Journal articles on the topic 'Watercolor painters'

Saratov is justifiably called one of the most significant centers of the artistic culture of the Russian Near-Volga Region. When analyzing the condition of that domain of the plastic arts represented by painting and graphics, it is necessary to state that during the course of the entire 19th century (not to mention the previous century) the figures of the artists were merely episodic: Jean Baptiste Savin, a Frenchman in his origin (famous for his portraits and watercolors), watercolor painter Maria Zhukova, Andrei Godin (who was the first teacher of Mikhail Vrubel) and Feodor Vassiliev (the first instructor of Victor Borisov-Musatov), portraitists and church painters Lev Igorev and Nikolai Rossov. For the most part, the artists who worked beyond the confines of Saratov were its natives, who were veritably well-known artists – Vassily Zhuravlev and Alexei Kharlamov. The high flourishing of painting in Saratov at the end of the 19th and the beginning of the 20th century was prepared by the activities of Hector Baracchi, originally from Italy, and graduate from the St. Petersburg Academy of the Arts Vassily Konovalov. They exerted a decisive influence on the local artistic school, the main representatives of which were Victor Borisov-Musatov, Pavel Kuznetsov, Piotr Utkin, Alexander Savinov, Kuzma Petrov-Vodkin (a native of Khvalynsk), as well as sculptor Alexander Matveyev. However, there were three names which have become the most “celebrated” for Saratov, which led the brilliant assemblage of remarkable artists pertaining to the visual arts and were in the vanguard of the so-called era of “cultural boom,” as the high artistic accomplishments of the late 19th and early 20th century are sometimes referred to. They are Victor Borisov-Musatov, Pavel Kuznetsov and Kuzma Petrov-Vodkin. The present essay is devoted to them.

ResumenLa ciudad de Arequipa, una de las más importantes del Perú, se ha caracterizado por ser tierra de acuarelistas, tal como lo deja ver la interminable nómina de virtuosos pintores que sustentan esta tradición plástica desde hace más de un siglo. Sin embargo, desde hace poco tiempo, y casi a la sombra de la acuarela, ha ido desarrollándose el trabajo de un grupo de artistas de distintas generaciones, que eligieron el grabado como medio de expresión. El presente trabajo propone una primera mirada de conjunto a este acervo gráfico. Palabras clave: Arequipa, arte, tradición plástica, arte contemporáneo, grabado. AbstractThe city of Arequipa, one of the most important cities in Peru, has been characterized as a land of watercolorists, as shown by the endless list of virtuous painters that sustains this visual arts tradition for more than a century. However, for a short time, and almost in the shadow of watercolor, the work of a group of artists from different generations has been developing engraving as a means of expression. This work proposes a first overview of this graphic collection. Keywords: Arequipa, art, plastic tradition, contemporary art, engraving.

The relevance of studying the contribution of artists and educators of Russian art for formation and development of the creative method of masters in Central Asian countries is due to the importance of this topic for solving the theoretical and practical problems of contemporary art history. Since the second half of the 20th century, the influence of Russian art school on art of the countries of the socialist community has increased. Russian universities have become base centers of higher art education. As a result, the main number of masters of art in Mongolia are graduates to Soviet and Russian art institutions. With appearance in 1935 of the studio "Mongolkino" in Ulan Bator, there was appear need for connoisseurs. Mongolian creators got the opportunity to obtain good education in the Soviet Union in VGIK. When learning students mastered programs aimed at comprehensive creative education. Priceless contribution to formation of the creative method of young masters was made by the artist-educators B.V. Dubrovsky-Eshke, F.S. Bogorodsky, Yu.I. Pimenov and others. Particular attention in pedagogical activity they drawn to the development and improvement of the creativity of the student. We were taught to think and feel images, constantly develop creative individuality, professionalism and at the same time preserve national roots. In the 50s, Mongolian painters Ochryn Myagmar and Purev Tsogzol were educated at VGIK. They passed the school of Soviet art and based on it stood at the origins of the Mongolian cinema. Artists work in various genres and techniques, in the mainstream of European artistic methods. Perfectly knowing how to draw, they write with oil and watercolor. For both artists, work on the nature is fundamental. With a perfect mastery of this creative approach, they remain deeply national masters. VGIK pedagogical school gave the basic footing for the development of cinema in Mongolia and further stimulated the creative potential of new generations of filmmakers. So the Mongolian visual and film art enriched with innovative artistic principles.

The article reflects the problems arising in the process of teaching painters and designers to create etudes. By the empiric way the authors of the article have come to the conclusion that it is possible to group the problems which students face when reflecting light-and-air environment in etudes. On the basis of vast teaching practice the authors distinguish such most significant problems as: • difficulty in realizing the limitation of tone range of painting and graphics in comparison with natural surroundings; • mistakes made in defining the ratio of maximum light and maximum dark elements of the natural surroundings; • difficulty in reflecting the space depth. The authors’ vast teaching experience has allowed to formulate a complex approach to eliminating the above mentioned problems combining teaching and technical aspects and providing the following skills: • the complex perception of the nature object; • the ability to establish the ratio of the big main color spots; • the understanding of the nature objects’ tone and color change mechanism; • the ability to define the dependence between the visual tone and color and the distance to the object. To realize the mentioned complex approach the authors suggest implementing a system of different exercises and trainings. In the article they describe two alternative variants of trainings. The first one molds the perception of light-and-air environment by the method of “dyeing”, with the following fixing the molded skills in creating a series of elementary academic settings. The second training is based on the stipulation that watercolor grisaille does not demand any preliminary preparation for perception the influence of light-and-air environment. Thus, according to the training methods, a student automatically gets tone ranging of the whole work area. In the authors’ opinion, in addition to the mentioned exercises, students should be offered less difficult tasks in order to fix the skills and form the dynamic stereotype of defining the light-and-air environment’s influence in etudes.

We publish two carefully prepared and spectrally measured datasets of paint swatches. The main advantage of these datasets is that a diverse set of paint mixtures are manually prepared the way an artist may create them. The ratio of paints in each mixture is also published. The first set has 286 swatches made from 8 tubes of Old Holland oil paints in different combinations. The second set has 397 swatches made from 9 tubes of Schmincke watercolor paints. We provide exact details about the preparation of our swatches. We analyze the colorimetric and spectral properties of the two datasets in order to show the spread of the colorimetric gamut and the intrinsic, spectral dimensionality of the datasets. The dataset will be available on http://cam.mpi-inf.mpg.de/ and http://www.azadehasadi.com/.

Notice was taken in ANTIQUITY last year of the Australian bicentennial, and in particular of the remarkable ‘art of the First Fleet’, the ethnographic record provided by the watercolour artists of the contact years around Botany Bay. This note, held over into the bicentennial-plus-one year, finds further insight by tying closer together the painter's record, the ethnographic collections, and the archaeological record.

