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• baron van lind • basquiat • cave art • chardin • chinese landscape • degas • doré • friedrich • • hasegawa • hockney • ingres • memling • picasso • rembrandt • sargent • schiele • segal •

Los Angeles, 2012

• baron van lind • basquiat • cave art • chardin • • chinese landscapes • degas • doré • friedrich • hasegawa • hockney • • ingres • memling • picasso • rembrandt • sargent • schiele • segal •

“La tradition, en un mot, est le sentiment du passé total

éprouvé comme le présent.”

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Degas Doré ............................................................................................................................................................ 5 Eggar Degas – "Ballet Rehersal on Stage", 1874 Paul Gustave Doré – "Adam and Eve driven out of Eden", 1865

Sargent Rembrandt .............................................................................................................................................. 7 Rembrandt van Rijn – "The Artist in His Studio", 1628 John Singer Sargent – "Portrait of Madame X", 1884

Ingry Basquiat ....................................................................................................................................................... 9 Jean Michel Basquiat –"Self-Portrait", 1982 Jean-Auguste-Dominique Ingres – "La Source", 1820

Sargent Schiele ..................................................................................................................................................... 11 John Singer Sargent – "Portrait of Lady Agnew", 1892 Egon Schiele – "Portrait of Eduard Kosmack", 1910

Edgar Hockney ...................................................................................................................................................... 13 Edgar Degas – "Ballet Rehersal on Stage", 1874 David Hockney – "2 Figures", 1972

Baron Chardin ....................................................................................................................................................... 15 Baron van Lind – "Amber", "Anabel", 2000 Jean-Baptiste-Siméon Chardin, "Le Gobelet d'Argent", 1768

Chinese Segal ........................................................................................................................................................ 17 George Segal – plaster figure, 1981 Unknown Artist – Chinese Landscape, date unknown

Double Memling ................................................................................................................................................... 19 Hans Memling – "Old Woman", 1468-70; "Portrait of Signora Portinari", 1470

Caspar Hasegawa ................................................................................................................................................. 21 Caspar David Friedrich – "The Wanderer above the Sea of Fog", 1818 Hasegawa Tohoku – "Pine Trees", 1593

Lascaux, Texas ....................................................................................................................................................... 23 Lascaux Cave – "Painting of Auroch", cca. 15,000 BC Pablo Picasso – "Don Quixote and Sancho Panza", 1955

Digital composites

All composites ©2012 Ivan Pešić

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Edgar Degas(19 July 1834 – 27 September 1917) was a French artist famous for his work in painting, sculpture, printmaking and drawing. He is regard-ed as one of the founders of Impressionism although he rejected the term, and preferred to be called a realist. A superb draftsman, he is especially identified with the subject of the dance, and over half of his works depict dancers.

The lack of color in the 1874 Ballet Rehearsal on Stage and the 1876 The Ballet Instructor can be said to link with his interest in the new technique of photography. The changes to his palette, brushwork, and sense of composition all evidence the influence that both the Impressionist movement and modern photography, with its spontaneous images and off-kilter angles, had on his work.(continued on page 12)

Ballet Rehersal on Stage1874, oil and pastel

Paul Gustave Doré(January 6, 1832 – January 23, 1883) was a French artist, engraver, il-lustrator and sculptor. Doré worked primarily with wood engraving and steel engraving.

Doré was born in Strasbourg and his first illustrated story was pub-lished at the age of fifteen. His talent was evident even earlier, how-ever. At age five he had been a prodigy troublemaker, playing pranks that were mature beyond his years. Seven years later, he began carving in cement. Subsequently, as a young man, he began work as a literary illustrator in Paris, winning commissions to depict scenes from books by Rabelais, Balzac, Milton and Dante.

Adam and Eve Driven Out of Eden is one of the hundreds of Bible prints made by Doré.

As punishment for abusing his trust, God drives Adam and Eve from the Garden of Eden. Angels are given the task to guard the Tree of Life. Adam and Eve are on their own from now on.

Adam and Eve Driven Out of Eden1865, steel engraving

L E P A S S É C O M P O S É > Degas Doré >

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John Singer Sargent(12 January 1856 – 14 April 1925) was an American artist, consid-ered the “leading portrait painter of his generation” for his evo-cations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings.

When Madame X was shown at the Salon of 1884 it became instantly a salacious painting and a scandal in French society as a result of its sexual suggestiveness of her pose and the pail pasty color of her skin. The “X” of Madame X was actually Ma-dame Gautreau (1859-1915) who’s reputation was apparently destroyed and John left France shortly to never truly regain his former standing as the darling of Paris. (continued on page 12)

Rembrant Van Rijn(1606–1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in Eu-ropean art history and the most important in Dutch history.

