Art Exam 1

A. Comte's Positivism

French philosopher Auguste Comte (1798-1857) greatly advanced the field of social science, giving it the name "sociology" and influenced many 19th-century social intellectuals.

Van Gogh

- "failure" - letters to his brother Theo - an art dealer/opposite of Vincent - conservative and religious Dutch family - teacher, minister in Belgium, art dealer - painted miners and peasants - discovers the impressionists and Ukiyo-e - Arles, France (with Paul Gauguin for 9 weeks) - many self-portraits - impasto, lots of yellow - career as painter is short (last 10 years of his life) - anticipates the Faves and the German Expressionists

M. Brady

- Brady, Mathew B., c.1823-96, American pioneer in photography, b. Warren co., N.Y. Brady learned the daguerreotype process from S. F. B. Morse and in 1844 opened his own photographic studio in New York City, which brought him fame as America's first great portrait photographer. He published Gallery of Illustrious Americans in 1850 and five years later experimented successfully with the wet-plate process. He began photographing President Lincoln in 1860. When the Civil War began Brady was authorized to accompany and photograph the armies. Though he took some photographs himself, much of the time he sent other photographers to the front and served as an agent for their work. Through his efforts a vast visual record of the war was preserved. In 1875 the government purchased part of Brady's collection, but the rest passed into private hands after his financial failure. In 1954 the Library of Congress acquired the enormous Handy collection of Brady's work.

S. Morse

- Samuel Morse began his career as an artist, painting portraits in Boston and New York. But Morse had many talents, and in 1832 he became one of several people interested in finding ways of communicating by sending electrical impulses across a wire -- a concept which became known as the telegraph. Morse developed a dot-and-dash alphabet and devised a practical plan for using telegraphy to send messages across great distances. Morse demonstrated a working model in 1837, and by 1843 had secured government funding to run a line from Baltimore, Maryland to Washington, D.C. On May 24, 1844 he transmitted the first telegraph message: "What hath God wrought!" Although he spent years in legal wrangles over telegraph patents, he was finally rewarded for his efforts and lived his later years as a wealthy man. - revolution of technology - Morse Code helps disabilities to communicate

Oscar Gustave Rejlander

- allegorical photography, imitates painting - "cut and paste" literally - allegory is a symbol of something, to represent some truth - symbolizes the "school of Athens" - "party or no party" - C"romance vs committment" - representation of the flesh and the opposite sex - the choice that you make - allegory of the Victorian audience - desirable women vs working women - reputation --> the price you pay in decision-making

H. Toulouse-Lautrec

- aristocratic family, strong father figure - less than 5ft high - Moulin Rouge, Montinartre - Prostitution, circle life, cabarets, Parisian nightlife - compare with Degas and Renoir - designed cabaret posters - alcoholism and syphilis - he was unhealthy, sick, but had a poetic sensibility different from his family

Edgar Degas

- ballet, horse racing, nudes, genre works, cafe scenes - radical asymmetrical unbalanced everyday people doing chores - influenced by Japanese prints = pastel, oil, bronze, and photography - does not work on plain air <-- takes notes, but brings work home - most academic or classical studied in Italy - never marries but spend much time watching young girl - had money - anti semitc and possible slept with young dancer - ballet in day - not rich but poor people activity - many ballerinas had sponsors - many ballerinas went into prostitution

C. Monet

- cartoonist - went to Algeria at 21 <-- "taught to see color" - studies with Eugene Boudin - St Lazare train station, haystack, Rouen Cathedral, Venice canal - works outdoors - late works from Giverny home <-- doesnt need to leave home --> backyard

Nadar

- celebrity photographer in Paris - Eugene Delacroix (ca. 1855) - Nadar's studio, first home of the impressionists - photographs from a hot air balloon perspective - heavy equipment, people's objects - the 2nd attempt made the photographs - revolutionary of earth environment

Pierre Auguste Renoir

- choir boy could have been successful in opera - as teenager, paint on tea cups and dishes at porcelain factory - very cheerful, pleasant - work in many ways the opposite of a Courbet Millet

Antoni Gaudi

- no straight lines - Barcelona, Spain --> Catalanist - seen as "out of fashion" for decades - Catholic celibate <-- very religious --> all work for God - Spanish Civil War (1836-1839)

G. Kasebier

- one of the most influential American photographers of the early 20th century. She was known for her evocative images of motherhood, her powerful portraits of Native Americans and her promotion of photography as a career for women.