Three watercolours painted by Thomas Telford survive within the Society's archives. Two of these watercolours are a plan and sections of an excavation of a Roman bath suite, supervised by Telford at Wroxeter, and the third is an elevation of the medieval Mardol gate over the Welsh bridge, Shrewsbury. The paintings provide an insight into his interest in archaeology and ancient buildings whilst practising as an architect in Shropshire, before he began his engineering career. Further, their deposition helps confirm the standing of the Society at the time, as the place where important archaeological discoveries from across the country were brought to public attention, and how it acted as an archive for their primary records.

Prague-born painter and graphic artist Emil Orlik (1870-1932) made his first visit to Japan in 1900 to get acquainted with the woodblock printing technique as well as everyday life there. During his stay, he not only created ink drawings, watercolors, pastels, and gouaches, but also took the opportunity to collect Japanese art, including ukiyo-e prints. These were eventually included in an exhibition in 1902, which traveled to Brno and Prague after its premiere in Dresden and Berlin. Besides promoting a broader awareness of Japan and its traditional culture to Prague and its artistic milieu, the exhibition also testified to Orlik´s discernment as a collector.1

This paper describes two watercolours and one engraving of the great auk (Pinguinus impennis) executed by the French painter Nicolas Robert probably between 1666 and 1670. Despite their interest as early images of this extinct species and the first ones rendered in colour, they have not been mentioned in the literature. The images suggest that the bird was kept alive in the menagerie at the palace in Versailles, where Robert portrayed it for Louis XIV; Robert's paintings are collectively known as “Les vélins du Roi”.

Edward Lear has secured a prominent position in the history of literature and travel writing thanks to his nonsense books and his journals; he is considered one of the most innovative zoological illustrators of the nineteenth century and is being rediscovered as a landscape painter in watercolour and oil. This article argues that he also deserves to be remembered among the precursors of modern comic art. His picture stories, though never published in his lifetime, represent an early instance of autobiographical graphic narrative, while his limericks, never out of print since 1861, introduced a radically innovative caricatural style and a conception of the relationship between pictures and text that strongly influenced modern comic artists.

WITH WALTER CRANE, marginality is a question of medium. For his contemporaries, Crane's artistic practice embodied the ethos of Arts and Crafts eclecticism, apparent in this view of his studio from 1885 (Figure 15): watercolor, oil painting, tempera, sculpture, design, and illustration vie for our attention. As the painter Sir William Rothenstein recalled, “Crane could do anything he wanted, or anyone else wanted” (292). As an artist, designer, and – crucially – a socialist, Crane disregarded the traditional distinctions between high art and popular culture. With a history of art constructed along the fault lines of media, school, and style, Crane's diverse artistic practice and radical politics defy easy categorization. And this is precisely the point: his work requires the viewer to think across media, to move from the margins of wallpaper and illustration to the center of painting and back again. Or perhaps it is more fruitful to think of this process as one of inversion, placing wallpaper at the center and painting at its margins. According to Homi Bhabha, it is this “disjunctive temporality” (151) of the margins that allows cultural identity and political solidarities to emerge. The forging of political solidarities through art was the crux of Crane's project, and the disruption of established cultural hierarchies signaled the central role of art in political agitation. Visible on the right margin of photograph of Crane's studio (see Figure 15), the watercolor Pandora from 1885 (Figure 16) provides an ideal starting point for an exploration of the ways in which socialist politics move from the decorative margins to the very heart of Crane's art, a process enabled by the artist's politicized reinterpretation of classical mythology.

A brief biographical sketch is given of the Rev. C.T. Hahn, an English-born, Oxford-educated Anglican missionary in Zululand who painted some 235 watercolours of Natal flora between 1908 and 1913. Hahn (who later changed his name to Headley) was one of the most productive of the early botanical illustrators in Natal but as a collection of his paintings has only recently been discovered, his work has until hitherto remained unknown.

For many years, it was believed that the first two notices about New World lantern-flies (Fulgoridae), with descriptions and illustrations of the insects, as well as mentions of their luminescence, were due to Nehemiah Grey (1681) and Maria Sibylla Merian (1705). However, there are illustrations of lantern-flies prior to Grew’s paper, and the first of them, by Jacques de Heyn (1620), also refers to the bioluminescence of those insects. The second is a watercolour by Pieter Holstejn (1614‑1673), a Dutch Golden Age painter and engraver. Several illustrations of lantern-flies were lately produced during the 17th and 18th centuries, for example by Alexander Marshal (ca. 1620‑1682), an English entomologist, gardener, and botanical artist, by Iob Leutholf (1694), and also by an anonymous artist (first half of the 18th century).

In 1888, two Swedish painters, Carl Larsson and Karin Larsson, moved to the mansion Lilla Hyttnäs in Sundborn (Dalarna, Sweden). This summer house became an ideal place for a big family with eight children, but was also a complex work of art which astonishes by its fantasy and uniqueness even today. These radiant rooms full of joy and love were depicted by Carl in his watercolours but can be visited in the museum founded after the death of the householders. The Larssons’ style was an inspiration for Scandinavian interior design and built an image of the “ideal home”, mostly by illustrated albums with commentaries by Carl. By analyzing the story of the house, with its various inspirations and ideas, some links to contemporary Swedish furniture companies and the Social Democrats’ concept of Folkhemmet and lagom are given.

For the conservation restoration of Giotto’s Stigmatization, painted in the transept of Santa Croce, it was considered the possible new retouching of forms replaced by some old reconstruction, totally out of context after cleaning. The logical process followed in this specific case study was based on the drawing repetitions demonstrated by Giotto in his creations. The nature of the proposal of our of retouching it’s guaranteed by the reintegration technique that allows to recognize the new reconstructed forms and the reversible binder (watercolours) will allow a future cancellation of the fills.

Maksymilian Cercha a Painter of the Tatras. From the “Forgotten Citizens of Kraków” Series Maksymilian Cercha (1818–1907), whose life was linked to Kraków, was born in an assimilated Italian family and is known as a drawer, cataloguer of gravestones in the churches of Kraków and a co-author of a publication titled the Monuments of Kraków. In this paper however, his Tatra-themed paintings are discussed, which are yet to be included in the Art History. Cercha was Jan Nepomucen Głowacki’s student, who established Tatra mountains themed landscape painting in Kraków. In the summertime, he used to take his students to the Tatra mountains where he would rent an inn in Stare Kościelisko for an atelier. Cercha painted his Tatra landscapes in the period from 1849 to 1860. These are: –– Morskie Oko, oil on cardboard (31 x 23 cm), 1849; –– View from Mała Łąka, oil on canvas (38 x 31 cm), 1853; –– Mill in Chochołów, oil on cardboard (22 x 28 cm), 1853; –– Sucha Woda Valley as seen from Brzeziny, oil on cardboard (32 x 26 cm), 1857; –– View of the Giewont mountain, oil on cardboard (23 x 30 cm), c. 1860; –– “Carpathians”, watercolour (22 x 14), 1860. Except View from Mała Łąka, held by the Tatra Museum in Zakopane, all pictures belong to the family. Moreover, there are three pencil on paper drawings depicting Zakopane and Hamry from the period of 1855–1857 held by the National Museum in Kraków. Cercha, modelling on Głowacki, used to oil paint on cardboard by firstly sketching on location and then finishing the picture back in Kraków. He used to replicate the themes drew out by Głowacki, such as the view of Morskie Oko lake. He continued the Cracovian tradition of Tatra landscape painting, whic, thanks to Głowacki, Franz Steinfeld the Younger’s student, derives from the Austrian landscape painting of Biedermeier period.

