1.) HIS WORK STARTED IN THE WORLD

Keith Haring was a famous musician and activist who was part of New York’s art scene in the 1980s. Although known for his colorful works and his brilliant portraits as a glittering child and a barking dog, most of his work was in response to the social and political events of the day.

These included the fight against apartheid, AIDS, and drug abuse. As an open-minded gay artist, Haring also chose to represent the plight of the LGBTQ community in his work, which included gay rights.

Inspired by graffiti artists, he began painting at New York railway stations, filling in the blanks of the empty posters with chalk drawings that people went through every day. He aimed to make art accessible to everyone, and these activities allowed him to connect with a diverse audience.

All sorts of people were standing around watching this incredible painting, and many were eager to comment on their feelings about it. It was the first time I had ever seen how many people would enjoy the arts if given a chance.

These were not the people I saw in museums or galleries but were part of humanity that transcended all borders.

Keith Haring

Seeing Haring paintings or watching an artist work on a subway train aroused the excitement and excitement of the community. It also caught the attention of the police. Haring was arrested several times for vandalism.

On more than one occasion, I was taken to a police station and arrested by a police officer who noticed that some of the local police officers were my followers and were eager to meet me and shake my hand.

Keith Haring

2.) HARING HAD A FAMOUS FRIENDSHIP

Living and working in East Village in New York, Keith Haring had a major social networking site, including many artists and performers part of the same underground art scene. This included people like Madonna, Jean-Michel Basquiat, and Andy Warhol, and he often worked with them. With growing recognition and popularity, her collaboration expanded to include other artists, artists, and fashion designers, such as Vivienne Westwood and Malcolm McLaren. Haring’s collaboration with Grace Jones combined art and fashion differently. He painted Grace Jones’ body with his graffiti while playing music and appeared in his music video for I’m Not Perfect (But I’m Perfect For You).

Haring formed a close friendship with Madonna and took Andy Warhol as his only partner when invited to her wedding.

3.) HIS JOB DISTRIBUTES IMPORTANT SOCIAL AND POLITICAL MESSAGES

Although his works of art were always bright and animated, Haring faced challenging topics affecting people in America and around the world. Haring used fascinating slogans to express his point quickly and effectively.

One of his most famous examples is the Crack is Wack mural referring to the crack cocaine epidemic and its effects in New York City. The work was done large enough to see passing cars on nearby roads.

In 1986 Hararing was invited to paint part of the Berlin Wall to ‘paint the wall with paint.’ He painted a vivid, colorful painting using the colors of the German flag, symbolizing the hope of unity between East and West Germany. The work was demolished in 1989 when the wall was demolished. In 1987 he wrote in his diary

… When considered ‘sacred’ and ‘precious,’ I can paint without restriction and feel the interaction of lines and shapes.

I can draw automatically without worrying if it looks ‘good,’ and I can let my movement and my immediate reaction/reaction control the piece, controlling my energy (if there is any control) … It is temporary, and your permanent stay does not matter. Its existence already exists. It can be done forever by the camera.

4.) TRAVEL BROUGHT SWEETNESS AND COLOR TO THE COMMUNITY

Haring loved working with children, praising their imagination, humor, non-discrimination, and encouraging young people to come together to make their artwork together.

In 1986 Haring painted a picture with 900 young people to celebrate the 100th anniversary of the Statue of Liberty. Shown at Liberty Tower in Battery Park City.

Haring often worked with youth-focused charities, and he painted murals at many children’s hospitals, including Necker Children’s Hospital in Paris. Haring wrote in his diary:

I made this drawing for entertaining sick children in this hospital, now and in the future.

Haring had a fun way of working that reflected the content of his work. He listened to hip-hop music while working and painted rhythmic lines to express movement and energy, evident in many of his works.

Paint on a vinyl canvas, something that is often put on the street and used by breakdancers as their playground.

He was so happy – I think people forget that. He used to draw a single stroke while matching the rhythm of whatever he was listening to.