Mary Cassalt

- wealthy American family from Pittsburg area - wealthy Northerners would visit Europe for months on end - became ex patriot - studied with Genome (middle east subjects) - 1875 sees Degas work and changed her like doesn't work in plain ave - inspired by Japanese art

Aubrey Beardsley

Beardsley, Aubrey Vincent (ôˈbrē, bĭrdzˈlē) [key], 1872-98, English illustrator and writer, b. Brighton. Beardsley exemplifies the aesthetic movement in English art of the 1890s (see decadents). In his short working span of only six years, he developed a superbly artificial and graphic manner, expressed in flat, linear, black-and-white designs. His works were by turns erotic and cruel in emphasis. The art editor of the famous Yellow Book quarterly (1894-96), Beardsley also edited and contributed some of his best work to Leonard Smithers's periodical, The Savoy, and illustrated many books including Wilde's Salomé (1894), Pope's Rape of the Lock (1896), Aristophanes' Lysistrata (privately pub., 1896), and Jonson's Volpone (1898). His fiction, distinguished by an elaborate and erudite prose style, was collected and published in 1904 as Under the Hill. Criticized for the erotic character of his work and condemned for his association with Oscar Wilde, Beardsley fell from public favor. Ravaged by tuberculosis, he died at the age of 25.

J.M. Cameron

Born and married into the high ranks of the British civil service, Cameron became an intimate of many of the most famous people of her day. In 1863 she received the gift of a camera from one of her daughters and quickly became an ardent amateur photographer, upgrading her camera only three years later and using the difficult wet collodion process. Cameron demanded long, arduous sittings from her large circle of illustrious friends. She sought to illuminate the inner person of her subject, and her celebrated portraits, including those of Tennyson, Carlyle, Ellen Terry, Browning, Darwin, Trollope, and Longfellow, are remarkably spontaneous. She also pioneered the use of closeups, soft focus, and the darkroom manipulation of negatives and was a key figure in establishing the photographic portrait as a legitimate work of art. Some of her works were published as Victorian Photographs of Famous Men and Fair Women (rev. ed. 1973).

Lewis Caroll

Carroll is chiefly remembered as the author of the famous children's books Alice's Adventures in Wonderland (1865) and its sequel, Through the Looking Glass (1872), both published under his pseudonym and both illustrated by Sir John Tenniel. He developed these stories from tales he told to the children of H. G. Liddell, the dean of Christ Church College, one of whom was named Alice. Many of his characters—the Mad Hatter, the March Hare, the White Rabbit, the Red Queen, and the White Queen—have become familiar figures in literature and conversation. Although numerous satiric and symbolic meanings have been read into Alice's adventures, the works can be read and valued as simple exercises in fantasy. Carroll himself said that in the books he meant only nonsense. He also wrote humorous verses, the most popular of them being The Hunting of the Snark (1876). His later stories for children, Sylvie and Bruno (1889) and Sylvie and Bruno Concluded (1893), though containing interesting experiments in construction, are widely regarded as failures. Carroll remained a bachelor all his life. Partly because of his stammer he found association with adults difficult and was most at ease in the company of children, especially little girls, with whom he was clearly obsessed. Early in 1856 he took up photography as a hobby; his photographs of children are still considered remarkable. - photographer + writer + teacher of Math - Alice in Wonderland - photographs Alice - inspired by actual people

C. Negre

Charles Nègre (French: [nɛɡʁ]; 9 May 1820 - 16 January 1880) was a pioneering photographer, born in Grasse, France. He studied under the painters Paul Delaroche, Ingres and Drolling before establishing his own studio at 21 Quai Bourbon on the Île Saint-Louis, Paris. Delaroche encouraged the use of photography as research for painting; Nègre started with the daguerreotype process before moving on to calotypes. His "Chimney-Sweeps Walking", an albumen print taken on the Quai Bourbon in 1851, may have been a staged study for a painting, but is nevertheless considered important to photographic history for its being an early instance of an interest in capturing movement and freezing it forever in one moment.[1] Having been passed over for the Missions Héliographiques which commissioned many of his peers, Nègre independently embarked on his own remarkably extensive study of the Midi region. The interesting shapes in his 1852 photograph of buildings in Grasse have caused it to be seen as a precursor to art photography.[2] In 1859, he was commissioned by Empress Eugénie to photograph the newly established Imperial Asylum in the Bois de Vincennes, a hospital for disabled workingmen.[3] He used both albumen and salt print, and was known also as a skilled printer of photographs, using a gravure method of his own development. A plan commissioned by Napoleon III to print photographs of sculpture never came to fruition, and in 1861 Nègre retired to Nice, where he made views and portraits for holiday makers. He died in Grasse in 1880.[1]

