Edmund Dulac was a prominent artist from the Golden Age of Illustration. Born in Toulouse in 1882, Dulac moved to England at the age of 20 where he spent most of his career. Since his first commission his career flourished and he was in tremendous demand from publishers. Dulac is best known for his enchanting illustrations of fairy tales and children’s stories, his most famous works include illustrations for The Arabian Nights, Sleeping Beauty and Stories from Hans Christen Anderson. (Davies, 2013)
Dulac moved to London because of the publishing opportunities and began work as an illustrator in the new genre of illustrated gift books. The industry of deluxe book publishing was thriving and the collection and possession of these was a sign of affluence and taste in the time between 1905 and World War I. (Rosenkrantz, 2010) He began his career just as the new technology of colour separation was making the printing of colour book plates possible. With the introduction of the Three Colour or Trichromatic process, the technical means were available to faithfully reproduce and distribute images. (Parker, 2006) Dulac was drawn towards these advances in printing technology which provided inspiration and opportunity for him and he could experience the best form of printing England had to offer. (Upson, 2012)
He had the technical means available for him and influences of the works of other illustrators at the time. For many of his early works Dulac started with a new and more accurate process which allowed him to work without the ink lines and he worked mainly in watercolor and gouache. He continued to use outlines to fit the expectations of the market rather than as a technical limitation. (Parker, 2006) His images have been described ...
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...nt on to produce theatrical posters, costume and set designs, portraits, bookplates, medals and chocolate boxes, the type of work which dominated the last 20 years of his life.
Dulac illustrated some of the greatest and most well-known stories, from “Jane Eyre” to “The Tempest” and his worked ranged from posters, books and magazines to postage stamps and banknotes. The significance of his work is evident as his part in the Golden Age of Illustration, an influence which resonates today in film, design and modern storytelling. (Upson, 2012) He is an example of an Illustrator working within a constantly evolving industry, who remained recognizable in his varying styles and areas of work. Dulac was described by Richard Dorment as "the last truly romantic artist, whose gorgeously decorative style encompassed both orientalism and the Rococo revival" (Telegraph, 2007)
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
“The Best That Never Was” is a 30 for 30 documentaries ESPN produced about the life and career of Marcus Dupree. Almost every topic we have discussed in class this semester came together in this documentary. It had everything from racism, eligibility to ethical behavior by everyone involved in sport including agents. I will focus on these three issues in particular because I feel they have the most direct correlation between the film and classroom discussions. I will follow these up with my opinions of the movie and some of the key players.
Claes Oldenburg was born in 1929 in Stockholm, Sweden. His father was a Swedish Consul General, and because of his job they moved to Chicago in 1936 where he became an American citizen. When he graduated Yale University in New Heaven, he took up the job as working as a reporter in 1946. Later on in 1952 Oldenburg attended Chicago Art Institute. While he was there he published some drawings in magazines and started to paint pictures. He was inspired by Abstract Expressionism. Then in 1956 he moved to New York and met Jim dine, two years later he met Alan Kaprow and a couple other artists. All of them were interested in art and pushed the question “What is art?” They started to stage “happenings”. That was the start of the Pop Art Movement. Pop Art is the products of mass media. From 1958 -59 he arranged and designed his first sculpture. After that he started to replicate food, like hamburgers, ice-cream and cakes. Oldenburg’s first exhibit was in 1958. There was a selection of his drawings that were included in a group show at the Red Grooms’ City Gallery. A year later, Oldenburg had his first one-man show. He had sculptures at the Judson Gallery. Then in 1962 he had his art work in the “News Realist” which helped define the Pop Art Movement. He also had other exhibitions in 1964, a one man show at the Sidney Janis Gallery and also in 1968 at the Museum of Modern Art. In the mid-1960s he also began making creation for huge monuments.
Another designer he spoke with is Willa Kim, the lady who inspired him to pursue costume design after seeing one of her costume designs for a ballet on PBS. He and Willa talk about how she started out as an artist and then got a job opportunity to work at MGM studios. A tip he learned from her was to paint the leotards skin tone to make the nude appearance. He said he was so fascinated by that when he saw it on TV in black in white in the late 1960’s early 1970’s.
...long career provides a lighthouse of hope to all artists who labor in the dark, uncertain of their efforts but determined to express their voice." (Schneider, 129).
