100 Great Artists

A visual journey from Fra Angelico to Andy Warhol

Ow-lotte Gerlings

100 Great

•

tlStS

•

r IS S visual journey from Fra Angelico to Andy Warhol

harJotte Gedin · . ARCTURUS

CoVER I U .uSTlIA:rto ss

Artist('Y S(R'e( London SE I 3HA l'ublL,lwd in

",~ocialion

,,;(h

foulsham w. Fotll.' Leonardo Ih Vinci

Com!, Jeon -ihl,tisre

44

Lorenzeui , Ambrogio

COlnl3n, john Sdl

46

,\ bc~e,

Courbe! , c.usr,,,'e

4"

,\ bgriue. Rene

Crnnach , Lucas the Elder

50

,\Jalcl'ich , Klsimir

Doli, Salvador

51 54

,\Jane!, Edouard

DeI:>eroix, Eugene

"5"

,\brtini, Simone

Ducciodi Buonin<egn.

00

,\luis,"" Henri

Durer, Albrechl

,\Iichd.ngdo Buon.rmti

Friedrich. ('.:I.1ven a special welcome. N ationa l and prov inci al gall eries not only house famous works hut also brive us the opportunity to discover the paintings of less well -known artists. These pcople frl"tluently \\"Orkl-d alongside the b'Tcat names, sharing idcas ani\ techniques, sometimes in the role of teacher o r pupil. Standing in front of a Renai ssance picture hy the likes of Botticc!!i Of Mantegna, for example, it is hard to imab>1ne th at the painters and sculptors we admire were o ribrinal!r classified as 'me re' Cl'd ftsmen. ,\ 'Iost came from humble backgrounds and we re accepted into a studio around the age of nine. At first, they earn ed thei r kcep by cleaning and running e rrands, gradua ll r working up from apprentice to journLym'ln and fina lly m astcr. The fresco painte r Qnnini has !eft this d aunting account of the Renaissance app rentice's tl'Ji ning schl-dulc: 'Start fin"!: of all by g rinding colours,

t"Ntall from The ,\ Iystic Nat i,; ty (/500)

Sandro Bom'"Uj

by

hoiling up giue, mixing plaster, then going on to prepare pands, retouching them, polishing them, app lying gold leaf, learning how to grain. Then another six yea rs to . .tudy the w;e of colour, the application of mo rdant.~, to find out how to paint d!"aperies and folds and how to work in fresco. And all the time you must p!"actise drawing .. work-tby and feast-tl ay.' If an artist brraoiuate.:i to set up his O\\Tl studio, the process hegan all over ag-ai n with ~warms of apprentires ~u!Tounded hy the tools and materials of the blL~ine""0 (/4J6-4f) F", Angdi'" bad an im"'''a';,~ apprOilch to comp",i,;"n and I!. i, CCncc

1790--91

Engrat·" hy pr"" " ..".-):, 'Ih" ,\hrriag and InKY" 184 9

Tu" at'.,. [ath..-', an .moo/ on hi, d,lltb

I SH

T he 1 F. ir ,;:inr acdaim Il1Id

h""

prit-Ill' ,.im by QU«rI Vier..-;" I SH(1)

BuY' roa"""

~ar

Fontalruhkau, ,b""t/,;:itb

Ploug hing in Ni,'em~is (/84S) 0", "&nhrorl '""" "Mffaud ""imingy. /, it /m"J on Bonb",,-', "','" mulj", and alI" imp;".lI by Po"N", il ",~""m!b ..mtury l)rltch i11li1l1aJ paint'" Tb, nobility a/lb." bUK' labouring ani1l1ah "PPhilo'ol'hies. Iii.

c.rlr I'ic"m:s .re stlnd. "I ,\ 1a,t'nn:l
1720

Apprmli"d a, an mgrat-.,- 10 Can, /"' ,at" pal"'''1719

Trat',h",;,b /",bn to R"In' "" tb.1l1,",

imIin=

1720

Nil,", rMJro,d in

"git",-/l! J"""jIlR pai"'", guild

172f

Four ,-"'r.iT

C(J,"",imo",d fir

,"",cb"nt Sul_ Conti 17JO-J9

SfUdio ,,,,,*, for 'k Englisb mllr!..'