Gustave Courbet

Courbet, Gustave (güstävˈ kōrbāˈ) [key], 1819-77, French painter, b. Ornans. He moved to Paris in 1839 and studied there, learning chiefly by copying masterpieces in the Louvre. An avowed realist, Courbet was always at odds with vested authority, aesthetic or political. In 1847 his Wounded Man (Louvre) was rejected by the Salon, although two of his earlier pictures had been accepted. He first won wide attention with his After Dinner at Ornans (Lille) in 1849. The next year he exhibited his famous Funeral at Ornans (1849-50) and Stonebreakers (1849, both: Louvre). For his choice of subjects from ordinary life, and more especially for his obstinacy and audacity, his work was reviled as offensive to prevailing politics and aesthetic taste. Enjoying the drama, Courbet rose to defend his work as the expression of his newfound political radicalism. His statements did nothing to recommend the work to his enemies. In 1855, Courbet exhibited the vast Painter's Studio (Louvre). Attacked by academic painters, he set up his own pavilion where he exhibited 40 of his paintings and issued a manifesto on realism. While he continued to provoke the establishment by submitting works to the Salon that were twice rejected in the mid-1860s, within that decade he triumphed as the leader of the realist school. His influence became enormous, reaching its height with his rejection of the cross of the Legion of Honor offered him by Napoleon III in 1870. Under the Commune of Paris (1871), Courbet was president of the artists' federation and initially active in the Commune; he was later unfairly held responsible, fined, and imprisoned for the destruction of the Vendôme column. In 1873 he fled to Switzerland, where he spent his few remaining years in poverty. Although his aesthetic theories were not destined to prevail, his painting is greatly admired for its frankness, vigor, and solid construction.

Daguerre

Daguerre, Louis Jacques Mandé (lwē zhäk mäNdāˈ dägârˈ) [key], 1789-1851, French scene painter and physicist, inventor of the daguerreotype, a photograph produced on a silver-coated copper plate treated with iodine vapor. Known first for his illusionistic painted stage sets, Daguerre attracted further attention as the inventor and exhibitor, with C. M. Bouton, of the diorama (pictorial views seen with changing lighting), shown at the Diorama in Paris. In 1829 his experiments with the daguerreotype were joined with those of J. Nicéphore Niepce, who had been doing related work since 1814. Until Niépce's death in 1833 they worked together on the photographic process. Daguerre completed the invention of the daguerreotype alone, and in 1839 it was made public and ceded to the Academy of Sciences, only a few weeks before the rival invention of the calotype was announced by William Henry Fox Talbot. The daguerreotype was introduced into the United States by J. W. Draper and S. F. B. Morse. - Still Life in Studio (1837) - an arrangement of objects

Honore Daumier

Daumier, Honoré (ônôrāˈ dōmyāˈ) [key], 1808-79, French caricaturist, painter, and sculptor. Daumier was the greatest social satirist of his day. Son of a Marseilles glazier, he accompanied his family to Paris in 1816. There he studied under Lenoir and learned lithography. He soon began to contribute cartoons to the weekly Caricature. In 1832 his representation of Louis Philippe as Gargantua caused him six months' imprisonment. Two outstanding lithographs of 1834, Rue Transnonain and Le Ventre législatif [the legislative paunch] testify to his early direct and bitterly ironic approach. After the suppression of Caricature his work appeared in Charivari, where he mercilessly ridiculed the bourgeois society of his day in a highly realistic graphic style. Relished as cartoons in his time, Daumier's lithographs, of which he produced almost 4,000, are now considered masterpieces. He also painted about 200 small canvases of power and dramatic intensity that were stylistically similar to his lithographs. Among these are Christ and His Disciples (Rijksmus.); Republic (Louvre); Three Lawyers (Phillips Gall., Washington, D.C.); the romantic Don Quixote and The Third-Class Carriage (both: Metropolitan Mus.). Daumier's sculpture includes over 30 small, painted busts. An example of his work in this medium is a statuette in the Walters Art Gallery, Baltimore. In his last years he suffered from increasing blindness. His financial condition was perilous. Corot put at his disposal a cottage in Valmondois, and it was there that Daumier died.