In this small painting, the young Rembrandt seems to represent the daunting moments of conception and decision necessary to the creation of a work of art. An artist confronts his easel in a studio bare of everything except his essential tools. This drama, with its emphasis on thought rather than action, is intensified by the expressive use of light and shadow. The painting’s daring perspective is also important: the distant figure of the painter seems dwarfed by his work, looming large in the foreground.

The Artist in His Studiocca. 1628, oil on canvas

Portrait of Madame X 1884, oil on canvas

L E P A S S É C O M P O S É > Sargent Rembrandt >

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Jean-Auguste-Dominique Ingres (29 August 1780 – 14 January 1867) was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres’s portraits, both painted and drawn, that were recognized as his greatest legacy.

The work on La Source was begun in Florence around 1820 and not completed until 1856, in Paris. When Ingres completed The Source, he was seventy-six years old, already famous, and president of the École des Beaux-Arts. The pose of the nude may be compared with that of another by Ingres, the Venus Anadyomene (1848), and is a re-imagination of the Aphrodite of Cnidus or Venus Pudica. Two of In-gres’ students, painters Paul Baize and Alexandre Desgoffe, helped to create the background and water jar.

Jean-Michel Basquiat (December 22, 1960 – August 12) 1988 was an American artist. He began as an obscure graffiti artist in New York City in the late 1970s and evolved into an acclaimed Neo-expressionist and Primi-tivist painter by the 1980s.

Throughout his career Basquiat focused on “suggestive dichoto-mies,” such as wealth versus poverty, integration versus segrega-tion, and inner versus outer experience. Basquiat’s art utilized a synergy of appropriation, poetry, drawing and painting, which married text and image, abstraction and figuration, and histori-cal information mixed with contemporary critique. Utilizing social commentary as a “springboard to deeper truths about the indi-vidual”, Basquiat’s paintings also attacked power structures and systems of racism, while his poetics were acutely political and di-rect in their criticism of colonialism and support for class warfare.

Self-portrait, 1982, mixed media La Source, 1820 – 1856, oil on canvas

L E P A S S É C O M P O S É > Ingry Basquiat >

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Portrait of Lady Agnew1892, oil on canvas

Portrait of Eduard Kosmack1910, oil on canvas

John Singer Sargent (continued from page 8)(...) His parents were American, but he was trained in Paris prior to moving to London. Sargent enjoyed international acclaim as a portrait painter, though not without controversy and some critical reservation.

In 1986, Andy Warhol commented to Sargent scholar Trevor Fair-brother that Sargent “made everybody look glamorous. Taller. Thin-ner. But they all have mood, every one of them has a different mood.” In a Time Magazine article from the 1980s, critic Robert Hughes praised Sargent as “the unrivaled recorder of male power and fe-male beauty in a day that, like ours, paid excessive court to both.”

Lady Agnew’s direct gaze and informal pose, emphasised by the flowing fabric and lilac sash of her dress ensure the portrait’s strik-ing impact. It was exhibited at the Royal Academy in 1898 and made Sargent’s name. The sculptor Rodin described him as ‘the Van Dyck of our times’. Portrait commissions poured in and Sargent enjoyed something of a cult following in Edwardian society. It also launched Lady Agnew as a society beauty.

Egon Schiele (June 12, 1890 – October 31, 1918) was an Austrian painter. A pro-tégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century. His work is noted for its intensity, and the many self-portraits the artist produced. The twisted body shapes and the expressive line that characterize Schiele’s paintings and drawings mark the artist as an early exponent of Expressionism.

When Schiele was 15 years old, his father died from syphilis, and he became a ward of his maternal uncle, Leopold Czihaczec, who became distressed by Schiele’s lack of interest in academic studies, yet recognized his passion and talent for art. In 1906 Schiele applied at the Kunstgewerbeschule (School of Arts and Crafts) in Vienna, where Gustav Klimt had once studied. Within his first year there, Schiele was sent, at the insistence of several faculty members, to the more traditional Akademie der Bildenden Künste in Vienna in 1906. There, he studied painting and drawing, but was frustrated by the school’s conservatism.

Some view Schiele’s work as being grotesque, erotic, pornographic, or disturbing, focusing on sex, death, and discovery. He focused on portraits of others as well as himself. In his later years, while he still worked often with nudes, they were done in a more realist fashion. He also painted tributes to Van Gogh’s Sunflowers as well as land-scapes and still lifes.

L E P A S S É C O M P O S É > Sargent Schiele >

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David Hockney born 9 July 1937 is an English painter, draughtsman , printmaker, stage designer and photographer, who is based in Bridlington, Yorkshire and Kensington, London. An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century.

