This Art Book contains 132 selected annotated reproductions of watercolors and paintings from J. M. W. Turner. Joseph Mallord William Turner was English artist, one of the greatest and most imaginative painters who put on a pedestal landscape painting. Although renowned for his oils, he is as well one of the coryphées of British watercolor landscape painting. Having been skilled academically, Turner seemed to spend the rest of his life developing an ever more loose style. He uncompromisingly studied nature and light. For his manner of painting he says: "My job is to draw what I see, not what I know." He had a extraordinary production of drawings and paintings; upon his death, he left nearly 30,000 pieces of his art work. He is usually known as "the painter of light" and his work is considered as a Romantic prelude to Impressionism.
Claude Monet was an important figure in the Impressionism that changed painting in the end of the 19 century. Follow in the pathway of the Barbizon, Monet accepted and widened their dedication to close up observation and naturalistic depiction. While the Barbizon artists painted only brief sketches en plein air, Monet frequently worked openly on significant canvases outdoors, then reworked and finished them in his studio. He brought a vibrant vividness to his paintings by unmediated colors, adding a variety of tones to his shadows, and preparing canvases with pale primers as a replacement for of the shady grounds used in conventional landscape paintings. Although Monet helped perpetrate the myth that he did not, and maybe even could not, draw, nearly 500 of more than 2,500 his works are sketchbooks, drawings and pastels. Works by Monet in pastel on paper are very rare - there are just over 100 known to exist.
Aubrey Vincent Beardsley (1872 – 1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis. Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps.
Claude Monet once called of Corot: "There is only one master here and his name is Corot. We are nothing weigh against to him - nothing." Jean-Baptiste-Camille Corot was the leading French painter of the Barbizon school. Corot often praised as a predecessor of Impressionism, but he painted his landscapes in more traditional way than is generally supposed. Unlike the Impressionists, Corot painted only sketches in the open air; he composed his finished paintings in the studio. Compared to the Impressionists who came later, Corot's palette is restrained, dominated with browns and blacks ("forbidden colors" among the Impressionists) along with dark and silvery green. Though appearing at times to be rapid and spontaneous, usually his strokes were controlled and careful, and his compositions well-thought out and generally rendered as simply and concisely as possible, heightening the poetic effect of the imagery.
Jules Joseph Lefebvre (1836–1911) was a French figure painter, educator and theorist. Like a typical academic artist, Lefèbvre started his career with the traditional subject matter of histories and other narratives. It would not be till later in his career that he would focus exclusively on the human figure in portraiture and especially the female nude, with great ability and success. Many of his paintings are single figures of beautiful women. Among his best portraits were those of M. L. Reynaud and the Prince Imperial (1874). He won the prestigious Prix de Rome in 1861. Among his famous students were Fernand Khnopff, Kenyon Cox, Félix Vallotton, Ernst Friedrich von Liphart, Georges Rochegrosse, the Scottish-born landscape painter William Hart, and Edmund C. Tarbell, who became an American Impressionist painter.
Anders Zorn was one of Sweden’s foremost artists who obtained international success as a painter, sculptor and print maker in etching. His fame abroad is founded mostly on his portraiture where he had the ability to capture the character and the personality of the depicted person. His incisive ability to depict the individual character of his model is, for example, apparent in portraits of prominent cultural personalities. The model's surroundings were important; Zorn believed that a portrait should be painted in an environment that was natural for the model. An artificial studio environment was not to his taste. Beginning in 1910, Zorn focused on developing his control of the technique and motif. He accomplished this with such certainty that the process of painting can assume the dominant role, sometimes to the detriment of the work's emotional expression.
Charles Marion Russell was an artist of the Wild American West. He created more than 2,000 paintings of cowboys, Indians. Recognized as 'the cowboy artist', Russell was also a storyteller. His works comprised a wide range of topics, including major historical events and everyday life in the West. He was noted for the frequency with which he portrayed well-known events from the point of view of Native American people instead of the non-Native viewpoint. Russell used as much color as a painter could on his mountain landscapes. As artist he arrived on the cultural scene at a time when the "wild west" was being chronicled and sold back to the public in many forms. Russell was fond of these popular art forms and made many friends among the well-off collectors of his works, including actors and film makers such as Will Rogers and Douglas Fairbanks.
Carl Larsson was a Swedish painter and interior designer, representative of the Arts and Crafts Movement. His many paintings include oils, watercolors, and frescoes. Larsson's popularity increased considerably with the development of color reproduction technology in the 1890s, when the Swedish publisher Bonnier published books written and illustrated by Larsson and containing full color reproductions of his watercolors. However, the print runs of these rather expensive albums did not come close to that produced in 1909 by the German publisher Karl Robert Langewiesche. His choice of watercolors, drawings and text by Carl Larsson, titled Das Haus in der Sonne (The House in the Sun), immediately became one of the German publishing industry's best-sellers of the year - 40,000 copies sold in three months. Larsson also drew several sequential picture stories, thus being one of the earliest Swedish comic creators.
John William Waterhouse was an English painter who worked several decades after the break-up of the Pre-Raphaelite Brotherhood, which had seen its zenith in the mid-nineteenth century, leading him to have gained the moniker of "the modern Pre-Raphaelite". Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend. He was a painter of classical, historical, and literary subjects. His early works were of classical themes in the spirit of Sir Lawrence Alma-Tadema and Frederic Leighton. The latter works reveals Waterhouse's growing interest in themes associated with particularly tragic or powerful femmes fatales (Circe Invidiosa, Cleopatra, La Belle Dame Sans Merci and several versions of Lamia), as well as plein-air painting. In the 1890s he began to exhibit portraits.
Gustave Caillebotte was a French Impressionist, though he painted in a more realistic style than many other Impressionists. In common with his precursors Millet and Courbet Caillebotte tried to paint reality as it existed and as he saw it. Perhaps because of his close relationship with so many of his peers, his style and technique varies considerably among his works, as if "borrowing" and experimenting, but not really sticking to any one style. His work may have been strongly influenced by Japanese prints and the new technology of photography, though evidence of his actual use of photography is lacking. Cropping and "zooming-in", techniques which are also commonly found in Caillebotte's oeuvre, may also be the result of his interest in photography, but may just as likely derive from his intense interest in perspective effects. A large number of his paintings also make use of a very high vantage point.