Mexican Social Realist Muralist, 1886-1957,Mexican muralist. After study in Mexico City and Spain, he settled in Paris from 1909 to 1919. He briefly espoused Cubism but abandoned it c. 1917 for a visual language of simplified forms and bold areas of colour. He returned to Mexico in 1921, seeking to create a new national art on revolutionary themes in the wake of the Mexican Revolution. He painted many public murals, the most ambitious of which is in the National Palace (1929 ?C 57). From 1930 to 1934 he worked in the U.S. His mural for New York's Rockefeller Center aroused a storm of controversy and was ultimately destroyed because it contained the figure of Vladimir Ilich Lenin; he later reproduced it at the Palace of Fine Arts in Mexico City. With Jose Clemente Orozco and David Alfaro Siqueiros, Rivera created a revival of fresco painting that became Mexico's most significant contribution to 20th-century art. His large-scale didactic murals contain scenes of Mexican history, culture, and industry, with Indians, peasants, conquistadores, and factory workers drawn as simplified figures in crowded, shallow spaces. Rivera was twice married to Frida Kahlo.   Related Paintings of Diego Rivera :. | the flower seller | The Stil-life have lemon | Squareman | Sale Flowers | Assets |
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george jones
George Glenn Jones (born September 12, 1931) is an American country music singer known for his long list of hit records, his distinctive voice and phrasing, and his marriage to Tammy Wynette. Over the past 20 years, Jones has frequently been referred to as "the greatest living country singer." Country music scholar Bill C. Malone writes, "For the two or three minutes consumed by a song, Jones immerses himself so completely in its lyrics, and in the mood it conveys, that the listener can scarcely avoid becoming similarly involved." Throughout his long career, Jones made headlines often as much for tales of his drinking, stormy relationships with women, and violent rages as for his prolific career of making records and touring. His wild lifestyle led to Jones missing many performances, earning him the nickname "No Show Jones." With the help of his fourth wife, Nancy, he has been sober for many years. Jones has had more than 150 hits during his career, both as a solo artist and in duets with other artists. The shape of his nose and facial features have given Jones the nickname "The Possum." Jones said in an interview that he has chosen to tour only about 60 dates a year.
Evelyn De Morgan
1855-1919 British Evelyn De Morgan Galleries She was born Evelyn Pickering. Her parents were of upper middle class. Her father was Percival Pickering QC, the Recorder of Pontefract. Her mother was Anna Maria Wilhelmina Spencer Stanhope, the sister of the artist John Roddam Spencer Stanhope and a descendant of Coke of Norfolk who was an Earl of Leicester. Evelyn was homeschooled and started drawing lessons when she was 15. On the morning of her seventeenth birthday, Evelyn recorded in her diary, "Art is eternal, but life is short..." "I will make up for it now, I have not a moment to lose." She went on to persuade her parents to let her go to art school. At first they discouraged it, but in 1873 she was enrolled at the Slade School of Art. Her uncle, John Roddam Spencer Stanhope, was a great influence to her works. Evelyn often visited him in Florence where he lived. This also enabled her to study the great artists of the Renaissance; she was particularly fond of the works of Botticelli. This influenced her to move away from the classical subjects favoured by the Slade school and to make her own style. In 1887, she married the ceramicist William De Morgan. They lived together in London until he died in 1917. She died two years later on 2 May 1919 in London and was buried in Brookwood Cemetery, near Woking, Surrey.
Agnolo Gaddi
Italian Early Renaissance Painter, ca.1345-1396 Son of Taddeo Gaddi. Through both his brother Giovanni and his father, Agnolo was heir to the Giottesque tradition and to a successful family enterprise, which he directed with enormous success up to the turn of the 15th century. He is first mentioned as a painter in 1369, when he assisted his brother Giovanni and Giovanni da Milano in decorations for Urban V (reg 1362-70) in the Vatican. Although he probably did not assume full responsibility for the workshop until his brother Giovanni death, he must have begun accepting his own commissions as early as the 1370s. The nature of his early work and whether it included an altarpiece dated 1375 (Parma, G.N., 435), however, remains a matter of debate. Logical or likely though it may be, the notion that this early activity developed out of his brother Giovanni still little-known art is hypothetical. Whereas the works grouped around Giovanni name are all small panels, Agnolo was an artist who, like his father, excelled in wall painting. Indeed, three monumental fresco cycles (see below), in the Castellani Chapel (painted c. 1384) and the choir (painted c. 1388-93) of Santa Croce, Florence, and the chapel of the Sacra Cintola (doc. 1393-5) in Prato Cathedral, constitute the artist most notable surviving works and offer a basis for reconstructing the content and chronology of his oeuvre.