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Article

Antoine Terrasse

(b Fontenay-aux-Roses, nr Paris, Oct 3, 1867; d Le Cannet, Jan 27, 1947).

French painter, printmaker and photographer. He is known particularly for the decorative qualities of his paintings and his individual use of colour. During his life he was associated with other artists, Edouard Vuillard being a good friend, and he was a member of the Nabis.

Bonnard spent some of his childhood at Grand-Lemps in the Isère, where his family owned a house surrounded by a large park. There was a farm adjoining the house, and from an early age he developed a love of nature and animals. After obtaining the baccalauréat at 18, he enrolled in the Law faculty in order to please his father, who wanted him to have a steady job. He graduated when he was 21, and he was sworn in as a barrister in 1889. In the meantime he was already drawing and painting, having enrolled at the Académie Julian, Paris, in 1887. In an attractive ...

Article

Geneviève Monnier

(b Paris, July 19, 1834; d Paris, Sept 27, 1917).

French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group’s exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues.

The eldest son of a Parisian banking family, he originally intended to study law, registering briefly at the Sorbonne’s Faculté de Droit in 1853. He began copying the 15th- and 16th-century Italian works in the Musée du Louvre and in 1854 he entered the studio of Louis Lamothe (1822–69). The training that Lamothe, who had been a pupil of Ingres, transmitted to Degas was very much in the classical tradition; reinforced by the Ecole des Beaux-Arts, which he attended in ...

Article

(b Hobart, Aug 27, 1836; d Sydney, July 17, 1914).

Australian painter, printmaker and photographer of French descent. He studied painting at Cambridge House in Hobart, where he won the prize for drawing in 1849. Between 1850 and 1872 he worked as a draughtsman for the Tasmanian Survey Office, receiving additional instruction in art from Frank Dunnett (1822–91), a retired Scottish painter and engraver. In the mid-1860s he began exhibiting his paintings and made his first lithographed views, mostly of the River Derwent and its environs. In 1870 he received a bronze medal for his photographs at the Intercolonial Exhibition in Sydney. In 1872 he left his job and became Australia’s first native-born professional painter and a major artist working in the 19th-century Romantic landscape tradition, capturing the form and spirit of the vast Australian landscape. He spent much of the 1870s accompanying organized expeditions into the central and south-western wilderness of Tasmania in search of compelling subjects to paint. In ...

Article

Janda Gooding

(b Melbourne, Aug 31, 1861; d Melbourne, Sept 4, 1946).

Australian painter, printmaker and curator, who worked mostly in Western Australia. While working in the photographic trade, Pitt Morison studied part time (1881–9) at the National Gallery School in Melbourne. He formed a friendship with the artist Tom Humphrey (1858–1922) and soon after he became associated with, and exhibited with, a group that included Tom Roberts and Arthur Streeton. The group, later known as the Heidelberg school, painted en plein air in the outer suburbs of Melbourne, around Box Hill and Heidelberg, experimenting with new theories of light and colour derived from the French Impressionists. Pitt Morison travelled to Europe in 1890 and studied at the Académie Julian in Paris under Jules Lefebvre and William Bouguereau..

Pitt Morison was forced to return to Australia in 1893, due to the collapse of Victorian banks and the subsequent loss of his income. A job in the photographic trade in Bunbury offered him an opportunity to move and he arrived in Western Australia in ...

Article

James G. Todd jr

Term used to refer to the work of painters, printmakers, photographers and film makers who draw attention to the everyday conditions of the working classes and the poor, and who are critical of the social structures that maintain these conditions. In general it should not be confused with Socialist Realism, the official art form of the USSR, which was institutionalized by Joseph Stalin in 1934, and later by allied Communist parties worldwide. Social realism, in contrast, represents a democratic tradition of independent socially motivated artists, usually of left-wing or liberal persuasion. Their preoccupation with the conditions of the lower classes was a result of the democratic movements of the 18th and 19th centuries, so social realism in its fullest sense should be seen as an international phenomenon, despite the term’s frequent association with American painting. While the artistic style of social realism varies from nation to nation, it almost always utilizes a form of descriptive or critical realism (e.g. the work in 19th-century Russia of the ...

Article

Marita Sturken

Culture of images and visuality that creates meaning in our world today. This includes media forms such as photography, film, television, and digital media; art media such as painting, drawing, prints, and installations; architecture and design; comic books and graphic novels; fashion design, and other visual forms including the look of urban life itself. It also encompasses such social realms as art, news, popular culture, advertising and consumerism, politics, law, religion, and science and medicine. The term visual culture also refers to the interdisciplinary academic field of study that aims to study and understand the role that images and visuality play in our society; how images, gazes, and looks make meaning socially, culturally, and politically; how images are integrated with other media; and how visuality shapes power, meaning, and identity in contemporary global culture.

The emergence of the concept of visual culture as a means to think about the role of images in culture and as an academic field of study is a relatively recent phenomenon, emerging in the late 1980s and becoming established by the late 1990s. There were numerous factors that contributed to the idea that images should be understood and analysed across social arenas rather than as separate categories, including the impact of digital media on the circulation of images across social realms, the modern use of images from other social arenas (such as news and advertising) in art, and the cross-referencing of cultural forms displayed in popular culture and art. It was also influenced by the increasingly visible role played by images in political conflict and a general trend toward interdisciplinarity in academia....

Article

Chr. Will

( Arnold )

(b Amsterdam, Aug 13, 1860; d Amsterdam, April 13, 1923).

Dutch painter, printmaker, photographer and critic . He came from an old Amsterdam family of wealthy aristocrats with strong cultural ties. From 1876 to 1884 he was a pupil of August Allebé at the Rijksakademie van Beeldende Kunsten in Amsterdam. J. W. Kaiser (1813–1900) and Rudolf Stang (1831–1927) instructed him in graphic arts. In 1880 he co-founded St Luke’s Society of Artists with Jacobus van Looy and Antoon Derkinderen. In 1882 he visited Paris with van Looy. Between 1883 and 1888 he worked regularly at his family estate, Ewijkshoeve, south of Baarn, often staying there in the company of artistic friends—writers and musicians, as well as painters. With Jan Veth he founded the Nederlandsche Etsclub (Dutch Etching Club), which from 1885 made a strong contribution to the revival of etching in the Netherlands. Witsen was the first among his circle of friends to have his own etching press and also a camera....