ARTOGRAPH EXHIBITIONS

Albert Ritzberger (May 20, 1853 in Pfaffstätt – November 8, 1915 in Linz) was an Austrian draftsman and painter. Ritzberger came from a family of teachers and was himself a teacher in Lohnsburg am Kobernausserwald and Henhart until 1879. He exhibited his first drawings in an art shop in Linz. Because of his chalk portraits, he was able to study at the Vienna School of Applied Arts under Ferdinand Laufberger in 1876/77 and then to train at the Academy of Fine Arts in Vienna (1879 to 1884) under Heinrich von Angeli. Encouraged by a number of awards, he founded his own studio in Gumpendorf in 1884 and a year later married Luise, the daughter of the court architect Hans Smattosch. From 1887 to 1890 he ran his studio in Munich and in 1893 he moved to Salzburg. In 1893 he traveled to Italy and Holland, after which he stayed in Vienna and Salzburg. From 1890 until his death he lived and worked partly in Linz and partly in Aschach an der Donau in studios on family-owned properties. From 1887 he was a member of the Wiener Künstlerhaus. Ritzberger died on November 8, 1915 in Linz, his grave is now in the urn grove Urfahr in Linz. In Linz and in Aschach a street is named after him.

Toma Rosandić (baptized as Tomaso Vincenzo, 22 January 1878 – 1 March 1958) was a Serbian and Yugoslav sculptor, architect and fine arts pedagog. Together with Ivan Meštrović (1883–1962), he was the most prominent of Yugoslav sculptors of his day. Rosandić was born in the Dalmatian city of Split, Austria-Hungary, the son of a stoneworker. The family name, Rosandić originates from Cetinska Krajina, in the Dalmatian Hinterlands. During the early years in Split, Rosandić learnt to carve in wood as well as stone and was much inspired by the younger Meštrović who had moved there from Otavice. Both sculptors studied overseas before returning to Split, Rosandić touring Italy and exhibiting in Milan in 1906 and Belgrade in 1912. He exhibited his artworks as a part of Kingdom of Serbia's pavilion at International Exhibition of Art of 1911. Something of their parallel development and underlying rivalry can be understood from their respective projects to combine sculpture and architecture. Both constructed a mausoleum, Rosandić for the Petrinović family (Supetar, on the island of Brač off Split) and Meštrović to the Račić family (Cavtat, south of Dubrovnik). Each exhibit the influence of Dalmatian history, but while Meštrović's mausoleum is based on the principle of simplicity, Rosandić richly ornamented his building with a blend of Gothic and Renaissance motifs to express a more national character. With the outbreak of World War I, Rosandić left for London where he exhibited at the Grafton Galleries in 1917 and later in Brighton and Edinburgh. During World War II, Rosandić settled in Belgrade. He was interned by the German occupation forces during the war, but was later released through the intervention of Dragomir Jovanović. Rosandić later testified at the Belgrade Process. Rosandić was a member of the Serbian Academy of Sciences and Arts since 1948. He founded a prominent school in Belgrade known as the "Master Workshop". Amongst the many artists and public personalities that frequented the workshop was Henry Moore, during his exhibition in Belgrade in March 1955. In his maturity, Rosandić executed two of his greatest masterpieces: the pair of stone statues of a man struggling with a horse, which flank the entrance to the Federal Parliament building in Belgrade (today Parliament of Serbia), and a massive stone frieze of figures for a monument in Subotica, Vojvodina, Serbia (1952). Many of his bronze projects at this time were cast in the Voždovac foundry and other works by his hand can be found at the Toma Rosandić Memorial Museum and the Museum of Contemporary Art, Belgrade. Rosandić returned to Split before his death in 1958.

André LANDAUD was a draftsman and painter and made sketches, drawings, watercolors and oil paintings on canvas. In addition to his professional career in industry, André Landaud dedicated his life to art. As a recognized member of the Association Amicale des Artistes d'Alfortville (4A), he taught several generations of passionate artists; as a member of the 'Académie Julian' he showed his works at numerous exhibitions in Paris and the surrounding area. He received numerous prizes and medals from the cities of Paris and Sceaux, exhibited in the Musée du Luxembourg and was awarded the Grand Prize of Painting of Aigues-Mortes.

Dževad Hozo (May 10, 1938, Užice – December 20, 2020, Sarajevo) was a graphic artist from Bosnia and Herzegovina. He finished high school in Bihać and in the same year enrolled in History of Art at the Faculty of Philosophy in Belgrade. He stopped his studies in 1958 and enrolled at the Academy of Fine Arts in Ljubljana. After graduating in 1963, he enrolled in the graphic arts specialization with professor Rika Debenjak. In 1966, he received the status of a freelance artist until 1973, when he became an assistant professor of graphics at the newly opened Academy of Fine Arts in Sarajevo, as head of the Department of Graphics. He worked on shaping the program of the Collegium Artisticum and wrote a manuscript on manual graphic techniques, which he later (in 1988) published under the title The Art of Multi-Originals. In 1981, he became a member of the Academy of Sciences and Arts of Bosnia and Herzegovina. Hozo finds inspiration and preoccupation in the past - in the material heritage and in the texts of Bosnian-Herzegovinian writers who tell stories about that time (Mak Dizdar, Ivo Andrić). He exhibited independently more than forty times, and participated in numerous national and international exhibitions as a group. He is the winner of numerous awards for graphics at prestigious exhibitions in the country and abroad. He died on December 20, 2020 in Sarajevo. In 2009, the Commission for the Preservation of National Monuments made a decision to declare the collection of artworks by Dževad Hoza in the Una-Sana Canton Museum in Bihać a national monument of Bosnia and Herzegovina. The National Monument consists of 30 graphics. Part of the graphic was donated by the author, and part was bought from the author for the newly formed collection of the Museum of AVNOJ and Pounj. The graphics from the cycle "Nišani" belong to the early phase of his creative work, and were created during his studio stay in Ljubljana. The author's childhood, in Bihać, in the house that was located next to the cemetery, had a strong influence on the formation of this collection. Nišani, a constant source of inspiration, translated into graphic and artistic expression illuminates the peculiarity of their world, a symbol of life and death. In addition to the direct content of Hoza's letters, we must admit that the history of one of the forms of the Bosnian cemetery, i.e. Muslim, characterized by stone colored monuments, the so-called sights – it's not as close as it could be. First of all, and in this connection, we should warn about one moment, which Hozo emphasizes in his work and which leads him to further research, modernizing the ancient messages of four centuries old. A Muslim cemetery, unlike a Christian one, is always part of the image of a region; it is not a place of mourning that would be marked by the whiteness or blackness of marble slabs and monuments. The sights were once painted, although the traces of those colors have already been erased; with their anthropomorphic forms and forms similar to them, real objects represented the bearers of a new life. The artist's task is to resolve their messages, that is, to convey the truth of a certain time into modern times.