Kenny Scharf, artist, and friend of Keith Haring

5.) SUPPORTED KEITH HARING FOUNDATION

Haring used his stage as an artist to raise awareness about AIDS. He was also diagnosed with the disease in 1988. His poster Ignorance = Fear refers to the challenges that people are living with AIDS face.

He wanted to reach as many people as possible and emphasize the importance of AIDS education.

A year after his diagnosis, Haring founded the Keith Haring Foundation to finance and support AIDS research, charities, and education.

Keith Haring died of AIDS-related complications on 16 February 1990 at 31. The Keith Haring Foundation continues to strive to meet Keith Haring’s aspirations. If you would like to help support the fight against AIDS, visit the Elizabeth Glaser AIDS Foundation (partner of The Keith Haring Foundation) to see what you can do.

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From the Renaissance to Pop Art, we rank the most famous artists in the order of fame and fortune.

But a great artist is distinguished by the unique ability to take his moment in time and extract its essence so that the resulting work does not expire.

Limited to dress and hairstyle, for example, Mona Lisa is a woman from the Renaissance.

But his way of speaking – hidden, obscure – gave him a mystery that would last for many years. And so it is, not only to its creator, Leonardo Da Vinci but also to other artists (many of whom have been featured in New York museums such as The Met, MoMA, and Guggenheim) on our list of the most famous artists. Time.

1. Leonardo da Vinci

2. Michelangelo

3. Rembrandt

4. Vermeer

5. Jean-Antoine Watteau

6. Eugene Delacroix

7. Claude Monet

8. Georges Seurat

9. Vincent van Gogh

10. Edvard Munch

Spanish Artist

Salvador Dalí, fully Salvador Felipe Jacinto Dalí y Domenech, (born May 11, 1904, Figueras, Spain — died January 23, 1989, Figueras), a Spanish Surrealist artist and printer, contributed to his exploration of invisible images.

TOP QUESTIONS

• What was life like for Salvador Dalí at a Young Age?
• Where Did Salvador Dalí Get His Education?
• What is Salvador Dalí Best Known For?

As an art student in Madrid and Barcelona, Dalí took many art styles and exhibited an unusual art space as an artist. However, it was not until the late 1920s that two events developed his mature artistic style: his discovery of Sigmund Freud’s writings on the sensational significance of unseen photographs and his association with the Paris Surrealists, a group of artists and writers. Who sought to establish the “great truth” of human ignorance over reason. To portray the image in his unconscious mind, Dalí began to make his statements about the process he described as “paranoiac critical.”

When Dalí hit that road, his painting style matured dramatically, and from 1929 to 1937, he produced paintings that made him a world-renowned Surrealist artist. He represents a world of dreams in which ordinary things are assembled, crippled, or otherwise changed strangely and senselessly.

Dalí presented the details in a clear, logical way and usually placed them in dark sunlight reminiscent of his homeland of Catalonia.

Perhaps the most famous of these mysterious images is The Persistence of Memory (1931), in which melting watches rest in a peaceful environment.

Along with Spanish director Luis Buñuel, Dalí has produced two Surrealistic films — Un Chien Andalou (1929; An Andalusian Dog) and L’Âge d’Or (1930; The Golden Age) —a similarly full of horror but horror scenes.

In the late 1930s, Dalí switched to painting with a reading style under the influence of Renaissance artist Raphael. During the rise of fascism, his vague political ideas separated him from his Surrealist counterparts, and he was eventually expelled from the party.

After that, he spent most of his time designing theatre sets, the interior of fashion stores, and jewellery and showcasing his marketing skills in the United States, where he lived from 1940 to 1955.

 From 1950 to 1970, Dalí painted many works with religious themes, although he continued to explore provocative topics, represent childhood memories, and use themes focused on his wife, Gala.

Despite their technological achievements, those later paintings are not considered the artist’s original works. The most exciting and revealing of Dalí’s books is The Secret Life of Salvador Dalí (1942).