Albrecht Durer completed the “Master Engravings” in the years 1513 and 1514. With these three engravings (Knight, Death, and Devil, St. Jerome in His Study, and Melencolia I) he reached the high point of his artistic expression and concentration. each print represents a different philosophical perspective on the “worlds” respectively of action, spirit, and intellect. Although Durer himself evidently did not think of the three as a set, He sometimes sold or gave St. Jerome and Melencolia I as a pair.
"1920's Art." The 1920's - Roaring Twenties - The Nineteen Twenties in History. 2005. Web. 28 Feb. 2011. .
Nash, Susan. Oxford History of Art: Norther Renaissance Art. 2nd. New York: Oxford University Press, 2009. 30-65. eBook.
The essence of art is truly in the eye of the beholder, and Joseph Beuys redefined the meaning of artistry when he once said that “every man is a plastic artist who must determine things for himself.” One may find himself or herself asking the million dollar question: “Who is Joseph Beuys?” Joseph Beuys was a German-born conceptual artist who started to pursue art as a career after serving as an airman in the Second World War. Beuys's assorted body of work ranges from the conventional methods of drawing, painting, and sculpture, to process-oriented, or time-based "action" art. With his time-based “actions”, Beuys suggested how art might exercise a healing property on both the artist and the audience when psychological, social, and political are the influence.
Artist and Humanist, Albrecht Durer is one of the most significant figures in the history f European art outside Italy during the Renaissance (Gowing 195). Portraying the questioning spirit of the Renaissance, Durer's conviction that he must examine and explore his own situation through capturing the very essence of his role as artist and creator, is reflected in the Self-portrait in a Fur Collared Robe (Strieder 10).
Warhol was one of the top graphic designers and highest paid in the 1950's for his work. He worked for most of the top fashion magazines and was recognized as having an artsy style that s...
When Arthur I Keller was just seven years old, he began attending the National Academy of Design, where he would begin his training to starting his career as an artist. In 1905, Bret Harte’s novel, Her Letter, His Response, and Her Last Letter was illustrated by Keller. In 1909, Emerson Hough’s work, 54-40 or Fight was also illustrated by Keller.
At the beginning of the nineteenth century, political discomfort had spread over France, and posters became the dominant aspect of visual philosophy in Paris. (MiR appraisal Inc. (2011) Father of the modern poster: Jules Cheret) Posters were an expression of economic, social and cultural life, competing for entertainment audiences and goods consumers (Jeremy Howard (1996), Art Nouveau: The myth, the modern and the national, Manchester University press, The Art poster From Graphic art to design 1890 to 1914). Furthermore, poster design was an outlet for the innovative energies of gifted artists (David Raizman (2003), History of Modern design, Art Nouveau and Cheret, Lawrence King, London, P.56). This was apparent because of the progression and transformation of technology, such as colour lithography.
During the 1980’s Graphic Designer, Paula Scher helped design and define the decade of color, music, and fun. Scher began her graphic design work by creating designs for the inside of children’s books. Later on, the artist received a larger gig working for record labels such as CBS and Atlantic Records. After she began her work as an album cover artist, Scher’s artwork became known for its exaggerated use of typography and its unique style. Early in her work, Paula built her credibility with her design of the Boston album artwork from 1976. From there Scher continued to shape the decades of the late seventy’s and the early eighty’s by designing albums for Cheap Trick, The Blue Oyster Cult, The Rolling Stones and more. After some time, Paula resigned form the record industry and began her own design company with her friend Terry Koppel. The two designers called the company Koppel & Scher and ran the business for seven years until the recession, which eventually caused them to go their separate ways. By 1991 Paula received an irresistible job offer to work for Pentagram as a graphic de...
John Heartfield was born as Helmut Herzfelde in Berlin on June 19, 1891. Heartfield parent’s abandoned him and his siblings and they spent their childhood with other relatives. He worked at a bookstore in Wiesbaden before going to school in Munich. Heartfield had a passion for painting so he went to school at the Royal Bavarian Art and Crafts School in Munich. He had a chance to learn from two commercial graphic designers Albert Neisgerber and Ludwig Hohlwein. After graduating from the Royal Bavarian Art and Crafts School in Munich he gained a lot of experience. Heartfield decided to have his own career as a commercial artist, starting off with designing book covers in Mannheim. Heartfield was still active in a school; he did most of his studying with artist Ernst Neumann in Berlin.