tit! LAl(g/rl'''~ rcscmanon ".rl:J. a member or 'he: _. She h3d pOlio a.of 'r'i~ual pc-rccJ.(!rk. the Mrma Li1tJ is one of tlre foew p!!!ntitl.~$ indisp1. E:dOl.):li~1 Dleso RJ..s work.\ irr '-: ~'il.' ttLtT'i'..t/Pm/rolf willi M(mk"..~phi3.aLly acecmon canvas.:'ALOO l.J:gnilnll)' evo:ces Surrc:alis.nd z symbols i.xcs iiild jecongrUQUl ima~.u/rillgf!JiII' CW$sillK Ihr D el()lI"rJre. Se. I-"~ml'j& ' i peesumed rhut Hicks patntC1. lCWI. 1f&r~1RI)(JnI.lmg [rom.I.. WlU placed on exhibition in }. MiiilgriHe begiHI ufiaffec{~d by ~t avam·il3Td~ arl m()\'e!nelll.:alit)'.l.e VI"Qfk$ of wmstew Leonardo completed II surprisingl)' 3maU number of pemrHO-lT'II!:r stand Out as I'(frtshing c.ng mirn.iL.I'Id SC'uJp.iean scboct or p:lil1tc=rs."Yas. The suave ~~l'LL!l"m. depicts bO}'! m play in a most pupulur td..crt Ta):im ru a whl)le_. ~\~t:t:.. ( r Fr~-dcnt 1. and ~it::ntinc pursuits. ahholl-tUt naknown. 11K" Salon rejKLed -SCVl!!:nLL hl~ pallUil1BS du~ II:) thi!'ir 'L1). ru~ ~litn!jnl!!$ oflen f"'~lSCd on .cd tL5:II t'J. In one or hj:. Homer.G:OR StMe·le.tl(·r. nj~ Fat!!!' Mfm. Whtn she lIo'iiiS (1:0 or 1-:- or cig_hl'.!ljiry as a propt"JCC)· 28. l'trsioi'l anit G~1"man!.@ a measure of.h<(tl)'~ mQU reoogflitol. 1P1 in.S Moil p::Unti:r. Mpcu.. Au:striu. als was a prolific lX'r1ntill~! who pro'fid:ed hls shters H :oimlbr to o\n ~ol. :J.gcn~. dreil.3. d~~riy inl1ulC"D!::hi Detaware.(.:t-tilln.:hl about Leonardo da Vinci.efforts to J1:~e an. A i$..lh' crl. x ~l ~[l..illi~B-('U' s)'mbols. -C.4. 1901-O~. unparalleled in 29..lM01ltr~~td or . if •• Fleerisb-bem puiruer cunvus. SJ'lr//J Ihl! tVhrp.lt!tioL1 (ou"ittd an.5.n painter Gustav KUnu rc'\ ~'ll~.'ruj the arrival cr e pe::I~c:rL5I.~ H~ mowrii IO Londec iii 1S:60s(td was dO!id}" lJSSQ· ciutcd with ~hl!:Pre-Rapbaetlres. largco nUmboet of her paintings:.'!:J·Brrgel'f.EclQ~·· on earth.1ppor1.1I..j.l and a Cl.-.lil par'll. dtild mnd B11eTIdOO:lil.'f of penraits at (hI!' time or the painting.nlS$. 162.iJ~~i(:~st arc C'. al~t!go!'ic:d and ml~hjC:IlI'paintjngs.·ilching h_i:.him~clf 10 use subtle shading. A Quaker prcaeher in Corer.]. Oll en but w~ reared in Pbil:adc.· : 25.. Born in Iklglum."\o::!i5..111'Il).mi piC:"h.m:J~tiC".lgbCSt in qW:J. of djnineth'e irneges of the sea Ih. (h. E"ngHsJ-J ainter ".I961).wingt and d.\ 1) eolon. moustache and gcmec.I\~.'s.-cig. 31.lT$" eyc~ \\-ind()\l.Jin Doth America empha5~ rhe t.s.~~. 193 t.f'lQL1. O p Mane{ and' Sar.JiI~<1Inll aeedemie arE in favor of Ii! decorative s.. but ~I!'~Hd produce murals und a :"umbol.dWlIItd Hopper (1882.medno"" 10 paim "". with the Nalh-e Americans. Oil on CB.:lire American arlo (11 Slu-. 12.l1 able masters.. x 65 in. cUrtain:).~'r.a~ the 'KIil of 0'1 tti.His diverse talfl).!C" F'r-an. x 2:55 in.t: and H..c:igliltoil was tratned in Euro. nla E. and prim make-r ~clo Llard M Hnol!lw.mJ between [820 and hi:iHi! I!. Hl~U~d)' POUflli1. "nkh had o. OH Europe lhfCC limes bi!twecn 1906 and 1910.~ in.pcd. versicns of TIw hrJcrubJe Kirrgt/(.! cQmmercial mist.. Many studies fer the paj!l(jng s'!ilI exist.ly iPQPu![:!. or:)l1 h_~sP!!inllngs.'"50 :il. Equ.':si. with a good !iken~:.Oil on canvas.\o1mC'l..hik recu.tdi.. MLll!Jriuc dcm"IlSU"al-ed !}le Me:(~can Jndian. air reehnique.. 60 in.l1: I 9J.1 ~iniT'l~ couple.le:uly evldeur te death. TIw fWlrf(lhfe Ki't:gmm.:l. ·0·· m . 1:812. U~jl'g: 1940..ity.. t. Hopper studied ((Immerci31 art I::lItfore. o'\cclatn.0t... Deraercb. Il'Cal).S . but he rtmll.bj~ V['\:.t~\ known for his p.. l851. eegravtng In!!. . 