Rudolf Nissl (April 13, 1870 in Fügen; October 2, 1955 in Munich) was a painter.Austrian-German painter, graphic artist, draftsman. Attended the state trade school in Innsbruck. 1887-89 studies in Munich with Ludwig Schmid-Reutte, from October 1888 at theNissl was the son of an innkeeper. He studied from 1887 to 1889 in the painting class of Ludwig Schmid-Reutte and since October 13, 1888 as a registered student with Johann Caspar Herterich, Ludwig von Löfftz and Paul Hoecker at the Munich Academy.[1] From 1895 he was a member of the Munich and Vienna Secession, later also a member of the German Association of Artists. From 1938 to 1944, Nissl was represented with large still lifes at all major German art exhibitions in Munich. Academy of Fine Arts. Arts with Johann Caspar Herterich, Ludwig Löfftz and Paul Höcker. Member of the Secession in Munich, Vienna and Berlin. The extensive painterly oeuvre shows a wide range of realistic painting styles, from the Dutch Art of the 17th century, via the Leibl School to the New Objectivity. He created landscapes, female figure paintings and delicate ceramic and porcelain still lifes as well as portraits and interiors.Nissl studied from 1887 to 1889 with Ludwig Schmid-Reutte, then with Johann Caspar Herterich, Ludwig von Löfftz and Paul Höcker at the Munich Academy. From 1895 he was a member of the Munich and Vienna Secession.

Rihard Jakopic (12 April 1869 – 21 April 1943) was a Slovene painter. He was the leading Slovene Impressionist painter, patron of arts and theoretician. Together with Matej Sternen, Matija Jama and Ivan Grohar, he is considered the pioneer of Slovene Impressionist painting. Rihard Jakopič was born in Krakovo, a suburb of Ljubljana, the capital of Carniola in the Austria-Hungary, now Slovenia. His father, Franc Jakopič, was a well-situated tradesman with agricultural goods. His mother was Neža, née Dolžan. Rihard was the youngest of eight children. Jakopič studied at the intermediate secondary school from 1879 to 1887. After passing an entry exam, he attended the Academy of Fine Arts in Vienna, for a short time returned home due to an illness, and then resumed his studies in 1888. In 1889, he entered the Academy of Fine Arts in Munich and in 1890, the Ažbe Art School in Munich. Then he lived in Ljubljana, where he participated in the establishment of the Slovene Art Society, and after 1902 in Škofja Loka. In 1903, he continued his studies at the Academy of Fine Arts in Prague. Jakopič returned to Ljubljana in 1906. He was one of the early members of the Slovenian Academy of Sciences and Arts, founded in 1938. Jakopič died at his home in Ljubljana on 21 April 1943 after a long and difficult illness. A wake was held at his residence at New Square, and he was buried at Holy Cross Cemetery (now Zchale Cemetery) on 23 April 1943 after a ceremony at 3:30 pm at Saint Joseph's Chapel. Over 1200 paintings and 650 drawings by Jakopič have been preserved. In Ljubljana, Jakopič established the Slovene School of Impressionist Drawing and Painting, the predecessor of the Academy of Fine Arts at the University of Ljubljana. He was an initiator for the foundation of the National Gallery of Slovenia. In 1908, he built a pavilion in Tivoli Park, based on plans by the architect Max Fabiani. The Jakopič Pavilion became the central venue for art exhibitions in the Slovene Lands at the time. In 1962, due to the relocation of a railway line, it was demolished. In 1965 a primary school in Šiška was named after him. Since 1969, the Jakopič Award, the highest Slovenian award in fine arts, is presented annually. In 1970–72, a statue of Jakopič by Bojan Kunaver was erected on the original site of the pavilion. In 1979, a new Jakopič Gallery (Slovene: Galerija Jakopič) opened at Slovene Street (Slovene: Slovenska cesta) in Ljubljana. After Slovenia declared independence from Yugoslavia, Jakopič was portrayed by Rudi Španzel on the 100 Slovenian tolar banknote, in circulation from October 1991 until the introduction of euro in January 2007.

Born: 1878 - Lodz, Poland Died: 1960 - Munich, Germany Otto Pippel was one of the most important Impressionists in Southern Germany. As the son of German parents who had emigrated to Lodz, Pippel enrolled at the School of Applied Arts in Straßburg in 1896 with the express wish to become an interior decorator and a decorative painter. He had to interrupt his studies shortly afterwards, however, as he was drafted into the Russian army for four years. He continued his studies in 1905 in Karlsruhe under Friedrich Fehr and Julius Hugo Bergmann and in 1907 at the Dresden Akademie under Gotthard Kuehl. Pippel travelled to the Crimea in the following year and decided to settle in Planegg near Munich in 1909. In the same year, he travelled to Paris, where the French Impressionists encouraged him to develop images of light and impressions. Pippel joined the ‘Luitpoldgruppe’ in 1912 and exhibited his first work, a small winter landscape, at the Munich Glaspalast. He had regular exhibitions at the Galerie Brakl in Munich since 1915. At the outbreak of the First World War he was drafted, but was able to spend the war as an interpreter in a prisoner-of-war camp near Lechfeld because of his command of Polish and Russian. After the war, Pippel returned to his house in Planegg, where he spent the rest of his life, creating an extensive oeuvre. As a master of colour Pippel painted wonderful landscapes, still-lifes and vedutas, but he also mastered figure painting in a perfect Impressionist style. Among his best known works are, above all, the Munich motifs, such as the Hofgarten, the Englischer Garten and the Hirschgarten. Otto Pippels works can today be seen in the Städtische Galerie im Lenbachhaus (‘Das Undosabad in Starnberg’ and ‘Großstadtstraße’) as well as in the Städtische Galerie Rosenheim (‘Am chinesischen Turm’, ‘Sommer’ and ‘Kammermusik’) Following his study in the School of Applied Arts in Strasbourg, Karlsruhe and the Dresden Academy, Otto Pippel entered the public eye in 1912 with his first exhibition in the Munich Glaspalast. The subject of his first exhibition piece was a winter landscape. Four years earlier, during a trip to France, Pippel was exposed to Impressionist handling of paint. Influenced by this, Pippel would adhere to an Impressionist manner when rendering to his own depictions of people, landscapes and interiors, gaining him a reputation as one of the leading figures of the South German Impressionist movement. The present painting is a return to the artist’s early inspiration, a winter landscape. The light glints on the snow, while the soft glow of the rising sun reflecting off the mountains brings warmth to the palette and the landscape itself. Zugspitze, the highest mountain peak in the artist’s native Germany, dominates the composition. Pippel uses a row of trees to bring distance between the viewer and the mountain, accentuating the majesty of Zugspitze.

Adolf Pirsch was born on July 4th 1858 in Gradaz in Krain, at the time part of the Austro-Hungarian Empire, today Slovenia. He studied art at the Graz Academy, Antwerp, graduating in 1879. He then went to Italy where he spent a year in Venice, Florence and Rome. Pirsch's first commissioned works were altar paintings for churches in Graz and Marburg and his first portrait exhibition took place in 1896 in Graz. During this period he met his future model and close friend the Belgian Olga Legros. Pirsch's most famous works of this period are the portraits of the Austrian Emperor Franz Josef and Pope Leo XIII, which can be seen in the Vatican. Pirsch lived many years in Vienna where his female portraits were of great popularity. After spending some years in Dresden he moved to England and for the next 14 years became a requested portrayer of British high society. With the beginning of World War I Pirsch left for Holland. In the Netherlands he achieved the height of his career and became the favourite portrait painter of high society, where he painted Dutch monarchs and various portraits of Wilhelm II, the former German Emperor exiled in the Netherlands. The sitter for these three portraits, Hanna Pirsch-Fieke, was born in 1879 in Haarlem near Amsterdam. From early age on Hanna Fieke was very interested in art and moved in artist circles in Holland and abroad. In 1912 she met Adolf Pirsch in London. The acquaintance soon became a close relationship and in 1914 daughter Ada was born. From then on the couple lived together in Holland. Hanna Pirsch-Fieke thanked her teacher and husband Adolf Pirsch (1858-1929) for a great deal of her development as painter.

