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(b Paris, Dec 7, 1862; d Paris, Jan 1, 1920).

French writer and critic. His fictional work developed rapidly from a naturalist concept of the novel (e.g. Chair molle, Paris, 1885) to a symbolist one (e.g. Etre, Paris, 1888). As an art critic, he played an important role in the first years of Neo-Impressionism. The few pieces that he wrote between 1886 and 1889 placed him in the top rank of contemporary critics and were of considerable influence. He was less interested in analysing the theoretical bases of Neo-Impressionism than in deciphering their implications, stressing the relationship of this new method of painting to Symbolism. He felt that the use by Seurat and his followers of a body of scientific theories on which to base their art was not only an indication of their adherence to the modernity that pervaded the century but also revealed an underlying tendency towards abstraction. At the same time fundamental visual concepts or ‘preconceived sensorial notions’ that had served as the basis of western art were called into question. In this regard, the ‘pictorial concern to interpret the pure phenomenon’ corresponded to the aspiration towards synthesis that marked Symbolism and was ‘in close correlation to contemporary philosophy, biology and physics in denying the existence of objects, declaring matter to be the mere appearance of vibratory movement that is the source of our impressions, our sensations, our ideas’ (...

(Gustave) [Agelii, John Gustaf]

(b Sala, Västmanland, May 24, 1869; d Barcelona, Oct 1, 1917).

Swedish painter. He started to paint of his own initiative on Gotland at the age of 20. In the spring of 1890 he went to Paris, where he studied under Emile Bernard, through whom he became familiar with the work of Paul Cézanne and Vincent van Gogh. He became involved in theosophical circles, with Jacques Tasset, M. E. J. Coulomb and other members of the theosophical group Ananta. During the summers of 1891 and 1892 he went back to Gotland to paint. On returning to Paris he painted only sporadically, while studying oriental languages and religions. In the autumn of 1894 he went to Egypt and began painting intensively, producing such works as Egyptian Landscape (1894/5; Stockholm, Nmus.). In 1895 he was again in Paris where he was an enthusiastic student of Islam, to which he converted in 1898. In 1900 he shot and wounded a banderillero at a bullfight in Paris in protest against the cruelty to the animals: this led to the abolition of bullfights in France....

American, 19th – 20th century, male.

Born 1869, in Hartford (Connecticut); died 1953, in Byfield (Massachusetts).

Painter. Landscapes.

Henry Hammond Ahl, like many American Impressionist painters, studied in Europe, at the Royal Bavarian Academy in Munich. On his return to the USA he adopted the Impressionist style completely and exhibited in the Boston galleries....

French or Italian, 20th century, male.

Born 1917.

Painter. Urban landscapes.

According to auction records and catalogues, Marc Aldine, who specialised exclusively in views of Venice painted in Post-Impressionist style, is a pseudonym of Abdellatif Ala El Dine, an abstract painter active in the 1960s. This theory is as yet unproven, although Marc Aldine's year of birth is recorded as ...

[Pierre Urbain]

(b Paris, 1859; d Paris, 1937).

French writer and collector. He wrote for a number of journals including Le Figaro, Le Voltaire and L’Evénement. He was the first to use the term Neo-Impressionism in a French publication (L’Evénement, 10 Dec 1886) after its use by Félix Féneon in September in Art moderne in Brussels. His attitude to the emerging Neo-Impressionist movement was somewhat equivocal. In Paris (13 Aug 1888) he wrote of Seurat as ‘the man of great achievements who is in some danger of having the paternity of his own theory wrested from him by ill-informed critics or unscrupulous colleagues’. Although he admired Seurat, he had grave doubts about the effect of his theories on other artists, claiming (in the same article) that they had ‘spoilt some great talents, painters like Angrand and Signac’. His comments particularly infuriated Paul Signac and caused tension within the group. He also wrote on the work of the ...

French, 20th century, male.

Born 14 August 1900, in Paris.

Painter. Landscapes.

He exhibited at the Salon des Indépendants from 1930 onwards. His landscapes can be classed as Neo-Impressionist.

Swedish, 20th century, male.

Born 1886; died 1939.

Painter. Landscapes.

In the tradition of historical Impressionists, Anders Altzar was particularly responsive to atmospheric, hourly and seasonal effects on the appearance of landscapes.

Stockholm, 10 Nov 1982: Winter Landscape (oil on canvas, 35½ × 54¾ ins/90 × 139 cm) ...

Term applied variously to describe a specific style, movement, and artistic affiliation embraced by American artists from about 1885 to 1920. Impressionism began in France in the early 1870s and later spread throughout Europe and the USA. While artists continue to paint in an Impressionist style today, art historians generally use the term American Impressionism to refer to an historical tendency that gained prominence and flourished during the last decades of the 19th century and first decades of the 20th. Impressionism began as a radical reaction to more conservative approaches to painting, and only in the early 20th century did it become a mainstream style in comparison with other developments in modern art. American Impressionism included a diversity of approaches, usually attributed to geographic and regional differences.