This small portrait miniature emerged in the sale, by an anonymous vendor, of part of the contents of a country house near Stamford, in Lincolnshire, on 16 February 2002. The image is painted in watercolour on a pale carnation ground with a support of either card or vellum and is in good condition with only one marginal abrasion. To the right of the miniature, against the pale blue background and parallel to the boy's left shoulder, is the monogram of ‘G’ above ‘I’. The frame is an oval seventeenth-century silver locket with a flat back measuring 33mm × 28mm. The convex glass is held in place by a gold band, and attached to the back is a gold loop secured by a thin flat plate, which is possibly a later addition.

This paper reports the research carried out using Structure from Motion survey techniques, which were developed on the basis of previous surveys and their subsequent representation through two-dimensional (2D) and three-dimensional (3D) drawings of the tomb, comparing them with drawings and watercolors by several painters of the past. This survey technique enables the reconstruction of three-dimensional models through photographs. The aim of this work is to define a procedural process which allows accurate and reliable three-dimensional reconstructions to be performed for the acquisition of knowledge and the dissemination of cultural heritage, taking advantage of representation and visualization techniques that have been developed in the last decade and that are based on historical references. The variety of digital products which can be produced (video games, 3D models, prints, websites, and augmented reality applications) allows a different approach to the representation to be taken, thereby re-evaluating limits, aims, and expressive potential. The virtual representative systems, enriched with cultural content, scientific information, and data, enhance the participation and awareness of knowledge of the final users of the products and are able to increase the interaction between the user and the information.

The Libri picturati A 16–31 now in the Jagiellon Library in Krakow were first recognised in 1936 by Hans Wegener, who attributed the collection to Clusius. A thorough study based on a codicological analysis of the collection, a comparison of the watercolours with the Kruydtboeck by Lobelius (1581) and a study of Clusius's correspondence from the library at the University of Leiden and the Arenberg archives in Edingen caused me to reach a different conclusion. The Libri picturati A16–31 is a collection commissioned by Karel van Sint Omaars, painted for the greater part by Jacques van Corenhuyse, annotated by Clusius and afterwards rearranged and supplemented by Karel van Arenberg.

Character balance means the orderly combination of characters in a picture. That is, color is a big subject in painting and the combination of colors in the picture is very important. The importance of colors in Indian painting has been from prehistoric times to modern times. The inspiration of the artist's inner expressions in the painting is displayed through paintings. Art takes birth in the painter's emotions. It develops only from unconscious unknown depths of mind. Picture has been an important medium in transforming these feelings into realization. Colors have their own distinct significance, as well as colors have their own expressions and language, they have a deep connection with human emotions. In the Indian aesthetic philosophy, the colors described in the pictures have different meanings, such as white color symbolizes peace and satvikta, red symbolizes valor and valor, black evils and mental instincts. The medium of use of colors in painting has varied from prehistoric times to modern times, such as natural color, mineral color, acrylic color, watercolor etc. Till date, paints have been filled in the paintings by the painter in all these mediums. Examples of this include the fresco depiction style in Ajanta, the Mughal period hill, Rajasthani tempra, Renaissance period waters, etc. Using the above colors in the paintings, the picture depicts the beauty, elegance and emotion, the artist who is inspired by the very passion and inspiration, displays the colors through different pictures. Color stimulates the painter's expressions in the picture. Under the publication of "Indian Society of Oriental Art" by Avanindranath Thakur for the knowledge of art renaissance and picture-making, in reference to 'Alakhri painting' in the fourth place among the 64 arts mentioned in 'Kamasutra' in the booklet 'Shadang'. Detailed discussion is made about the six limbs. In these six organs, importance is shown in the sixth order of the alphabet, i.e. the color picture. In this, the knowledge of full color combination depicted by the painter, their symbolic, detailed interpretation of meaning and rules. Similarly, it has been said in the Natyasastra - 'Varnaam tu vidhim gatva and prakritimeva ch kuryadangasya rachanam', that is, by understanding the method and nature of the varna, the figure should be formed. With this, the development of art skills in the artist and the viewer realizes the importance of colors in the painting. वर्ण संतुलन का अर्थ चित्र में वर्णों का सुव्यवस्थित संयोजन। अर्थात् चित्रकला में रंग एक बड़ा विषय है और चित्र में रंगों की संयोजना बहुत ही महत्वपूर्ण है। भारतीय चित्रकला में रंगों का महत्व प्रागैतिहासिक काल से लेकर आधुनिक काल तक रहा है। चित्रकला में कलाकार के आंतरिक भावों की अभिप्रेरणा चित्रों के माध्यम से प्रदर्शित होती है। कला चित्रकार के मनोभावों में जन्म लेती है। यह मन की अचेतन अज्ञात गहराईयों से ही विकसित होती है। इन भावनाओं को साकार रूप में परिवर्तित करने में चित्र महत्वपूर्ण माध्यम रहा है। रंगांे का अपना ही अलग महत्व रहा है इसके साथ ही रंगों की अपनी भावभंगिमा व भाषा होती है, इनका मानवीय भावनाओं से गहरा संबंध होता है। भारतीय सौन्दर्य-दर्शन में चित्रों में वर्णित रंगों का अर्थ अलग-अलग है, जैसे- सफेद रंग शांति और सात्विकता का प्रतीक, लाल शौर्य और वीरता का प्रतीक, काला बुराईयों व मानसिक वृत्तियों इत्यादि। चित्रकला में प्रागैतिहासिक काल से लेकर आधुनिक काल तक रंगों के प्रयोग का माध्यम भिन्न-भिन्न रहा है, जैसे- प्राकृतिक रंग, खनिज रंग, एक्रेलिक रंग, जलरंग आदि। अभी तक इन सभी माध्यमों में चित्रकार द्वारा चित्रों में रंग भरे जाते रहे हैं। इसके उदाहरणों में अजन्ता में फ्रेस्को चित्रण शैली, मुगलकालीन पहाड़ी, राजस्थानी टेम्परा, पुनर्जागरणकाल जलरंग आदि। चित्रों में उपर्युुक्त रंगों का प्रयोग कर चित्र में सौन्दर्य, लावण्य व भावों का निरूपण होता है, जिस कलाकार बहुत ही तन्मयता व अंतःप्रेरणा से प्रेरित हो रंगों को विभिन्न चित्रों के माध्यम से प्रदर्शित करता है। रंग चित्र में चित्रकार के भावों को उदीप्त करता है। अवनीन्द्रनाथ ठाकुर द्वारा कला के पुनर्जागरण व चित्र-सृजन के ज्ञान हेतु “इण्डियन सोसायटी आॅफ ओरिएन्टल आर्ट” के प्रकाशन के अंतर्गत ‘षडांग’ नामक पुस्तिका में ‘कामसूत्र’ में वर्णित 64 कलाओं में चैथे स्थान पर ‘आलेख्य चित्रकला’ के सन्दर्भ में चित्रकला के छः अंगों के बारे में विस्तृत विवेचना की है। इन छः अंगों में छठे क्रम में वर्णिकाभंग अर्थात् रंगों के चित्र में महत्व को दर्शाया गया है। इसमें चित्रकार द्वारा चित्रण पूर्ण रंग संयोजन का ज्ञान, उनकी प्रतीकात्मक, अर्थ व नियमों का विस्तृत विवेचन है। इसी प्रकार नाट्यशास्त्र में कहा गया है कि- ‘वर्णनाम तु विधिम् गत्वा तथा प्रकृतिमेव च कुर्यादंगस्य रचनाम्’, अर्थात् वर्ण की विधि और प्रकृति को समझकर ही आकृति को बनाना चाहिए। इससे कलाकार में कला-कौशल का विकास व दर्शक को चित्रकला में रंगों के महत्व का बोध होता है।

