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Bytom Sanjacinto Challis Paul Gauguin-s Armchair -nn04- Keystoneheights general nature scenery The Brig Strenci The Threatened Swan Portrait de la mere de l artiste Flower Still-life with Crucifix and Skul Raoul La Belle Nani-Portrait of a Woman- -05- Street in Saintes-Maries -nn04- Ackley Mixed Flowers in an Earthenware Pot DUCK, Jacob Haymaker and Sleeping Girl The end of the day Santa Paula Valley The Meeting between st James Major and H Shaykh san an overwhelmed by love when h Christ on the Cross wr The Procession of the Magi gothic icon Charles james lewis A dervish begs to be admitted in the mos The Duet af Nature Morte au Faisan Harrow Hill Blacksville Bathing Float on the Seine at Asnieres - Details of Abendmahl forty-two kids -nn03- George III-s Procession to the Houses of Bourgeois Poetry Lady hamilton as nature Springtime1 Portrait of Hans Christian Andersen Broadviewpark
Eliseu Visconti:
1867-1944 Eliseu Visconti Gallery Brazilian painter and decorative artist, of Italian birth. He was taken as an infant from Italy to Rio de Janeiro. In 1884 he began studying in Rio de Janeiro at the Academia Imperial das Belas Artes and the Liceu Imperial de Artes e Of?cios under Victor Meirelles de Lima, Henrique Bernardelli (1837-1946) and Rodolfo Amoedo (1857-1941). He was active in efforts to eliminate the academy's rigid academic discipline. He went to Paris in 1892 and attended the Ecole des Beaux-Arts and the Ecole des Arts D?coratifs, where he was taught by Eug?ne-Samuel Grasset. At the 1900 Exposition Universelle in Paris, Visconti won a silver medal for the paintings Youth (1898) and Dance of the Wood Nymphs (1899; both Rio de Janeiro, Mus. N. B.A.). Following the Pre-Raphaelites, his main influences were Botticelli and other painters of the Italian Renaissance, but he was also affected by Grasset and Art Nouveau. On his return to Brazil, among the works exhibited in 1901 in Rio de Janeiro were a series of ceramic objects with Brazilian floral motifs and designs for postage stamps. His florid style began to give way to Impressionism in the stage curtain, circular ceiling panel and proscenium frieze he executed for the Rio de Janeiro Teatro Municipal (1906-7; in situ). In 1906 he became director of painting at the Escola Nacional de Belas Artes in Rio de Janeiro.








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