Impressionism as an art movement and style began when a group of painters, including Claude Monet, Edgar Degas, and Auguste Renoir, became frustrated with the traditional criteria favoured by the official French government-sponsored exhibitions and joined together to organize an independent show of their work in Paris in ...

(b Solothurn, March 28, 1868; d Oschwand, July 6, 1961).

Swiss painter and sculptor. From 1884 to 1886 he received irregular lessons from the Swiss painter Frank Buscher (1828–90). In the autumn of 1886 he attended the Akademie der bildenden Künste in Munich and the following year met Giovanni Giacometti, who was to be a lifelong friend. In 1888 he visited the Internationale Kunstausstellung in Munich, where he was particularly impressed by the work of Jules Bastien-Lepage and Whistler. This prompted him to go to Paris to continue his studies, and from 1888 to 1891 he attended the Académie Julian, working under William-Adolphe Bouguereau, Tony Robert-Fleury and Gabriel Ferrier. While in Paris he also met Paul Sérusier, Maurice Denis and other Nabis artists, though his own painting of this period was most influenced by Impressionism. In 1892 he was advised to visit Pont-Aven in Brittany, where he met Emile Bernard, Armand Séguin and Roderic O’Conor, as well as seeing the works of Vincent Van Gogh and Gauguin at first hand. This brief period had a decisive effect upon his work, leading to such Synthetist paintings as ...

(b Criquetot-sur-Ouville, Normandy, April 19, 1854; d Rouen, April 1, 1926).

French painter. He was trained at the Académie de Peinture et de Dessin in Rouen, where he won prizes. Although he failed to gain entry to the Ecole des Beaux-Arts in Paris, Angrand began to win a controversial local reputation for canvases in a loosely Impressionist manner. In 1882 he secured a post as a schoolteacher at the Collège Chaptal in Paris. With this security he was able to make contacts in progressive artistic circles, and in 1884 he became a founder-member of the Salon des Indépendants. His paintings of this period depict rural interiors and kitchen gardens, combining the broken brushwork of Monet and Camille Pissarro with the tonal structure of Bastien-Lepage (e.g. In the Garden, 1884; priv. col., see 1979 exh. cat., p. 27).

By the mid-1880s Angrand had met Seurat through Signac and the literary salon of the writer Robert Caze. From 1887 Angrand began to paint in Seurat’s Neo-Impressionist manner and adopted his tenebrist drawing style. Paintings such as ...

(b Etrepagny, nr Gisors, Jan 26, 1861; d Paris, Aug 19, 1932).

French painter. He came to Paris in 1882 and studied art at the Ateliers of Bonnat and Cormon, where he was a contemporary and friend of Henri de Toulouse-Lautrec, Emile Bernard and Vincent van Gogh. His early work shows the influence of Impressionism and of Edgar Degas. In 1887 Anquetin and Bernard devised an innovative method of painting using strong black contour lines and flat areas of colour; Anquetin aroused much comment when he showed his new paintings, including the striking Avenue de Clichy: Five O’Clock in the Evening (1887; Hartford, CT, Wadsworth Atheneum) at the exhibition of Les XX in Brussels and at the Salon des Indépendants in Paris in 1888. The new style, dubbed Cloisonnisme by the critic Edouard Dujardin (1861–1949), resulted from a study of stained glass, Japanese prints and other so-called ‘primitive’ sources; it was close to the Synthetist experiments of Paul Gauguin and was adopted briefly by van Gogh during his Arles period. Anquetin’s works were shown alongside Gauguin’s and Bernard’s at the Café Volpini exhibition in ...

Latvian, 20th century, male.

Born 15 January 1908, in Riga; died 13 January 1997.

Painter.

Until 1933, Ansis Artums was a pupil of the Post-Impressionist landscape artist Vilhelms Pruvitis at the academy of art in Riga. He lived in Tukums and participated in many collective exhibitions including the ...

German, 20th century, male.

Born 4 March 1925, in Berlin.

Painter. Landscapes.

Heinz Aulich was an Impressionist painter.

(b Châteauroux, May 5, 1865; d Paris, Oct 5, 1892)

French writer and critic. He was educated at the lycée in Châteauroux where his father was a notary. After receiving his baccalauréat, in 1883 Aurier was encouraged to take up law and travel to Paris to begin his studies. Although he obtained his degree from the Faculté de Droit de Paris in 1888, he never practised law, since during 1886–8 he was drawn into a circle of Left Bank intellectuals. His career as an art critic began with his participation in Symbolist literary activities, and in 1886 he contributed poems and satirical short stories to A. Baju’s ‘petit-revue’, Le Décadent. Like contemporary decadents, Aurier was deeply influenced by Baudelaire, whose anti-naturalism and cult of the ‘dandy’ formed the basis of their outlook on life. Aurier’s first critical article, ‘Sensationnisme’, published in Le Décadent in November 1886, demonstrated his developing interest in subjectivist philosophy, in particular that of Arthur Schopenhauer, and contained the germ of his later views on art. He attacked the naturalists’ fidelity to objective truth and called for a more acute literature and art, which extracted the essence from life following the dictates of an individual temperament....

(b Ghent, Jan 9, 1866; d Ghent, June 9, 1922).