1506.: PoP AT Lmo-'o'tment of tnt: 1900s. Jlt:nn$}. ntt' !. :II: 45. ea IU7. OiJ On curwue. .~l1.be oau_ghtl!'r of Ii Hungarian Jew a. H~ studjed \lIi~h 1851. Twentieth-century Rtaliost painter W(.n_g hi~ a~ "-I:I). lA'OO. Fumcus all O"r"'tt tl1. are p11!ci!..-ed .a.n~j}U. Lord . cornrt:i..(iCO Citv. which is a masterpiece of brushwork.-ork. Although Malicf~ W3S st~nglyroo~edi in (hI!' aft daS5ic$./ UfO. i. such as the one dC'ptcloedihere... Frans H~~ {C'... Isaiah ill rbe Bible.of!. Hepper ttil'o·(l~ 11. Of the b.gi. il.rized til)' f3. A lJ.rf she .i.ble ~f'!~ OcU·k"._!".iell as thc ROMr~ l-lenrl.:J. M{)fll.~i!tMekiF1..o!ICh~. wh(l painled political:. f'rld:a Rablo n907-~9!i4)..rolJg. EmJlJlIkI uutu (I 16-U68).LelgJITI:II1{l311l-1&96l FlrjrtllP!t Jllln~. 149 in. l. in. Kkr:rn was primtliri~ a decc. H.c (1 98-1 0:)67).liL). 1.tlughing Cant/tel'. Among the by th~ French plt!ifr. L'tr1d. Oil Ull I'nawn:I~. New 'rork.~nCC" masters.'li:l.aken OUI or contexl.c. 1-hd{s 17.. wort..kh Edward Hcpper ie t. Isal.~ mtmtl!."Olt \..S bUI'8'i!"oning: h~s CI1:fter a$ a waJ'pllper dl.:irnt:'.1llnf 1\l1. Kar. il On canvas. Kahle LPi:'.lImple~ or frank realism.ofCttriU..'a~ eanvas.'o:rll.dI\'Ollrd Hicks. lnyered C"(Il!iU.uuH)" through me income derived fl'Qm bl$ pltintul!:.) facial fealu~ iac:ludi.pltn.. Winslow Horner (13l6-l9101. do.slOrical pilitlt~' in Arne-rica in the midcountry landaeape n i olf'll!!:cnth e.. where ~C' 1IlC!:! Jngres.9. interpreted by Christ:i. veniL v in h:ct hom~tQ""'TI of Me.id bru1ohU'ltrt Ilml C. technique knuwu as ifrmtaro HuH Lecnurdo "!. In 1'929.l p:Jil"'.a.LlI!~$On~[L use (fl.nd . who typically paimed scenes or ~'ty lire.. C'tJ"'11/iCT. WasllilJgttl/t CI't)SSill}. J. Oil on canvas.~.~.a largt f..lo.a~ 1~ One of AlJll:'ric. o[blk.rllnk:iJl~ go\~mmc~t omdal .:iaO.\ 5l. c-norm(Ju:§.S Th(.grler aue.:P.$..~J Lcutee wus boom in Germany 14. ta. Ed""iiltOHicks (11'SO""]849)..world jbr her pcrates iii secular vtgneue of fellow QU~l:tf Wtlliam Penn's enlgrnatle smile.pmt'(d !'ki!-tln.R'Ck.. ~ 70'..i...g ~:\I't'fS510m. J71~ in. HI.ely detalled.t 1. in.:\ r. YOJI: in Born in N). mO$( [illi:WY. III illilr..y verscns .s of a S~ctpingwOln~n.( 111~in. Oil to allo.~dc:nl.

o.·J:fIIJ..iS1rn-y t)1' :m .5 reflccllh~ rt'il1ucnL~S 01' ~UI!'\nt.'Ul:\'ils.an scu1Pll..' tbe emctioas or viewers.:. ~ . M.. SWl#t1'I~l"~ 1:S~I. ill .nd Fim\·lSm.n o. ~'lo~(1 sought [0 record the "impression" ~ubj~C1 p.·oOf-'... W'. his most revered ~\Otl(.o j'oo_.' LlI . 01'1 pumtlng. E3~~ifLrlin~ ill IS~.LS.rd Mtlt\-ch nLLdi~c.limri 'hlli~ L1 r.. J0311MirD n8t."4. )1...w hi~i:li firmly 'III.ear 'iftapc.(JlQI'IC illhErilc:tkm.t~clt"d 10. in.cc. A~ .. b. thil. f'tl!$ f'ir:. Omid.J!!:h ""'(.'\ 1'l'1xkl) (\ lodi~Ji:mj (~S8~ 1920).Jltph"" • 16. Oil on . '( ~J in. mrmbls coUa!!-C1: of C:OIOIL-.HI. she palmed w1. A1111(HIl]:h..tk QUI· Jines.' of Fnmce wit b selmU\ iL)... x ol4l~ic.eI(~ "':Ill bob. 1t. 1!ffQm.ltlHi.(t to P a ris in 1">051.ilL mid I!Ippnmt~ced to i.t. hShL..:p. Hi~ \"m."rili::tl. :\lkhe13n:Jtt'lo RIIOiJ:illnoti 1147:5 I ).::w Yor'~ Ci{) '#t!!'i!C{.ln Spt:DI three ~'(:lIrs snld~in~ \\'hl'l \~S.·il Wac.: ..~1'I~fmnl\'j)i~Millel r~m~w . Till'ScrtaUl.C.K!~~ brilJ~ilnl .and earned him a fil1~ rep-Uli'1titlll_In IlWO M~lrillo Jutl["td~d A.:t'I1e:~ from the 1"C'~ of FmntiSC. fo... F11:~·O.e:~.ntl ri.l~a.~11l"t period The m:.i:."iLi~'L' lirE -an mJlll~nc~ !Milll l.Ih.1 piclu~ of colored rI!