G. Flaubert

Flaubert, Gustave (güstävˈ flōbĕrˈ) [key], 1821-80, French novelist, regarded as one of the supreme masters of the realistic novel. He was a scrupulous, slow writer, intent on the exact word ( le mot juste ) and complete objectivity. The son of a surgeon, he studied law unsuccessfully in Paris and returned home to devote himself to writing. Because of a severe nervous malady, probably epilepsy, he spent much of his life at Croisset, near Rouen, with his mother and niece. Nonetheless, he also became an established figure in the Parisian social and literary world. In 1856, after five years of work, Flaubert published his masterpiece, Madame Bovary, in a Paris journal. Portraying the frustrations and love affairs of a romantic young woman married to a dull provincial doctor, the novel is written in a superbly controlled style. The book resulted in his being prosecuted on moral grounds, but he won the case. It was followed by Salammbô (1863), a meticulously documented novel of ancient Carthage; a revision of an earlier novel, L'Éducation sentimentale (1870); The Temptation of St. Anthony (1874); and Three Tales (1877), which contained the great short story "A Simple Heart." After his death his unfinished satire Bouvard and Pécuchet was published (1881). His correspondence, including that with George Sand and the letters to his niece Caroline, appeared in nine volumes (1926-33).

Hector Guimard

Guimard, Hector (ĕktôrˈ gēmärˈ) [key], 1867-1942, French architect and furniture designer. Influenced by Victor Horta, he became the first and foremost French architect of art nouveau. The most familiar landmarks created by Guimard (c.1900) are the entrance gates to the métro (subway) stations in Paris, made of metal cast into elegant, flowerlike forms. On the Rue La Fontaine, Paris, he built the Castel Béranger (1894-98) and an apartment house (1911). He went to New York City in 1938, where he remained until his death. Several examples of his decorative work can be found at the Museum of Modern Art, New York City. - entrance to subway 1900 Paris - shields have symbols - melted wax - man of war - deep sea creature

Victor Horta

Horta, Victor, Baron, 1861-1947, Belgian architect. The Tassel House in Brussels (1892-93), his first mature work, was the earliest monument of art nouveau. It was excelled only by his later works, such as the Baron von Eetvelde house (1895) and the demolished Maison du Peuple (1896-99), both in Brussels. The houses are especially significant for their interior architecture. The irregularly shaped rooms open freely onto one another at different levels. The plantlike design of the iron balustrade is echoed in the curving decorative lines of the mosaic floors, plaster walls, and other surfaces. Horta later reverted to a more traditional mode of architectural expression.

Jean-François Millet

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E. Manet

Manet, Édouard (ādwärˈ mänāˈ) [key], 1832-83, French painter, b. Paris. The son of a magistate, Manet went to sea rather than study law. On his return to Paris in 1850 he studied art with the French academic painter Thomas Couture. Manet was influenced by Velázquez and Goya and later by Japanese painters and printmakers and the objectivity of photography. In 1861 the Salon accepted his Chanteur espagnol. Two years later his Déjeuner sur l'herbe (Musée d'Orsay, Paris) was shown in the Salon des Refusés and was violently attacked; its depiction of a nude and a partially clad woman picnicking with two fully dressed men is enduringly strange and remarkably forthright, and has not quite lost its power to shock. Manet's masterpiece, Olympia (1863; Musée d'Orsay), a supposedly suggestive painting of a nude courtesan, was shown in 1865. It was met by outrage and abuse from critics and public alike. These paintings incorporated a number of technical innovations, which were themselves attacked by the academicians as heresy. The hostility of the critics attended Manet throughout his life, yet he never ceased to hope for acceptance from the art establishment. Fortunately he had some independent means, a strong following among his fellow painters, and companions in Zola, who lost his position on a newspaper because he defended the painter, and Mallarmé. Manet profoundly influenced the impressionist painters (see impressionism). He is sometimes called an impressionist himself, although he declined to exhibit his work with the group, and except for a short time he did not employ impressionism's typical broken color or sketchy brushstrokes. Rather Manet worked in broad, flat areas, using almost no transitional tones, to show what the eye takes in at a glance. By 1900 his techniques and their results were widely understood and appreciated, and his works were hung in the Louvre. Today examples of Manet's paintings are represented in the most important European and American collections. Among his many celebrated paintings are The Fife Player (1866), a portrait of Zola (1868), and The Balcony (1869), all of which are in the Louvre; part of the Execution of Maximilian (1867; Tate Gall., London); and Les Courses à Longchamps (Art Inst., Chicago). Manet also made many pastels, watercolors, and etchings, including graphic portraits of Baudelaire and a series of illustrations based on Poe's Raven.