Italian Painter

Sandro Botticelli, real name Alessandro di Mariano Filipepi, (born 1445, Florence [Italy] – died May 17, 1510, Florence), one of the great painters of the Florentine Renaissance. His hymns, The Birth of Venus and Primavera, are often portrayed by modern Renaissance viewers.

TOP QUESTIONS

• Why is Sandro Botticelli so famous?
• How was Sandro Botticelli’s family?
• How was Sandro Botticelli trained?
• How did Sandro Botticelli die?

Early Life and Work

Botticelli’s name comes from his older brother Giovanni, a pawnbroker dealer named Botticelli (“Little Barrel”). As is often the case with Renaissance artists, much of the current information about Botticelli’s life and character comes from Giorgio Vasari’s Life of the Greatest Artists, Artists, & Architects, as added and edited from the documents. Botticelli’s father was a tanner who trained Sandro as a goldsmith after school. However, since Sandro loved to paint, his father put him under Filippo Lippi, one of Florentine’s most revered kings.

Lippi’s style of painting, built in the early Florentine Renaissance, was central to Botticelli’s masterpiece, and his influence is evident even in his student’s later works.

Lippi taught Botticelli the techniques of panel painting and fresco and gave him guaranteed control of line viewing. In terms of style, Botticelli obtained from Lippi a list of genres and songs, a particular consideration of cost, a sense of status, and a particular colour bias that was evident even after Botticelli had developed his solid and vibrant colour schemes.

After Lippi left Florence for Spoleto, Botticelli worked to develop a relatively soft style that he learned from his teacher. To this day, he studied the style of Antonio Pollaiuolo and Andrea del Verrocchio, the leading Florentine painters of the 1460s. Under their influence, Botticelli produced photographic rotation figures and dynamics. He also changed Lippi’s soft style into a healthy and vibrant environment, always shaped by the ideas of beauty.

 In 1470, Botticelli was founded in Florence as an independent king with his workshop. She never married, focused on her art, and she lived with her family.

These changes in Bottelli’s style can be seen in the small panels of Judith (Judith’s Return) and Holofernes (Holofernes’ Discovery), both c. 1470, and in his first book, Fortitude (1470), painted in the hall of the Tribunale dell’Are Della Mercanzia, or court of merchants, in Florence. Botticelli’s art has since shown the use of ocher in areas with darker tones that give a warm brown contrast to the Lippi colour.

An already shiny and flowing line defines the forms in his paintings. There is a growing ability to elevate the character and even the mathematical state by action, shape, and facial expression.

About 1478–81, Botticelli entered his artistic maturity; all the patience in his work disappeared and was replaced by perfect art. He combined numbers, set them into melodic songs, and drew the human character with an oppressive vigour.

 He would later demonstrate his incomparable skill in translating narrative texts, whether from the histories of saints or stories from Boccaccio’s Decameron or Dante’s Divine Comedy, to become an instant, concise, and articulate image.

Dedicated Drawings

Botticelli has worked on all of the current forms of Florentine art. He painted the altars with fresco and panel, tondi (circular drawings), pictures of small panels, and small dedicated triptychs. His altars include small straight panels like St. Sebastian (1474); small oblong panels such as the famous Adoration of the Magi (c. 1476) from the Church of Santa Maria Novella; altars of medium size, best of all, the beautiful Bardi altar (1484–85); and significant projects such as St. Barnabas Altarpiece (c. 1488) and the Coronation of the Virgin (c. 1490).

His first fresco skills are visible in St. Louis. Augustine (1480) built his church on the Ognissanti Church, in which the strong will of the saints and the vigour of displaying both intellectual and spiritual devotion.

Three of Botticelli’s most iconic paintings (completed in 1482) were part of the Sistine Chapel ornaments made by a group of Florentine and Umbrian artists who were summoned to Rome in July 1481.

Theological Themes of the paintings were chosen to reflect the pope’s supremacy over the church; The Botticelli are notable for their clever combination of symbolic sequences into composite songs.

