What northern Italian Baroque painter was also an accomplished musician and a gifted architect?
What Russian-Jewish artist became the most famous Russian sculptor of the 19th century?
Answers here~ https://schristywolfe.com/2015/10/21/october-21/
This Italian Renaissance ceramist and sculptor was the nephew of Luca della Robbia and assumed control of the family workshop after his uncle’s death in 1482.
This 20th century Japanese painter practiced the nihonga style of painting, which uses traditional Japanese artistic conventions, techniques, and materials.
Answers here~ https://schristywolfe.com/2015/10/20/october-20/
Which artist produced some of Italian Futurism’s most iconic paintings and sculptures, despite his premature accidental death during World War I?
Which contemporary Belgian artist was so taken by the way Japanese calligraphers placed paper on the floor and bent over to work that he adopted the method?
Answers here~ https://schristywolfe.com/2015/10/19/october-19/
This late 17th century painter was one of the most sought-after Italian artists of the day and, until Pablo Picasso, the most prolific artist who ever lived.
This American sculptor went to Paris in 1950 to study; when he returned to the US he began to produce the junkyard scrap metal compositions he is known for.
Answers here~ https://schristywolfe.com/2015/10/18/october-18/
Which Italian portrait painter of the late Florentine school was so technically skilled that several copies he made of Correggio’s works were thought to be duplicates by Correggio himself?
Which painter and printmaker, a pioneer of American Impressionism and perhaps its most prolific and successful practitioner, was noted for his urban and coastal scenes?
Answers here~ https://schristywolfe.com/2015/10/17/october-17/
“For me,” he said in his MCA Chicago lecture, “the thing that has the greatest transformative capacity in the art world today, in terms of what people expect to see when they go to the art museum, is a painting that has a black figure in it, because 95 percent of all the other paintings you see are going to have white figures in them. The whole history of representation is built on the representation of white folks. Now, all of that stuff is good, so you have to figure out how to get good like that, and then get in there on the terms that are relevant for now.” Marshall has done this “from the ground up,” as Metropolitan Museum curator Ian Alteveer put it, working through historical styles and genres, including Rococo love scenes, large-scale history paintings, and Impressionist plein air fetes.