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(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...

(b Vive-Saint-Eloi, Sept 27, 1849; d Astène, June 5, 1924).

Belgian painter. He had various menial jobs before the composer Peter Benoît persuaded his father to let him study at the Koninklijke Academie voor Schone Kunsten in Antwerp. He was taught there by Nicaise De Keyser and Jacob Jacobs (1812–79) but found the atmosphere uncongenial and soon left. In 1879 he travelled around Spain and North Africa and in 1881 went to live with his sister at Waereghem. His painting of this period was influenced by Charles Verlat and depicted rural subjects, such as Cock Fight in Flanders (1882; Waereghem, Devos priv. col., see Lemonnier, p. 6).

In 1883 Claus settled in Astène and began to develop a style similar to that of Jules Bastien-Lepage with works such as Flax Harvest (1883; Brussels, Mus. A. Mod.). He spent the winters from 1889 to 1892 in Paris, where he became acquainted with Anders Zorn, Henri Le Sidaner and other artists. During this period he began to adopt the subject-matter and style of Impressionism, as shown in works such as ...

(b Lille, Feb 8, 1861; d Ghent, Jan 7, 1938).

Belgian painter, sculptor, illustrator, and stage designer. He studied music at the Koninklijk Muziekconservatorium and sculpture at the Gewerbeschule, Ghent (after 1877). He visited Paris in 1887 and Italy in 1890, with a grant from the city of Ghent. He was deeply impressed by the masters of the Quattrocento, and was encouraged to take up painting after meeting Constantin Meunier (1891). He painted Symbolist scenes and was influenced by Art Nouveau. After exhibiting his work with Les XX in Brussels (1893), he made decorative panels for Oostakker Castle.

As an illustrator Doudelet worked on Pol De Mont’s Van Jezus (Antwerp, 1897) and books by Maurice Maeterlinck, for example Douze chansons (Paris, 1896) and Pelléas et Mélisande (Brussels, 1892 or 1922). He illustrated the periodicals Réveil (1895–1896), De Vlaamsche school, Mercure de France, Pan, L’Eroica, Nuovo Convito, De Vlaamsche School, Woord en beeld...

Danish, 20th century, male.

Active also in Germany.

Born 1 September 1938, in Copenhagen.

Painter (oils, watercolours), sculptor, draughtsman, engraver, performance artist, environmental artist. Landscapes.

Neo-Impressionism.

Fluxus, Nouveaux Fauves.

Per Kirkeby received a doctorate in geology and has participated in several scientific expeditions to Greenland, Central America, Central Asia, and Ireland. In the 1960s, he was a member of the experimental art school in Copenhagen, which was close to the Fluxus group, and, in 1978, was made professor at the fine arts academy in Karlsruhe. He has lived and worked in Copenhagen, on Læsø island (north Jutland), and in Karlsruhe.

Kirkeby’s modes of expression are eclectic: he is a painter, sculptor, and draughtsman, but also a poet and maker of prints, environments, models, films, and documentaries. At the beginning of his career, he was inspired by Surrealism and Pop Art, calling himself a ‘superrealist’. He subsequently produced collages based on a spontaneous form of associationism, which incorporated dried vegetable elements and were sometimes arranged in letter shapes. Later, he became involved in the Fluxus group and took part in performances with Joseph Beuys in Copenhagen, with Immendorf in Aachen, and with Nam June Paik in New York. He also mounted exhibitions that brought together various objects he had gathered during his travels. Nothing remains of his work from this period....

(b Algiers, March 23, 1861; d Marlotte, Seine-et-Marne, March 1932).

French painter and designer. He began his career painting the Algerian scenes of his youth, rendering Orientalist subjects—such as markets and musicians—with a distinctive, unaffected precision. In 1888 he went to Paris to study at the Ecole des Beaux-Arts under Auguste Herst (b 1825) and Fernand Cormon. He exhibited at the Société Nationale des Beaux-Arts from 1890.

