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(b London, March 29, 1905; d Hastings, Oct 22, 1976).

English painter, illustrator and stage designer. As a student at the Chelsea Polytechnic (1921–3) and the Royal College of Art (1923–5) he became a talented figure draughtsman. In the second half of the decade he spent much time in France painting intricately detailed urban scenes, which depicted the low life of Toulon and Marseille. Works such as the watercolour Toulon (1927; priv. col., see Causey, cat. no. 33) were executed in a meticulously finished and vividly coloured decorative style. Burra usually used watercolour and tempera and occasionally collage oil paints.

Burra took ideas from Cubism, Dada (notably George Grosz) and, especially, Surrealism, but his work is also linked with the English satirical tradition of William Hogarth, Thomas Rowlandson and Isaac Cruikshank: Burra loved burlesque and poked fun at people’s pretensions and excesses of style and behaviour, as in John Deth (Homage to Conrad Aiken) (...

(b Buenos Aires, Aug 30, 1908; d Paris, Jan 18, 1996).

French painter, stage designer and illustrator of Argentine birth. She grew up in Trieste, Italy. Her first contact with art was through visits to European museums and in her uncle’s large library, where she gleaned her earliest knowledge of artists such as the Pre-Raphaelites, Aubrey Beardsley and Gustav Klimt. She had no formal training as an artist. Her first one-woman exhibition took place in Paris in 1935 and resulted in friendships with Paul Eluard, Max Ernst, René Magritte and Victor Brauner, bringing her into close contact with the Surrealists; her sense of independence and her dislike of the Surrealists’ authoritarian attitudes kept her, however, from officially joining the movement. Nevertheless her works of the late 1930s and 1940s reflect her interest in Surrealist ideas. She also participated in the major international exhibitions organized by the group.

Fini’s almost mystical appreciation for the latent energy residing in rotting vegetation and her interest in nature’s cycles of generation and decay can be seen in works such as ...

(b Guadalajara, Feb 19, 1887; d Mexico City, Oct 13, 1968).

Mexican mural and easel painter, printmaker, illustrator, and stage designer. In 1903 he began studying painting in Guadalajara under Félix Bernardelli, an Italian who had established a school of painting and music there. He produced his first illustrations for Revista moderna, a magazine that promoted the Latin American modernist movement and to which his cousin, the poet Amado Nervo, also contributed poetry. In 1905 he enrolled at the Escuela Nacional de Arte in Mexico City; his teachers included Antonio Fabrés, Julio Ruelas, Leandro Izaguirre (1867–1941), and Germán Gedovius. Some of his fellow students were Diego Rivera, Francisco de la Torre, Saturnino Herrán, Angel Zárraga, and Jorge Enciso. In 1905 Montenegro won a grant to travel to Europe, first studying at the Academia de San Fernando in Madrid. In 1907 Montenegro moved to Paris, where he continued his studies and immersed himself in the world of contemporary art, meeting Cocteau, Picasso, Braque, and Gris, among others....

(b Nantes, April 10, 1880; d Milan, Sept 26, 1950).

French painter, stage designer and illustrator. After working briefly in an architect’s office in Nantes, he moved to Paris and enrolled at the Ecole Nationale des Beaux-Arts, which he disliked. He then worked on designs for the Exposition Universelle of 1900 before entering the Ecoles des Langues Orientales to learn Japanese and modern Greek. After this he studied at the Ecole des Arts Décoratifs under Eugène-Samuel Grasset and then, from 1902 to 1904, at the Académie Julian under Jean-Paul Laurens. He first exhibited paintings in 1906 at the Salon de la Société Nationale des Beaux-Arts and in 1907 and 1908 at the Salon des Indépendants. About 1910 Roy came into contact with the Fauves and the circle of writers around them, such as Max Jacob and Guillaume Apollinaire, an association that influenced his style away from its earlier academicism. In 1913, through Alberto Savinio, he met and quickly became a friend of de Chirico, who was to be a great influence on his work. The following year Roy copied ...