Alphonse Macha

Mucha, Alphonse (älfôNsˈ mŏkhˈä) [key], 1860-1939, Czech artist. Mucha's art nouveau style, characterized by twisting, swirling flower and hair motifs, set the style for poster art for a generation. He created celebrated posters for Sarah Bernhardt and designed sets and costumes for her plays. In his later works, primarily academic paintings, Mucha glorified the Slavic peoples.

E. Muybridge

Muybridge, Eadweard (ĕdˈwərd mĪˈbrĭj) [key], 1830-1904, English-born photographer and student of animal locomotion. Muybridge changed his name from Edward James Muggeridge. A gifted and obsessed eccentric, he was a photographic innovator who left a vast and enormously varied body of work. He immigrated to the United States in the early 1850s and settled in San Francisco. In 1872 he made some experiments in photographing moving objects for the U.S. government. Afterward he was engaged by Leland Stanford to record the movements of a horse using 12 sequential still cameras triggered by threads. He invented (1881) the zoöpraxiscope, which projected what he called "serial photographs" on a screen, producing images that appeared to move and were forerunners of the motion picture. He wrote The Horse in Motion (1878) and The Human Figure in Motion (1901). His Animals in Motion (1899, repr. 1957) consists of 11 portfolios: thousands of pictures of men, women, children, amputees, and many domestic and wild animals in action. This work was of considerable importance to artists. He also made outstanding landscape studies in Central America and Yosemite and panoramic views of San Francisco. Muybridge murdered his wife's lover in 1874; the case was dismissed as justifiable homicide.

Joseph Niepce

Niepce, Joseph Nicéphore (zhôzĕfˈ nēsāfôrˈ nyĕps) [key], 1765-1833, French chemist who originated a process of photography (see photography, still). In 1826 he produced the first known photograph, which he called a heliograph, using bitumen of Judea (a form of asphalt) on on a pewter plate. From 1829 he worked with Louis Daguerre, who perfected the process after the death of Niepce. A nephew, Claude Felix Abel Niepce de Saint-Victor, 1805-70, also a chemist, was the first to use albumen in photography and also produced photographic engravings on steel. - takes "first photographs" est. 1825 - View from the Window at Le Gras (heliograph image), 1826

T. O'Sullivan

O'Sullivan, Timothy H., c.1840-1882, American pioneer photographer, b. New York City. O'Sullivan worked in Matthew Brady's first New York gallery and on the battlefronts of the Civil War. He made photographs for the 40th-parallel surveys (1867-69) and the first underground mine pictures, at the Comstock Lode. Most of his views made for the Wheeler Colorado River expedition were lost fighting the rapids. In 1873, O'Sullivan photographed the ecology and the civilizations of the Arizona and New Mexico deserts. He was appointed chief photographer to the treasury department in 1880.

Henri Rousseau

Rousseau, Henri (äNrēˈ rōsōˈ) [key], 1844-1910, French primitive painter, b. Laval. He was entirely self-taught, and his work remained consistently naive and imaginative. Rousseau was called Le Douanier [the customs officer] because he held a minor post in the Paris customs service for more than 20 years before he retired to paint (1893). Although he claimed to have lived in Mexico in his youth, he later admitted that the claim was false. The only tropical vegetation Rousseau ever saw was in Parisian greenhouses, and his remarkable landscapes had no counterpart in nature. His painted jungles are an organized profusion of carefully defined yet fantastic plants, half-concealing various wild animals with startlingly staring eyes. These scenes are rendered in a vivid, almost hypnotic folk style. The finest ones include The Snake Charmer (1907; Louvre) and The Dream (1910; Mus. of Modern Art, New York City). With the same approach Rousseau employed in painting the familiar (e.g., Village Street Scene, 1909; Philadelphia Mus. of Art), he painted the haunting and dreamlike Sleeping Gypsy (1897; Mus. of Modern Art, New York City). His fantastic Gypsy sleeps in a nighttime desert, closely observed by a lion—the entire absurdity rendered in a compelling, straightforward manner. The painting thus combines the unique elements of Rousseau's art to their most startling effect. Rousseau exhibited at the Salon des Indépendants from 1886, but did not become well known until the early years of the 20th cent. when he was "taken up" by Picasso, Apollinaire, and other members of the Parisian avant garde.