The discovery of Ruskin and the Pre-Raphaelites, and a visit to Italy in 1894, led Point to model his work on the artists of the Florentine Renaissance. The inspiration of Botticelli and Leonardo can be seen in such works as the Eternal Chimera (c. 1895; London, Piccadilly Gal.). Under the dominating influence of Gustave Moreau, his work was also aligned with Symbolism. He became a disciple of Rosicrucianism and a friend of Sâr Peladan, fastidiously rejecting the modern industrial world and what he considered the excessive realism of Zola or Courbet. He painted magicians, endowed with a pure and ancient beauty, or figures of Greek mythology (e.g. ...

(b Bohdanów, nr Vilna [now Vilnius, Lithuania], Dec 10, 1870; d Bohdanów, Oct 30, 1936).

Polish painter, printmaker and stage designer. In 1890–92 he studied law at the University of St Petersburg, but from the autumn of 1892 dedicated all his time to painting classes at the Academy of Fine Arts. He was a student of the Russian landscape painters Ivan Shishkin and Arkhip Kuindzhi. During his studies Ruszczyc went twice to the Crimea (1894 and 1895) to paint seascapes. In 1896 and 1897 he went to the Baltic islands of Rügen and Bornholm and to the southern coast of Sweden to paint studies of northern landscape. He also went several times to Berlin, where he first saw works by German Symbolist painters. The influence of Arnold Böcklin may be detected in works on fantastical themes, while Spring (1897; Moscow, Tret’yakov Gal.) recalls Kuindzhi’s luminism and the lyrical Russian landscape tradition. After graduation Ruszczyc made an extensive tour of western Europe, thus substantially enlarging his knowledge of contemporary European art. At the end of his journey (...

(Nikolayevich)

(b Moscow, Dec 17, 1880; d Gulf of Finland, nr Terrioki [St Petersburg region], June 14, 1912).

Russian painter and stage designer. From 1894 to 1904 he studied at the School of Painting, Sculpture and Architecture in Moscow under Konstantin Korovin and Vladimir Serov, and under Isaak Levitan, who had a formative influence on his early landscape studies. On a visit to Rome, Florence and Pisa in 1902 Sapunov was impressed by the painting of Adolphe Monticelli. In 1904 Sapunov participated in the exhibition of the Crimson Rose (Rus. Alaya roza) group of Symbolists in Saratov.

In 1905 Sapunov met the director Vsevolod Meyerhold at his theatre studio in Moscow and he later participated in Meyerhold’s attempts to create a ‘Symbolist theatre’ in the production of Aleksandr Blok’s Balaganchik (‘The little fairground booth’; designs in St Petersburg, Theat. Mus.) and Ibsen’s Hedda Gabler at Vera Komissarzhevskaya’s theatre in St Petersburg in 1906. In attempting to polemicize against the detailed realism of the Moscow Arts Theatre, Sapunov and Meyerhold presented the sets for these productions as painted panels and bas-reliefs, and the figure of the actor was seen as an integral part of the overall pictorial schema. In ...

(Yur’yevich)

(b Smolensk, March 19, 1882; d Nyack, NY, Aug 12, 1946).

Russian stage designer and painter. He attended the School of Painting, Sculpture and Architecture in Moscow from 1897 to 1909, studying mainly under Konstantin Korovin and Valentin Serov, but although he painted a few Impressionist landscapes, his first major artistic concern was with Symbolism, as in his paintings of the first decade of the 20th century such as Pastorale (1905; Moscow, I. A. Myasnikova priv. col., see Kogan, no. 2) and Love (1907; Moscow, E. A. Gunst priv. col.). After taking part in the exhibition Crimson Rose in Saratov in 1904, he became a founder-member of the Blue Rose group of Symbolist painters, who paid homage to the painting of Viktor Borisov-Musatov, and he developed their mystical motifs and contributed to their exhibition in 1907. Sudeykin was also in contact with the World of Art group, and, on the invitation of Serge Diaghilev, he travelled to Paris in ...