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Philip de Laszlo (1869-1937) was the pre-eminent portrait artist working in Britain between 1907 & 1937. He painted nearly 3000 portraits, including those of kings & queens, four American presidents & members of the European nobility. This title gives an account of both his life & his work.
This introductory guide to Philip de Laszlo's portraiture explores his reputation as one of the most important and prolific portrait artists working in Britain between 1907 and 1937."
EDITORS FOREWORD Portrait of C. G. Holme by de Gszlb There is no Royal Road to the painting of a successful portrait. Success depends upon the painters observation, his understanding and the ability to paint what he wishes. It is a personal affair. Much can be learned from those who have won for themselves the title of Master, but it is impossible to have our questions answered, first-hand, by great Masters who are no longer with us.
Philip de László, following a meteoric rise to recognition in his native Hungary, settled in Britain in 1907 and became the leading portrait-painter in the country--taking over from Sargent. Marrying into the Guiness family, he painted members of almost every royal family in Europe and very many more of its Who's Who. This book, the previous edition of which accompanied the first retrospective exhibition of de László since his death in 1937, illustrates a rich and representative selection of his work, drawn from a range of private collections, and, aided by stunning color plates, reintroduces this well-known but little studied artist to a wider public.
To mark the 150th anniversary of the birth of Philip de László / László Fülöp (1869?1937), the Hungarian National Gallery, in collaboration with The de Laszlo Archive Trust, presents a display of 16 portraits from the artist?s mature period. This is an unique opportunity to see rarely exhibited masterpieces from prestigious private collections, with one of the key loans being the portrait of Her Majesty, Queen Elizabeth, when Duchess of York.0Philip de László was a prominent figure in the history of Hungarian art, and among the world?s foremost artists of his age, but is now little-known in his native country. He was indeed recognised in Hungary in his lifetime, being awarded gold medals and a title of nobility.0At the age of thirty, de László was already one of the wealthiest Hungarian painters and lived in a marvellous studio villa that he built in the vicinity of the capital?s City Park (Városliget). Following significant commissions in Austria and Germany, he moved to Vienna in 1903 with his wife, Lucy Guinness. He lived there with his growing family until 1907, when they finally settled in London, by which time he had numerous patrons in France and England too. 0Philip de László was the last European painter of the Grand Manner who indeed recorded the history of his era ? through portraits of the great figures of his time. His oeuvre constitutes the last great chapter of classical portraiture rooted in the late Renaissance, and the Stuart period in England. With the decline of the traditional role of aristocracy after World War II, this kind of representational, iconic portraiture los00Exhibition: Hundarian National Gallery, Budapest, Hungary (27.09.2019 - 05.01.2020).
Within The Sight-Size Cast is everything you ever wanted to know about Sight-Size cast drawing and painting, impressionistic seeing, and the ways in which many of the ateliers that stem from R. H. Ives Gammell and Richard Lack teach their students. You can learn how to see through Sight-Size with Darren Rousar's book, The Sight-Size Cast.
Philip Alexius de Laszlo (1869-1937) was one of the most important portraitists of the early 20th century. Born in Hungary, he was trained in Munich and Paris and was soon receiving commissions from noble and royal families throughout Europe. Having married Lucy Guinness in 1900, in 1907 he moved from Vienna to England, where he had enormous success. Far less known are the wonderful portraits de Laszlo painted in the Netherlands over more than 30 years. By 1900 de Laszlo was renowned in the highest circles and his reputation inevitably reached the land of Rembrandt. De Laszszlo became very popular with Holland's cosmopolitan aristocratic and entrepreneurial families.Over the years, members of the Loudon and Deterding families, Cremer and Count Schimmelpenninck all sat to him. The portraits have remained in the families' private collections, and are here published for the first time.The book accompanies an exhibition of de Laszlo's Dutch portraits in the Van Loon house in the heart of Amsterdam, built in 1672, which was opened as a museum in 1973. It is a complete catalogue of de Laszlo's Dutch oeuvre as it is known today."
Marking the centenary of the birth of Laszlo Moholy-Nagy (1895–1946), this book offers a new approach to the Bauhaus artist and theorist’s multifaceted life and work—an approach that redefines the very idea of biographical writing. In Laszlo Moholy-Nagy, Louis Kaplan applies the Derridean deconstructivist model of the "signature effect" to an intellectual biography of a Constructivist artist. Inhabiting the borderline between life and work, the book demonstrates how the signature inscribed by "Moholy" operates in a double space, interweaving signified object and signifying matter, autobiography and auto-graphy. Through interpretative readings of over twenty key artistic and photographic works, Kaplan graphically illustrates Moholy’s signature effect in action. He shows how this effect plays itself out in the complex of relations between artistic originality and plagiarism, between authorial identity and anonymity, as well as in the problematic status of the work of art in the age of technical reproduction. In this way, the book reveals how Moholy’s artistic practice anticipates many of the issues of postmodernist debate and thus has particular relevance today. Consequently, Kaplan clarifies the relationship between avant-garde Constructivism and contemporary deconstruction. This new and innovative configuration of biography catalyzed by the life writing of Moholy-Nagy will be of critical interest to artists and writers, literary theorists, and art historians.
A revealing, interdisciplinary exploration of the brilliant visual quotations in the work of the celebrated grand-manner portraitist The work of portraitist John Singer Sargent (1856-1925) has come to epitomize the glamour and anxiety of his age. In this innovative study, Bruce Redford reveals the web of visual quotations and references that informed Sargent's most ambitious paintings. Throughout his career, Sargent was recognized and rewarded as a "Young Master" whose bravura portraits inspired comparison with the likes of Vel zquez, Van Dyck, and Reynolds. At the same time, his paintings responded to the stylistic experiments and cultural preoccupations of a world on the cusp of modernity. Sargent achieved this complex synthesis through a pictorial language composed of witty acts of allusion. John Singer Sargent and the Art of Allusion offers the first sustained inquiry into the painter's practice of quotation--one that created a complex visual code. Through comparative analysis among thematic groupings of portraits and analogous literary texts, Redford shows how Sargent devised and transmitted that code. The result is an enhanced awareness of Sargent's daring gamesmanship, his place in the history of portraiture, and the dynamics of allusion in both art and literature.