The central challenge of history painting lay in selecting a particular subject that could engage the heart and instruct the mind. Grand settings and symbolic accessories proved the artist’s grasp of perspective depth and still-life draftsmanship. Compositions and color schemes had to be carefully conceived to accentuate the principal characters and to clarify the meanings of the incidents. National Gallery
01 Paintings, The amorous game, Part 49 - With Footnotes
01 Painting, The amorous game, Part 49 - With Footnotes
01 Paintings, The amorous game, Part 46 - With Footnotes
His career as watercolourist appears to have started self-taught, helped by practice at the meetings of the Artists' Society in Clipstone Street. In 1850 he was one of Charles Dickens's company of actors. Towards the end of 1852 he went for a few months to Spain in search of the picturesque.
In the winter of 1876 Topham again went to Spain, dying in Córdoba in 1877, and was buried in the Protestant cemetery there. More on Francis William Topham
01 Painting, The amorous game, Part 45 - With Footnotes
Worms became a member of the Society of French Artists in 1883, and won awards in 1867, 1868, 1869 and was made a member of the Legion of Honour in 1876. In addition to this work in the Syracuse University Art Collection, his work is held in the permanent collections of the Dijon Museum, the Museum of Modern Art in Paris and at the Nancy Museum. More on Jules Worms
01 Painting, The amorous game, Part 44 - With Footnotes
01 Paintings, The amorous game, Part 38 - With Footnotes
Khachatryan was born in Akhalkalak (Georgian SSR, now Georgia). 1981 he graduated from the Film Department of Cultural Faculty of the Armenian State Pedagogical Institute in Yerevan, Armenia. Worked as an assistant director and film-director at the Armenian Documentary Studio and later - at Hayfilm/Armenfilm Studio. 2003 Kachatryan was awarded by State Premium of Armenia and became Meritorious Artiste of Republic of Armenia. More on Harutyun Khachatryan
01 Paintings, The amorous game, Part 48 - With Footnotes
01 Paintings, The amorous game, Part 46 - With Footnotes
01 Paintings, The amorous game, Part 45 - With Footnotes
The man, a soldier, in the red jacket is fondling the young woman's breast and dropping a coin into her outstretched hand. According to Benjamin Binstock the painting could be understood as a psychological portrait of his adopted family. Vermeer is in the painting as a musician, in the employ of the madam. Vermeer used his family as models; the whore could be Vermeer's wife Catherina and the lewd soldier her brother Willem. More on this painting
01 Paintings, The amorous game, Part 36 - With Footnotes
01 Paintings, The amorous game, Part 49 - With Footnotes
01 Paintings, The amorous game, Part 47 - With Footnotes
Upon graduation, Evgeniy embarked on his painting career by attaining membership in the Creative Union of the Artists of Russia and the International Federation of the Union of Artists.
By 2004 Evgeniy had successfully exhibited his paintings in galleries in London, Dublin, and Japan. Additionally, he was a prominent artist participant in the international exhibition “Russian Summer in Santa Fe” held in New Mexico. The year 2006 led to opportunities to exhibit in France on the Champs Elysees, Cannes, Honfleur, and Courcheval. He continues to exhibit in galleries throughout France.
Evgeniy’s work is primarily inspired by a group of artists known as the Neo-Romantic painters of the 19th Century. While neo-Romanticism can refer to all phases of the arts, it continued to be a major force in academic art through the 19th century.
Monahov’s paintings consist of quick, loose brushstrokes with the main focus of attention receiving greater detail. His sensitivity is conveyed by graceful expressions of facial tone. More on Evgeniy Monahov
01 Paintings, The amorous game, Thomas Saliot's Lips and tongues, Part 46 - With Footnotes
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01 Paintings, The amorous game, Part 45 - With Footnotes
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