1740-41

Tr",.
Eton College (c. 1754) Tbj, "in;, "f ,b. I,,'"ow- Eng/im puNic rdxxJ lUar Wind",r t..... , p";""d "';;"arm lb. rod "f Cllnm"'o I ITay in England. ,::bieb bi>d hY"'I",hiu:d.

of

Cin,abue im"ed him nJ he",,))e his '1'I'I"
Sol",,,!. T homas Co le, ic:.m"] 'he b»;cs of oil painting from .n itinerant 1" J
Grorg' Frart

""

Em", Royal AcatNmyScbook,

L(J(IOOR

1802

PainIT Jim UniOR of IJrobIOn Jil.k

1816

ElopJI ....k 11w,dnfo/ ugulallJr a/mind and b<Jdy. I flrg" all """-""', grj,f, hit"m=/VId I n om jgn(JH ,lit''" aJrug,rboin,ing< of ,he times.' Ry gi"ing "hing< :IS ,her arc' ,he monum, during which time he "'.... ",,1. IJim m: a, chi,,, of the Electo.-'. entire ('lIlil}, and o, her I'fU mincnt figu'""', bot h Catholic .nd l' m'e>t:tnL In \ \r,"enberg , Cnn..,h bcc.mc • do", friend of ,\ I.:t n in L uther a nd dc.tache. T he

S

t""hnic~1

I
Rnnarri" ,;:ift

OJ,, in Bru",1T

W

hen J'''''lucs- Louis D,,·id Came hack to F.... n"" f",,,, 1t~lr in 178(1,

he returned with stlong ide. Is ba",d m ,he ,ul'''''''! "inues of a"cient R,. "e. lie w"ls "","ni",,1 n) Nco.. cla«ici,,,, , ",hich dc",and",:1 thn a"i,ts should tale ,hci, subjeCts and 'l)'le f'"m antit]"" m,)(lels, as Pou";n had 150 }" a,s p""iou,ly. Tne F"' nch , es pondcd by drt:1ing U"'id II) bo, h the Acadc",y and ,he Salon. Hi s highly finished linc , colou, and "'"nl""i,io., ",c ", W"atly a,bni,,,,!. Mo.-c ,han that , his St}ic wa. I",,,,,,i,,,d as ,"",~u'io.,al)', matching the country'S »nod fo , an end n) a,i''''''rltic OOITUI" io., and. ""urn to the ,tr,n, p"riObC morals of ''l)ubliC".ln R,.nc. Upo., ;)ining the ", ,,~ution:try Commtion,

nn'id ll)",d for L ., .. XVI' 0.-1,,,,,, 1874

H,Ip, organi=, fim ""p"",ionist .rbibition

1876-86

Taka par' in mb"qum,

Imp",,,,,;,,

,,,,bibiti",,,, ImT 1882 1880

FiJi" !>pain. Ettbing 1::"b Pi,,,,",, and

The Ope .... Orchestr~ (/868- 9) Th< fim nllatio." and ,ht" n: ,,"1< • blcn,ling of northern n:ali>1" ... ith the Rt",,,issan«: ,isio.,.

d""ciol"ng Eun1,ean tndi,io., . After. "i";t to \h,i«: in 1494, he
THOMAS EAKIN S

''''

B()rn in

PbiaJdpbia, "'"

of a "am.,. 1866-68

Srudi" at L' Erd, d" B,tlllr-Ant, Parin",tkr Gm,,",

1869

SfUJi" prj,.",/y ""tNr BOOrlll!

Vi,;" S"..,O.

IS7f

PainlT T hcG,,,,,s Clinic

1876

Cmtmnial

E.rporiti()n, PhiJaddpbia

ill"" fotu" ,;,if SUSiln M"al,,;:dl,

The Fainnm Roge rs Four_ in _hmd (d","il) (/879) Tb, p",i,i"", "f,b. /'K' of rb, four-in-hand ilY' CIllcul"ud by EnJdm fro", Ib, puhli,b,d ," of Mttybrid§)- Ix",< p/Mtoffapbr tbat b. ",,:rud Enkim', patron, P"irman RiJgn' "'aT m!btiD pn:h::rr1 bnd'C1pe

]" jming

to 1',Jhe ,,"1< "" Iy • .::.'en'CCn. Hut., nir.ct

1821_24

L"" ~T~pa;n

rmiKtl!;on

if

,;:bm

P",Jilllmd I'll "ruin in p'n""~'(JfI

1828

.