(IJn.: . ~.aillt Thc~e wurk. \'il~t~~·tl.t!toii.~ \'L'tL~ cornl~liss[CnM 1(1121jm::l 'SoCrf-ec~. il1dud. PiJlf'l~ wlLtn he \1".'j'Clri~·Orm~ I\.!Jw!ld!f'{1'\ 8Q<'gie·rvQf)git..1 ntiiLU!! \'11~ dr.(Poi1'l jjll. 33.oUofof Fine' Artf.F-A-v!eJ~!.n.l'('oal drau'ins:a. TIn: fret. anx·i'.\I)\'I!:J.I·:'_ 3.~l"Li(:"Crtlhtanc!3:v.color ereste ~ p1.H~~uic.of co!t"l.retl~ll lmprt'$. nrc: 41.11sjll~ color.and d~:t[h.a. Bnrcclcnn.[ painting iI. .lLII:.1!5 bl()m in S~-'IIHle. t1<:b· LIl~!r.$ (If \'jn(l in~cl'Is. DtflJ1!ic ~ijb}"'. 11'.oI. G. TIN."UEion 10 QliE.l]lillti~ticILU!o' t!eptcl~ three peasaut . l~'M .: srudled the Ihaa Julm~ II to repaint tht C.I]e!!nt k'tIOI\11il ~ Fauvism. -ort.. }-Ia:dlt'L\. i1 prti1t@LIJoIJ:io p.t1l.: Ihi:: I..lh ijhl!' '~lff~illi!.s iirld C.l~. ~h('l!roup.i1rt1~!ii.:: U. 'en-en.'wrd Dm:.t·t!:tn: title f-'f hi]. 1')u1eh lJ~i:rucr Pi.uJemy or Fille lhc Mt'!".. iJl~tru. early in lifl".c:I\':ud .:t~'") created s.. I i.'$S !lind antl~~ of moo~m mit.E mmcmt:T. Mllrinc 1.u'b~ 1860.Ir1tJ~rj ..: Oslo Ande-ni)'.wis.ru.fL[iK i. In 1939.ce-.~l!1 :roill~ 00Tnmtm demcn~..:UlcilD.\ILIdlre('[I!-'I f rol~1 his Q . In 8Iwr"il'~lr i:nn'4)\'''lj\~ tt'(lTt. life.LJt~!L·.d.' Yorl.'liQJ)lI or flowers. earl} srudles ln lal\ to anend the Academic Julian [mel vcruculs. '1anl!"!'$ ~1t~1 m~jor pa~nting." Link "~I'tj!/ .ld~ FfOf'l!n~ir.en"l..g the \'ilalhy (lr it 'o....._'IMI:$(iT)t be3~1' 10 J'i.)n 8tI\[Jgl["o-H~RI1'.'t.s:It!JLd there OOcickrC"o1'ki.IIJ1. \1odiglilini :Jl:. followed and 11'. 1611 1681)..eir \1510:: pure of tlny b11. Hls t...S~.I. . tlt~ nlOSI fliiILOLI:\ representative of the ilrt r.r.-:t ith . R-td.lI.~ van GOl..!t~1iof~UJ]doLlbttdl~' mflI. IttL' by ratente d -ninillf'd tbc High R.E('Qux All" ii.vdu-ccd in Pl'jJ)I~.r111fng l1cLldetT'l)' in s-'I!\'mc." Pi(:a~o::llnd: Cubi~fil.:e ~itller D03'I. art. 40. \M GO~tL_ Cubb.:!l These \l."]!lit!n O1!rtis.~h·'pm~.\li. Sistine Chapel In The or _'j'~. :" 149': ill.-'o·l. Tli-t" r:'!.~om~ of \\'f\ich 1'f4Y'.~cs..lrl~ 1\\... ~r.c~ramk~ p..Iie-u.'1 111[:dcrlnlrtve smndurd i11 tbat liToe nu de ~ulpttl re.~'iJttw·~ It!:t.e-nchllrii~~ Henri Mausse aban)ncreil~iDs)y more abstract.\.brtd him [0 focus l1'D'he heauty Q!' Ih:!.'J.7.my iU"tisl~ a IL)L of Mnn(:h's '!. tiL.k-an·hil.titiL1!l 1h.lJld (:ml1:p~~l{clt.~L'l.. SC in x ~ Iu.:\ir(' nnd l!lln.::fi porlm~'l!'d rC!!.~ "five.!iILL~ lIt::' rusue 1i(1.dpap!!:!' CtltL1y.lliln paj'll.mcrunner L"l-'r tbe E:tpr~"-..1UJII·Sk(1 II'flh d t'on.)li~1.Ol'l\s 34 .I'C bibli.'r.~dffftts from hi~ carl~i!'t.Q "'(lr~-cd b. Modi~~iani L':3m~ [Q Parh .llne. 'In bnpressive botd~· f \~-or.:' twentieth century Gracdlni1 ra. ( 29 W .'m booa1'd.. Tempeen Q'It canvns.'r.::lI~n~ h.3-I!)-S~'_ P'>(Jp/l. Oil on CM""':t.Oil on~n\"i:1~ j$1:in..I~--tight.f oolot tJlJd l·urviJir.. Ifit) pn.lo\e. of ('rCI'I1:31:r \\'(11 :J~ tmagcs [rc~ll C'bssk:d us mytJ~Q!Ll. V....l~611 .l kN. h.. 11.f111 im:!!Ii!'~ Ih~~ Oflo.n~ were Mm~... . 8f:'fr. bcrh of which I!'..(}'. [11 IM51!. L in..':JI~'ed b.119 OJ I on 1t.rudin. l fh}ll!.. hi~ peasant f:J.mdmlL Muses II i"JI}. Cr.roj" ab-nrittt fJ!'JX~I!. Hh ico-nic paiflling T1f~ S!:'rf'QIlt-Ollt" of lh~ C'5t·imQ\\'11 iU1(1g:e~ in cha: h.:1 ~fl)ndnan ceme fr:om an :... Oil on can1.ll'oij an Grilndma Mu ses dscd l!!! The ege of one hundred ~J}O one.::r .1('li:n·'Cica~i!"r..t..jIlJo~hl. 1F. and lh hQj. U$ina oil btll.f'r Ih" SWI. where h(' (If tb.:biS-T'i'4.ubj..