Archive for the ‘Art’ Category

Albert Joseph Pénot
(1862–1930) was a French painter known for female nudes. Today, he is more popularly and specifically recognized for a subset of paintings centring on women of darker, more macabre themes.


Styles and themes

Pénot was concerned first and foremost with anatomically accurate portrayals of women. Singular female forms were the implicit focus of his work, whereas the worlds surrounding his characters are seldom realized beyond misty atmospheres and patches of shadow and light. Environments are incidental and are typically shrouded in haze, giving the figures themselves explicit priority. However, Pénot was more versatile in his artistry, and was not confined exclusively to female nudes: church figures were another of his subjects, in addition to occasional compositions depicting scenes of men and women from high society in narratives framed by more conventional settings.


Text from Wikipedia

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Sir Frank Brangwyn (1867-1956) is perhaps best remembered for his murals. He also did easel paintings and posters, many of the latter in support of Britain’s effort in the Great War.

But that was not all. For a while in the 1920s he created a few posters for what became the London and North Eastern Railway, a major line that ran trains from London into Scotland along a route near the eastern coast of the island. (The London, Midland and Scottish followed a more westerly path north, while the Great Western and Southern railroads served other locations.)

At the time Brangwyn created the designs shown below, a trend toward simplified images was getting underway. Perhaps because Brangwyn was probably incapable of delivering a simplified image, his career in railroad poster making was comparatively brief.


Text and images from artcontrarian

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Gil Elvgren (March 15, 1914 – February 29, 1980), born Gillette Elvgren in Saint Paul, Minnesota, was an American painter of pin-up girls, advertising and illustration. Elvgren was one of the most important pin-up and glamour artists of the twentieth century. Today he is best known for his pin-up paintings for Brown & Bigelow. Elvgren studied at the American Academy of Art.

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a12073_Lecomte du Nouÿ_01Jean-Jules-Antoine Lecomte du Nouÿ (Paris 10 June 1842 – 19 February 1923 Paris) was an Orientalist French painter and sculptor. He was strongly influenced by the works and teachings of Charles Gleyre and Jean-Léon Gérôme. Lecomte du Nouÿ found inspiration for his art through extensive travels to Greece, Turkey, Egypt and Italy. The thematic content of Lecomte du Nouÿ’s work was mainly figural, but also spanned over a vast range of imagery throughout his career, including classical, historical and religious.

Lecomte du Nouÿ is known for remaining faithful to his detailed, realistic style throughout the extent of his career, despite the onset of the Impressionist, Fauvist and Constructivist artistic movements during his lifetime. His work is said to have contributed significantly to the establishment of an iconic repertoire representing the Orient in the nineteenth century. A Parisian street was named after him in 1932.

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Maturity and Travels

In 1865, Jean-Jules-Antoine accompanied fellow artist, Félix-Auguste Clément (fr), on his travels to Cairo, Egypt. It was after this voyage that the young Lecompte du Nouy sought to portray the opulence of the Orient. In later years, Jean continued his travels, visiting countries like Italy and Greece. Lecompte du Nouy found inspiration in all social, historical and literary facets of foreign culture.

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Artistic Style

The Orientalist style is largely characterized by its content, but also by its subdued realism and precision allotted towards depicting the human form. The latter is a prominent characteristic of the 19th century methods upheld by the Académie des Beaux-Arts. Jean-Jules-Antoine was a prominent figure within the sphere of academic art and thereby would adhere to a rule-based artistic style of well-developed skill and formal composition. The artistic composition of Lecomte du Nouy’s paintings was often complemented by the use of half-light, which added certain dramatic and melancholic qualities to his work. To this day some, like Professor Alan Braddock, consider Jean-Jules-Antoine to have been decidedly modern for his time, because his work directly and indirectly broached some of the key issues of his day, albeit from a decidedly conservative perspective: colonialism, international trade, gender, religion, and history.

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Text from Wikipedia

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Dean Yeagle is an American animator and cartoonist, born in 1950 in the United States, known for his character ‘Mandy’, who has frequented the pages of Playboy Magazine.

a12066_Dean Yeagle_01As a young Disney fan, Yeagle set his sights on becoming an animator for Disney around the age of 10. During this time he often drew Disney characters, but later began to develop his own.