Belgian painter and etcher . The son of a successful mill-owner and an excellent musician, he was a pupil and friend of Gustave Den Duyts (1850–97), and later, at the Ghent Académie, of Jean Delvin (1853–1922). He was involved in the exhibiting society L’Essor in Brussels as well as the triennial salons held in Brussels, Antwerp and Ghent in rotation. Among his earliest important works are The Scheldt at Dendermonde (1887; Ghent, Mus. S. Kst.), which he painted beside Isidore Meyers (1836–1917) and Franz Courtens in a Realist style characteristic of the Dendermonde school. In 1889–90 he attended the studio of Alfred Roll in Paris, where he met Jacques-Emile Blanche and Charles Cottet, and became particularly closely associated with Frits Thaulow, Emile-René Ménard and Edmond Aman-Jean. He exhibited regularly at the Salon in Paris. Although Baertsoen is considered to be one of the first Belgian ...

[Rosenberg, Lev (Samoylovich)]

(b Grodno, Belarus, May 10, 1866; d Paris, Dec 27, 1924).

Russian painter and stage designer of Belorussian birth. Born into a middle-class Jewish family, Bakst was educated in St Petersburg, attending a gymnasium and then the Academy of Arts (1883–6). He began professional life as a copyist and illustrator of teaching materials but quickly moved on to illustration for popular magazines. His tastes were influenced and horizons enlarged when he met Alexandre Benois and his circle in 1890. Bakst travelled regularly to various countries in Europe and North Africa and studied in Paris with a number of notable artists including the French Orientalist painter Jean-Léon Gérôme at the Académie Julian and, from 1893 to 1896, the Finnish landscape painter Albert Edelfelt. Returning to St Petersburg, he became active as a book designer and fashionable portrait painter. With Benois and Serge Diaghilev he was a founder and leading member of the World of Art (Mir Iskusstva) group in 1898...

(Hendrik)

(b Copenhagen, March 9, 1871; d Copenhagen, Jan 28, 1941).

Danish painter and metalworker . He trained at private schools of painting in Copenhagen. In 1889–1904 he travelled to Paris and Brittany several times and between 1892 and 1906 was often in Italy. Mette Gauguin (b 1850) inspired in him an interest in French art, and it was she who introduced him to Paul Gauguin and Paul Sérusier in Brittany. He was encouraged by his friend the Dutch painter Jan Verkade to convert from Judaism to Catholicism in 1893. Ballin introduced French Symbolism and Art Nouveau to Denmark, and he was valued for his knowledge of the work of Gauguin, Sérusier, the Symbolists and the Synthetists. Symbolist inspiration is apparent in one of his few paintings, At the Beach (1900; Copenhagen, M. Bredholt priv. col.)

After his conversion to Catholicism, Ballin became interested in religious artefacts and abandoned painting for metalwork. In 1899 he opened a metal workshop with the sculptor ...

(b Thivernal, Seine-et-Oise, Aug 29, 1848; d Paris, 1928).

French sculptor and painter . He first studied law; when the Franco-Prussian war broke out in 1870 he enlisted as a volunteer in Gen. Charles Bourbaki’s army. After the battle of Sedan he fled to Switzerland. As a prisoner on parole, he attended Barthélemy Menn’s studio at the Ecole des Beaux-Arts in Geneva and decided to devote himself to painting. He worked alone, in a naturalistic manner heavily influenced by that of Jules Bastien-Lepage, with its insistence on working in the open air rather than in the studio. Bartholomé exhibited for eight years at the Salon des Artistes Français (e.g. Recreation, 1885; Paris, priv. col.), receiving encouragement from Joris-Karl Huysmans. His first wife’s death in 1887 plunged him into depression; his best friend, Edgar Degas, advised him to sculpt a tombstone for her (1888; Bouillant cemetery, Crépy-en-Valois, Oise).

Soon after, Bartholomé embarked on the chief work of his career: from ...

(b Paris, April 9, 1821; d Paris, Aug 31, 1867).

French writer and critic. He was brought up to love painting and from a young age was interested in aesthetics and art criticism. This aspect of his work remained little known for years, but its quality and its importance for the development of his poetry and for the development of modernism were later recognized.

Baudelaire’s first piece of criticism, the somewhat timid Salon de 1845, was succeeded by the Salon de 1846 and articles on the Exposition Universelle of 1855 (Le Pays, Le Portefeuille). After he had achieved notoriety with the publication of his most important volume of poetry, Les Fleurs du mal (Paris, 1857), he continued to write occasional pieces on the visual arts, for example on the ‘Salon de 1859’ (Revue française), and ‘Le Peintre de la vie moderne’ (a series in Figaro), which was a study of Constantin Guys, as well as articles on Delacroix, the painter who dominated all of Baudelaire’s writing on art. Initially these articles were not widely published....

American, 20th century, female.

Born 1923, in New York.

Painter.

Rosemarie Beck's pictures, which are painted in oil and wax, have a tendency towards abstraction, but are also reminiscent of Impressionism. From 1949, she exhibited at Wellesley College, and also featured at the Whitney Annuals from ...