Edgar Chahine was born in Venice of Armenian parents. At age 21 he decided to travel to Paris and pursue a career in fine arts. He studied painting under formal instruction at the Académie Julian, but his natural ability and his determination to express himself as an artist led him to a personal style based more on the reality of the streets of Paris than the confines of the classroom. Chahine began to experiment with the possibilities of printmaking at the age of 25. Although he had already achieved some success with his paintings, he became fascinated with prints and soon worked exclusively in this medium. His prints were very much in demand by collectors and the well known publisher, Edmond Sagot, quickly became his dealer. He won several medals and awards and received many commissions. Chahine's print œuvre is an equal representation of elegant Parisian men and women and Bourgeois society, and more common scenes of country fairs and street life. His sympathetic depictions of children, beggars, circus performers and other often forgotten people were engaging and touched the emotions of the observer, while his portrayals of the more fashionable side of Paris accurately captured its "joie de vivre". Neither a part of the traditional schools and academic circles or identified with the more contemporary artists, he preferred to think of himself as “a student of the street.” Visually, it is clear that he drew both subject and technical inspiration from some of the master printmakers of the seventeenth century, particularly Callot, Rembrandt, Daumier and Meryon. Other subjects in the life of Paris began to emerge at the turn of the century as the artist became intrigued with the nightlife of Montmartre. Along with Villon, Tissot and Helleu, Chahine was one of the best portrayers of the images associated with La Belle Epoque. The parks of Paris, the boulevards, elegant women in carriages, all form a vivid impression of the prosperous side of this period in French history. For these subjects he drew inspiration, not only from the long tradition of French printmakers, but also from Whistler and contemporary artists including Toulouse-Lautrec and Degas, whose flat arrangement of compositional elements provided a true departure from tradition. The death of his fiancé plunged him into a deep depression, and he left Paris to travel through Italy. This voyage gave him the serenity and the inspiration to begin working with new enthusiasm actually etching the day's drawings onto copper plates in his hotel room each night. He returned with new vigor and expanded his efforts to once again include pastels and oils in his work but his commitment to etching was paramount. He seemed to love the orchestrations of light and dark tones which the medium encouraged. This productivity was not to last, as the combination of terrible events in Armenia and Syria culminating in the outbreak of World War I rendered Chahine unable to work. Not until his marriage in 1921 did he begin to make art again. In 1925 he became a French citizen and began a new burst of creative activity in fine prints and illustrated books. Many of Chahine's prints were lost in a fire in his atelier in 1926, and many more were destroyed in a flood in 1942. We are fortunate to still have great examples of this exceptional artist's work to transport our spirits back to turn of the century France!

Kosta Miličević (Serbian Cyrillic: Коста Миличевић; 3 June 1877 – 12 February 1920) was a Serbian impressionist painter, known mostly for his landscapes. Kosta Miličević was born to a clerical family, with a history of service in the priesthood. As a young man, he went to Belgrade, where he studied with Kiril Kutlik who operated a famous painting school. He continued his training, under difficult financial conditions, in Prague, Vienna, where he worked with the portrait painter, Heinrich Streblow (1862-1925) and Munich. Until 1910, he was an informal student at the arts and crafts school of Rista and Beta Vukanović. That same year, he became a member of Lada [sr], an art association. In his early period, he painted in the Academic style, as taught in Germany, then was attracted to Art Nouveau. After becoming acquainted with the works of Nadežda Petrović and Milan Milovanović, he sought to create a more personal style. He finally settled on a free, Impressionistic approach, brought to fruition during a stay at an artists' colony in Savinac (now part of Belgrade). His first success came at the Fourth Yugoslav Art Exhibition of 1912. He was inducted into the army during World War I, briefly served as a soldier, then became an official War Painter for the Supreme Command in Corfu. Only five paintings are known to have survived from this period. After the war, he taught evening classes at the Vukanovic's arts and crafts school.[1] His early death was probably due to tuberculosis. His Corfu paintings combine the melancholy of his character, the fatalism of his life and the tragic fate of his generation" (Trifunović, 20142, p. 91). Now the quick and free stroke of the brush on the canvas is fully developed, which corresponds to the importance of emphasizing the coloristic elements of the picture and the overall atmosphere at the expense of the form and matter of what is represented. Several more seascapes of Corfu from 1918 have been preserved, with simple names (Corfu I, Corfu II, Motif from Corfu, Landscape from Corfu...) done in a similar spirit, broad strokes, fast, thick. The landscapes of the island of Corfu and its shores exude melancholy, bearing in mind Milicevic's hypersensitivity and the general context of the brutal wartime in which they are created, but at the same time, the light of the dazzling Mediterranean sun and the vivid palette of colors dominate these sea scenes. There is no military theme in them, but they are images of war: those green strips of lonely land lost in the infinity of the sky and sea, those blue pearls that roll on the sunny sea shores carry war in their subtext, in the resistance and negation of war, in the green cry of a people who had to endure a world cataclysm and overcome a national disaster. In these paintings, Miličević most fully expressed himself and his world... Miličević created the first impressionist paintings of the French type, although he never saw France. Finished, mature and clean, the landscapes of Corfu happily completed the process of affirmation of light that began in 1912 and 1913. Kosta Miličević seems to have borne all the tragedy of his generation on his own shoulders. This is also evidenced by a gloomy painting, Winter View of Belgrade (1920), probably among the last he painted, but decisively emphasizing his superb impressionism. Exhausted and still insufficiently recovered from his illness, he died in February 1920 in Belgrade.

Ivan Grohar (15 June 1867 – 19 April 1911) was a Slovene Impressionist painter. Together with Rihard Jakopič, Matej Sternen, and Matija Jama, he is considered one of the leading figures of Slovene impressionism in the fin de siecle period. He is known by his landscapes and portraits. He was also an established guitarist and singer. Grohar was born in the Upper Carniolan village of Spodnja Sorica, then part of the Austro-Hungarian Empire. From an early age, he showed an interest in art but he could not develop his talent because he was an orphan and lived in poverty. In 1888, the local vicar Anton Jamnik sent him to an exhibition in the nearby town of Škofja Loka, enabling him to spend the summer working in the town of Kranj under the supervision of the church painter Matija Bradaška. He also travelled to Zagreb, where he worked in the atelier of Spiridion Milanesi, until he was conscripted into the Austro-Hungarian Army. He disliked the military life, so he deserted and fled to Venice, in Italy. Left with nothing, he appealed to the Austro-Hungarian consulate. In 1889 a court sentenced him to a short stay in prison and extended his military service by one year. In 1892, he applied to the Carniolan Provincial Diet for financial assistance to study at the Graz school of painting, which he received. Two years later, he applied for assistance to study at the Academy of Fine Arts in Vienna. This assistance was also approved, but despite his excellent exam result, he was not accepted to the Academy because he had not finished his studies in Graz. He continued his schooling in Graz and finished it at the end of 1894. In August 1896, he opened his own atelier in Škofja Loka. He also worked in Munich, where he attended Anton Ažbe’s school of art. Back home, he befriended the impressionist painter Rihard Jakopič. In autumn of 1900, he took part in the first Slovene Artists’ Exhibition, organised by the Slovene Artistic Association (Slovensko umetniško društvo, SUD). He was elected to the position of treasurer of the SUD, but illegally borrowed money from the association, for which he was sentenced to three months’ imprisonment. On his release, he left for Vienna. In 1904, Slovene impressionists Rihard Jakopič, Matej Sternen, Matija Jama and Ivan Grohar himself, exhibited in the Mietke gallery in Vienna as the artists’ club Sava. They enjoyed great success and sold several paintings. Later, Grohar exhibited in the Secession in Vienna, in Belgrade, London, Krakow, Warsaw, Trieste, Duino, Berlin, and elsewhere. Despite this, he always had financial difficulties. In 1911, after interventions of the politician Janez Evangelist Krek and the painter Rihard Jakopič, the Sorica municipal council granted him 2000 crowns for a study trip to Italy. He then went to Ljubljana in order to buy everything that he would need for the trip, but he was so afflicted by illness, which he had been keeping secret, that he was delivered to the state hospital in Ljubljana, where he died of tuberculosis. He left behind a series of priceless artworks and a number of debts, which Rihard Jakopič settled for him. Jakopič was preparing his sixth artists’ exhibition in his artists’ pavilion, which was dedicated to the memory of Ivan Grohar. Grohar began his career as a painter of religious images, but continued it as a realist. He was influenced by Giovanni Segantini. From summer 1900 onwards, he painted using symbolic elements, but later he embraced impressionism. In 1926, a memorial exhibition was held in his honour. He had a great influence on later artists and his picture The Sower (Slovene: Sejalec) has become one of the most established and characteristic Slovene images, a symbol of the cultural transition of the Slovenes from a rural to an urban culture.