Florentine tondi used to be large paintings with rich frames, and Botticelli produced such masterpieces, beginning with the Adoration of the Kings (c. 1473; also Praising Scholars; in the National Gallery of Art in London), that he painted -Antonio Pucci.

Before Botticelli, Tondi had been conceived as oblong scenes, but Botticelli pressed all the details into detail and was able to adapt his figures to a circular form.

His complete ingenuity in tondo format is reflected in his two excellent paintings, Madonna of the Magnificat (1482) and Madonna of Pomegranate (c. 1487).

 Botticelli also painted a few oblong little Madonna, most notably the Madonna of the Book (c. 1480), but left much to be desired by the Madonnas painting and other devotional works at his workshop which produced them in large quantities.

 In her art, the Virgin Mary has always been a tall image, a queen dressed in a plain red dress and blue jacket, but enriched in her autograph works with sensibly translated accessories. He tends to have the inner thinking of speaking and the same inner attitude conveyed by the Botticelli saints.

Country Administration and Jobs

Botticelli is the first European artist to paint his portraits of world heavy art with a certain amount and equal or higher value in his religious paintings. However, his livelihood is lost; since the performance of about 40 years, only eight of his models still exist in the already built version, the image.

One of these, the image of the young man carrying the Cosimo de ‘Medici medal (c. 1474), is significant because Botticelli copied the newly invented tool of the Flemish artist Hans Memling to set the figure before the world appeared on the surface. This is the first example of the influence of Botticelli in modern Flemish art, which is evident in the number of his country settings.

Perhaps it was Botticelli’s photography skills that earned him the support of the Medici family, especially Lorenzo de ’Medici and his brother Giuliano, who then ruled Florence.

Botticelli painted Giuliano’s portrait and background images of his grandfather Cosimo and father Piero. Photographs of all four Medici appear as Three Wise Men and an Adoration of the Magi worker from Santa Maria Novella.

Botticelli is also known as the (1475) Giuliano Pallas banner for love and Cupid tied to an olive tree. This work, though lost, is as essential as Bottelli’s use of the ancient myth to express feelings of medieval court love in his great mythological paintings.

After the assassination of Giuliano de ’Medici on the wall of the Palazzo Vecchio, it was Botticelli who painted the Palazzo Vecchio conspiracy. Frescoes were destroyed after the Medici expulsion in 1494.

Lorenzo always loved Botticelli, as Vasari said, but even more important in the artist’s work was the enduring friendship and support of Lorenzo di Pierfrancesco de ‘Medici, the head of the small Medici since 1494 the open opposition of the top line.

 Tommaso Soderini, who obtained Botticelli in 1470 from the Fortitude commission, along with Antonio Pucci, painted his first painting while still alive; both were prominent Medicean supporters, as was Giovanni Tornabuoni. He about 1486-87 gave -Botticelli is the most critical work in the world. Frescoes.

Myth Paintings

Many of the commissions given to Botticelli by these wealthy patrons were connected with Florentine culture at the time of the wedding, which was the most critical family ceremony.

Usually, the newlyweds’ wedding room was arranged in the palace of the bridegroom’s family, with drawings in it. The themes of such paintings were romantic, romantic, or exemplary, depicting heroines of fame. The first known work of Botticelli of this type was given to Lorenzo de’Medici by the marriage of Antonio Pucci’s son Giannozzo in 1483.

A four-part series — The Story of Nastagio Degli Onesti — tells a story from Boccaccio. Mythology was used in ancient Renaissance art, but the intricate tradition of the late Medicean Florence, which simultaneously incorporated the romantic feelings of court love and classical personalities and their extinct artistic traditions, utilized these mythological figures. Thoroughly and efficiently antiquarian.

The new language of mythology became modern, inspired in part by the Classical literature and illustrations and descriptions of lost ancient paintings and in part the Renaissance search for the complete physical fulfilment of a worthy person.

Among the great examples of this fashion novel in the world, painting is four of Bottelli’s famous books: Primavera (c. 1477–82), Pallas and the Centaur (C.1485), Venus and Mars (1485), and The Birth. of Venus (1485).