~ I<-'Ibo~ \~i1b :>:ll!!nL dipl[I}: J~ndsL. A nio.p."(..lI. Bern in were I.1tJril1o f.lrt in trt~tlnS his.1l¢ tU1b" .. i5 WON was gttill]~t inllub Jl.cb..iJlL!O hi:./ {Iir SlyJe of PRinting iii."(InllnUL"-tl thmuj:thou[ tn~ .lT'l.ic: fumil}.k befbrc d~'m:1l! of tlJba::J:CLllusi-S-il1 Lh-c a~ of [Iu.1 :'U lh.t ~2 ln. Mitit 500Qn :. IlS~ b\_')ldcolor I ~tir bqp1'l to ptlir.lll.Lt fR·H. Paris.o.\>1"'ll~.IC'Clt.. J".c~ClT1 (.it}' through th .mld usC' o.J.:rt: he slfu~~lM i:h il n(s!). he (. .ittl m.i by C.A Bf'UljIU~ll Wml. Mt.lucOO dlJ..ol1'J.'t. H-e IUCUCO at tht Ul Lon'· Scb.3!j1 I in. Hl!' prudLl(.isC'<!IrII)' WQJ1.embodits Ih~ ~.lj_alilll~ "'Cft! dcned hU. ~5'.iefly in $Cu!PH_Ire..IS~ (11'1Chrisuuav -'l'1!JnI~ :.ItX!iSI»u"i·s\\wk COI1~~L~ m:1ll1ly of Pilillt~d I t'iucl~..orks indudtld .oni~l~. 7t in...lJor.g:a1-ct1 [1flnr.1 secees extracted fmm the Iloo. Born (lin ill Farm in G'Pflrlr.:h {jid 1'101partiopmc h:e in Ihe' otflcial e.~..lhu bef. admifi. ~\·hL'.-cr p.... he \'L'o.t)..I.IJ (:l:p.S.Qi·door-s.108 I~.llt-.II the fli:i!' ~{sc.~i:'n"'f. 1\.Inoughl ). ued M(mdrian'5 cQmpo5-itioJ1~ became on canons. J ar(.01.~l." in hi~ C'i'm~t'd of 'h~ tnmlcul htlT"on1al5 by 1I'1(1~ wUb geometrical @lid pil1tCrn ....r nnd sculptor \-[ichi.huerse -c ttcn to . (. . Oil C'l10l. 189.fmC! (ta... . ].t:']lI(!1e Hfll"tfllc}U and rHIl. OBI! . Ic t j.f hili: 1'I'i{'~~t'ori1f1C'llm. ~ndt'r\\'erH:LIi kmJ:!:. Arl!i:" 1910.51: ill.0 ~lilli.ely pO\"~. more rcalsste r\"l'rodu.cil. Otl on ca n\.~en pure C'(IJo~:c.15.....:.h. "OON·S SWln.000 dermlcd P:iLU1in.. Da:piC:IM fitn: i~ he I'i:ttuta: of LIl c Ol!'lpbtc.1942-41. Lm'lrll C:f.~tl. x ~4 Jt1.i.rl'lthatjurn~ {moll ORe. il:ilrtvlollle I' Stllt'.nioo for AfHc...~ cO-'rnmf~i uaed b~' Pope effeetlvcry c::IIpmril'l." 1610· .. " 97 in.1 l~bm~ct pi..c:.. adOpLl!'d 1he $Er1.(I_Micn[l!'[re-l!'h cf lir.fl. iD..Xtrn(.{hi itedur the ~h. Fn:ru:-h ~.b'e..IIii'! ill!...md r.11Jf"31s.rp@' scenes or . kkin. a trel1d 111..t(. r.f'C('h...h1.jLl~~Mort' we Cr. Joan li.)ncr oUr tmpressienrsm..(.-"St"um01' Modern An if! ~~\.• md dro.r. p~uC(cI Nt: i l~loem.Qi.. S~ prcdeced 2. .l}l a. x 2.b~'1 I Ihlll uppeurs on tbe (reM:OC'd I./e'lJ7fl"s.l...(hl> oolUl'td.. Af'lcr i1udying :ul in F10f('i'lci" ilnd Vl!:ni~.I'lt.10 in. York City..\'C lila: viewer i!lLLbm ~recl~c til"~ of d. ."ts ("\\ ild Ix-.lfLtiv. Ht' inU~Lra1ed r..K.'UlJllLr).. aml l'Ilmo~pl'l-'I!rl!'.'lL1pt.Q5. He ll'l:'hk\'C'd R:OO~niLitm ~TI OlJ {In can\as...'n'Palmp iO!il!l 1j~f.thib.19.g 3~h.iLnet \'''llI~.. ~dinfi f.lil:otit1g~.. One or Lttl"gr-:i'LI-t~t foil pniJlt-t:f'$ tb~ ~IJOIl ('II' lW and latee ~nlC'IJ in Barhr/en.~iQRt~[ CJal." -ilLr. tmrc)H:11ned armngernent foreshadcwv t!>lf later or rri. Cia III1It' JiJ'tOLWt 11340 !9.ll pieces.r_. 1908. or same ~ubj~t u-rtdl:t di!Ter(''I1~ iightt cOl1dilior. In TIw p. be embarecd on a series -'Of \''"Orlc. (!:Co~ j...1. . Ahliol.1 :E1I.o p:mdu('!!(i .1qu.~.ilrgd)' iof]uC'ncoed by lhl:" Srmbl.j)Lh.I.illm .Pl'l!"5 the :mht1a:nuuoees of I:'I.l-195·1j.ltitit'ig (If lite StslhlC Chapel.". Pi~1 Mondriall i l 72-1944.s bi!'t\I.1.. of high quaUt)'.ll.IIl\'i. lltj. wbe~ he Wlb l.!:Iry M(mH was introduced I'll Ltlt' pf~iJ.s.impl'c '~hl1lon~hip.illtojS :\liJlio'1 t1 I·~ 1!i1)1..3 in..".o .to munifcned an indi:nOllttm LlWo·.lIIlLb 086}--19'44).· (rre['l~~' l)n hi:. ..l t1' RS. After mmln.)1e'nfl.l61.~ion5 i)f 37.. A 8~1rat 11lC" Fun':5-. and the" !. tn. t-·r.!. "<.. Tlat (.':mfrom hi~ own garden ..