Le Salon

Salon, annual exhibition of art works chosen by jury and presented by the French Academy since 1737; it was originally held in the Salon d'Apollon of the Louvre. By the mid-19th cent. the Salon had become an expression of conservative, established tastes in art. Until 1863 it was the only major public art exhibition held in Paris. That year the Salon des Réfusés was organized in protest by artists whose works were rejected by the Salon jury. See academies of art.

G. Suerat

Seurat, Georges (zhôrzh söräˈ) [key], 1859-91, French neoimpressionist painter. He devised the pointillist technique of painting in tiny dots of pure color. His method, called divisionism, was a systematic refinement of the broken color of the impressionists. His major achievements are his Baignade (Tate Gall., London), shown in the Salon des Indépendants in 1884, and his masterpiece, Un Dimanche à la Grande Jatte (Art Inst., Chicago), completed two years later. He died of pneumonia at 31. Seurat is recognized as one of the most intellectual artists of his time and was a great influence in restoring harmonious and deliberate design and a thorough understanding of color combination to painting at a time when sketching from nature had become the mode. Other examples of Seurat's work are in the Barnes Foundation, Merion, Pa., and in the Louvre.

P. Signac

Signac, Paul (pōl sēnyäkˈ) [key], 1863-1935, French neoimpressionist painter. First influenced by Monet, he was later associated with Seurat in developing the divisionist technique. Interested in the science of color, he painted with a greater intensity and with broader strokes than Seurat. In such vigorous, colorful works as Port of St. Tropez (1916; Brooklyn Mus., New York City) Signac broke through the confines of neoimpressionist theory. He wrote a treatise, D'Eugène Delacroix au néo-impressionisme (1889), long considered the foremost work on the school.

Talbot

Talbot, William Henry Fox, 1800-1877, English inventor of photographic processes (see photography, still). A man of enormously versatile intelligence, he invented the "photogenic drawing" process in 1834. From 1841 on he patented his numerous processes for making negatives and positive prints, called calotypes and later talbotypes. His patents threatened to impede the technical progress of the medium and Talbot was forced to release his processes. His relationships with other early photographers and photographic inventors were very bitter. Talbot wrote The Pencil of Nature (1844), one of the first books illustrated with photographs. Interested also in archaeology, he was one of the first to decipher the cuneiform inscriptions at Nineveh. - in 1840, developed the calotype, an early photographic process that improved on the daguerreotype - in 1835, his first article documenting a photographic discovery, that of the paper negative

Louis Tiffany

Tiffany, Louis Comfort, 1848-1933, American artist, decorative designer, and art patron, b. New York City; son of Charles Lewis Tiffany. He studied painting with Inness and in Paris and painted oils and watercolors in Europe and Morocco. Later he established the interior-decorating firm in New York City which came to be known as Tiffany Studios. The firm specialized in favrile glass work, characterized by iridescent colors and natural forms in the art nouveau style. This work ranged from lamps and vases to stained-glass windows and a huge glass curtain for the national theater in Mexico City. His lamps became enormously popular in the 1960s and were widely imitated. In 1919, Tiffany established the Louis Comfort Tiffany Foundation, which presently provides study and travel grants for art students. Tiffany is represented in the Metropolitan Museum by a painting, Snake Charmer at Tangiers, in the Museum of Modern Art (New York City) by several glass pieces, and most completely in the Neustadt Museum of Tiffany Art (New York City). - natural motifs, tree like, medieval, bring back humanity in lamp - makes auricle glass-handmade - 1900 ca. --> around time light bulb invented

Henry Van de Velde

Velde, Henri van de (äNrēˈ väN də vĕld) [key], 1863-1957, Belgian designer and architect. Beginning as a painter, critic, and crafts designer in Belgium and in France, he received his first great acclaim for the interiors that he exhibited at Dresden in 1897. Van de Velde played a leading role in the development of Jugendstil, the German equivalent of art nouveau. His designs for furniture and tableware are of especially high quality. With ideas deriving in part from Ruskin and William Morris, he taught at his own school, the Weimar School of Arts and Crafts. Van de Velde's architectural activity was considerable. His best work is found in his own house near Brussels (1895) and in the studio building for his school at Weimar (1906), but his architecture never had the quality, importance, or influence of his crafts and his numerous writings. His first book was Die Renaissance im modernen Kunstgewerbe (1901).

P. Cezanne

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Paul Gauguin

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Henry Peach Robinson

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