Ferdo Vesel was one of the most important Slovenian painters, who was born on May 18th 1861, he died in Ljubljana on July 28th 1946. Vesel was working with landscaping, portraiture and folklore genre. His art works were torn between realistic and impressionist style. Painter Josip Potočnik was his student. From year 1906 on he lived a weird life in Grumlof pri Šentpavlu, here he artistically stagnated. Primary school in Šentvid pri Stični was named after him, Primary school Ferdo Vesel. He studied in Ljubljana secondary school, he continued on Wien’s academy. His life and work took place in the circle of Ivana Kobilica, Rihard Jakopič, Jožef Petkovšek and Anton Ažbet. Vesel travelled around Europe a lot, as his unruly artistic spirit could not calm down and to settle. After he returned, he moved to Mekinje monastery at Kamnik, in year 1901 he came to the small castle Grumlof, which became his home. Soon after the Second World War started, and, together with Ivan Cankar, he shared his hard fate in internment. In year 1917 he returned to Lower Carniola to his small castle. In troubled times of search he caught up with modern waves of Slovenian painting, which encouraged him towards spontaneous painting expression. In year 1938, when the Second World War started that brought with it a lot of suffering and tragic events, Vesel was at Grumlof. Soon he moved to Ljubljana, where in year 1946, he died. He was picturesque, he had instinctive painting character, his personality was diverse problem-wise, and he was a restless researcher of new places and painting expressions. He tore himself from petty bourgeoisie and went to study, instead of going to work he choose the life of a freelance artist. He judged his work very strictly, as for him art was hard and trudge work, something unique. Because of that he parted with his paintings with great pain, he was very reluctantly to sell them. Ferd Vesel's first verified exhibition was the 2nd Esposizione Internazionale d'Arte della Citta di Venezia 1897 at La Biennale di Venezia in Venice in 1897, and the most recent exhibition was The Slovenian Impressionists and Their Time 1890–1920 at the National Gallery of Slovenia in Ljubljana in . In 2008, Ferdo Vesel most often exhibited in Slovenia, but he also had exhibitions in Italy. Wessel has had at least one solo and 3 group shows in the last 111 years (see bio for more info). Wessel was also not at an art fair, but at a biennial. A notable exhibition was the 2nd Esposizione Internazionale d'Arte della Citta di Venezia 1897 at La Biennale di Venezia in Venice in 1897. Other notable exhibitions were at the Murska Sobota Gallery in Murska Sobota and the National Gallery of Slovenia in Ljubljana. Ferdo Wessel exhibited with Ivan Kobilac and Jean Bero. Ferda Vesel's art is in at least two museum collections, in the National Gallery of Slovenia in Ljubljana and the Nadežda Petrović Art Gallery in Čačak. Wessel's best rank was in 1898, with the most dramatic change in 2013. For a complete illustration of the artist's career since 1897, see the career chart on the trends page.

Jacques-Antoine Vallin is a painter born in 1760 and died in Paris on November 28, 1835. Jacques-Antoine Vallin is the son of a Parisian sculptor-engraver, based on the Quai de la Mégisserie. At the age of fifteen, he entered the Royal Academy in 1779 under the protection of the history painter Gabriel Doyen, then of Callet in 1786. He returned to Drevet's studio three years later. He was also a pupil of Antoine Renou there. Vallin did not begin at the Salon until 1791, first exhibiting two canvases, La Tempête and Petit paysage. The influence of Vernet but also that of Bidauld still mark a painting of 1793 like The Shepherdess of the Alps preserved in the museum of Algiers. Very quickly, he then found his way and success with his paintings of nymphs and bacchantes3 placed in harmonious landscapes often bathed in a fine golden light. Vallin also draws his inspiration from ancient history or mythology. His last appearance at the Salon dates back to 1827. Vallin was buried on November 29, 1835 in the Montparnasse cemetery. Vallin is the extension of Jacques-Philippe Caresme's bacchanals and gallant pastorals, but in a more neo-classical or even historical style, in keeping with his time and close to a Prud'hon6. His painted work presents a freshness of colors and a real grace in the faces and attitudes of the characters. He also executed portraits of Greuzian inspiration, and several paintings of ancient or modern history which he presented as a priority at the Salon.

Henri Montassier, born June 27, 1880 in Courlon-sur-Yonne and died June 7, 1946 in the 17th arrondissement of Paris1, was a French painter, caricaturist and illustrator of the 20th century. He is the son of Albert Montassier, notary, and Marthe Fauche. He has a little brother, five years his junior, Jean.A lung condition affected him and prevented him from performing his military service. His father sent him to study law in Paris, but he decided to join the workshop of Luc-Olivier Merson, head of workshop at the National School of Fine Arts. He lives in Montmartre then other districts of Paris. In February 1918, he married Céline Rambach. In 1934, he moved with his wife to the Gers. He did not return to Paris until the end of the Second World War and died there of his lung disease in 1946. Henri Montassier produced numerous paintings (landscapes, nudes, portraits, still lifes) as well as illustrations, notably for La Baïonnette, Le Sourire, L'Illustration. Montassier attended the Pontoise municipal school then was admitted to the Lycée de Sens. At 18, in 1898, he passed his baccalaureate in literature and philosophy. Despite a growing sensitivity and artistic taste, his father enrolled him at the law school of Paris as he was keen for him to join him in his law firm. By 1900 a young man of 20 he discovered the pleasures of the capital and felt more attracted to museums than to law school. Provided with a letter of recommendation from Eugène Petit, the mayor of Pont, he passed the entrance examination to the Banque de France in 1902, and became friends with Luc Olivier Merson, a renowned artist who taught at the Beaux- Arts. Shortly after, Henri was admitted to the master’s studio. In 1906 and resigned from the bank. During the Great War, he provided support to the soldiers through artistic contributions. In 1917, Henri Montassier met his future wife Céline Rambach. They married in Paris in February 1918. Céline’s father believed strongly in his son-in-law’s painting and helped the young couple to settle down with a home and workshop in Paris. He exhibits in the provinces but also in London, Munich, Geneva, Brussels, the United States and Japan. Awards and honours include Knight of the Legion of Honor in 1932 Heiner Prize in 1937 Diploma of honor at the International Exhibition the same year. Salon des Artistes Français (gold and silver medal), Salon d’Automne (vice-president) Salon des Indépendants. He worked for L’Illustration during the late 1920’s to the 1930s and illustrates literary works. During this period between the wars he traveled extensively in France, Italy, and Tunisia. During the Second World War he took refuge with his wife Céline in a house in Gers. While continuing to paint, he also keeps a journal where he asks questions about art and his own work. He also talks of the his dismay in the face of the occupation of his country and its consequences to his family. Sadly it mentions his fears about the progress of his illness, his tenderness for his wife Céline who by now is not just a loving companion but a nurse. Henri Montassier passed away in Paris during 1946 at the age of 66.