(pr~s~ him~~r tr5:ing radianL colors j~ m)'lbo(o.S '·I'l!a·i~·e/'a I(.g .1:-gr(iiIJ. 0'1.in. !( :50. Imprcssioni'5.the Gil'~~ ph'ilosopber AnS!011.dctCb~r Rembr(ll'J.Prc-Raphaefhes dISbanded.1\-igl'J. Along with Iellc. 1)~IL "f~Jf Sisrmi:' Ma!'/(Jmlll shows tho: ~rcl'JiIY. J. I-Itr'lri Rousseau '18#-I'illO~.liOt1. ca C. Th. orltm. cernmics.tr. Ah'J'.!. Ln_ Fl~['J. ~lle Fre~-:::h-b()rn RoUS3C31l h:.ing.cr his n~tif..g non015 o1n .H.'wuJ..1) at e ratlor)....'ilic styles.. classical :uytc".stud)..aN! widdy . Chry~l'llirhemums l'..JIXd lOO etching. Picasso d"-I:pi. 18. such as Po~ntJllism. L"lnr~"t'oI1 (~f IhC' Picasso Will one of the most inventive p. ii!J.d tho!: Su:rrt:u.)of the'll"])!r:crur.l'as. pain too nQ"\"m Onto po1'C(l~ifl s:t}.000 oonraus in h.l:1!" masrerpleccs.tne! instead of rounded shapes. l~ t:ti1.l! of women. Sl':. tbe ~8C" or rort)'. more ch«:rful pcr:tCllanty .. In 1848.. iJ. ~Iro~ llnd sp.gior.::! blend offoik' an end m'Olu'(Itk !iQil3~y propaga.eris!k 01 Rt'IDb!ilndC!I.'QFltcd rrutinl).'·' 1925.O:5 AT'Jgtl~$. Th:-ough his extra otcl. -crk in the disnes A10n. IS73. Oil On cl1lwas.oo()fI 'W-aJ ttaj}sfoJw.. . Pcltll'r 11111111 tl:ul:tens (1:)71 1640).C" reatism of Corm."'Ort. p()nrajt~ llnd ~~lf·p()r1[.C.l!re itt ptrto....tin (iloyght is "U~k. M~i .iil.OlJl!. :Du!ch paLtuC"r lJTl.5-.nu:r und dipolom:fl.dujvtly i:n cl... and pu.. L06 i"n. 'bc-Jie:ve thl'lt it rc-pr~J'JI!: a political ~talemetll. f). comptl:-tl.s (lor Dante A Hghieri and other Italian wri[C"!ti.dt \1. ""'hite !lOllle<:f"itICS ~H~ Ihl!: p31m.j. nobleman.:I1P-LJl.tlchurubcrs i:n .!~ 1600 hI..ca!in@ n~"C'tS 10 god or re'ti .th various an."d.u! rr.tLits. WOna purcbase prize ~n 1~2j al an e'xhibition i". develepmeat of modern art. w1.i~barust Publc 47 . the Ilower \endo'l' i~ a symbol of the Mc. 1&68 SO. of a figure Ij)$.Ire Vatican. SptLn.:-rt: \'l:ry TllU(:h ildmj~·ed b~ MR!i~se. 1625.:t~!I(d8I!:d :u bls finest ~u:J.. dliljd.school:5.l' larired b~' SC'Uf~~. Picasso l". .h he..1.~e-J his ma~tl!"r}' at ~'·i. 1905..{ shouluer 111~burden of rhelr whole cOLun~~'. OdHoll Redcn wotked i. These tnnrals on!::n depicted the tife and MStQrj" of the ML'.IT'Jd Monet. O)~ on C3r. Oil on canva 4P.t.:rmme ..)1 0/ HQtnf!r.t\I.'il]l ail ""pp:"enUric Ciol. 5ll. A 6&'."Jllecn and bc!-g_an -receivilJ. rith eotoe a I<Id betd compcsilion lhal is ehara<:tcrisllc of his wOrk.nd:a.rji a gold chll.!!nte:T'}Or the 1wf:. 2"Y .S .Tm i. but 'returned to 0..t ""-a50 r!r~~ attracted 10 the '-'""Ork .(II Picalij.Jii. he was summoned {O Rome io 1508 to decorate (lill·p.1n wkh a tUfda11iQn bearing the iJf~a&C of AIC.heir c!ir)'. Oil on: C8:rWIl$.n watercolor..lSCS to erene lummeus c·fft"(."nth o.g'~ College: nnd trained il.bji~bt-d tfj1'lsl!JitjQn~ fmrn . p Rivera . wb.':i::afly 1:8:90s "H.Hi~ (lower pi~s in pilr~iC:lJlar w. Ht also experimerued ".llmO~l J:). :t 79 lu. % In..r(l mU!l.. canvas. Married 10 Surreatbt painter Fridll Kahle..~ in~(l il.. ArL1:lOLle p '-'""C:a.r . Rl!nOlr_ • aJ]~ Ma.l b~:!~ from lmdJlioll::al ecrnpcsitlon and IUIlurt 10 study lh= cffeets (If light.Ild e~. Odilo[l R~oa (1840-191 ).l. Flo'tl. OiL (WI eaaves. Flcmw Dti.1iCi!Jll middle class. gi"ilpN~ :a. ~l.!ly f:om marked ii'L radica.ill'l.£.Oformal o'iIrt~(k IrLltnilig a~d only dL"'l'"O~ed him-self e!JIduii"dy to P'3!j~t. R:\phaorl ~. Rosseni 'Itt.i:sJn.i9~ ar.l2l.80-81. IItbrid R~ni (t 82'9· -I S1J2)_ La Pm at" T{... Th~ Sl~"'fpi"~ GYPJ}'.. []j lne l:8:GOs aud 18m~ PiSSSf"fO bgatet'l(o his palette and applied bfl. These fr~(lOl!$ln the Stanza ddla. X 47"1 in. Passef cn brown paper.g]escape. Tile . :.. ill_:( 19!~ in.Jj !'Iring IUt!" kno:oI/Jl 3. Pre-Rapbaelue movement.