 Primavera, or Allegory of Spring, and the Birth of Venus were painted in the home of Lorenzo di Pierfrancesco de ‘Medici. Four of these panel drawings have been translated differently by modern studies.

Statistics certainly do not constitute a well-known myth but are used figuratively to illustrate various aspects of love: in Primavera, its maturity and its success in marriage; in Pallas, the subjugation of masculinity by feminism; at Venus and Mars, a celebration of the woman’s triumphant victory over man’s sexual exhaustion; and The Birth of Venus, the birth of love on earth. Primavera and The Birth of Venus contain some attractive nude and semi-nudes painted during the Renaissance.

The four layouts of the paintings, which are part of the myth — that of Primavera is the Hesperides field — are partly symbolic, pastoral, and unusual.

Botticelli’s drawings from a room in Villa Lemmi, celebrating the marriage of Lorenzo Tornabuoni and Giovanna degli Albizzi in 1486, also draw attention to ancient Mythology with their theme.

 In these sculptures, real people encounter mythological figures: Venus, visited by his Graces, presents Giovanna degli Albizzi with flowers, while Lorenzo Tornabuoni, called for a life of trade, is brought before Prudentia and the Art of Freedom.

The impact of Renaissance humanist artistic theory Leon Battista Alberti is reflected in Botticelli Classical’s borrowing and careful use of the line view.

A work that clearly illustrates Botticelli’s interest in reviving ancient antiquities is The Calumny of Apelles (c. 1495), an article commended by Alberti, who based his description on the work of the ancient Greek painter Apelles. Botticelli also found inspiration in Classical art directly.

While in Rome in 1481-82, for example, he reconstructed the Constantine Arch of that city in one of his Sistine paintings. Three statues in Primavera are taken from a Classical painting of the Three Graces, and the statue of Venus in The Birth of Venus is based on an ancient statue of Venus Pudica.

Late Works

Incipient mannerism is evident in Botticelli’s recent works of the 1480s and in works such as the magnificent Cestello Annunciation (1490) and the small Pietà (late 1490s) now in the Poldi-Pezzoli Museum.

After the 1490s, his style changed dramatically; the drawings were relatively small. The figures in them are now so thin that the artist focuses attention on their fascinating urgency of action by highlighting their gestures and expressions.

This mysterious deviation from the natural thinking of the 1480s was probably due to Botticelli’s involvement with the fiery reformer Girolamo Savonarola in the 1490s. The years from 1494 were remarkable in Florence: its Mediciary rulers fell, and the republican government was placed under the rule of Savonarola. Savonarola was a self-absorbed man who took a stand against the church’s corruption and prophesied its future revival.

According to Vasari, Botticelli was a devout follower of Savonarola, even after the assassination in 1498. The spiritual discrepancy of these years is reflected in two religious paintings, the apocalyptic Mystic Crucifixion (1497) and the Mystic Nativity (1501), which express Botticelli’s faith in the revival of the church. The Tragedy of Lucretia (c. 1499) and The Story of Virginia Romana (1499) seem to criticize Medici’s dictatorship and the celebration of republicanism.

Botticelli, according to Vasari, had a keen interest in researching and interpreting Dante’s Divine Comedy.

He made some designs to represent the first printed edition of 1481 and worked from time to time during the following years of the unfinished set of large drawings corresponding to each canto and the complete visual cues.

He was also much needed by the sculptors, embroiders, and embroideries as a designer; among his few surviving paintings is one that might be associated with these techniques.

Although Vasari describes Botticelli as poor and disabled in his later years, other evidence suggests that he and his family remained wealthy.

 He received commissions in the mid-1490s and was still paying his dues when, later, at the Saint Luke Company, the Florentine painters’ association, in 1505. perhaps he was suffering from an illness. At his death in 1510, he was buried in the Ognissanti Church.

 About 50 paintings still exist from the whole or part of his hand. A beautiful collection of his works from the Uffizi Gallery includes his many works of art.