Moshe Castel (Hebrew: משה קסטל; 1909 – December 12, 1991) was an Israeli painter. Moshe Elazar Castel born in Jerusalem, Ottoman Palestine, in 1909, to Rabbi Yehuda Castel and his wife Rachel. The family was descended from Spanish Jews from Castile who immigrated to the Holy Land after the expulsion of the Jews from Spain in 1492. His father was born in Hebron. He opened religious schools for Sephardi boys in the Nahalat Shiv'a and Bukharim quarters of Jerusalem. Moshe grew up in the Bukharim neighborhood, where he attended his father's school. At the age of 13, he was accepted to the Bezalel Art School, directed by Boris Schatz, where he studied from 1921 to 1925. His teacher, Shmuel Ben David, encouraged him to study art in Paris. Castel traveled to Paris in 1927, where he attended Académie Julian and Ecole du Louvre. He sat in the Louvre copying the works of Rembrandt, Velasquez, Delacroix and Courbet, intrigued by their paint-layering techniques.It was here that he began to realize that "art is not symbolic, but rather material, the material is the main thing, the way the paint is placed, the way the layers are placed on the picture, this is the most essential thing." In May 1927, the World Union of Hebrew Youth in Paris sponsored his first exhibit. Ze'ev Jabotinsky, who was in Paris at the time, wrote an introduction for the catalogue. In 1940, Castel returned to Palestine and settled in Safed (Beit Castel). In 1949, Castel married Bilhah (née Bauman), an actress. In 1947, Castel helped to found the "New Horizons" (Ofakim Hadashim) group together with Yosef Zaritsky, Yehezkel Streichman, Marcel Janco and others. In 1959, he purchased a studio in Montparnasse where he worked for several months a year. In 1955, a solo exhibition of his works was mounted at the Tel Aviv Museum of Art. His murals hang in the Knesset, Binyanei HaUma Convention Center, Rockefeller Center in New York, and the official residence of the President of Israel in Jerusalem. In the 1930s and 1940s, many of Castel's paintings depicted the lives of Sephardic Jews in the Holy Land, revealing the influence of Persian miniatures. From the 1950s on, Castel created relief paintings inspired by the "ancient predecessors of Hebrew civilization." In 1948, he visited the ruins of an ancient synagogue in Korazin, an ancient Jewish town in the Galilee.Inspired by the basalt blocks he saw there, engraved with images and ornaments, he began to use ground basalt, which he molded into shapes, as his basic material. The technique utilized ground basalt rock mixed with sand and glue, infused with the rich colors that became his trademark. The works were embellished with archaic forms derived from ancient script, symbolism and mythological signs from Hebrew and Sumerian culture. As a member of the New Horizons group, he combined elements of abstract European art with Eastern motifs and "Canaanite art."

Laszlo BARTHA 1902-1961 Hungarian painter-engraver-sculptor-mosaist who passed away at the age of 59, he is one of the best artists of his generation Came to Paris in 1920, he settled in St Tropez from the 1930s. Travels to North Africa, Italy, stays in Corsica He rubs shoulders with artists such as Picasso-Gleizes-Dufy-Matisse-Signac. etc... With an expressionist tendency, he oriented himself towards Fauvism pushing the limits of a modernism going as far as abstraction.... He illustrated many books, worked with Albert GLEIZES. An artist full of talents to rediscover His works are included in major international collections. Laszlo BARTA born in 1902 died too early at the age of 59 in 1961. Laszlo Barta arrived in Paris in the 1920s joining in Montmarte and Montparnasse the Fauve painters such as Matisse, Dufy, Gleizes, among others with whom he will befriend Evolving from a Fauve Expressionist style through Cubism and joining at the end of his short life the Abstraction. He will even study the mosaic in Ravenna. He will illustrate many luxury books. He will make an act of bravery and resistance in Corsica during the 2nd world war. After having married a Toulonnaise, they will settle in Saint Tropez. Their house will be an important artistic meeting place. An exhibition has just been held in Saint Tropez bringing together the most important painters of this city in the 1950s

Oskar Brázda (30 September 1887 Rosice – 19 December 1977 Líčkov) was a Czech painter and artist. Oskar Brázda was born in Rosice in the family of Bohumil Brázda (1860) and his wife Bozena, née Havránková (1869). He spent his childhood and part of his first school years here. His father was in the hospitality business. The family moved several times. In 1895, she left for Prague, where her father, among other things, ran the Slavia cafe. Brázda attended grammar school in Prague. Entered the Academy of Fine Arts in Vienna in 1904. His professors there were mainly Rudolf Bacher (1862–1945) and Kasimir Pochwalski (1855–1940). He successfully completed his studies at the Academy of Fine Arts in Vienna and then, thanks to an imperial scholarship, he studied in Italy. In 1915, he married Amelia Posse in Rome. During the First World War, they met Edvard Beneš and actively participated in the First Czechoslovak Resistance. Both were even interned in the years 1915-1916, as enemy aliens, in Sardinia in the city of Alghero. After 1920, he experienced a dizzying career in Italy, becoming a portraitist of the Roman aristocracy and royalty. In 1925, the political situation in Italy changed, so he left it with his family and returned to his homeland. Due to the beautiful surrounding countryside, he and his wife Amelia Posse-Brázdová bought the baroque castle Líčkov near Žatec, then uninhabited for 50 years, where he moved with her and his two sons (Bohuslav and Jan) and created intensively. His wife, a Swedish aristocrat, a relative of the Swedish royal family, became famous for her novels Sunny Captivity, Colorful Freedom and others not only in Sweden and Czechoslovakia, but also in Italy, Germany and England. Today, her memory is commemorated by the Amelie Posse-Brázdová Museum in southern Sweden in Skåne. After the beginning of World War II, he had to leave the castle and spent some time in prison, from which he was released only after intervention from abroad. After the war, he returned to the castle, but it was expropriated from him in 1948 and he also lost some of the paintings with which he paid the so-called millionaire's allowance to the state. However, he remained at the castle. After 1989, his second wife Marie, née Weissová, got her husband's property back thanks to restitution and created the Oskar Brázda Gallery at Líčkov Castle, where visitors to the castle can see many of his works and personal belongings. The largest collection of Brázd's works, apart from the collection of Maria Weissová-Brázdová in Líčkov, is owned by the Benedikt Rejt Gallery in Louny and the Petr Brandl Gallery in Prague. Brázda met Pablo Picasso in one of the French cafes in 1915, but neither was interested in the other. He met Picasso for the second time in 1917 in Rome. In 1921 and 1922, he spent his holidays on Capri with T. G. Masaryk and they remained lifelong friends. In 1924, Brázda received a high honor from the King of Italy, the Order of the Crown of Italy, and was appointed Komtur and received by the King for a public hearing. The first Brázd monograph was written in Italy in 1924 by Giovanni Marini. The painter's studio in the Vatican in Villa Czechina was also visited by Pope Benedict XV, the brother of the King of Sweden, Prince Eugene, the conductor Arturo Toscanini, the Italian winner of the Nobel Prize for Literature Grazia Deledda, Edvard Beneš, Milan Rastislav Štefánik... He was awarded by, for example, František Josef I., Emanuel III., Tomáš Garrigue Masaryk and other Czechoslovak and foreign politicians. On his ninetieth birthday, he received the title of Meritorious Artist. Today, Oskar Brázda's works are represented in several Italian state collections, including the National Gallery of Modern Art in Rome in the Boncompagni Ludovisi Palace, the Art Museum of Sassari in Sardinia, the Museo nazionale degli strumenti musicali in Rome, the collection of the University of Padua and others. Oskar Brázda occupied an important place between 1912 and 1925 as a member of the Roman Secession (Secessione Romana) and as a painter of Italian Fauvism. He successfully represented Italy several times at the Venice Biennale and his work was reported not only in the Italian, but also in the British, Swedish, French and German press. By leaving Italy, Brázda broke the ties he had built and did not reach his Italian fame. Today he is rehabilitated as an important European portrait painter of the 20th century.