A visit to California, where he lived for many years, inspired Hock-ney to make a series of paintings of swimming pools in Los Ange-les, using the comparatively new acrylic medium and rendered in a highly realistic style using vibrant colours.

2 figures1972, acrylic on canvas

Edgar Degas (continued from page 4)In 1855, Degas met Jean Auguste Dominique Ingres, whom he revered, and whose advice he never forgot: “Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist.”

Ballet Rehersal on Stage1874, oil

L E P A S S É C O M P O S É > Edgar Hockney >

14Lascaux, Texas >

Jean-Baptiste-Siméon Chardin (2 November 1699 – 6 December 1779) was an 18th-century French painter. He is considered a master of still life, and is also noted for his genre paintings which depict kitchen maids, children, and domestic activities.

Though his popularity rested initially on paintings of animals and fruit, by the 1730s he introduced kitchen utensils into his work (The Copper Cistern, c.1735, Louvre).

He helped to elevate still life to a respected category of painting, and his name remains inextricably asso-ciated with it. "We have learned from Chardin that a pear is as living as a woman, that an ordinary piece of pottery is as beautiful as a precious stone," wrote novelist Marcel Proust.

Jerry Lindborn October 31, 1937 in Duluth, Minnesota is also known as Baron von Lind. He is the son of Baron Johann von Lind.

He worked as art director, magazine art illustrator, portrait painter, pinup artist for calendars and clas-sical painting.

He painted portraits of stars as Yul Brynner, Sophia Lo-ren, Peter O’Toole and Clint Eastwood to name a few. His portrait of Ronald Reagan painting now hangs in the Reagan Museum in Simi Valley, California.

In August 2002, 11 official postage stamps featuring Baron's pinuups were issued by the Republic of Be-nin, West Africa. This tribute is just one of many in the artist's illustrious career.

Amber, 2000 Anabel, 2000 Le Gobelet d’Argent, 1768, oil on canvas

L E P A S S É C O M P O S É > Baron Chardin >

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Time Cover1981, plaster on gauze

Chinese landscapeDate and autor unknown

George Segal (November 26, 1924 – June 9, 2000) was an American painter and sculptor associated with the Pop Art movement. He was presented with a National Medal of Arts in 1999.

Although Segal started his art career as a painter, his best known works are cast lifesize figures and the tableaux the figures inhabited. In place of traditional casting techniques, Segal pioneered the use of plaster bandages (plaster-impregnated gauze strips designed for making orthopedic casts) as a sculptural medium. In this process, he first wrapped a model with bandages in sections, then removed the hardened forms and put them back together with more plaster to form a hollow shell. These forms were not used as molds; the shell itself became the final sculpture, including the rough texture of the bandages. Initially, Segal kept the sculptures stark white, but a few years later he began painting them, usually in bright monochrome colors. Eventually he started having the final forms cast in bronze, sometimes patinated white to resemble the original plaster.

Segal’s figures had minimal color and detail, which gave them a ghostly, melancholic appearance. In larger works, one or more fig-ures were placed in anonymous, typically urban environments such as a street corner, bus, or diner. In contrast to the figures, the envi-ronments were built using found objects.

Chinese Landscapes

Detailed landscapes as a distinct subject are not found in all ar-tistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going back well over a thousand years in both cases.

Chinese artistic expression has been deeply imprinted with images of the natural world. Viewing Chinese landscape paintings, it is clear that Chinese depictions of nature are seldom mere representations of the external world. Rather, they are expressions of the mind and heart of the individual artists—cultivated landscapes that embody the culture and cultivation of their masters.

Going beyond representation, scholar-artists imbued their paintings with personal feelings. By evoking select antique styles, they could also identify themselves with the values associated with the old masters. Painting was no longer about the description of the visible world; it became a means of conveying the inner landscape of the artist’s heart and mind.

The monochrome images of old trees, bamboo, rocks, and retire-ment retreats created by these scholar-artists became emblems of their character and spirit.

L E P A S S É C O M P O S É > Chinese Segal >

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Portrait of Signora Portinari1470, oil on wood

L E P A S S É C O M P O S É > Memling Madona >

Hans Memling(c. 1430 – 11 August 1494) was a German-born painter who moved to Flanders and worked in the tradition of Early Netherlandish paint-ing. From the 1460s until the end of his life he became one of the leading artists, painting both portraits and several large religious works, continuing the style he learned in his youth from his masters such as Rogier van der Weyden.

Memling was a master of portraiture. The faces he painted with careful detail glow with life. The character of each is subtly sug-gested. In addition to the portraits Memling painted for the no-tables of Brugge, he also received commissions from foreign visitors such as Tommaso Portinari of the Florentine Medici. Memling died in Brugge on Aug. 11, 1494.

