French, 20th – 21st century, male.
Born 5 October 1958, in Amiens.
Painter, illustrator. Stage sets.
Pierre Mabille is a figurative painter who works on large square canvases. He has illustrated school books for the publishers Foucher. He designed theatre sets for K8 at the Avignon Festival. In ...
Polish, 20th century, male.
Born 1912.
Painter. Stage sets.
Eugeniusz Markowski was a journalist before studying painting at the academy of fine arts in Warsaw, where he later taught. He worked for several theatres in Poland and Rome. He took part in collective exhibitions and had solo exhibitions in Poland and overseas: Canada, Latin America, Japan, Australia, and Indochina....
(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 (...
[Sirak; Christov, Panayot Todorov]
(b Sliven, Oct 22, 1883; d Sofia, March 5, 1943).
Bulgarian painter, draughtsman, stage designer, writer, critic, editor and publisher. He studied (1908–12) under Léon Bakst at the Academy of Arts (Akademiya Khudozhestv) in St Petersburg and became a follower of the aesthetic concept of World of Art, dominated by the innovative decorative designs of Vera Komissarzhevskaya and Tairov. After he returned to Bulgaria, Skitnik was engaged in a variety of projects, writing poetry, critical reviews of exhibitions and plays and monographs on other artists such as Bencho Obreshkov. He also designed sets for the National Theatre (Naroden Teatâr) in Sofia. He painted mainly landscape and still-lifes in oils (e.g. Interior with Flowers, 1920), tempera (e.g. Russian Monastery, 1912), gouache (e.g. the Kiss of Judas, 1920; all Sofia, N.A.G.) and watercolour; he also drew in coloured pencil. During the 1920s and 1930s he became known in Bulgaria as an innovator who experimented with new problems of colour and form. Both his poetry and his original and highly emotional painting show his allegiance to the Symbolist movement. From ...