Original Mezzotint Engraving Associated American Artists, New York Limited edition of two hundred and fifty impressions, numbered 226/250. Sonja Lamut: A contemporary illustrator, painter and mezzotint engraver, Sonja Lamut received her B.F.A. from the University of Arts, Belgrade, Yugoslavia, and her M.F.A. from Hunter College, City University of New York. She is presently Assistant Professor of Illustration at the Fashion Institute of Technology, New York City. During her career Sonja Lamut has illustrated numerous books, particularly in the field of children's literature. These include, Voyages of Doctor Dolittle, The Great Green Notebook of Katie Roberts, The Famous Adventures of Jack, Lemuel the Fool, Little Mermaid, Thanksgiving is for Giving Thanks (New York Times Children's Books list Bestseller), Love You, Soldier, . She is also the author and illustrator of the following works; Too Noisy!, Bugs and Halloween Costumes. Sonia Lamut's art has been the subject of solo and group exhibitions at institutions such as Gallery shows in New York, Boston Miami, Greenwich Stockholm, Ljubjiana and numerous other national and international group shows. Today her art is included in the following collections; the Brooklyn Museum, New York, the Museum of Modern Art , Fredrikstad, the Museum of Modern Art, Ljubljana, the Museum of Modern art, Belgrade, he National Museum, Krakow and many other important private and public institutions. For several decades, the American artist, Sonja Lamut has produced a number of striking works of art in the most demanding of all graphic media -- the mezzotint. In 1974 she was a participating artist in the exhibition, "International Mezzotint Today" in London, England. Utilizing the unique, black tonal values of this intaglio method she has created intriguing imagery, such as, "Cage". Most of Sonja Lamut's mezzotints from this period were published by the Associated American Artists, New York.

Curly Bardkadubbu rose to prominence as a painter in the late 1970s. He was tutored by Yirawala in the early 1970s when they shared outstations at Table Hill and Marrkolidjban, which both men had helped to establish. Later, he moved to Namokardabu, also in the Liverpool River region. Bardkadubbu’s work was selected for a number of major exhibitions in Australia and abroad, including: The Art of Aboriginal Australia, which toured North America from 1974 to 1976; and Aboriginal Art: The Continuing Tradition at the National Gallery of Australia in 1989. Bardkadubbu entered the first National Aboriginal Art Award, established by the Museum and Art Gallery of the Northern Territory in 1984. Bardkadubbu Crocodiles The treatment of the infill of his crocodile is the same used on Mardayin ceremonial objects. Mardayin objects decorated with the same bright patterns of crosshatching and dotted lines. Mardayin objects are secret sacred. The use of the same design within the crocodile, therefore, shows the interconnection of the crocodile and the Mardayin ceremony. Curlys traditional lands of the Born clan lie next to the Liverpool River mouth. His traditional country importantly being well known for its abundance of dangerous crocodiles. A crocodiles often has a massive twisting body form and sharp-toothed jaws. His paintings similarly conveying a crocodiles dangerous power. Bardkadubbu painted the image of this crocodile many times in his painting career. The estuarine crocodile or Namanjwarre is the protector of the sacred objects of the Mardayin ceremony. Firstly, the Mardayin ceremony is an important rite of passage for Kuninjku language speakers of western Arnhem Land. Secondly, the crocodile (Namanjwarre) would devour anyone who transgressed from the correct ceremonial protocol. The art style of Culy Bardkadubbu Curly Bardkadubbu started painting far later than early artists like Mick Kubarrku or Dick Murramurra. Consequently for this reason most of his barks tend to be large. His barks are often up to a meter in length. He painted animals like the Barramundi, Crocodiles, and Kangaroo. He did occasionally paint spirits skeletons and the rainbow serpent. Having Yirawala as a mentor it is not surprising that there are some superficial similarities of their works. Curly animals however tend to be fatter and less dynamic than Yirawala. His artworks are sometimes mistaken for those of David Milaybuma. Both artists had similar great infill line work using intense rarrk. The innovative treatment of the infill of the figure in his painting is the same used in Mardayin ceremonial objects. Mardayin objects are covered with the same bright patterns of crosshatching and dotted lines. The use of the same design within the crocodile shows the inter-relationship of the crocodile and the Mardayin ceremony.

František Ženíšek (25 May 1849 – 15 November 1916) was a Czech painter. He was part of the "Generace Národního divadla [cs]" (Generation of the National Theater), a large group of artists with nationalistic sympathies. He was born in Prague into a family of merchants and displayed an affinity for art at an early age. Reluctantly his father agreed to let him pursue his interests and allowed him to take lessons from Karel Javůrek while he was still in school. From 1863 to 1865, he was at the Academy of Fine Arts, studying with Eduard von Engerth. After a brief stay in Vienna, assisting Engerth with work at the State Opera, he was back at the Academy in Prague, working with Jan Swerts and the history painter Josef Matyáš Trenkwald. In 1875, he received his first major commission; painting murals at the city hall in Courtrai, Belgium. Then, in 1878, while making a study trip to Paris, he gained an important friend and supporter in Josef Šebestián Daubek, a well-known patron of the arts, who engaged him to decorate his home in Liteň. Ženíšek later accompanied Daubek on his honeymoon to Holland, and painted a portrait of the new couple. Soon after returning from Paris, he and Mikoláš Aleš won a competition to decorate the foyer of the National Theaterwith historic and allegorical designs. Ženíšek went on to decorate the auditorium ceiling and design a curtain, although the curtain was destroyed by a fire in 1881. He also painted windows at the church in Karlín and lunettesat the National Museum as well as over 80 portraits. From 1885 to 1896, he was a professor at the Academy of Arts, Architecture and Design, where his assistant was Jakub Schikaneder. Then, from 1896 to 1915, he was a professor at the Academy of Fine Arts, where his students included Jaroslav Špillar and Jan Preisler. In 1898, he was one of the founders of "Jednota umělců výtvarných [cs]" (Union of Fine Artists), in an effort to strengthen the Czech nationalist viewpoint in the arts. Ženíšek died on 15 November 1916, in Prague. His son, František (1877–1935) was also a painter of some note.