After graduating from high school, Yeagle went to art school, leaving after a year. He began his animation career in a small studio in Philadelphia with a summer job, giving him his first taste of the industry. He served four years in the Navy during the Vietnam era, and later worked for Jack Zander (who once animated Tom and Jerry cartoons for MGM) in Zander’s Animation Parlour, New York.

Seven years after starting at Zander’s Animation Parlour, Yeagle began freelancing, working for most of the New York animation studios before starting his own, Caged Beagle Productions, in 1986 with Nancy Beiman. Caged Beagle produces TV commercials, CD-ROMs, sub-contracts or consults on features and character design.

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Yeagle has worked as a designer, animator and director, and he was nominated by the National Cartoonist Society (NCS) for the 2003 Gag Award for his work in Playboy Magazine.

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Clients have included Blue Sky Studios, Brøderbund, Dannon, Grey Advertising, Hanna-Barbera, Holt, Rinehart and Winston, ImaginEngine, Kraft, Marvel Comics,Nestle, Playboy Enterprises, Procter & Gamble, Random House, Saatchi & Saatchi, Walt Disney Productions, Warner Bros. and Western Publishing.

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Text from Wikipedia

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Karl Albert Buehr
(1866–1952) was a painter born in Germany.

Buehr was born in Feuerbach – near Stuttgart. He was the son of Frederick Buehr and Henrietta Doh (Dohna?). He moved to Chicago with his parents and siblings in the 1880s. In Chicago, young Karl worked at various jobs until he was employed by a lithograph company near the Art Institute of Chicago. Introduced to art at work, Karl paid regular visits to the Art Institute, where he found part-time employment, enabling him to enroll in night classes. Later, working at the Institute as a night watchman, he had a unique opportunity to study the masters and actually posted sketchings that blended in favorably with student’s work. Having studied under John H. Vanderpoel, Buehr graduated with honors, while his work aroused such admiration that he was offered a teaching post there, which he maintained for many years thereafter. He graduated from the Art Inst. of Chicago and served in the IL Cav in the Spanish–American War. Mary Hess became Karl’s wife—she was a student of his and an accomplished artist in her own right. In 1922, he was elected into the National Academy of Design as an Associate member.

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Art Studies in Europe

In 1904, Buehr received a bronze medal at the St. Louis Universal Exposition, then, in 1905, Buehr and his family moved to France, thanks to a wealthy Chicago patron, and they spent the following year in Taormina, Sicily, where the artist painted local subjects, executing both genre subjects and landscapes as well as time in Venice. Buehr spent at least some time in Paris, where he worked with Raphaël Collin at the Académie Julian.

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Giverny and American Impressionism

Prior to this time, Buehr had developed a quasi-impressionistic style, but after 1909, when he began spending summers near Monet in Giverny, his work became decidedly characteristic of that plein-air style but he began focusing on female subjects posed out-of-doors. He remained for some time in Giverny, and here he became well-acquainted with other well known expatriate America impressionists such as Richard Miller, Theodore Earl Butler, Frederick Frieseke, and Lawton Parker. It seems likely that Buehr met Monet, since his own daughter Kathleen and Monet’s granddaughter, Lili Butler, were playmates, according to George Buehr, the painter’s son. His other daughter Lydia died before adulthood due to diabetes. He returned to Chicago at the onset of World War I and taught at The Art Inst for many years. One of his noted pupils at the Art Institute was Archibald Motley, Jr. the famous African American “Harlem” Renaissance painters. Motley credits Buehr with being one of his finest teachers and one who encouraged his style.

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Text from Wikipedia

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Alexander Rothaug (* 13 March 1870 in Vienna ; † 5 March 1946 ibid; Complete name: Alexander Theodor Rothaug) was an Austrian painter and illustrator.

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Rothaug Alexander was born in 1870 as the son of Theodor Rothaug and Karoline Rothaug (born bird). The maternal ancestors were also painters and sculptors. With the older brother Leopold Rothaug Alexander received his first painting lessons from his father Theodore.