The aim of the paper is to evaluate the perception of violence held by children and adolescents aged 8 to 16 years based on their artworks. 163 children’s drawings submitted from across Poland on "Children against violence." were analyzed. These pictures were analysed according to their contents. The artworks were made using various techniques: torn paper collage, collage, wax scratch, coloring pages, painting using poster paints and watercolors. Drawings have been classified in twelve thematic groups: "aggression against things", "peer violence","violence and addiction", "family violence", "workplace violence", "on-line violence," verbal violence", the continuity of violence", difficult choices" ,and " help ". Children and adolescents are good observers and they see various forms of violence, especially signs of bullying, and the impact of addictions on their development. Children know how to avoid and reduce violence.

AbstractThe small Van Gogh painting discussed in this article (fig. I) has never been published before. Originally, it belonged to Antoine Philippe Furnée (I86I-I897), whom Vincent had met in I883 in The Hague through Furnée père, the proprietor of a chemist's shop which also sold artists' paint. In the letters (365 (300), 372 (307) and 409 (342)) Furnée is referred to as 'the surveyor'. He was an amateur painter to whom Van Gogh gave advice. The two men would go out into the nearby countryside together to paint landscapes. In April I884 Furnee went to Java, where he remained until I897. He was probably already ailing on his return, for he died a few months later. His property passed to a brother, Antoine Louis Cornelis (I867-I965), a respected pharmacist of The Hague. The little painting, signed 'Vincent' at the bottom left, is done in oil on canvas pasted on cardboard, 30.5 by 23.I cm. Examination under fluorescent light shows it to be covered entirely with old varnish. On the back Furnée the pharmacist wrote: 'Chestnut tree on Broeksloot by Vincent van Gogh. This study was given by Vincent van Gogh to my brother A. Ph. Furnée (the surveyor)'. The gift accounts for the painting's being signed. Like many of the Hague paintings, this early work is of limited artistic merit. The poorly indicated space and forms are however offset by the good rendering of the contrast between light and dark areas. (Compare the paintings F 8a (fig. 3), F I92 (fig. 5) and the watercolour SD I680 (fig. 4).) The authenticity of the painting was established back in I963 in an appraisal by R. W. D. Oxenaar, and again at the Netherlands Institute for Art History by the present authors in I979, the year it was sold by the Furnee family. Two little pictures painted by Furnee on his expeditions with Vincent van Gogh come from the same source (figs. 6 and 7).

Kārlis Celmiņš (1894–1973) is one of the less famous Latvian artists. He was born in Cēsis as the fifth, the last child in his family, the only son. He received an artistic education at Stroganov School of Arts in Moscow. Still studying at this school, Celmiņš took part in the IV Exhibition of Latvian Art in Riga in 1914. After he had finished school, he was drafted into the Russian Empire’s army, where he was assigned a painter decorator of his regiment. Celmiņš returned to Latvia in 1918. After working as a teacher of drawing in Madona for two years, he moved to Jelgava. There he worked as a teacher of arts in Jelgava Classic Gymnasium. During the time of independent Latvia, Celmiņš actively took part in Jelgava’s artistic life. He regularly displayed his works at society’s “Zaļā Vārna” and other exhibitions and organized exhibitions himself together with students of the gymnasium. Celmiņš had many-sided artistic interests. He was not only painting and drawing but also doing graphics, applied arts, making silver jewelry, and writing poems in his leisure time. The monument devoted to the Latvian soldiers who fell in action in 1916–1917 was made after the artist’s project. Almost all works of the master were destroyed in the ruins of Jelgava during the war in 1944. Celmiņš felt very sorry about this loss. The artist and his wife and children moved to Dundaga after Jelgava was destroyed, but when the war was over, they settled in Tukums. There Celmiņš worked in a ceramics workshop as a decorator of ready-made plates and dishes. In 1946 the artist was invited to work at the School of Applied Arts in Liepāja. The rest of his life Celmiņš spent in this city. The artist painted portraits, landscapes, still-lifes, and decorative compositions with plants, flowers, and the sea all his creative life. He did his works with oil, watercolours, colour chalks, and pencil. The life of the free-thinking artist was not easy during the Soviet occupation. Many people did not understand the art of Celmiņš. At the end of his life, the master organised several personal exhibitions in Liepāja, Jelgava, Cēsis. Many interesting paintings of flowers done with watercolours, pastel, and colour oil chalks were displayed in his last exhibition, “Flowers” in 1973. Those were the paintings of gladioli, irises, calla lilies, and other flowers made during the last years of his life. Celmiņš died in Liepāja on 16 October 1973, leaving a wide range of works of his individual, unique style.

Mainstream classical scholarship has long considered as lost a Roman “historical” relief, excavated in the earlier part of the 18th c. in the Palace of Domitian on the Palatine hill. Showing an emperor sacrificing, it is known as the Nollekens Relief after Joseph Nollekens, an accomplished British sculptor who came to possess it in the 18th c. Besides being a sculptor and painter, he was a sculptural restorer and dealer active between 1761 and 1770 in Rome, where he worked in the workshop of the sculptural restorer Bartholomeo Cavaceppi and in his own studio. The relief has been known chiefly from two engravings and a pen-and-watercolor drawing, all produced in the 18th c., but, rather than being lost, the relief has been hiding in plain sight in the Gatchina Palace near St. Petersburg. Its dimensions are 88 cm high x 139 cm wide. A recent visit to St. Petersburg established that the relief has been continuously in the Gatchina Palace since the late 1770s and that it had been damaged not only in antiquity but also during and after World War II. I also discovered that a cast of it existed by 1870 and that a photograph of the relief itself had appeared in an obscure Russian publication of 1914.