Georges Henri Tribout was a French artist. He studied at the Université de Notre Dame in Boulogne. Tribout attended the Académie Julian in 1904-1905. He started painting in the Cubist style and exhibited at the Salon des Indépendants in 1909, he showed a portrait of his friend Emile Verhauey. After the war he painted landscapes and portraits and exhibited at the Galerie Alligons in Paris, his works were permanently displayed there. Tribout was included in the expositions of ceramics at l’Exposition des Arts Décoratifs in 1925, in Paris. At this time Tribout also designed posters, costumes theatrical sets and ceramics. From 1930 Tribout became interested in Architecture, forsaking gallery exhibitions. He continued to paint and died in 1962. Georges Henri Tribout was born in Paris in 1884. After studying at the University of Notre Dame in Boulogne, between 1904 and 1905 he attended courses at the Académie Julian and in 1909 he exhibited his first works at the Salon des Indépendants in Paris. He soon decided to move to Saint Cloud, in the countryside not far from Paris, where his Belgian friend and art critic Emile Verhaeren had lived for some time, thanks to whom he came into contact with some artists, such as Ensor, Montald and Zweig. During the Great War, together with other painters, he joined the "Camouflage" corps of the French army, and once back in Paris he dedicated himself again to painting, mainly creating landscape subjects and portraits. In the early 1920s his production expanded towards new genres, including ceramics, scenography and architecture, so much so that in 1925 he participated in the Exposition des Arts Décoratifs in Paris. He dies in 1962. Tribout, through his acquaintance with Emile Verhaeren and the painters he supported, had initially strongly felt the symbolist influence, however he soon detached himself from it, reworking the use of light in a post-impressionist key. Starting from the early 1910s, he approaches cubist stylistic elements, which however draw inspiration from Delaunian luminism rather than from the decompositional orthodoxy of Picassian matrix. The painting The Lovers, presented here, is the spokesperson for these new styles. The work, dated 1919, highlights how the artist, having abandoned the decomposition of the subject hitherto created with small touches of color, began a new stylistic phase in which the contours, rendered with soft chromatic strokes, flanked by a flat color in large fields. Certainly the war years spent in the "Camouflage" section of the army had played an important role in the modulation of the new style. This is evident above all in the backgrounds, sometimes real camouflage textures, as in Gli Amanti himself or in Nudo, a canvas of similar date. However, contrary to what happens in camouflage, the subject remains the protagonist and emerges through the use of an incisive contour line and a significant light. In fact, the two lovers, represented embracing in the center of the composition, stand out in the pictorial space thanks to the cascade of light that breaks on the woman's back and to the marked perimeter of the bodies, given that this already suggests the interest in that shortly thereafter it will become a founding trait of the artist's works. The recent cleaning works of the work have revealed and brought to light on the back, a painting that Tribout had executed and then covered to reuse its support for The Lovers. The work depicts a woman in the mirror who is combing her hair and stylistically refers, both in the choice of the subject and in the execution, to the works created by the artist between 1909 and 1911. In fact, the composition, built on soft colors, applied in small touches and on an extremely vibrant light, it recalls works such as Les bagneuses, which Tribout had created in 1909, or Nude of 1911, canvases where the Cezannian lesson is permeated by a markedly impressionist legacy.

Ilya Efimovich Repin was born in the town of Chuguev near Kharkov in the heart of the historical region called Sloboda Ukraine. His parents were Russian military settlers. In 1866, after apprenticeship with a local icon painter named Bunakov and preliminary study of portrait painting, he went to Saint Petersburg and was shortly admitted to the Imperial Academy of Arts as a student. From 1873 to 1876 on the Academy's allowance, Repin sojourned in Italy and lived in Paris, where he was exposed to French Impressionist painting, which had a lasting effect upon his use of light and colour. Nevertheless, his style was to remain closer to that of the old European masters, especially Rembrandt, and he never became an impressionist himself. Throughout his career, he was drawn to the common people from whom he himself traced his origins, and he frequently painted country folk, both Ukrainian and Russian, though in later years he also painted members of the Imperial Russian elite, the intelligentsia, and the aristocracy, including Tsar Nicholas II. In 1878, Repin joined the free-thinking "Association of Peredvizhniki Artists", generally called "the Wanderers" or "The Itinerants" in English, who, at about the time of Repin's arrival in the capital, rebelled against the academic formalism of the official Academy. His fame was established by his painting of the "Volga Barge Haulers", a work which portrayed the hard lot of these poor folk but which was not without hope for the youth of Russia. From 1882 he lived in Saint Petersburg but did visit his Ukrainian homeland and on occasion made tours abroad. Beginning shortly before the assassination of Tsar Alexander II in 1881, he painted a series of pictures dealing with the theme of the Russian revolutionary movement: "Refusal to Confess", "Arrest of a Propagandist", "The Meeting", and "They did not Expect Him", the last of which is undoubtedly his masterpiece on the subject, mixing contrasting psychological moods and Russian and Ukrainian national motifs. His large-scale "Religious Procession in the Province of Kursk" is sometimes considered an archetype of the "Russian national style" displaying various social classes and the tensions among them set within the context of a traditional religious practice and united by a slow but relentless forward movement. In 1885, Repin completed one of his most psychologically intense paintings, Ivan the Terrible and his Son. This canvas displayed a horrified Ivan embracing his dying son, whom he had just struck and mortally wounded in an uncontrolled fit of rage. The visage of terrified Ivan is in marked contrast with that of his calm, almost Christlike son. One of Repin's most complex paintings, Reply of the Zaporozhian Cossacks to Sultan Mehmed IV of the Ottoman Empire occupied many years of his life. He conceived this painting as a study in laughter, but also believed that it involved the ideals of liberty, equality, and fraternity; in short, Cossack republicanism. Begun in the late 1870s, it was only completed in 1891, and, ironically, was immediately purchased by the Tsar. The Tsar paid 35,000 rubles for the painting, an enormous amount for that time. During his maturity, Repin painted many of his most celebrated compatriots, including the novelist Leo Tolstoy, the scientist Dmitri Mendeleev, the imperial official Pobedonostsev, the composer Mussorgsky, the philanthropist Pavel Tretyakov, and the Ukrainian poet and painter, Taras Shevchenko. In 1903, he was commissioned by the Russian government to paint his most grandiose design, a 400x877 cm canvas representing a ceremonial session of the State Council of Imperial Russia. Repin himself designed his home Penaty (literally, "the Penates") or the Roman "Household Gods", located just to the north of Saint Petersburg in Kuokkala, Grand Duchy of Finland. After the 1917 October Revolution, Finland declared independence. He was invited by various Soviet institutions to come back to his homeland but refused the invitation giving the excuse that he was too old to make the journey. During this period, Repin devoted much time to painting religious subjects, though his treatment of these was usually innovative and not traditional. With the exception of a portrait of Provisional Government head, Alexander Kerensky, he never painted anything substantial on the subject of the 1917 revolutions or the Soviet experiment that followed. His last painting, a joyous and exuberant canvas called "The Hopak", was on a Ukrainian Cossack theme. In 1930, he died in Kuokkala, Finland. After the Continuation War Kuokkala was ceded to the Soviet Union and was renamed Repino (Leningrad Oblast). The Penates are part of the World Heritage Site Saint Petersburg and Related Groups of Monuments. In 1940, Penaty was opened for the public as a house museum. Alexander Glazunov's Oriental Rhapsody, Op. 29 (1889) is dedicated to Ilya Repin.