~ iiLl'u:s:.1.t pulruers Mcnet.va~...!' pl.niw of th(' u'"3J)'ail anjSl 46_ Rl!mbraodL '"'Sil!! Rijo (160 I 669}.were pOl1ra. a ChiJll!J.:m. i'.g: h~s _gt'C3!ICU .!ntln~ of luith foliage !tnd m~"'M-tri()US fitu~ jg e:WI)c il'll!!l!pit"'r~t hmdscapes.cmtml a. An in~\emlVC [l. which..'i!'Ll precee peras trait He became the fir!l~ Spanish pa~nter tc achieve ""'ide~p'~ad European fame. Wildj1f.Jotut rdl.can painter Diego ~ ivcrn teca\'OO many ccmmissicns W paim murals en publl~ bouild· ings.mwmplUi'rng Iltr 811. ~"bI.Aller the.(wJCJist!Jlt6 rJ'".ild mer 1.rcoal u:nl~lhis fif'!i!!5.will~ IfJ lhe pail. clh cenw ry.• =\f't~r compl(:liog several of his famous Madol1.s Iiferime.g hi~h-]e""ifl commtsstcns. x 1]1. 14'1 in_. His PQl"1r. Renoir pain led ever Cl..:. ch lldren • and .mnapp)' R. 48·_ Dlego R.ttd in 159!il.\lbj~l~ :md pIO.!1.ll')dcm M~[(:a1l1rndilion or dcrl.001_ one (If Rivera's si(!r.ldet'I'IY . Ollringth~ 18905. Renoir began his art career "".. 44.ie~mcUl he a!so pail]. . 1tC!TC he wus :!uof'lil~inn ueneed by leo'Mardo and M~chd"'l'Jgor1o . Dante (. Ont!' (Iof IRe foundi!r5 of lmpressicnism.ntu:L. hi! also produced outsrnnd. Rossenl WILS educMl!d ut K i n. Coosicereo the centra! figure of the. J D t]lis 1X'linr.ir.i1.etury. :t Sl'j tn.icl!Jneopl-e. AmDJl"g his favorhe ~ubj:=e~! (1.I Si:ciHan millLC"m~sslom for lin: duke uf Mtl.t !'=ll(!r Paul Rllbe1'lS h:cld ~pp~(..Snaring PiJTl_I.. 2 technique POP'l. Pi5Sarro studied art in Paris.':.lomle li(le~h. Par1l'oil 41 Su. St~lil.USLIt Reootr (l.gic:~j $(len~§ Ilnd flower painting5.lis."~ie-h aimed . 1901. :)8 in.'.J:§:8.abli.~.. wrote p>Of'!ry.1 of ~he e_pii::: oet Homer. 45..social scenes of ~smos~ famous fOf hls (. nle $iflillt!. Renoir painted landscape dirc. .t:~('Tydil)' W"('_ as picrurC'd :n l-l..( 19" .zw WOr~ RousSC:>'!\1 I::r.x.. 4'... cnC21!SElC' fC:nI!L'1l~'(")' mou or '!tis palrnlngs are of a rtLi~ou:i nerure. Ln L~94-9.'he<Ie h. 189'jI. i.«>' . 'o\".0 return to pee-Renaissance an fC)rm.'5: Cone IQw"mJ!'wt.ffr)cd (lip. Pissurro hdped O~llize ihe firH independent Impt"t"55il)ni~t ICxhibilton i'T'l 1874.SOlle !. C.':d for i.l5h5!Tok~ of orlcnl color 01' hi ca~Y.. where 11.11l!Great. Oil on Cl!i:lyat.l. 16:53.1:'r .tc~ und major ertlsiie mcvecems.'n \'~iQn!!ry way. O~I Q!l.llm ~gLLrd(!d Roo(lfll il. w 43. he took up paint(ng in pa~l-tls and -color.Qf rhe 8armLO"n school and tl'.&!H-19L~}. A piVQI:lI] . view. Oil on pimt'_ lHflo in...il·trll (18:1!:6-1iJ)51J. In B04 be ua\TI~d 10 Flmc'll~.reSI~ his band on iI bm."L]sh of the!:"'.aJl vus.uUinS bursts or color.nfusod n[~.l:3mje.inttn SislC")'.ca1td decailed p.:.~ in..!lf.md e.. stLU lifcs. in...tlfj. Pilffll"-.O~I beloved al1i~l~ in £uJU[X' In thfseV(:ntOl!"lh cenP'3i..61~ Sl.IJdbock illustrations. but left there in dl~g~L (Wet .qLlm l\Tt!" aml. Murillo ~lSQ puimcd semtmerual scenes of cl'li!drt!ll as 'tI.5.t$\ of the: French Symbolists...c .dlt!(}f! {rf ttl" 8omil!t Pan}: ing scutpture.1.. U50inGfdltMry brash~r5pc-<:li .50 initial CX11111plcs of :t I!I an ner of ~.i.:..es..ld"yJl)~ IJJlcer Peragine. Lcs IktrJ()uelJes d'ih'ignDn Balilk.!.n-d III W:fIOIJ.Pi.e~~ion i~l pa.tmtribm-r.aJlgu~::!.iltj. Aftef a r-t-ligiou~ crisis lO Ihl.. A Cu110t'l'S·officer who Dail1ted in his !p<. Whil-c hi:!.' Ma~rUl. tn Antwerp Ix-rorC" hi~ ~rlmi$: ion to II'liCpainti!'rS' guild aCik."l:lwlt Pissarro OSJCJ--I90lo). ~en here.1 pulnting during In~ l$GOs. RCllO'<\'1'-OO for h~!: fliil'n h' $t)'!:..tI:Hl. 51 in_ 19 m. als..n. CIi. tne previously l.UI. paved tne W!!i)' for "t..0iXI drfl.l" l'tIft. Ariswrlt' treil~ed 3 $1Jbjoct in hi'\"or her o".] lin. 5. :\ 92 in..m.ydi~.! the Ro}"n! At:i. 1)13-]4.trt time.SO (tB::U~l91... he helped 10 form ttle Pre-Raphaelite Brotherhood..:'.nt!'!."'iln ff:J]ow Impr..::tedlive nude von-en in u brothet ~1smg 2..her aflis.illary j~gi1JBlion and pro"Born in j=-ranee..( 4 7' ~ in..:d greatly ~Q m!!. and l1111.M n4SJ-~520l.~ H~ shared bts :5<1 udill) . wj.~ in..ship:. 10 Ital}·. RIlph:Jl.iidiL:i:.'TIli(.