Spanish Artist

Pablo Diego José Francisco de Paula Juan Nepomuceno Crispín Crispiniano María Remedios de la Santísima Trinidad Ruiz Picasso, Pablo Ruiz, Pablo Ruiz Picasso

Pablo Picasso, fully Pablo Diego José Francisco de Paula Juan Nepomuceno Crispín Crispiniano María Remedios de la Santísima Trinidad Ruiz Picasso, formerly called (before 1901) Pablo Ruiz or Pablo Ruiz Picasso, (born October 25, 1881, April 30, 1881 – 8, 1973, Mougins, France), Spanish painter, sculptor, painter, ceramicist, and stage designer, one of the greatest and most influential artists of the 20th century and the creator (and Georges Braque) of Cubism.

TOP QUESTIONS

• What are Some of Picasso’s Most Famous Pieces?
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• What was Picasso’s Family Like?
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The central theme of Picasso’s work is still alive and well, and the myth continues to fade — a reminder of the life of a “frustrated” Spaniard with “stinging” eyes who believed in the myth that work could keep him alive. For nearly 80 years in 91, Picasso devoted himself to the production of art that played a significant role and coincided with all modern art development in the 20th century.

Health and Work

The Early Years

Pablo Picasso was the son of José Ruiz Blasco, a professor of art, and Maria Picasso López. His extraordinary painting ingenuity began to manifest at the beginning of the 10th century when he became a student of his father in A Coruña, where the family moved in 1891.

From then on, his ability to explore what he was learning and develop new descriptive techniques allowed him to surpass his father’s skills. In A Coruña, the father passed his wishes on to his son, giving him models and supporting his first show when he was 13 years old.

The family moved to Barcelona in the fall of 1895, and Pablo enrolled in a local art school (La Llotja), where his father took his last position as professor of art. The family had hoped that their son would succeed as a painter, and by 1897 his reputation in Spain finally seemed natural; that same year, his painting Science and Charity, whose father was a model doctor, was awarded a prestigious award in Madrid at the Fine Arts Exhibition.

The Spanish capital was the next obvious step for a young artist who aimed to gain the recognition and fulfilment of family expectations. Pablo Ruiz rightly travelled to Madrid in the fall of 1897 and entered the Royal Academy of San Fernando.

But learning the ins and outs of stupidity, he spent more and more time recording his own life. In restaurants, on the streets, in brothels, and in Prado, where he found Spanish paintings. He wrote: “The Art Gallery is beautiful. Velázquez first class; from El Greco’s beautiful heads, Murillo does not satisfy me in all his photos. “

The works of those and other artists will capture Picasso’s imagination at different times during his long career. Goya, for example, was a musician whose works Picasso was copied from Prado in 1898 (portrait of bullfighter Pepe Illo and Caprichos painting, Bien tirada está, depicting Celestina [buyer] inspecting socks.).

Those same characters reappeared in his late work — Pepe Illo in a series of recorded texts (1957) and Celestina as a voyeuristic self-portrait. Especially in the series etchings and recordings known as Suite 347 (1968).

Picasso became ill in the spring of 1898 and spent most of his year in the Catalan village of Horta de Ebro with his Barcelona friend Manuel Pallarès. When Picasso returned to Barcelona in early 1899, he was a changed man: he had lost weight; he had learned to live in an open area; he spoke Catalan; and, most importantly, he had decided to drop out of his art school training and reject his family plans for his future.

He even began to show a limited selection of his mother’s surname and often signed his works P.R. Picasso; he had abandoned Ruiz entirely by the end of 1901.

In Barcelona, Picasso walked between a circle of Catalan artists and writers with their eyes fixed on Paris. Those were his friends at the Els Quatre Gats restaurant (“The Four Cats,” named after Chat Noir [“The Black Cat”] in Paris), where Picasso had his first Barcelona show in February 1900, and it was a series of themes. There are 50 images (in mixed media) on display.

In addition, there was a black, flexible “modernista” painting, Last Moments (later painted above), depicting a priest’s visit to the bedside of a terminally ill woman. a work received in the Spanish part of Exposition Universelle Paris that year.