Recently restored, Portrait of an Old Woman (whose compan-ion piece, Portrait of an Old Man, is at New York's Metropolitan Museum of Art), dramatically illustrates Hans Memling's ability to record realistically every nuance of the sitter. Each crisp fold of the aged matron's stiff, sterile and starched wimple is starkly depicted in this small-scale panel. Memling's patrons were largely ecclesiasti-cal and patrician. The Late Middle Ages in which they lived were a trying time of recurring plague, pestilence, civil and religious unrest. Memling's exacting and revelatory paintbrush accurately recorded this woman's psychological burden in his telling visual portrayal of her wearisome visage.

Old Woman1468-70, oil on wood

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Caspar David Friedrich(September 5, 1774 – May 7, 1840) was a 19th-century German Ro-mantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Goth-ic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to con-vey a subjective, emotional response to the natural world. Friedrich’s paintings characteristically set a human presence in diminished per-spective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs “the viewer’s gaze towards their metaphysical dimension”.

The wanderer above the sea of fog, Friedriech’s well-known and especially Romantic masterpiece was described by the writer John Lewis Gaddis as leaving a contradictory impression, “suggesting at once mastery over a landscape and the insignificance of the individ-ual within it. We see no face, so it’s impossible to know whether the prospect facing the young man is exhilarating, or terrifying, or both.”

The wanderer above the sea of fog1818, oil on canvas

L E P A S S É C O M P O S É > Caspar Hasegawa >

Hasegawa Tohaku(1539 – March 19, 1610) was a Japanese painter and founder of the Hasegawa school of Japanese painting during the Azuchi-Momoyama period of Japanese history.

After a period of time in Kyoto, Tohaku developed his own style of Sumie which in many ways departed from the bold techniques indicative of the Kano School, and called back to the minimalism of its predecessors.

Pine Trees screen, which was declared a national treasure of Japan, is argued to be the first paintings of it’s scale to depict only pine trees as subject matter.

Pine Trees 1593, folding screen

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L E P A S S É C O M P O S É > Lascaux, Texas >

Pablo Picasso (25 October 1881 – 8 April 1973), was a Spanish painter, sculptor, printmaker, ceramicist, and stage designer who spent most of his adult life in France. He is best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. His revolutionary artistic accomplishments brought him universal renown and immense fortunes throughout his life, making him the best-known figure in twentieth century art.

He was a superstitious, sarcastic man, sometimes rotten to his children, often beastly to his women. He had contempt for wom-en artists. His famous remark about women being "goddesses or doormats" has rendered him odious to feminists, but women tend-ed to walk into both roles open-eyed and eagerly, for his charm was legendary. Whole cultural industries derived from his much mythol-ogized virility. He was the Minotaur in a canvas-and-paper labyrinth of his own construction.

Don Quixote is a 1955 sketch by Pablo Picasso of the Spanish literary hero and his sidekick, Sancho Panza. It was featured on the August 18-24 issue of the French weekly journal Les Lettres Françaises in celebration of the 350th anniversary of the first part of Cervantes’s Don Quixote.

Don Quixote and Sancho Panza1955, ink on paper

Lascaux Cave The original Lascaux Grottoes, discovered in September 1940, by 4 wandering boys consist of a main cave 66 feet wide and 16 feet high, plus several smaller galleries. The walls and ceilings of the caves are decorated with some 600 painted figures and almost 1,500 en-gravings in total. Radiocarbon dating of charcoal and other artifacts found in the cave complex has led most scholars to date the Las-caux paintings to c.15,000 BC.

The subjects of the paintings are almost entirely animals, some of which are now extinct. Nearly 350 caves have now been discovered in France and Spain that contain art from prehistoric times.

The oldest known cave art comes from the Cave of El Castillo in northern Spain. "One motif – a faint red dot – is said to be more than 40,000 years old." This date coincides with the earliest known evidence for Homo sapiens in Europe.

“None of us could draw like that”, Picasso said refering to drawings of bisons in the Altamira cave in Spain........................................................................................................................* The auroch, the ancestor of domestic cattle, is a type of large wild cattle which inhabited Europe, Asia and North Africa, but which is now extinct.

Painting of an Auroch*Lascaux Cave, cca. 15,000 BC

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Artist' biographies and quotes were compiled from the following sites:

http://en.wikipedia.org/wiki/

http://www.sacred-destinations.com/france/lascaux-caves

http://www.pablopicasso.org

http://www.chinaonlinemuseum.com/painting-landscape.php

http://www.thepinupfiles.com/lind.html#.UG3B8UIj5jM

http://www.mfa.org/?gclid=CLma0c_v57ICFSiCQgod3C0AUQ

book design and layout: Ivan Pešic

published by Plain Brown Books, Los Angeles, 2012