h< could confront daily

roti,co Goy. i< the firSt gr-e .. I" inte, of the nin{"temth
Cn::te for Venice . he wos <Xlfl fmntt:d _ quite lite,.,lIr _ I')'

self... ssLT,i,·e . he la' ..... h""ame emhmiled in long.term lawsuits. "Inc nickname 'Gre<x,'

new IlCrSl'ecti,·es. His first major inflllCnCt: was

irled him n", and he alwa)s sign"] his wo.. k

Tition: h."",o "".s another. Howe"". tht-rc arc strong i... ]ic:uions ,hat EI G n::co ""wllr wotied urHiLT Ti ntoretto . llo,h artists made

Domenikos "Ineotok0i'0ulos in G red . S<Jl11etimes .d(~ng Kres ("Cretan'). Ne,,, nhdess. while in Rome he did c(lflsoli(bte

coml"",i,io",,1 s ke,ches from clar Or ","
1811_12

Pupilifbool: ilhmraro,. [/tagat-a Toyohirn

1811_30

('"aU' prinlJ if ",,,/i,i,,,,,1 rnbj«lJ, including "irk"'- if ,",

1814

PuNJ,b" C(Jmpl," ,Jition Fifty-

11",::e Sta,ions of 'he "Ii.bido Road 1811-40

P,U a[popularity, p"NJrb~ t"ariow

TI()!ab/, =-i"

184 1--4J

Trmpo Era

a"'''riry afj,m quah'ry o[';:<de"ed to n,aitsof ""'BlS, IO....::StlrtS, poetS and Courtl::s; lIS , Tbe in .... '" ]o,'e "f .he Jap.n<se f,>< all "'1""" of.he na.u",1 world ensured that bo. h artists had an enthu,i,,-,,ic ~,I1I""'ing. Ahh"ugh he m'r no. haw matched Holu",i', draftsman"'ip , lI imshige at his be« i< unsurpassed in his poetic ,i,i"n, I I is abai'r to e",le .he mOI . 1of a p.rticular platt still ha' unfailing appeal to w<stt:me""

N ig htSnow a t Knl .... a (/ 812_14) A '":ood /Wd: from ,b, =i" Fiftr-Thre in and D iirer, II"dle, ... o,-icd initially as. 1'n.iblc

~"

•

I'hL"nu",:ptTim""'ing with we"ern pe" p"",i,,, , m.king 'e (/815-6) 0", =-i" nltirJ,d O ne ll und n:d Poems Explain"j By the N urs.::, ,bi, ,"a""pi"" of",.I>"r printing ilkmra", a p"nn by Sanji Hit",bi. HoA:!lJlli', innat< '''''' "fproportion marri" ""II ;;:i,b bi, dr:',/"p,"nlt ,,'-""UnHtyi' P""""ti,"; and jJ'gur" " all kind" at ",...-k and I,i_" fro bi, in;arjab/, nltbrui""n f...- dC1n mO,,'m""" lib: In~"",,"on i<J)) to 1",,,,,,,,1 witi>u t him. Ii i. carly wab;"" ~ours ("'r(llcd • p",-C ilil\\'a, rurll iphritius (a pupil of Re mbr.ntlt) and Ve rmeer. G il'en that Delft waS the ",anu&Cturing cent'" nfhigh qu:l.~tr len",s, it is

Iksidcs technical I" ofi"ienle. As he said , 'No 'm"unt "f skilful intcn'CJ1tion can "'I~''''' the essential elm'CJ1t of imagination.'

'Amerie. seemed .wfully c rude and "' ... when I got b,el " he admi""L J'Ct it ..... tl-.,se qualities th., rooted I loppe r'. disquicting

Fiftr J'earS "1""'tC Tb, AbJjmb, O,.jnh r from Auu"na' but D Cg">s sti rred Hoppers a ..", n: nCSS of ... ho t the Amt.,-ican aniSl call,,1

,is iun , thmugh ... hich he c<Jm'eJs the SCJ1se of alienation that I",-""Ie. a "J' hig city. lniti .. llr trlin,,1 a< .n illlL.ri., he un ..'t'lpl",1 hi. nbu f,,< .c:tching. Like hi. own .ut,,,, David,

instinct ~" nart'l,i,,, and hi. Sct IMetts ,ufl',,. ~" i•. Up do"' , the ", is a mOSS of info.- m.,iof) but no {,(lnnccting energy. He h,d a houtgt'n;.