Thomas Holmes Ravenhill (1881-1952) was an important pioneer in high-altitude medicine but almost nothing has been published about him. He wrote a landmark paper in 1913 that included the classification of high-altitude sickness that is still in use, and it also contained the first accurate descriptions of high-altitude pulmonary edema and high-altitude cerebral edema, although he used different terms. The work was done while he was medical officer at the Collahuasi and Poderosa mines in northern Chile at altitudes he gave as 4,690-4,940 m. Remarkably, the paper was then forgotten until it was rediscovered over 50 yr later, but it is now cited in any comprehensive study of high-altitude illness. Ravenhill graduated in medicine from the University of Birmingham, Birmingham, UK, in 1905 and 4 yr later went to the mines where he spent 2 yr. Subsequently, he served in the Royal Army Medical Corps in the 1914-1918 war and was awarded the Military Cross. He returned to general practice but after a few years gave up medicine altogether. He then made important contributions to archeology and spent the last third of his life in London as a painter, mainly in watercolors. It is unclear to what extent his war experiences brought about his dramatic career change.

In this contribution the author goes deeper into the life, the oeuvre and the network of the all but forgotten artist Bramine Hubrecht (1855-1913). At the centre is one of her paintings – four veiled young girls entirely dressed in white in a church interior. This work is now in Museum Catharijneconvent. The painting was previously attributed to Isaac Israels (1865-1934) on the basis of two false signatures. New information has meant that it can now be identified as a work by the painter Bramine Hubrecht. One of her sketchbooks in the Rijksmuseum and a watercolour in the Pulchri Cabinet, a unique artists’ initiative in The Hague, helped in unravelling the story. These two works, which show exactly the same girls, can beattributed to Hubrecht with absolute certainty. New biographical information has reinforced this new attribution and also sheds light on the meaning of the subject. These ‘brides’ prove to be part of the Processione dei Misteri del Venerdì Santo,which is still held every year on the evening of Good Friday in Taormina, the little village in Sicily where Hubrecht lived at the beginning of the twentieth century. The new attribution has also prompted research into Hubrecht’s life and works – research which has not been carried out until now.

An analytical review of church statues united by the plot “Christ in the Dungeon” from Saratov and the Saratov region museums is presented in the article. Using these examples, the author draws attention to variations of the image of Christ in the last hours before the crucifixion typical of the Russian province. Assessing the wide variety of interpretations of this plot, it is necessary to take into account that, in Russia, the statues of Christ in the dungeon were created mostly in provincial workshops where the craftsmen used engraved illustrations as the source and an example. For instance, the illustrations for the Piscator Bible [Theatrum Biblicum: 1646] had served as iconographic examples for many icon-painters and carvers since the 17th century. It should be noted that most often these engraved examples provided only an impetus for sculptors and were sometimes interpreted quite arbitrarily. These circumstances gave certain freedom to sculptors and carvers creating artistic images distinguished by sculptural diversity and vivid emotional character. The statues of Christ in the dungeon are typical of the Russian province and represent images combining some details of the iconographic versions of Ecce Homo and The Man of Sorrows. Ecce Homo is an image of suffering, awaiting the crucifixion Christ with traces of flagellation, with chained or tied hands, in the Crown of Thorns, in shackles and a purple robe. As the Man of Sorrows, Christ is presented thoughtful, with a bowed head. His hand is pressed to his cheek, the wounds from the spear and nails received at the time of the crucifixion are visible on the body. Having become a kind of connection between the three museums, there are nineteen artworks in the Saratov collection of sculptures with the plot “Christ in the Dungeon”. These statues were moved from one museum to another throughout the 20th century. Initially, this group of monuments was collected in a small Petrovsky Museum of Local Lore. In the summer of 1923, members of an ethnographic expedition removed the statues of Christ in the Dungeon from the surrounding churches. At the same time, artist F. Kitavin made very accurate watercolour sketches reliably capturing the colour features of the statues and their vestments. Currently, these watercolour sketches with explanatory inscriptions may be regarded as a documentary source.

After creating a substantial corpus of art that was political in the sense that the female body and social justice are political, but which had not dealt with national politics, the Colombian painter Débora Arango (1907–2005) embarked on an extended series of works that chronicled and critiqued politics and politicians during the undeclared civil war known as la Violencia (c. 1946 to 1965). This essay examines Arango’s first five paintings about the national politics of Colombia and, by extension, the role of the artist as witness. Arango’s earliest political paintings represent the Liberal politician Jorge Eliécer Gaitán, the rioting that erupted after his assassination in Bogotá on April 9, 1948, and the government’s suppression of Liberal rebels in Antioquia. This essay documents her personal connection to Gaitán, considers the cultural politics of the era, places the paintings in historical context, and analyzes the stylistic changes and international sources Arango employed to visualize the abuse of power. The undated watercolor Gaitán (by 1948), which portrays the politician speaking to a vast, enthusiastic crowd, is the only political painting she ever created that does not criticize its subject. After Gaitán’s murder she switched to a more expressionistic visual language to condemn the violence that followed, first in Masacre del 9 de abril, then in three paintings that depict the transport of rebels in railroad boxcars in ways that evoke the Holocaust. The five images are the matrix from which her incisive political satire of the 1950s evolved.

ABSTRACTHenry Wood Elliott (1846–1930), a U.S. Treasury official assigned to monitor the harvest of northern fur seals on the Pribilof Islands in the 1870s, became a self-taught expert on, and defender of, the species. His careful documentation of the seals’ breeding behaviour, and of their commercial harvest, complemented by hundreds of detailed and evocative watercolours, provides a unique record of this once abundant species and the lucrative industry that revolved around it. Elliott's outspoken lobbying on behalf of the seals’ protection is often credited with saving the species from extinction. His paintings of the seals, the seal harvest, and life on the Pribilof Islands in the second half of the nineteenth century constitute an unmatched historical record of this remote region.Elliott was able to witness two full breeding seasons (and harvesting) of the fur seals during his initial stay on the Pribilofs from April 1872 to October 1873. He returned to the islands to conduct a follow-up census of the seals, on behalf of the U.S. Government, in the summer of 1874. He traveled there unofficially and at his own expense in 1876. His fourth trip to the Pribilofs was in the spring of 1890 (again on behalf of the U.S. Department of the Treasury), in response to news of a dramatic decline of the seal populations. In April, 1891, because of his public revelation of mismanagement of the fur seal harvest, Elliott was fired by the Treasury. He continued his tireless lobbying on behalf of the fur seals as a private citizen for the rest of his life. He visited the Pribilofs for the last time on behalf of the House Committee on Expenditures in the Department of Commerce and Labor in the summer of 1913. Born in Cleveland Ohio on November 13, 1846, Elliott died in Seattle Washington on May 25, 1930.

The aim of this work is to present the utilization of Hyperspectral Imaging for studying the stability of painting samples to simulated solar radiation, in order to evaluate their use in the restoration field. In particular, ready-to-use commercial watercolours and powder pigments were tested, with these last ones being prepared for the experimental by gum Arabic in order to propose a possible substitute for traditional reintegration materials. Samples were investigated through Hyperspectral Imaging in the short wave infrared range before and after artificial ageing procedure performed in Solar Box chamber under controlled conditions. Data were treated and elaborated in order to evaluate the sensitivity of the Hyperspectral Imaging technique to identify the variations on paint layers, induced by photo-degradation, before they could be detected by eye. Furthermore, a supervised classification method for monitoring the painted surface changes, adopting a multivariate approach was successfully applied.