In 1884 he began an apprenticeship as a sculptor at Johann Schindler (1822-1893), however, changed in 1885 at the Vienna Academy of Arts to assist in August Eisenmenger , Christian Griepenkerl and Franz Rumpler to study painting. Important influence as a teacher was also the Orient painter Leopold Carl Müller , in which Alexander Rothaug studied until his death in 1892.

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In 1892 he moved to Munich, where he as an illustrator for the humorous magazine Fliegende Blätter worked. In 1896 he married Ottilie Lauterkorn. He undertook study trips to Dalmatia , Italy and complaints . In May 1910 he became a member of the Association of Visual Artists Vienna. 1911 appears in the magazine Art Review,an extensive article about Alexander Rothaug.  In 1912 he holds at the invitation of the Archduke Ludwig Salvator on Mallorca on. Rothaug published on this stay the publication "Sketches from Miramar".

1933 Alexander Rothaug published under the title "statics and dynamics of the human body" in the form of a loose-leaf collection of 10 sheets a systematization of the human body in terms of a theory of proportion . He has also written a 38-page treatise entitled "The knowledge in painting" with the tripartite Appendix "thoughts about the art and the artist."

His honorary dedicated grave is located on the Grinzinger Cemetery (Group 15, number 1, number 2) in Vienna.

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Text from Wikipedia

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Here is a complete 1952 Ballyhoo Calendar illustrated by American master Gillette “Gil” Elvgren, who you probably already know as one of the most important and influential illustrators of his time. If not, biographies of the man abound online, so for more info let your fingers do the walking. Just out of curiosity, a bit of research on Ballyhoo showed it was a humour magazine that existed from 1952 to 1954 and was a re-launch of an earlier publication of the same named that ran from 1931 to 1939. This could be wrong, so if you have better info please let me know.

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Images found on PULP international

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The 1953 Models Sketchbook by Earl MacPherson with advertising for Brookpark Tool & Forge Inc.

Images found on NotPulpCover

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Claude Henry Buckle
R.I., R.S.M.A. (1905–1973) was an English painter well known for railway posters and carriage prints and also for very fine oil and watercolour paintings.

Life and work

Claude Buckle had from an early age an enormous interest in art. He attended Grammar school in Wolverhampton and on leaving in 1922 joined Fry’s Chocolates in Bristol as an assistant architect. During his time with Fry’s he was involved in the building of J. S. Fry & Sons factory at Keynsham Somerdale and was supported by Fry’s to study Architecture at Bristol University. He lived at Keynsham and Kent Road Bishopston in Bristol.


In 1926 Claude moved to London aged 21 and joined Wallis, Gilbert and Partners responsible for building the Ford factories at Dagenham.

He also painted in his spare time and became one of the youngest amateur members of the British Savages Art Group[1] based in Bristol in 1930 after submitting four drawings. He contributed to the yearly exhibition until 1934. He found time to travel in France, Spain and North Africa using Tramp Steamers recording scenes that later formed many of the ideas for his water colours paintings.


At the age of 26 he left full-time employment to concentrate his efforts as a professional freelance commercial artist. He undertook commissions including hotel brochures and book illustrations.

One year later in 1932 he obtained his first railway poster commission at the Southern Railway HQ at Waterloo station from a Mr Beaumont and later other commissions through the publicity offices of the Southern Region under the P.R.O Don Falkner.


This was Buckle’s big break and during the pre-war years and after the war until 1963 Buckle produced some estimated 85 posters and 25 carriage prints for the railways making him one of the most prolific and recognised railway poster artists. He was a close friend of Terence Cuneo whom he met frequently on travels around England recording scenes for the railway posters that were a common site on railway station platforms and booking halls. Both Artists have surviving artwork in the National Railway Museum NRM. However when the work started to dry up in 1963, following the Beeching Axe, Buckle relied more and more on the private market place to earn a living. On the advice of Terence Cuneo, he moved away almost entirely from oil painting to concentrate his efforts on watercolours.


During the war years, he worked as an architect with the Bomb disposal and rescue unit based at Old Kent Road. Like many others, he witnessed terrible scenes of death and destruction in bombed London. Buckle spent the last years of the war in Northern Ireland producing architectural plan and supervising the construction of aerodromes for American bombers.

