1-6 of 6 Results  for:

  • Nineteenth-Century Art x
  • Writer or Scholar x
  • Realism and Naturalism x
  • Twentieth-Century Art x
Clear all


Iain Boyd Whyte

(b Grüneberg, June 28, 1865; d Dresden, Feb 1, 1910).

German writer and publisher. From 1892 to 1894 he edited the Freie Bühne (later renamed Neue deutsche Rundschau), the Berlin-based magazine that acted as the chief mouthpiece of literary naturalism. He took up the cause of modernist painting in his very first publication, A. Böcklin (1891), a text introducing 15 heliographs of the artist’s work, and this was followed by publications on Fritz von Uhde (1893; 1908) and on Hans Thoma (1904). In 1894, with Julius Meier-Graefe, Bierbaum founded Pan, which was to become the leading avant-garde journal of the period in Germany, notable for its typography and for the inventive integration of text and illustration. There were also reproductions of paintings, drawings and sculpture, and the list of contributors included Franz von Stuck, Thoma, von Uhde, James Abbott McNeill Whistler, Henri de Toulouse-Lautrec, Max Klinger, Arnold Böcklin, Paul Signac, Georges Seurat, Félix Vallotton, ...


Joanne Culler Paradise

(b Paris, June 1, 1855; d Paris, April 4, 1926).

French critic, writer and administrator. Although his formal education stopped short of a lycée degree, in his youth he steeped himself in the positivist, socialist and Romantic currents of the day. In the early 1880s he met his mentors: Georges Clemenceau (1841–1929), who preached evolutionary, socialist politics; and Emile Zola and Edmond de Goncourt, who inculcated in him their Naturalist literary theories. Geffroy also formed close friendships with Claude Monet, Auguste Rodin, J.-F. Raffaëlli, Félix Bracquemond and Eugène Carrière, all of whom helped to shape his aesthetic views.

As a journalist covering art, literature and politics from the 1880s to about 1907, Geffroy was an important witness to the cultural life of the early Third Republic. His chief endeavour was the art criticism that he wrote, in the 1880s, for Clemenceau’s newspaper La Justice and, from 1893, for Le Journal. About a third of his output for these and other periodicals was collected in ...


S. J. Vernoit

[Edhem, Osman HamdiHamdi Bey]

(b Istanbul, Dec 30, 1842; d Eskihisar, Gebze, nr Istanbul, Feb 24, 1910).

Turkish painter, museum director and archaeologist. In 1857 he was sent to Paris, where he stayed for 11 years, training as a painter under Gustave Boulanger and Jean-Léon Gérôme. On returning to Turkey he served in various official positions, including two years in Baghdad as chargé d’affaires, while at the same time continuing to paint. In 1873 he worked on a catalogue of costumes of the Ottoman empire, with photographic illustrations, for the Weltausstellung in Vienna. In 1881 he was appointed director of the Archaeological Museum at the Çinili Köşk, Topkapı Palace, in Istanbul. He persuaded Sultan Abdülhamid II (reg 1876–1909) to issue an order against the traffic in antiquities, which was put into effect in 1883, and he began to direct excavations within the Ottoman empire. As a result he brought together Classical and Islamic objects for the museum in Istanbul, including the Sarcophagus of Alexander, unearthed in Sidon in ...


Lucília Verdelho da Costa

(b Oporto, Nov 24, 1836; d Lisbon, Sept 27, 1915).

Portuguese writer and critic. His literary career began in 1870 with the publication of the periodical, As farpas, on which, until 1872, he collaborated with the writer José Maria de Eça de Queirós (1845–1900), through whom he discovered the new theories of Realism and Naturalism. According to Ramalho Ortigão, art should try to reproduce, with feeling, the truth presented in nature. Eventually, however, he rejected the more radical ideas of Courbet and Zola and espoused a sincere love only for the Naturalism of the Barbizon school. This latter form was introduced into Portugal by António Silva Porto, whose aesthetic programme was associated with Ramalho Ortigão’s work, and both were linked with the Grupo do Leão, founded in 1881. Involved in pure, simple naturalism, Ramalho Ortigão was unable to resolve the contradiction between that and his subjective delight in Dutch painting, which he masterfully described in A Holanda (...


Jeremy Howard

(b Bebri farmstead, near Saldus, March 18, 1866; d Helsinki, Dec 26, 1916).

Latvian painter, graphic designer, writer, critic and teacher. He was the son of a country blacksmith and at the age of sixteen moved to Riga, where he spent four years as a painter and decorator. He then worked as an extra in the Riga Latvian Society Theatre and briefly attended drawing classes at the German Trade School before entering the St Petersburg Academy of Arts in 1888. He studied under Vladimir Makovsky and in 1894 was made an artist of the first degree for Leaving Church: After the Service (Riga, Latv. Mus. F.A.), a realist depiction of the inequalities of country life and the hypocrisy of church-goers who ignore the beggars outside the church gates. The scene represented is one from his native region, a source that he was to exploit extensively and variously. In the ensuing years he utilized motifs from the landscape, mythology and everyday life of Latvia as, coming into contact with developments abroad, he experimented with his approach. Thus, ...


Sergey Kuznetsov

[ Zhmuydzinavichyus, Antanas ( Ionasovich )]

(b Seiriai, Seinai region, Oct 31, 1876; d Kaunas, Aug 9, 1966).

Lithuanian painter, administrator and writer. He qualified as a drawing teacher at the St Petersburg Academy of Arts and taught at the Warsaw Commercial College (1899–1905) while continuing his studies. He also studied in Paris (from 1905), Munich (1908–9) and Hamburg (1912). During a short stay in Vilnius in 1906–7 he became close to Petras Rimša and Mikalojus Čiurlionis, founding the Lithuanian Art Society, which combined two trends in Lithuanian art: realist (Žmuidzinavičius, Petras Kalpokas, Rimša) and Symbolist (Čiurlionis). He was the initiator of the first Lithuanian Art Exhibition, held in Vilnius in 1907, at which he showed 35 paintings, among them Peasant Kitchen (1905; Kaunas, A. Žmuidzinavičius Mem. Mus.). During these years Žmuidzinavičius was influenced by the work of the Symbolists, as evident in Horseman (1910–12; Kaunas, A. Žmuidzinavičius Mem. Mus.). His essays on art were published in periodicals and newspapers in Vilnius, Kaunas and Warsaw in the first two decades of the 20th century. He maintained contact with Lithuanian emigrés in the USA, which he visited in ...