mentt~.y,

and

",nth "''':'al, as Ihuddai,e admi",,!, 'a

rL~

his

dttl~J'

he "h"C1,ed dt'l"'ing abm" all: 'If I h,d nJ put a sign "''', my douI

M.re (1880--1916), She led

'ilnting 3lJn" " ,.ic:llly.' Kandinsky ,,'OS thirty before he began to

appr",i.,ion of child .n. which K.ndinsky belin:ll " om'n in the age of the a"",,,."ur and the fi",~ n) cho.llrngc srcsenn,i"e< of the artS and scicntts , is "'llOrtl:d .dmiringly h)' Va",ri: ' [he ] silene ....1 the IL":tml:s in ,he grand cou ncil chamber of Sim • . dealing with thm,cs of W)(. l

ha,,: I" id "' Ic,,,, twO cxt{"["hl ,·"its to ]o1o",r'Il:d with inci(k:nt .nd an:hitcctural d
ill""

Marc. ]m;:kmry and K","Jimryin

M"nith·1"''''

Dcr Rhuc Rei""

19 11

MU/J

19 12

Vi,;tJ Ddau""y in Pari, ,;,j,b Marr

/ 9/1

Binh

Ernn and KI« in B(Jt/R

if ron

Ji'''''JK''''g in Bonn.

Vi,;, fro.n

!"Rla"""y and ApoOiTllli"

19 14

VITj" Tun;,i" t."i,b 11
of ajudI{' ISfO--f6

SlUm" in Par" tmtkr COUrtlY" Trtr.·,/J ,;:iddy

INrI

Binh . and Goy"", but it ,,~ during 'his ,ime - when he aCbJally went pain,ing m pI.in air & (MI1 ,\10 """ ', boo, studio _ ,ha' he Cl ml: cl'N:st

'0 the Im p.-..."",i,., ist style,

DCi e uner s ur L'! krl.e (/86J) 711. t","",,'r boM rtil,", chilUmg" tb. 1= cponsi!>ie ~" sp rCiding the idCis of ,he e.rlr Rt·miss.nce in no,thern ha!r. No, ()n!r wcrC his paintings highl)" "'p"I,,!. his "'gr:t"ings also won the a
I f 4 2_fO

iArr painringJ, CO""
"'ontparnasse meant he could heg plenty of li""ston.: ITo", bu~ding sites. lie establish,,1 his clong-ned style with a ",rie< of dlr cird.. of her ,,"'n. At ,hhe "...,ded "0 I.. ,.,~. ing'" prulCdion ",.ny h._If!.,kHy " .jfh ,he 1 "~I","';..,i"s in 1874 ....1. despite the mioogyni";" ~"itu.b 01. ,,",,' 17..110,,' ,"illS. >he nl ....g..'tl1O puBlIC .00 >u;toin • proi.:soio ....1nolo.

11tc Butterfly Il un' (l8U) .lIorir.. ) illur &lm• .,,:, I> ",.the .nd kd and suffe, .nd I",,,: l Ie

:'n (1906). ;\tunBra,!"', Tbry ;m-mt Cubi"" Il1Id

pion_ ,"Ollf{' 1914-1 8

min' ,;:i,b Comilll, Sari. and Diagbilro

1910,

n;'"h aT J.,,,1 and p.lette. and withou t anr 1'",liminarr ,h~t·hes. he 'pread unprim ....1 Cam'as on" the nom and I,,)u n:d p,int SI ... ight f""" a c:tn . or he dripped and ait·k ....1 it . using hrushes and "ielh/, ,bruugb Papo"a', "" had'< Tb, ]udg,,",nr of Pari, that sugge,~cd thc po", of ,\bnet 's figurlS in

Dij""'''' Sur L'H.,.k (,,'cr thn::e ""nruries I. "',. \ Vhcn 2<Signcd to thc Pap,,1 Cuurt. Raph:td ".,,, gi,.::n ch:t ~ of all major I)« ~C"''' nut unly p.intings but a,chi",,,,u n:: and thc p'L"«:n,.,ion of antiquitilS. Raph.eI wasn't a great inn"'"1 tor or di""".:: n::,. r'" when he dicd at thirl}~""t:'" his.,t ,howed an cmotional depth th., might well h."e m"turcd to equ,1 th., of Leo"" r.!o and Michel:..ngdo.