In 1946 he married Barbara and found appreciative support and happiness. Two years later, he moved from the outskirts of London to a small hamlet, Vernham Deanin North Hampshire, where his twin children Terence and Barbara were born. He resumed both commercial painting and engineering architectural perspectives as well as fine art oil and watercolour paintings.


During the late 1950s, the main construction contractors to the Atomic Energy Authority commissioned Buckle to paint a series of Oils and watercolours depicting the construction phase and the finished plants of the first emerging atomic power stations. In 1958, the British engineering stand at the Brussels World Fair exhibited his painting in oils depicting the construction of the first commercial atomic power station at Hinkley Point showing Goliath, the largest crane in the world at that time, used to construct the station. The picture measuring 18 feet by 24 feet, took four months to paint.


From 1958 onwards, Buckle concentrated on watercolour particularly water scenes. The Royal Institute of Painters in Water Colours, the Federation of British Artists, the Marine Society and the London Boat Show exhibited the pictures in their galleries from 1958 onwards. In 1962, Buckle accepted an invitation to become a member of the Royal Institute of Painters in Water Colours (RI) and in 1964 accepted membership of the Royal Society for Marine Artists (RSMA). Buckle also sold many paintings through private galleries and was in demand by private collectors and admirers that included the family. He also allowed printing companies to reproduce certain pictures notably Medici and Royle’s. The full-scale lithographic reproductions were distributed to High Street retailers for example Fenwick. He also held sales of his work in Marlborough, Wiltshire, and London and in his studio at Vernham Dean. He produced an estimated 300 watercolour paintings.


Buckle particularly enjoyed holidays in France and Spain, enjoying the relaxed atmosphere of recording French and Spanish scenes that he later completed in the Studio at Vernham Dean. He visited France and Spain nearly every year from 1952 until 1973 which gave him the main source of inspiration for his watercolour paintings. He spent much time during the later years of his life on the Île de Ré at Rivedoux. The pictures depicting the scenes of this area are some of his best watercolours.

In his appreciation to Claude Buckle, Terence Cuneo paid tribute to Buckle’s style of painting. He pointed out that the living world gives enough inspiration on its own to produce a very high quality picture suitable for the living room. Buckle has achieved a top position in British watercolour art and continues to give to this day great delight and pleasure to the many owners of the paintings and inspiration to artists attempting to paint in a traditional manner.

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Portrait of Gloria Dawn

Original to the left

Same Photoshop procedure as with
the two posted yesterday, but with
the colours a bit more down toned
this time – Ted

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The Geri Tamburello aka Sequin

The Geri Tamburello aka Sequin bw

A digital painting of Geri Tamburello

Greyscale + light sepia tinting + digital hand colouring + reduced watercolour filtering.

Original to the left.

A softer and lighter photo, so a harder image to work with and I’m not as satisfied with this one as with the first one

As mentioned, R L Wood is just an anglofication of my real name – Ted

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betty_page_mirror_011A digital painting of Bettie Mae Page

Greyscale + light sepia tinting + digital hand colouring + reduced watercolour filtering.

Original to the left.

By the way, R L Wood is just an anglofication of my real name – Ted

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a1151_joe bowler_05   
    Born in Forest Hills, New York in 1928, Joe began to draw when he was three. His first illustration for a national magazine was published by Cosmopolitan when he was nineteen. While working as an apprentice at the prestigious Charles E. Cooper Studios, Inc. he had the opportunity to learn the craft from some of the finest artists in the profession.

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    At Cooper Studio, Joe was inspired by the illustrations he saw being done by the top artists in the field. During the day Joe’s time was spent cleaning palettes and brushes, matting paintings and running errands. He did his own work in the evenings, sometimes working all night. After being there about six months, Coby Whitmore brought Joe an illustration for matting. Coby saw a sample illustration Joe had been working on the night before and asked if he could take it with him to Cosmo to show the Art Director. Upon Coby’s return, he told Joe, Cosmo had bought the sample and to bill them for $1,000. Earning $35 a week at that time, it seemed like a fortune. Within six months, Joe’s illustrations were appearing in three major magazines. Coby became a mentor and friend to Joe, a friendship that lasted a life time. 