Thomas Alan Stephenson (1898–1961) was a greatly gifted marine biologist and artist. The British sea anemones (1928, 1935) and his essay on beauty in nature and art, Seashore life and pattern (1944), both of which he illustrated himself, are his best-known works. A participant with his wife Anne in the Great Barrier Reef Expedition of 1928–1929, the couple subsequently travelled world-wide studying rocky-shore zonation patterns, summarized eleven years after Stephenson's death in Life between tidemarks on rocky shores (1972). During those travels Stephenson painted marine organisms (mostly invertebrates and algae) and shorescapes, many of which were reproduced in books and scientific papers. His paintings represent a valuable artistic and scientific resource of international significance that deserves to be better known. Some are listed in the catalogues prepared for a memorial exhibition in 1964. Others were discovered from letters between Stephenson and museum curators, and yet more were identified from further diverse sources. Catalogued here are 99 paintings on various marine themes in watercolour, gouache or oil, of which 55 are known in institutional collections or in private hands; the rest could not be traced. Yet more marine biological artworks probably remain undocumented.

INTRODUCTION: Brave new social landscapes painted in the watercolours of liquid modernity challenge the possibility of a renaissance of radical social work. The consequences of modernity’s liquefaction for the project of taking a political stance challenge radical social work conceived as a retrieval of solidarities and mobilised collectives of the past. APPROACH: Principles of radical analysis are used to explore theoretical and institutional factors affecting the contemporary articulation of a radical project, and to consider the implications of liquid modernity for such an articulation. CONCLUSIONS: Radical strategy can no longer take the form of “speaking truth to power”, for power no longer feels obliged to listen. Future radical social work can succeed through the creation of new strategic responses to reconstituted fields of practice, state–global interfaces, and the injustices they create. This entails a critical reappraisal of the language of radical practice, a reorientation to the dynamics of new social landscapes and a reframing of the radical position.

AbstractIn the Vosmaer family archives (General State Archives, The Hague) are a few letters written by the painter Willem Roelofs to the man of letters Carel Vosmaer between 1863 and 1882. The letters indicate that Roclofs and Vosmaer were already on friendly terms while the former was living in Brussels. Six of the letters are quoted in full in this article. A letter of 1863 refers to a report drawn up by Vosmaer for Minister Thorbecke concerning the purchase of works of modern art for the government. In the same letter Roelofs intimates that his sojourn in Brussels was disappointing. In 1869 he endorsed the views expressed by Jozef Israels under a pseudonym in a magazine article, putting forward his (Israels') ideas about the modern artist's task as opposed to former, outdated notions. In his article, Israels advocated the depiction of visible reality instead of subjects clictated by literature and historical science. The article appeared in De Nederlandshz Spectator, of which Vosmaer was an editor. For another issue of the same journal that year Roelofs sketched a megalithic tomb in Tinaarlo (fig. 2), with a caption protesting at the destruction of such monuments. The following year Roelofs asked Vosmaer's advice on the establishment of a society for the cultivation of etching'. After the appearance of Vosmaer's biography of Roelofs in the magazine Eigen Haard in 1879, the painter apprised him in a letter of a few errors, providing important additional information about his artistic work and detailed study of beetles. Vosmaer incorporated this information in an issue of Onze hedendaagsche schilders devoted to Roelofs in 1882, for which the artist supplied the illustrations. A letter prompted by the galley proofs contains Roelofs' observations on a few technical aspects of his watercolours.

The subject of the article is Stanisław Wyspiański’s bookplate design for Lucjan Rydel, drawn by watercolour on grey paper (23,8 x 16,9 cm). As a standing rectangle, it shows symmetrically arranged twigs with flower buds, which resemble magnolias and freesias. e signs that appear next to the twigs, which are painted emerald green and light violet, are Z Księgozbioru (“From the book collection”) as well as Dr (?) LRydla [“Dr (?) LRydel’s”], the latter being the facsimile of a signature. It can be assumed that this drawing was Wyspiański’s present for his friend, gifted sometime in the years 1894–1899. Rydel never made a decision to have it printed, which undoubtedly contributed to its status of being unknown among experts and absent from the topic literature, either printed, handwritten or epistolary. The piece is nevertheless particularly important for the history of Polish bookplates. is seemingly ordinary drawing appears revolutionary when one considers that it shows an emblem shield deprived of the actual emblem, lacks an epic theme, does not have any text, and features art nouveau embellishments as well as a handwritten signature of the owner. It can be compared to the works created already in the first decade of the twentieth century by artists such as Jan Bukowski, Antoni Procajłowicz and Kazimierz Sichulski.

The article describes methods of achieving painterly qualities while drawing with soft materials, which include: 1) creation of a polychrome image effect using an extremely limited color palette (white, black and red chalk (sanguine)); 2) thorough work on a multi-layer charcoal drawing employing techniques similar to those of multi-layer watercolor, oil and pastel painting, as well as papier-pelle drawing. The study was first conducted by analyzing drawing manuals, catalogs of manufacturers and suppliers of art materials from France, Great Britain, Germany, USA and Russian Empire in the second half of the 19th – early 20th century. What is more, the author of the article assembled a collection of antique tools and materials for drawing with charcoal, black chalk or crayon, stumping chalk (pulverized charcoal), sanguine and white chalk, the use of which was widespread in the aforementioned period. The annex to the article provides photographs of the described instruments and materials accompanied by the aggregate data from art manuals, catalogs and price lists of drawing material suppliers from London, Paris, New York, St. Petersburg, Moscow and Kazan, published over a period from 1851 to 1913. The drawing tradition of the second half of the 19th century is among one of the most complex and challenging in the entire history of graphics, as it peculiarly combines in itself a variety of instruments and delicate thoroughness of techniques. As a result of the research, the author was able to expand and complement the existing knowledge about graphic techniques, which allows for teaching academic drawing and studying the history of drawing by applying new data and unique illustrative material.

Nonphotorealistic rendering (NPR) techniques are used to transform real-world images into high-quality aesthetic styles automatically. NPR mainly focuses on transfer hand-painted styles to other content images, and simulates pencil drawing, watercolor painting, sketch painting, Chinese monochromes, calligraphy and, so on. However, digital simulation of Chinese embroidery style has not attracted researcher’s much attention. This study proposes an embroidery style transfer method from a 2D image on the basis of a convolutional neural network (CNN) and evaluates the relevant rendering features. The primary novelty of the rendering technique is that the strokes and needle textures are produced by the CNN and the results can display embroidery styles. The proposed method can not only embody delicate strokes and needle textures but also realize stereoscopic effects to achieve real embroidery features. First, using conditional random fields (CRF), the algorithm segments the target content and the embroidery style images through a semantic segmentation network. Then, the binary mask image is generated to guide the embroidery style transfer for different regions. Next, CNN is used to extract the strokes and texture features from the real embroidery images, and transfer these features to the content images. Finally, the simulating image is generated to show the features of the real embroidery styles. To demonstrate the performance of the proposed method, the simulations are compared with real embroidery artwork and other methods. In addition, the quality evaluation method is used to evaluate the quality of the results. In all the cases, the proposed method is found to achieve needle visual quality of the embroidery styles, thereby laying a foundation for the research and preservation of embroidery works.