Eager to see his work in the area and see firsthand Paris, Picasso went with his studio partner Carles Casagemas (Illustration of Carles Casagemas [1899]) to conquer, if not Paris, at least on the corner of Montmartre.

Most Famous Artists – From the Renaissance to Pop Art, here are some of the most famous artists. Unlike movies, art is not something everyone understands. So it takes a lot for an artist to expose the public mind and gain fame for being smart.

The fact is, being classified as an artist means that your work has survived for a long time, and that is justified in our selection of the most famous artists considered here — some of which can be found in the Metropolitan Museum of Art, Museum. of Modern Art, the Whitney Museum, Guggenheim, and a few other places. So, without wasting any time, here is our list of the most famous artists.

Andy Warhol

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Starting as a commercial artist, he brought the ethos of promotional art, even saying, “Making money is art.” Such attitudes undermined the existing declaration of Abstract Expressionism. Although he is best known for the captions such as Campbell’s Soup, Marilyn Monroe, and Elvis Presley, his greatest invention was invented by him.

Pablo Picasso

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Pablo Picasso is a perfect match for modern art, and it does not hurt to fit in with the commonly held image of a fugitive whose intentions are measured by the love of life. He transformed the history of the arts with fiction, including college and Cubism, which broke the strings of materialism in the arts, and set the standard for other 20th-century artists.

Vincent van Gogh

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Van Gogh is known for his mental instability, but his art is among the most famous artists. Van Gogh’s method of painting with dense brushes made of bright colours illuminated straight from the tube can inspire future generations of artists.

Leonardo da Vinci

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The early Renaissance man, Leonardo, is known as an artist, not only for works of art such as the Mona Lisa, the Last Supper and the Princess with Ermine but also for his technical designs (planes, tanks, cars) that lasted for five centuries. in the future.

Michelangelo

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Michelangelo was a triple threat: Artist (Sistine Ceiling), sculptor (David and Pietà) and architect (St. Peter’s Basilica in Rome). Make that a four-fold warning as he writes poems. Apart from the Sistine Ceiling mentioned above, St. Peter’s Basilica and Pietà were the tomb of Pope Julian II and the design of the Laurentian Library in the Church of San Lorenzo.

Henri Matisse

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No artist is as close to the pleasing colour as Henri Matisse. His work was about twisted curves based on the ideas of symbolic art, and he was always focused on the deceptive satisfaction of colour and tone.

Jackson Pollock

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Overwhelmed by addiction, scepticism, and discomfort as a regular artist, Pollock reversed his shortcomings in a short but tense moment between 1947 and 1950 when he made drip ideas that covered his fame. Avoiding the easel to put his drawings on the floor, he applied house paint from the tin, tossing and dropping small pigment skeins leaving a solid record of his movements.

Edvard Munch

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I yell you yell, we all cry for Munch’s The Scream, the Mona Lisa of anxiety. In 2012, a pastel variation of Edvard Munch’s application for modern concern received a staggering $ 120 million auction at the auction. Musical’s work was more than just one drawing.

Claude Monet

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Perhaps the most famous artist among the Impressionists, Monet conquered various light influences in the panorama with vivid colour charts produced as fast-paced beats. In addition, his many ideas for haystacks and other subjects awaited the use of serial comparisons in Pop Art and Minimalism.

Rene Magritte

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The name René Magritte is well-known to art lovers and atheists, and for a good reason: He completely changed our expectations of what is real and what is not. When someone describes something “surreal,” there is a good chance that a picture of Magritte will enter their head.

Salvador Dali

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Dalí was a successful Warhol before Warhol. Like Andy, Dalí loved celebrities almost as an addition to his career. With its melting clocks and terrifying nature, Dalí’s paintings reflected Surrealism, and he developed an equally unusual look, wearing a long moustache with a cat-like beard. Formerly a good producer, Dalí once said, “I’m not strange. I’m just not good enough. ”

Edward Hopper

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Hopper’s intricate paintings reflect the empty context of the American experience — the separation and loneliness that represents the new side of our religious devotion to individual choice and the pursuit of happiness that often eludes us.