hI!" in hi!>.. ~15 1\)imiNi$m The nrtlst drew many s n ..\: 23 in.r.92 194:! ~ .)!1"!." 1\o)t. Jcfm \\'1:1tiill rn wercehc L.)n."'C~-:..'i.:.I diSI"J1~.sCl up hjs. Sp~il1. 55. TltC' ptLl.. Pi..uH !(jlld~ of rest Qf h..mllutl Aj·..bl! Midwt'$~.(:IIOr theories.Jll!!' ·'~ed.r.I. pmnnng's sen~UilI exuberance and hi"5-profound iftnL.!o_!: W'J5.23. Lft'wjtlld..'of Ctacde Monet [Il! Gi'.Ul~ Wall. people and lllacl").blll!'r to pose as a Ci"mne!l" and hl~ bis from !!"rip:?ling.!) hired ~~ l'!! COo111i pauuer 1(:1 hifip IV in 'vladrld. jllsi~~jns Ihil11 h. Frcmn Rococo pahtter J('"~Q.'.. Polit· :58. Iflfim~11 M~.. x 211~in. hi! CXl!"rLC·t1·lLlr(J'.~. i. 73 1111.t\cr tlt·I!iT -dcluh.onag."uloio in tht ~lo.\.V.l~ru::C 011 I'"lIluTi?I!rtim.s. \\Ld. Born in 10"·.('·l:ilUlrK (l !i:64-1 901).lirrr'nK..'" irlJl'n!\}. much (If \~iLh 11 bot:d(th1lg ~oc1allm~ss~on.fl)" pauof1...ln fmi.. '11M l.ibJlw I:'!!! tf1.. . l'<lflLiOO!lrd. 1&9:2 .!"pjctmSPlLlLi HeU~ iI:lld h..~ Pdri$i:.' kin.. In Ibl~ dl!'JII~r to 5~IPI).A~n~ ernptcya cllr:: Frmc-h p/". Ti~~ot in til2.drid ln 16.! of g<:nrt pa. Painter clascicat.c:54.Y~~d lhll!'rr f:lmire~ made S~I11!e[u much scught-afeer a. I(no·.!livu scene whC'l"('V~o:tor!an propriely dashes.. d£f(\'oo (rom [h(" ~idl!' Qf life.gnr.J uceees iJf g!lI-. ln. Wi!!I~au Ihsl went 10 Parb ttl 1702 iU iln (!'tJpll.d1. was the ~l'ealest t:cp.!l. t"bt1cri!llfl Oil OJ! canvas.illnl. Oil UJ"l canvas.:-d illld pan:ba:$C'u by hi.l~ h3S btCO. c·ont. Htori IIi' ToulolJ!'.-aa .!ked !.. In" Hl.. 1660..<.:.t11 t.Hultli. ..~oni~~icifj Styli:. wcrt: only apprt'Cil!t-ed :a.26.Otl"t! rpr hb: ~<:I1i:ric "501c. Si!Jr8CTI1 [m·oE:li!:Q with his I'i!"ligjQIJ ~ !WI imiflfs and jence scenes 1'1 \~ ould sl}Cnd tite to paremv around Europe. puu:inS (ift)·. d] I: in.Kt (. IDI!1 hod ..lrics a~ \. P patuter J01m Si"tlcr SS!1!t:. kim.S 1l1u.O"tJl ill Sf\~Itt.1 t""Ct..eur-t:" {If :.i ro~WlatrJ p¢n<.( :i!4i· Ln. LM (:.'M as f~'t'jgalam{'. 31 til.fI~~(1 ranee wi LtI.rm(1id..emy.r:s} Qr rur~llif~. ~I)bj. . iUtd. In Pm'!.fe~ t::ab.1Ii.'"tr:r· i-\m~ri('-nn 1m."p~i!J·er :i!nd w:!:s('\'ctnUillJr a-crep.:!·s ca.ill.ithog.l~ rTQm ... .ld IJlOS' paf:Jd:cd) pa..)f"SCt'llwent tlrrcngh 3 brief lmpl'~. \V11t!J"houtt·~ puimi8Jijl.)~I:5."'_I"I(ml.:=r modn.."'~:adeulY ln Lcndcn umi Ir~'vded {rn several (.e:nef. a fas.~6c-]OO1).yto stud)' art. I~~joos or v'ctcnnn life.I!". in different ~.!nttrt.I\lTe~ ""'t.'\. John Wi.0.ro~d 3.! I!JS ccmribare I!1r~.d)'III hiS ~Lf . after Oil OIl canvas.1. 1J.\'al st)l~ of tbe (.:1~ubjl!:c1S.n~· 50i!'n~ cf moJ:.:'I)' llig:h prio. 100 he WlI:. AhhDU~h Wood t~iiLr:-r~ l\.rol· GiJle. "(:1~ks artist's sL~I~r·tn·lllw 'l.l. e l!'fl'on~""l~ ((I1l1\'e)""$1h~ h imprt:~~lon M mtl\'emt!f1I. t~ rli~~row·lr'l. Injuries 10 b.i~ """'Ltc:In 113lurallj:g'J11 wtren Ihey were fe ...hit'mab!t> ponf'ail. Af't. Ve!~.di\'idua..=:]J .1i. hc was ~!ppoiD1ed court paiJlltl 10 the Spanil..'QIlJ1.ctt'lt'uil of rhe 'I/-tlhquCl. 'OOIll~ftt!r. :'1. hf~· fi1mOu\ tal. pll.it'" Lhi!' Pre-Raphaelncs..in nsmber... 60.}b PllI'CJl1SHe anendcd ltt~ R..~ 1.j.nOins _POn. d~i:~opi:ng a 1.S iIl.o a Tl~'·~ pi'. Wiuleau.IIl1"llJg Imo".t 1...lOr..11l1f.. •1rli~lo(:.d:llU~.ntmarll\! di.. 011 M canvas.'.ivel}"combing her hair.-.nl10t a ToulMl:ic·lau1["(!C' 5~.). .g. He pailnted m:!iinl~ lmertcr genre h~ j):illllliJ1S. U:..Ji~ al an Shm\'o. J. ~ilJ"lY' age..10 prepare for the iin~1 week.The Fn:-neh urtlst ~"1· Antoine Wil. S. associated . x IY ~it" Outdl palmer vesmeer served sTyk.r.56.nlR'S:} .nd Qf the Delft iUlim: ~loIj~t.a..Il.orW .~di ~:tpHknCt'~ th. ]3.h H.I1l perems. Unlike ecmc liillntr)') [hill! deplcred :.r!'Lp'htC' on lxa\crOOi.mpTi!"..· AjltmOOI'l 41'1J tbe edged as one or Vi.r:tn Me. (li"ijhl.19lri.3.lsiOJI~ to dill~renl versions of ~hi~ pain~ing.lef'.1."i1'!O born in Ftcreace.-hou!t (]S49-1917). "'<11~ e. ~ nIl in.iuntt:r <!nd .ild~tc:dii1:.'~in.:J Qf ~tdinlfins.! in. Ff"C1'leh p. Girlll·ilh a PenJ'l £arrif1j{.. :t .i. il Om.!-ni~~~iIUyad:.10 \'rl:lilqllC.i 1 and pcruays a SlRll!tt r.. e~u .stTlet of P!lft& bc-gilllUiog iI.rnm Worn! (I:8.1e arust.!rmel!r·:50 pninrings r:. JQtm $irl2t'r Sar~eDr t' S56-] 925). known fQ: his (-nnl'amroJ: (If rural ''\"If.! J!TOO11Cfdml'ltiy uharpieccs Q . ::. Gn~nl \ .f\~ Though he L~ofi('"n thirty vii ):iLe1dte."'Or:#: 3'!'o n o t wi-ddy appreciated W vlstted him 111Itlt' cocnuyside.1~ t!t:"d rn London in the 18:l(i):arld helped to pepularize a new of genre PIJ.i~. Ut. and his . A Mf.:iofli)t phase.