My mother, Rusimah Ibrahim relates the thoughts of contemporary mother, living in a petty apartment with her out-of-work husband with her three toddlers, who must take care for the foods, schools, pay the bills and every single thing. The pressure of my mother felt for the half of her life is not a barrier to survive. It is because she held on to a principle that she believed would be able to change the behaviour of my father. As an artist, I took this opportunity to study my own lives and record my experience, in this way which the way I love. In the way that gives evidence. This thesis marked my process of collecting her struggles and suffer into a documented narrative based on my own perspectives and interpretations. This thesis work, I transform her facial’s entire identity into something substantial. As I reflected on the impact and meaning of my mother’s life story as a conduit for the art process, I felt extremely fragmented in my own personal reactions and recollections towards her suffer. Therefore, I treat each painting individually as I respond to her experience and memory that I hold. Moreover, each artwork approaches different stage of her experience. As a painter, I choose watercolour medium as my tools to represent the idea. Somehow I felt increasingly cognizant of how my mother and I became closer and my feelings and attitudes changes toward our relationship started to resemble in my artworks. However, my intention would stick in one agenda which to produced artworks and being honest I personally think that the findings are enticing, nevertheless

AbstractAry Scheffer (1795-1858) is so generally included in the French School (Note 2)- unsurprisingly, since his career was confined almost entirely to Paris - that the fact that he was born and partly trained in the Netherlands is often overlooked. Yet throughout his life he kept in touch with Dutch colleagues and drew part of his inspiration from Dutch traditions. These Dutch aspects are the subject of this article. The Amsterdam City Academy, 1806-9 Ary Scheffer was enrolled at the Amsterdam Academy on 25 October 1806, his parents falsifying his date of birth in order to get him admitted at the age of eleven (fifteen was the oficial age) . He started in the third class and in order to qualify for the second he had to be one of the winners in the prize drawing contest. Candidates in this were required to submit six drawings made during the months January to March. Although no-one was supposed to enter until he had been at the Academy for four years, Ary Scheffer competed in both 1808 and 1809. Some of his signed drawings are preserved in Dordrecht. (Figs. 1-5 and 7), along with others not made for the contest. These last in particular are interesting not only because they reveal his first prowess, but also because they give some idea of the Academy practice of his day. Although the training at the Academy broadly followed the same lines as that customary in France, Italy and elsewhere (Note 4), our knowledge of its precise content is very patchy, since there was no set curriculum and no separate teachers for each subject. Two of Scheffer's drawings (Figs. 2 and 3) contain extensive notes, which amount to a more or less complete doctrine of proportion. It is not known who his teacher was or what sources were used, but the proportions do not agree with those in Van der Passe's handbook, which came into vogue in the 18th century, or with those of the canon of a Leonardo, Dürer or Lebrun. One gets the impression that what are given here are the exact measurements of a concrete example. Scheffer's drawings show him gradually mastering the rudiments of art. In earlier examples the hatching is sometimes too hasty (Fig. 4) or too rigidly parallel (Fig.5), while his knowledge of anatomy is still inadequate and his observation not careful enough. But right from the start he shows flair and as early as 1807 he made a clever drawing of a relatively complex group (Fig. 6) , while the difficult figure of Marsyas was already well captured in 1808 and clearly evinces his growing knowledge o f anatomy, proportion , foreshortening and the effects of light (Fig. 7). The same development can be observed in his portrait drawings. That of Gerardus Vrolik (1775-1859, Fig.8), a professor at the Atheneum Illustre (the future university) and Scheffer' s teacher, with whom he always kept in touch (Note 6), is still not entirely convincing, but a portrait of 1809, thought to be of his mother (Fig.9, Note 7), shows him working much more systematically. It is not known when he left the Academy, but from the summer of 1809 we find him in France, where he was to live with only a few breaks from 1811 to his death. The first paintings and the Amsterdam exhibitions of 1808 and 1810 Ary Scheffer's earliest known history painting, Hannibal Swearing to Avenge his Brother Hasdrubal's Death (Fig. 10) Notes 8-10) was shown at the first exhibition of living masters in Amsterdam in 1808. Although there was every reason for giving this subject a Neo-Classical treatment, the chiaroscuro, earthy colours and free brushwork show Scheffer opting for the old Dutch tradition rather than the modern French style. This was doubtless on the prompting of his parents,for a comment in a letter from his mother in 1810 (Note 12) indicates that she shared the reservations of the Dutch in general about French Neo-Classicism. (Note 11). As the work of a twelve to thirteen year old, the painting naturally leaves something to be desired: the composition is too crowded and unbalanced and the anatomy of the secondary figures rudimentary. In a watercolour Scheffer made of the same subject, probably in the 1820's, he introduced much more space between the figures (Fig. 11, Note 13). Two portraits are known from this early period. The first, of Johanna Maria Verbeek (Fig. 12, Note 14), was done when the two youngsters were aged twelve. It again shows all the characteristics of an early work, being schematic in its simplicity, with some rather awkward details and inadequate plasticity. On the other hand the hair and earrings are fluently rendered, the colours harmonious and the picture has an undeniable charm. At the second exhibition of works by living masters in 1810, Ary Scheffer showed a 'portrait of a painter' (Fig. 13), who was undoubtedly his uncle Arnoldus Lamme, who also had work in the exhibition as did Scheffer's recently deceased father Johan-Bernard and his mother Cornelia Scheffer-Lamme, an indication of the stimulating surroundings in which he grew up. The work attracted general attention (Note 16) and it does, indeed, show a remarkable amount of progress, the plasticity, effects of light, brushwork and colour all revealing skill and care in their execution. The simple, bourgeois character of the portrait not only fits in with the Dutch tradition which Scheffer had learned from both his parents in Amsterdam, but also has points in common with the recent developments in France, which he could have got to know during his spell in Lille from autumn 1809 onwards. A Dutchman in Paris Empire and Restoration, 1811-30 In Amsterdam Scheffer had also been laught by his mother, a miniature painter, and his father, a portrait and history painter (Note 17). After his father's death in June 1809, his mother, who not only had a great influence on his artistic career, but also gave his Calvinism and a great love of literature (Note 18), wanted him to finish his training in Paris. After getting the promise of a royal grant from Louis Napoleon for this (Note 19) and while waiting for it to materialize, she sent the boy to Lille to perfect his French as well as further his artistic training. In 1811 Scheffer settled in Paris without a royal grant or any hope of one. He may possibly have studied for a short time under Prudhon (Note 20) , but in the autumn of 1811 he was officially contracted as a pupil of Guérin, one of the leading artists of the school of David, under whom he mastered the formulas of NeD-Classicism, witness his Orpheus and Eurydice (Fïg.14), shown in the Salon of 1814. During his first ten years in Paris Scheffer also painted many genre pieces in order, so he said, to earn a living for himself and his mother. Guérin's prophecy