Conrad Felixmüller, Postplatz - Dresden im Schnee, 1933

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Oil on canvas; 104 1/8 x 80 in.

Akulov, Vladimir a representative of the Vitebsk school of painting, has preserved in his art its spirit of experimentation and of the search for an individual creative manner. Over twenty years child’s lyricism and naivety, the perception of a turned-over word is characteristic of his work.Encompassing a wide range of genres, from still-life and landscape to complex multi-figured compositions, the artist remains devoted to the style of expressionism. Asserting the prevalence of the spiritual values over the material ones, he has chosen the method of Edvard Munch as a protest against an excessive impartiality and technocratizaton, as a means of making up for the lack of emotionality which is characteristic of the official art. Being a poet and a philosopher, a master of an intuitive, spontaneous painting, he fills his works with a poetic metaphor, and his poetry at the same time turns info a sphere of transformations looking like a set of visual images. Colors act as the letters of a certain boundless alphabet, out of which the talent of the master endeavors to combine meaningful words. A very peculiar humane coloring is inherent to the artist’s works, and sad animals with human faces and people with the faces of sad animals depicted in the pictures seem to stiffen in a transitional stage, as if personifying the author’s outlook. The master creates a second reality caused by his feelings and perception of the world.The artist is replacing the former relations of things and figures and figures by new relations, frozen of purely emotional and spiritual values.The depths of the artist’s sub consciousness give birth to a great number of subjects. The number of his works exceeds several thousand: the artist seems just to depict his own dreams. Being a poet by nature, he knows for certain what perfection is, and suffers from the imperfection of what he sees around and inside himself. That is why his tragic outlook appears to be more humane than the outlook of many of his optimistic colleagues.Every artist perceives the world in his own way, catching in the kaleidoscope of phenomena the waves of those frequencies that correspond to his spiritual nature. Everyone reveals something unique in this world, and these revelations will allow our descendants to judge the art of our time.But for the work of art to be appreciated by both contemporaries and descendants, it should remain in its native country. The fragile building of art has always needed a firm stand-by. And it is not by chance that Vladimir Akulov started to cooperate with the Zhilbel art centre. Their cooperation has allowed the artist to realize his creative conceptions both in poetry and in painting. The Zhilbel centre, relying on the experience and opinion of the leading experts and critics, arranges both classical and avant-garde exhibitions which, despite their polar difference, are always of a very high standard. This allows the gallery to display a wide spectrum of modern Belarusian art

Tags:   vladmir akulov akulov painter 21st century belarus contemporary 2006 2000s destiny of roofs private collection ctiyscape expressionism

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Fedor Yakovlevich Alekseev was an early Russian painter of landscape art.
After training in the Saint Petersburg Imperial Academy of Arts, he spent three years in Venice studying the works of famous French and Italian landscape painters.

Returning to Saint Petersburg to work, his popularity grew over time. In 1800, Emperor Paul of Russia commissioned a series of paintings of Moscow from him.

Tags:   fedo alekseev painter 19th century russian 1800 1800s the foundling hospital in moscow cityscape boats water buildings realism

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Oil on canvas; 57 x 71 cm.

Imre Ámos was a twentieth century Hungarian Jewish painter. Following his studies at the Technical University, Budapest from 1927 to 1929, he enrolled in the Art School where he was a pupil of Gyula Rudnay. He married Margit Anna, also a painter.

His painting was initially influenced by József Rippl-Rónai and Róbert Berény. From the mid-1930s onwards, his style emulated that of Chagall whose influence affected his artwork in his paintings such as The Old Church Servant Thinks of Heaven, and the Dream of Bear Leader.

In 1936, he was elected to be a member of the New Society of Artists, which entailed working in Szentendre during the summer months. He visited Paris in 1937 where he met Chagall. Ámos became a member of the National Salon in 1938.

However in 1940 during World War II like many others was a victim of genocide because he was of Jewish descent and was taken to labour camp in Vojvodina, then to the battle field in the east, and in 1944 he was deported to a concentration camp in Saxony where he later died cruelly.[1] Throughout the war he painted about his tragic experiences in shocking visions such as A eries of Dark Times, Escaping, and War.

He died only aged 37 or 38.

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Oil on canvas.

Ion Andreescu was a Romanian painter of great renown.

He was born in Bucharest into a merchant's family. In 1869 he entered Theodor Aman's Fine Arts School. By 1872 he was an instructor of drawing and calligraphy at the Bishop's School in Buzău. In 1873 he left the Bishop's School for the Tudor Vladimirescu Communal Secondary School, also in Buzău. Then, in 1875 he left the Communal Secondary School for Buzău's Craftsmanship School. Influenced by Nicolae Grigorescu, he left Romania for Paris to further his education. In Paris, he began painting at Barbizon. His work was exhibited with the works of better known painters such as Manet, Monet and Renoir.

In 1881 he returned to Romania, ill with tuberculosis. His death followed shortly in 1882.

Tags:   ion andreescu andreescu painter 19th century romanian 1878 1870s winter in barbizon street scene impressionism houses

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