·j· 5. " I8$6.imftdT.Wl II .. James Ti~sOlwas etso a ca-carcr59.~. on the lh\:Jl:~ (If mU$r.v. iU bt'..'ml.is ]~g.1 C'(lI(H.lnewly discovered c.I(J. f.hh f~iJm tubC!'l'CUlosi<.ttusc. U'tJlrn of La (irafll/t' Jane.. P"Qnr:*il and Tithln'~j:J:nllen~ is.. reohnlquc is kno .m t.1l1 .rl'illg. l.:. ]{Oj11·1AcadC'Lm in 1$t.1 1.a[ld c.1el1..iO'SI i.'t'1..."I. 'SOm~ th~~ d~pi"cl~ iltimX13tic $t'}(-1I.:i.es and j9~~pos:nt: inlet1M' GOEhk R.'ntke t.~ \1. e of the mO~~ . cri!' lypic-ally domeutc genre pieces.n.(lf lh-i! . and J. Sllnd.1'll.9 in.?:ql~J" \(Jok 11(rip (0 It. er .It[U[SI arid hi} :.I.iiflter.!oclilfiLored ~ rhl~ reflned.er"· (.".-!ml!I'J"rmJ·Gmhij~ 19]. Oil On. MLd Hterury subjects..t.lfYFair. proli. liUt i$.1"ln.ocpte5..oyal Ttl .!~C' Im.ml.. OII.I)' school of painting.. It) in.\ll'iem.'lJ b UUfniirried daughter f1)J" 'JI'h:.Q1!~~irol1orln"~·iltsof uffiuent figure) of C\fCnWilU)' bel-omin! curator or lhC (. IS~ R~. pl. x I:!o in.. E)I. DiA.-. His.. iI Pil Inter rthgK.Oil on caL"L'\-a~}81~ In .tCd by Ih~ :F'll!nI.rli'tt T(lutQIn~·(. was bern in Rome to nri. fl:t.\~ a }olJll~~tff.'lI1R Vwnt't:r l !~JJ 16151. Tha~ prllinrins ts a p. 1660."'(' and worked as en an inspired b}' ttli' \\.'rlil. In 1 4 br:... Impr-~)~ron~~ paimcr G~Orl!i~5Seurat painted hi!!! ~tlbjll!·M by 1901.!"nt 'Of 9!!!fvQUC .!u1riltt with JUs IVili: !1t~Q.tlting'_!.\ 0 for M~ ch:!n:ojn.:i'S't' bmshstrokas [)f I:IIJJorerose to one buecrtcal... ist for 1-~".~j"lpljr}illg ""llln. . c\"ideat in his color use.'1)'.1~nce Ojl on ~1lI!lil(jl.I. 1121. of ttl. and Q1:iJ. 261~ in..1l10 p<llnl whll~ mcupmlttin:p: Olis. rt~'\!nt~ art. His. 57.Ir (Jir technique. Along: wl1h ~Ieflill'lt p~i"ty 5"~nH.Rfld~ liS >i!l Ulllm'1l10r. where he prod UC1!d QlUSI !1.[i[)[J of Ehe "~tues ro~'cn.'~~ .S.: fjor~o!:~. C('Or~t.1~ ""OL]U~'i' SO Ih>ll the vle vver's i!}'"f: bll!'nd~ rbcm ~l i."If t.i1LtS of Ih~ rt1~'31 filmll)' a. 9rt"bf... .amree 1x~...t'olltra5~(:d \I.ami!)'. VoI.S Sewat £1859" 18'911. \\'nh:fhoHSoe never ferPli! ll'5:takil'J .• ('O!OT. e3rl~· . [11\1)'. Ri}tJ&f li"MI Tmil ~'wf.e.llJJIl'S Tis. By .. ilt ni!Jl!life.mpu-. thC' 1I!!""t!".10ni'Sts.'rrnm GOlhil·.fll:..i.hAc~dcnly r.C' in Ihi!' b::tc~SJound.l (I 166m ..w or il.rnfJoM.. iill his filetime.I.::s.:ct~.". Pasd Hetleu kl. and completed mure than I.m(!r)::.Uy1lJkall'!'iecc'\. J(.'i to 1hoi! sP'O:rUiiI nekt~ m:ally aligntd Mntliol!"lt Iyith :1. dcni-ed thr:: allesa!ion. bes endured Ior centuries.~ Hfe j·nservice cf the M·..IIIl·Anto[l1i!" Watte:au f\684-17:!:11.1) \1::l.. l j.~lehl. 5.iluLngS in tnt bisl0f)' (If loft!") il»1X:iation witI'. where he painted ~a.0 :afiS1(J('flIllC puncml fa... ri'Sbi.L«jr(I.'n srudic in 1613.'f:lU immmlClllil. and gain..It lilt Ct'ldml.11 wou!'t. p tnt dil.1p~bllr!."mli!(:r·5 ijbwhue fl\aS~c""\'Or~ possesses a roflm~U that i~ a!JT.a..fJlWIllh DocJ.f. li!i:i1.tltau·~ :.l h~3. GM 1I'lrll (j hlIrll.. Oil Oil ~..kl"d~ R..inr: o .JIO'I. "iW$1!"100lCtu5..u)\·a5. (. !'. m or or 11 1.lII.dy. PoI)P'l:t:IJJi'fur'j DM:H..a..

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Prlnlerl on one side on~~!. and Edward Hepper's /fOle! R()om. . Edgar Degas.iIt painrlngs.Illustrations can be colored with .. Original 60 color Dover (20G4) publlcaucn. Prom ruasterpteces b-}' Michelan!=lo!'"loami Rl)pi11'el to slrU:Jng creatjona by Paul nau~Llin and Henri de Toulcuse-Lautrec. All palntfngs are shewn if'] ortgmal colors on the insidp rovers end notes pecvtde fruonuauon on each arttst.a variety of t media. Winslow Homer's Sl?t:rp the Whip.Art Masterpieces to Color Rendered 60 Great Paintings from Botticelli to Picasso by Marty Noble Cofcrtsts 01 till! . and 4:. as. l28pp_ gil: x ] I. John Singer Sargent. 00 full-page btack-end-whtta iUIi M ratr ens on cove ~S. Vincent van nogh. Paul Cezanne. tncludtng watercolors. Claude Monet.il8e~ are rnvneo to create thelr oWI1-. »ard Burne-Jouee. he. well as compcsttfons D~'PlerreAuguste Renotr. Paperbound. Hlustrntlons. other great artists. th[:s eeady-to-cofor collection tnctudes excellent renderings of Grant wood's Aml"r/nl'n G{llhic.'trS-ioIIS of 60 grl':. Ed. Mary Cassatt.

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