that he would make a great career as a history painter (Note 21) soon came true, but not in the way Guérin thought it would, Scheffer participating in the revolution initiated by his friends and fellow-pupils, Géricault and Delacroix, which resulted in the rise of the Romantic Movement. It was not very difficult for him to break with Neo-Classicism, for with his Dutch background he felt no great affinity with it (Note 22). This development is ilustrated by his Gaston de Foix Dying on the Battlefield After his Victory at Ravenna, shown at the Salon of 1824, and The Women of Souli Throwing Themselves into the Abyss (Fig.15), shown at that of 1827-8. The last years of the Restoration and the July Monarchy. Influence of Rembrandt and the Dutch masters In 1829, when he seemed to have become completely assimilated in France and had won wide renown, Scheffer took the remarkable step of returning to the Netherlands to study the methods of Rembrandt and other Dutch old masters (Note 23) . A new orientation in his work is already apparent in the Women of Souli, which is more harmonious and considered in colour than the Gaston dc Foix (Note 24). This is linked on the one hand to developments in France, where numbers of young painters had abandoned extreme Romanticism to find the 'juste milieu', and on the other to Scheffer's Dutch background. Dutch critics were just as wary of French Romanticism as they had been of Neo-Classicism, urging their own painters to revive the traditions of the Golden Age and praising the French painters of the 'juste milieu'. It is notable how many critics commented on the influence of Rembrandt on Scheffer's works, e.g. his Faust, Marguérite, Tempête and portrait of Talleyrand at the Salon of 1851 (Note 26). The last two of these date from 1828 and show that the reorientation and the interest in Rembrandt predate and were the reasons for the return to the Netherlands in 1829. In 1834 Gustave Planche called Le Larmoyeur (Fig. 16) a pastiche of Rembrandt and A. Barbier made a comparable comment on Le Roi de Thule in 1839 (Note 27). However, as Paul Mantz already noted in 1850 (Note 28), Scheffer certainly did not fully adopt Rembrandt's relief and mystic light. His approach was rather an eclectic one and he also often imbued his work with a characteristically 19th-century melancholy. He himself wrote after another visit to the Netherlands in 1849 that he felt he had touched a chord which others had not attempted (Note 29) . Contacts with Dutch artists and writers Scheffer's links with the Netherlands come out equally or even more strongly in the many contacts he maintained there. As early as 1811-12 Sminck-Pitloo visited him on his way to Rome (Note 30), to be followed in the 1820's by J.C. Schotel (Note 31), while after 1830 as his fame increased, so the contacts also became more numerous. He was sought after by and corresponded with various art dealers (Note 33) and also a large number of Dutch painters, who visited him in Paris or came to study under him (Note 32) Numerous poems were published on paintings by him from 1838 onwards, while Jan Wap and Alexander Ver Huell wrote at length about their visits to him (Note 34) and a 'Scheffer Album' was compiled in 1859. Thus he clearly played a significant role in the artistic life of the Netherlands. International orientation As the son of a Dutch mother and a German father, Scheffer had an international orientation right from the start. Contemporary critics and later writers have pointed out the influences from English portrait painting and German religious painting detectable in his work (Note 35). Extracts from various unpublished letters quoted here reveal how acutely aware he was of what was likely to go down well not only in the Netherlands, but also in a country like England, where he enjoyed great fame (Notes 36-9) . July Monarchy and Second Empire. The last decades While most French artists of his generation seemed to have found their definitive style under the July Monarchy, Scheffer continued to search for new forms of expression. In the 1830's, at the same time as he painted his Rembrandtesque works, he also produced his famous Francesca da Rimini (Fig. 17), which is closer to the 'juste milieu' in its dark colours and linear accents. In the 1840's he used a simple and mainly bright palette without any picturesque effects, e.g. in his SS. Augustine and Monica and The Sorrows of the Earth (Note 41), but even this was not his last word. In an incident that must have occurred around 1857 he cried out on coming across some of his earlier works that he had made a mistake since then and wasted his time (Note 42) and in his Calvin of 1858 (Fig. 18) he resumed his former soft chiaroscuro and warm tones. It is characteristic of him that in that same year he painted a last version of The Sorrows of the Earth in the light palette of the 1840's. Despite the difficulty involved in the precise assessment of influences on a painter with such a complex background, it is clear that even in his later period, when his work scored its greatest successes in France, England and Germany, Scheffer always had a strong bond with the Netherlands and that he not only contributed to the artistic life there, but always retained a feeling for the traditions of his first fatherland. Appendix An appendix is devoted to a study of the head of an old man in Dordrecht, which is catalogued as a copy of a 17th-century painting in the style of Rembrandt done by Ary Scheffer at the age of twelve (Fig.19, Note 43). This cannot be correct, as it is much better than the other works by the twelve-year-old painter. Moreover, no mention is made of it in the catalogue of the retrospective exhibition held in Paris in 1859, where the Hannibal is given as his earliest work (Note 44). It was clearly unknown then, as it is not mentioned in any of the obituaries of 1858 and 1859 either. The earliest reference to it occurs in the list made bv Scheffer's daughter in 1897 of the works she was to bequeath to the Dordrecht museum. A clue to its identification may be a closely similar drawing by Cornelia Scheffer-Lamme (Fig. 20, Note 46), which is probably a copy after the head of the old man. She is known to have made copies after contemporary and 17th-century masters. The portrait might thus be attributable to Johan-Bernard Scheffer, for his wife often made copies of his works and he is known from sale catalogues to have painted various portraits of old men (Note 47, cf. Fig.21). Ary Scheffer also knew this. In 1839 his uncle Arnoldus Lamme wrote to him that he would look out for such a work at a sale (Note 48). It may be that he succeeded in finding one and that this portrait came into the possession of the Scheffer family in that way, but Johan-Bernard's work is too little known for us to be certain about this.

Medical illustrators work within and around life’s unclear coordinates and are hired to pay attention to these dissonant voices. We work with the sick, dying and dead on a daily basis ‐ from the patient whose life-threatening condition you are drawing, to the cadaver on the dissection table that you have spent months examining during your student training. The 100-year-old specimen in a jar that you paint with delicate layer upon layer of watercolour (building over the hours the full complexity of a painted pathology so that medics can better identify the disease), that act of drawing, that attempted embodied cartography has an impact on your mental health. How could it not? It is difficult to draw sickness; it is difficult to be confronted with one’s own mortality so regularly. The act of making such work for a living has implications on the mind and mental health of the medical artist, in addition to their ability to draw the anatomy of emotions. I do not think we talk about it enough within our profession, least of all draw it. This article attempts to explore mostly uncharted and choppy waters within biomedical visualization ‐ the art of drawing the whole holistic self. It suggests a new paradigm for medical illustrators to work within ‐ one of radical compassion for what it means to have a body, to live within the brilliant complexity of that body and to draw it through all its states of experience.