Painted Prussian
Oct/070
Painted Prussian
Although Sisley was born in Paris, his parents were wealthy English expatriates who lived in France -- his father was a merchant who traded with the United States. Hoping that his son would follow in his footsteps, Sisley’s father sent the young Alfred to London to train for a career in business. But Sisley’s heart lay elsewhere and in 1862 he dropped his studies and returned to Paris to study art. His parents supported their son’s ambition and sent him to the Ecole des Beaux-Arts, the Paris art academy, where he studied under Charles Gleyre who encouraged the young Sisley to be original. It was Gleyre who suggested Sisley paint out of doors.
At Gleyre’s studio, Sisley met other young painters who would later form the Impressionist movement, among them Renoir and Monet, with whom he formed close friendships. The three young students would take outdoor painting trips together, creating works intended to capture the transient effects of sunlight. In 1863 Sisley and Monet left the city and went to live in a quiet, rural suburb of Paris. During this period, Sisley was deeply influenced by the works of Corot, as evidenced by early works first exhibited at the Salon of 1867.
Sisley also began frequenting the Café Guerbois, a favorite meeting place for intellectuals and artists of the day. He became involved in the heated discussions and was deeply moved by the ideas at the heart of Impressionism. He began painting in short, rapid brushstrokes and concentrated on capturing fleeting impressions of shimmering water, the texture of clouds and the movement of foliage in a soft, pastel color scheme of greens, yellows and clear blues.
The Franco-Prussian war, which broke out in 1870, intervened. It was a time of great hardship in Paris. Sisley spent some of the period in London but his father’s business was ruined. Sisley had been receiving an allowance from his father and now the artist suddenly found himself poverty-stricken, a state in which he would remain for the rest of his life. Sisley had married Eugénie Lesouezec in 1866 and the couple had two children so he was now faced with having to support his family without the means to do so.
Sisley and his family moved to Moret-sur-Loing, a lovely village in a rural setting. He was painting full time now and was a pivotal member of the Impressionists, with whom he exhibited regularly. He had broken free from his early influences and in the 1870s he painted an important series of landscapes, one of which, The Bridge at Argenteuil was bought by his friend Manet.
Sisley suffered from cancer of the throat from which he eventually died at the age of 59 in his beloved village of Moret-sur-Loing. His inability to sell his works meant that had lived most of his adult life in poverty due. He had also been overshadowed by Monet, perhaps because he was less flamboyant than him, and it was only after his death that his paintings began to be in demand.
You can find a wide collection of Alfred Sisley paint by number patterns at the Segmation web site. These patterns may be viewed, painted, and printed using SegPlay™PC a fun, computerized paint-by-numbers program for Windows 2000, XP, and Vista.
About the Author:
Mark Feldman is President of
SegTech, a company devoted to a wonderful Image Segmentation technology called Segmation.
Segmation - The Art of Pieceful Imaging
Article Source: ArticlesBase.com - Alfred Sisley - English Impressionist
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Kai Althoff, born in 1966 in Cologne, Germany, currently lives and works in Cologne. Through painting, Kai Althoff spirituality is related to male identity as a metaphor for reconciliation with German history. Often articulated with a homoerotic subtext, Althoff portrays the male dominance and psychologically complex where power politics of violence, sensuality, vulnerability and incitement are played against a backdrop of war, religion and pub-land. Loan stylistically art history, the work of Kai Althoff's has a timeless quality, where the narratives are suggested to confessional intimacy. Rendered with exquisite sensitivity, Althoff uses beauty to seduce the viewer, the promotion of moral complicity.
Kai Althoff's paintings of flirting with the Prussian soldiers a subtext homoerotic. Their brotherhood finely decorated veils carnal motivations in the guise of authority. Paints his violence with a sensual tenderness, rendered in creamy the folktale fantasy.Kai Althoff soldiers leave the delicate stylized dandyism. Forwarded to the nobility refined debauchery and humanity become indistinguishable, the cruelty is portrayed with acute sensitivity. Flattened to almost a decorative motif, Althoff scene reads like the theater. Reminiscent of representations of WW1 Georg Grosz in Berlin underworld, deplorable action is staged for pleasure of consensus, a smart poster glamorising of the (un) desired.
In winter, Kai Althoff uses a variety of media to add an unexpected quality of their composition graph. Approaching the painting itself, as a collage, Althoff holds Unlike style for each element separately to create tension and possible narratives within the unified whole.
Sleep dark scenes of adopting a pictorial quality reverence: a squatting figure is painted on crumpled aluminum foil, creating both a geological texture and golden reference to religious icons. Protected as a cave by a militaristic hard-edged design, marked by photographic images of masculinity stylized eat paint with spirituality. The layers of colors ephemeral and high-gloss varnish to create a transcendental illusion, constantly hover between seriousness and chic nightclub.
SELECTED SOLO SHOWS
2004
• Kai Althoff: Kai Kein Respekt (Kai No Respect) Museum of Contemporary Art, Chicago, ICA, Boston,
2003
• Monte Scherbelino Vom Sehen Diözesanmuseum, Freising
2002
• Kai Althoff (with Armin Kramer) Kunstverein Braunschweig, Germany
2001
• Promotion Anton Kern Gallery, New York; Galerie Neu, Berlin,
• Aus Dir Galerie Daniel Buchholz, Cologne,
2000
• Stigmata Grossmanssucht aus Galerie Ascan Crone, Hamburg,
• Hau ab, Du Scheusal Galerie Neu, Berlin,
1999
• Hoffmann & Senn Galerie, Vienna,
• Galerie Christian Nagel, Cologne,
1998
• Reflux Lux Galerie Neu, Berlin,
• Widerrede Bezirk der Galerie Daniel Buchholz, Cologne,
1997
• Äußeren Hilfe und Recht der Wand (an mich) Anton Kern Gallery, New York
• In Search of Robert Eulenkippstadt Prime Gallery, London
• Heetz, Nowak, Rehberger Contemporary Art Museum of São Paulo,
1996
• Hakelhug Galerie Christian Nagel, Cologne
1995
• Du Hast Heute Zeit - Ich nicht aber Künstlerhaus, Stuttgart,
• Modern wird lahmgelegt Galerie Daniel Buchholz, Cologne,
Conclusions:
Paintings Kai Althoff almost seem from another era, with references ranging from avant-garde collage of fairy tale illustration. Their use of modern materials such as resin, tape and aluminum foil, give a distinctive contemporary touch to a portrait of his work.Kai Althoff is rendered with simplicity rudimentary shape, color and tone to create a set of exquisite presence.
What to do next ...
For more information about Kai Althoff or looking for his paintings please visit http://www.saatchi-gallery.co.uk/artists/kai_althoff.htm
About the Author:
View Kai Althoff paintings, biography, solo exhibitions, group exhibitions and resource of Kai Althoff artist. View art online at The Saatchi Gallery - London contemporary art gallery. Kai Althoff
Article Source: ArticlesBase.com - View Kai Althoff Artist Exhibitions and Paintings
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