In 1897 he spent almost a year in Chioggia, this time in the company of Ante Katunarić. From this productive time come views of Chioggia, Venice and Giudecca, where sunlit forms are portrayed in shimmering strokes of colour, and details are all but lost.[1] Back in Split in 1898, Vidović painted local scenes in the same style. He became alternate drawing master at the high school, and set up his first studio. That year, also, he married Amalija Baffo from Chioggia. Establishment of the Literary-Art Club (Književno-umjetničkog kluba) in 1900 brought modern art to Split. Emanuel Vidović was one of its most active members, organizing its first exhibition together with Josip Lalić in 1901. In addition to his oil paintings he also showed a few caricatures. In 1903, Vidović held his first solo exhibitions in Split and Zagreb, and appeared in group exhibitions in Milan, London, Vienna and Sofia. In 1908 Vidović was one of the organizers of the big Dalmatian art exhibition, and in the same year along with Katunarić and Dincić began to publish a satirical paper Duje Balavac. Ivan Meštrović and Vidović founded the Medulić Society, along with other young artists of the area. In 1909 Vidović was appointed professor of drawing at the School of Crafts (Obrtnoj školi) in Split. After the war, in 1919, Vidović held his second solo exhibit in Split, which later transferred to Zagreb, Belgrade, and Osijek. Then he moved into the studio which he used for 1919–1942 in the attic of the former government building on Klaićev Square. In 1923 he held a solo exhibit in Prague, and in 1924 a joint exhibit with Anđelo Uvodić opened at the salon of Ivan Galić in Split. Emanuel Vidović organized the Great Jubilee Exhibition in 1929 in Split and Zagreb, and 1931 in Belgrade. At this time his oil paintings began to show new themes – still lifes and interiors, and he also exhibited landscapes in pastels. During the early 1930s, Vidović created a significant cycle of Trogir landscapes which were exhibited in Split in 1936. These new works represented a departure from his earlier literary symbolism and were warmly received both by the public and by critics. In 1939, Vidović took part in the festival, "Half a century Croatian art" (Pola vijeka hrvatske umjetnosti) in Zagreb, and also held a new solo exhibit at Salon Galić in Split. They showed interiors of churches and his studio, and still lifes. During 1938–1942 he painted a series of church interiors, developing a new approach to depicting space. Deep three-dimensional spaces taken from many different viewpoints are balanced by a refined treatment. The Trogir cycle of 1936 was welcomed by critics, and he was elected to participate in the Venice Biennales of 1942 and 1952. During the war he retired to his studio and focused on painting interiors and still lifes.

Anastasije "Anastas" Jovanović (1817 – 1 November 1899) was the first Serbian photographer of his time to treat photography as an art form and to capture on film historical events as they were happening. He was the author of the first photographic pantheon of the most significant events and people of his time. He died in 1899 in his Belgrade home. He was born in Vratsa, an important administrative and garrison city under Ottoman rule in 1817. When Anastas was 9 years old, his father sent him to continue his education in Belgrade, where his uncle worked at the Prince Obrenović sewing studio. In 1830, after the death of Anastas' father, his family moved to Belgrade. But only after one year his uncle who was their support died too. At that time the artistic talents of Jovanović were recognized by the Prince of Serbia. His mentor Miloš Obrenović I, sent Jovanović, at the expense of the government, to Vienna in 1837 to study painting, graphics, and lithography at the Vienna Academy under the direction of Karl Gsellhofer (art) and Johann Stadler (graphics and lithography). While at the academy he became interested in the invention of Louis Daguerre. He was also among the first photographers to capitalize on this new invention, which was capable of capturing a "truthful likeness" of anyone and anything. Jovanović, of course, became among the first photographers to open a Daguerreotype studio while still in Vienna. When he returned home in 1850, he was also among the first to make portraits using the new daguerreotype method. (The first Serbian photographer, however, to use the daguerreotype was Dimitrije Novaković, according to documents in the Historical Museum of Serbia). After graduating from the academy, Jovanović was named personal photographer to Prince Mihailo Obrenović as well as the Chief of Prince Mihailo's cabinet. From the very beginning, Jovanović's ambition was to create a collection of paintings and lithographs of Belgrade. He first painted and lithographed, and then when the new invention came along, photographed its historic buildings, its fortresses, garrisons, statues, shops and streets, and almost every notable Serb of his day.His technique was advanced for its time, and his figures were obviously posed, but the directness and sensitivity of his work demonstrate without a doubt that he immediately recognized the new medium—photography—as an art form. He sold some of his work to Vienna museums, private collectors, and some early photographs to painters for reference. Many of his pictures were printed in Serbian magazines and newspapers.Jovanović's importance was recognized almost immediately by the Serbian government. Exhibitions of his work were first seen in Serbia in 1850 and had a strong influence on the style of young Serbian photographers. Some 892 of his photographs form part of the permanent collection of the Historical Museum of Serbia in Belgrade. His most important portrait studies are: Petar II Petrović-Njegoš; Mihailo Obrenović III, Prince of Serbia; Vuk Stefanović Karadžić; Branko Radičević; Toma Vučić-Perišić; and others. His lithographs of Serbian men of letters (Dositej Obradović) and military leaders (Hajduk Veljko Petrović and Stevan Šupljikac) are equally important from the historical perspective.The portrait tradition of Anastas Jovanović was continued by Milan Jovanović, (no relation) who died during World War II.Anastas' son Konstantin Jovanović (1849–1923) was a prominent architect. Anastas's daughter Katarina Jovanović was a prominent Serbian to German translator.He was awarded the Order of Prince Danilo I.

İbrahim Çallı (13 July 1882 – 22 May 1960), popularly known as Çallı İbrahim, was a Turkish painter and educator. He was a founding members of the Society of Ottoman Painters. He trained many young painters as a professor at Mimar Sinan Fine Arts University (formerly Academy of Fine Arts, Istanbul) and they were called the 1914 Generation of artists, is also known as the Çallı Generation. İbrahim Çallı was born on 13 July 1882 in Çal, Denizli.[1] He showed early interest in painting during his primary and secondary education which he finished in his hometown and in İzmir. In 1899 he went to Istanbul where he worked in several jobs while he continued painting. Meanwhile, he took drawing lessons from an Armenian-origin Ottoman painter Roben Efendi at the Grand Bazaar. With the support of Şeker Ahmet Paşa he entered the Mimar Sinan Fine Arts University (formerly Academy of Fine Arts, Istanbul) in 1906.At the Academy of Fine Arts, Istanbul he studied under artist Bedri Rahmi Eyüboğlu. Graduating the school with the highest degree after four years, Çallı was sent to France with a fellowship from government where he studied under Fernand Cormon. During his years in France he didn't pay much attention to upcoming movements like cubism, he embraced a free style close to impressionism. With the outbreak of World War I, he returned home and was appointed assistant to Salvatore Valeri at Mimar Sinan Fine Arts University. During the war he produced war-themed paintings in the studio founded by the War Minister Enver Pasha with other artists among them Ali Sami Boyar. He retired in 1947 and he died of gastrointestinal bleeding on 22 May 1960 in Istanbul. In 2014, his painting "Avluda Oturanlar" (English: "People Sitting in Courtyard") dated from 1913, sold for a record price at auction.