The Ikpohow,,] a collcctio" that indudcd Lcorurdo, Mic hd""gdo, R.ol'h:.ocl. I ]oll",in, Tiri "" and Rul", ns: .nd hc h.d sto.-"" of cxotic dothcs, ornaments .nd anllour, ",hich he u",d

his """t innucnti.1 tc.cher, h.d iK't:n to ltal)' and ,>I,,,,,,,,,] thc wo.- k ofCar''''ggio. La"man taught his 1"'1'; 1thc tcchnique of ,billY",ol" ics, it " .... probahJy paint.d during "'" " 'k ""m,,", ,ba' ,b, r~" arrim 'Pm! tog,tbn at Argrn""i/

and I,./,,"'l"'=

ISSf

Binh if JW/ Pi,",

1886

&bibi" in NnIJ );'ri

1890

MarTi" Ali'"

1891

Birth of"" J"'"

1898

SCa,;on and claimed .ha. his 1'''''''1
1628_10

N'giJIia'" "'tiC< 11
physical ""ergy and orgoni""ional abili,y to cxerec'" ,h",,, . A< ",elJ as being an cXPtti(J1l i:! _ IiI:< '" '"any if hi, P""' _ '""" proNNy an ad, Th< 1mag" b. math "/bill"'if ", rbi, tim< t~=d bm:"«n

,\/",,- Jill";,

(JialryJ ",,,,,,it Tbry ,,,"'"' to

,",lot/FUma,ic tmd ,ina", in"'T fo,inting he ~,und less caJonlst I'.mbng method ,ha' he him>clf rgt: R. Stubbs' cxquisitc .natomical drl ... ing' form,,1 the b"-';s of his exp"rtise . . . horse p,inte,. For eightcen months he ,cnted • rL,,\01I: Li.-.::,~nshi n: f.nnho"", wherc he ",ukl work undi"urb"d, dissccle. ' Inis led to his publi""tio., ofTb< AlUl""ny gL~her. Turner sounds like • thomughly n:sp lTO".,J'olfJgU'" tba, -"
Painu

S~int

C(~UI1l'" allar-

"

.

pim Dj" in BT1lJJd,

R

ogier "'n del Wcrdrn bCClme ,he

dehne. He rn JOlied in

o..,,~,in's

w,,.- kshol' in

single Ill'''' ' imp","'n' Flo:mi,h l" in,cI f,~ lo",ing thc dc.th of\ '.In E}ck. Sincc he signcd none of his w,,.- ks, Iit",s ""n""ming

' l(lUrnai , .... ncrging H a M.1Stcr aftc, h"C J'c,rS and "."ing nJ Rruges, ",hen hc "."t plUMblr "'"nC undcI the inAutnce of Van E}'d.

'heir .u,hcnticitr .nd chro,.,lo!!:r h"" '0 he gathe red fi-,. n "',ml"ri'on ",ith o,h
Gui/do/Pai",", 1620

R'Porud in ,,,,di.

a/ RuN'" 1620-21

Firn riJit to

England 1621 1621 _n

I{mu-m to Ant1.Yrp

m..-h""

, ..",,,i,,,i()m in Italy / 627_12

/ 612_14

llcn rictu o f Frmcc. Quee n ofEngla twl

R""",, to "',,-} jn Anr.c"'P. PajnD parrraitI arid r
a/Burgundy

14 26

14 28_29

i"Natbcrce .nd

Cana , sign'lIing • ,.Ient fo r .rchitecturll sct-l'iect:s. Soon , mo n: onlcrs we n: 1~.roJ f(lI" ht nqut~ pieture< .nd in 1571, the Dominican

conq"'-"st. He thought nothing of p'inting

'-":u~o

n:queSistlnts, quite litrt.II)', "l,roduced the Amrt;;::an S"'te of mind. T h"J' n.nenctorr ""S ,ulre thon a ,,'oriplace , it bttame a fa,hiO, ron

of a "'et, De!"•• , Fan,i,,_ b,()"r, M~n'" and l)issaITsso p 151 (') Su"""~()n Pic:tS.