The ‚Piako‘ was built by Stephens, of Glasgow, in 1876-7 for the New Zealand Shipping Company and was one of the last three of 1,000 ton sister ships built for that firm. Launched in December 1876, she sailed on her first voyage under Captain Fox on February 5th, 1877 leaving the Thames for Lyttelton, New Zealand.
Archive for the ‘Paintings’ Category
Jean-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.
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.
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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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.
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.
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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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.
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."
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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.
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.
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.
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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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.
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.
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.
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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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.