Frida Kahlo

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The Mexican artist and icon of a woman was a painter, using the medium to expose her weaknesses while building her personality to reflect Mexican cultural heritage. His most famous works are the portraits he portrayed as a stronghold of personal and physical suffering — pains resulting from a life of misery, including polio, plaguing a significant catastrophe at an early age. Injury at a young age and enduring a tumultuous marriage with fellow artist Diego Rivera.

Yayoi Kusama

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Kusama is one of the most famous artists working today. His fame stems from “Infinity Rooms”, which made a mirror that seemed unstoppable to Instagram users, but his career goes back sixty years.

From an early age, the Japanese artist began to suffer from abstract ideas such as flashlights or auras, as well as dots and dots that spoke to him. This experience has inspired his work, including the rooms mentioned above and the paintings, sculptures and inserts using vivid patterns, phantasmagorical polka dots and more.

American Artist

Andy Warhol, real name Andrew Warhola, (born August 6, 1928, Pittsburgh, Pennsylvania, US – died February 22, 1987, New York, New York), American singer and filmmaker, founder and a leading supporter of the Pop art movement of. By the 1960s, their mass-produced artefacts removed what was thought to be a ban on US commercial culture. As a self-aware person, he expressed the view of an artist as an impersonal, or impersonal, and successful celebrity, businessman, and social activist.

An image of a Vulcan salute hand gesture loved by the character Mr Spock in the first Star Trek TV series often accompanied by the words lives long and prosperous.

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The son of a Ruthenian (Rusyn) immigrant from what is now eastern Slovakia, Warhol graduated in 1949 from the Carnegie Institute of Technology (now Carnegie Mellon University), Pittsburgh, with a degree in graphic design. He then moved to New York City, where he worked as a commercial photographer for about ten years.

Warhol began painting in the late 1950s and suddenly became famous in 1962. He exhibited paintings of Campbell’s soup cans, bottles of Coca-Cola, and wooden models of Brillo soap paper boxes. In 1963 he mass-produced these deliberately banned consumer goods using silkscreen images and then began to print an endless variety of celebrity portraits in vivid colours.

The silkscreen style was a perfect fit for Warhol. The duplicate image was reduced to an unmistakable and unmistakable cultural icon that presumably reflected the vanity of American material culture and the artist’s lack of emotional involvement with the work of his art. Warhol’s work has put him at the forefront of the emerging Pop art movement in America.

Andy Warhol: Drawings of Campbell’s Soup Cans

Campbell’s Soup Cans, polymer paint on canvas by Andy Warhol, 1962; five selections are displayed in Museumsquartier, Vienna.

As the 1960s progressed, Warhol devoted much of his energy to filmmaking. Often regarded as underground films, her animated films such as The Chelsea Girls (1966), Eat (1963), My Hustler (1965), and Blue Movie (1969) are known for their lies, senseless boredom, and excessive length (up to 25 hours). Other films include Poor Little Rich Girl (1965) and Lupe (1966), starring Edie Sedgwick.

In 1968 Warhol was shot and killed by Valerie Solanas, one of a group of underground film stars and rock stars, various hangers, and the public interest who often visited his studio, known as Factory. (The scene is set in the 1996 film I Shot Andy Warhol.)

By this time, Warhol was a well-known actor in fashion and avant-garde and was an influential celebrity himself.

Throughout the 1970s until his death, he continued to produce prints depicting political and Hollywood celebrities and was involved in numerous advertising and other commercial works of art.

His philosophy of Andy Warhol (1975) was followed by the Portraits of the Seventies and Andy Warhol’s Exposures (both 1979). Warhol’s work is on display at the Andy Warhol Museum in Pittsburgh. In his will, the artist decreed that all his property should be used as a basis for “the development of the visual arts.” The Andy Warhol Foundation for the Visual Arts was established in 1987.