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   Bowler contracted polio in 1958, while on vacation in Europe. The polio initially effected all of his muscles  and he spent 7 years working with a physical therapist, Henry Stano. Though the recovery was long and painful, about three months in, Joe regained the use of his hands and arms and got back to the job of being an illustrator, that is painting. It was a turning point in Joe’s life, not only in his physical capacity  but his attitude and approach to painting.

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    Joe was elected to the Society of Illustrators in 1952.  In 1967 The Artists’ Guild of New York named Joe their Artist of the Year. By this time, magazines were commissioning him to do portraits of well known people. These included a 1968 McCall’s fashion article portraying eight presidential candidates’ wives; the August 1971 issue of Ladies’ Home Journal cover portrait of Rose Kennedy; The Saturday Evening Post cover of Julie and David Eisenhower.  In 1992 Joe was inducted into the Illustrators Hall of Fame.

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Text from joebowlerchronicles.com

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Bill Presing’s work has been recognized by a number of a award committees and institutions. The “LUGZ” commercial spot he illustrated was nominated for an ANNIE award, and his work on the animated opening for “The Rosie O’Donnell Show “won him a prestigious Daytime Emmy award. Bill is the co-creator of “Rex Steele : Nazi Smasher”, a comic book for which he received a nomination for the 2000 IGNATZ award for outstanding artist. Bill Presing is currently a storyboard artist at Pixar Animation Studio.

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Olivier Ledroit
is a French comic book artist, perhaps best known for his work on the Black Moon Chronicles series. He has also worked on art designs in the Might and Magic franchise. He has also provided the art for Requiem Chevalier Vampire and Sha, both written by Pat Mills.


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Hiroshi Yoshida
(吉田 博 Yoshida Hiroshi?, September 19, 1876 – April 5, 1950) (‘Hiroshi’ – generous, ‘Yoshida’ – ‘lucky rice field’) was a 20th-century Japanese painter and woodblock print maker. He is regarded as one of the greatest artists of the shin-hanga style, and is noted especially for his excellent landscape prints. Yoshida travelled widely, and was particularly known for his images of non-Japanese subjects done in traditional Japanese woodblock style, including the Taj Mahal, the Swiss Alps, theGrand Canyon, and other National Parks in the USA.

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Hiroshi Yoshida (born Hiroshi Ueda) was born in the city of Kurume, Fukuoka, in Kyushu, on September 19, 1876. He showed an early aptitude for art fostered by his adoptive father, a teacher of painting in the public schools. At age 19 he was sent to Kyoto to study under Tamura Shoryu, a well known teacher of western style painting. He then studied under Koyama Shotaro, in Tokyo, for another three years.

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In 1899, Yoshida had his first American exhibition at Detroit Museum of Art (now Detroit Institute of Art). He then traveled toBoston, Washington, D.C., Providence and Europe. In 1920, Yoshida presented his first woodcut at the Watanabe Print Workshop, organized by Watanabe Shōzaburō (1885-1962), publisher and advocate of the shin-hanga movement. However, Yoshida’s collaboration with Watanabe was short partly due to the Great Kanto earthquake on September 1, 1923.

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In 1925, he hired a group of professional carvers and printers, and established his own studio. Prints were made under his close supervision. Yoshida combined the ukiyo-e collaborative system with the sōsaku-hanga principle of “artist’s prints”, and formed the third school, separating himself from the shin-hanga and sōsaku-hanga movement.

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Text from Wikipedia

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Greta Garbo by Arthur William Brown, done in 1937
Image found on Art Contrarian

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Brynolf (Bruno) Wennerberg was born in Otterstad (Sweden) in 1866. He was a painter, commercial artist, graphic designer and illustrator.

From 1885 to 1886 he was a student at the School of Applied Arts in Stockholm,  from 1887 to 1888 at P.S. Kroyer’s school in Copenhagen and the at the Academies  in  Munich and Paris.

In 1898 he settled in Munich. He worked on the magazines Lustige Blätter, Meggendorfer Blätter andSimplicissimus (1915).
In 1915 he designed several  military propaganda postcards in the series for Simplicissimus.
Brynolf Wennerberg died in Bad Aibling (Bavaria) in 1950.

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a1051_Amelia Earhart

Amelia Earhart painted by Howard Chandler Christy in 1933

Image found on one of James Vaughans Flickr albums

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