Reynolds Beal | Great Artist | Art | Famous

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Reynolds Beal (October 11, 1866 – December 18, 1951) was an American Impressionist and Modernist artist.[1]

The elder brother of painter Gifford Beal, Reynolds was born in New York City. He and his brother Gifford spent their summers at Wilellyn in Newburgh, New York, on the Hudson River, and together they would later design the gardens at Wilellyn. His father was William Reynolds Beal, whose brother Thaddeus owned Echo Lawn, not far away. Beal was a man of independent means, and was thus able to devote his life to his art without having always to appeal to the tastes of his patrons or to contemporary trends.

Beal showed artistic ability from an early age. He first studied at Cornell University (naval architecture), where he was a member of the Phi Kappa Psi Fraternity and the Irving Literary Society. Beal painted and sketched in and around Cayuga Lake. His home haunts of the East River were the first subjects of his work; in Sibley Hall’s drafting bays he learned further technique as a budding naval architect. Although the “Sibley time” constitutes his first artistic experience, it was not until the years following graduation that Beal became serious about a painting career.

Beal spent 1901 at sea, and worked up his sketchbook entitled Cruising Aboard U.S.S. School Ship St. Mary's (1901), he kept scrapbook pages of marine etchings and photographs, old Christmas cards, personal photographs, exhibition catalogs, and clippings.

From 1900 to 1907, he painted almost exclusively at the artist's community in Noank, Connecticut with Henry Ward Ranger. After 1912, Beal focused more on the Hudson Valley, where he painted the colorful and whimsical scenes of the traveling circuses that came through the region. His most prolific artistic period falls between the years 1910-1920.

Beal painted the beaches in Provincetown, Key West, Rockport, Atlantic City and Wellfleet, circus scenes and carnivals. He used a variety of styles including Impressionism and Tonalism. As he got older, his work became more complex and vibrant. In addition to oils, he was admired as a watercolorist, and he and Gifford made Rockport, Massachusetts their home. At one time, he resided in Gloucester, Massachusetts, as well. His studio overlooked Rockport's Inner Harbor, from where he drew and etched many harbor scenes.

Beal traveled widely. In November 1944, Reynolds and Gifford had a large joint exhibition at the Fitchburg Art Center (now Museum) in Fitchburg, MA, which included eighty-three oils, watercolors, and etchings that had been executed all over the world with subjects including Singapore, Trinidad, Samoa, China, Nassau, Egypt, Haiti, Cape Ann, Atlantic City, and Provincetown.

Beal was active in the art community. By 1934, he was a participant in the Salmagundi Club, Lotus Club, Century Club, National Academy of Design and the American Water Color Society. He was also a member of the Society of American Engravers and the National Arts Council[disambiguation needed]. His progressive tenets marked him as a "modernist", and he helped found the Society of Independent Artists and the New Society of Artists, which consisted of fifty of the most important painters of the day, including George Bellows, Childe Hassam, John Sloan, William Glackens and Maurice Prendergast.

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Charles W. Bartlett | Great Artist | Art | Famous

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Charles William Bartlett (1 June 1860 – 16 April 1940) was an English painter and printmaker who settled in Hawaii.

Bartlett studied metallurgy and worked in that field for several years. At age 23, he enrolled in the Royal Academy in London, where he studied painting and etching. After three years of study in London, he entered the private studio school Académie Julian in Paris, where he studied under Jules Joseph Lefebvre (1836–1911) and Gustave Boulanger (1824–1888).
In 1889, he returned to England and married Emily Tate, but shortly thereafter, his wife and infant son died in childbirth. Bartlett then traveled to Europe, spending several productive years in the Netherlands, Brittany and Venice with his friend and fellow artist Frank Brangwyn (1867–1956). Brangwyn is believed to have introduced Bartlett to Japanese prints. Bartlett produced some of his most important early works on the Continent, especially studies of peasants painted in broad areas of color. He was invited to join the Société Nationale des Beaux-Arts in France in 1897. In 1898, he returned to England and married Catherine "Kate" Main. Bartlett returned to the Continent with his second wife, and in 1908, he helped found the Société de la Peinture a l'Eau in Paris. Several Continental museums acquired his paintings at the Paris exhibitions of the Société de la Peinture a l'Eau.

Bartlett made several trips to Brittany and the Netherlands with the Dutch painter Nico Wilhelm Jungmann (1872–1935), which provided the former with material for future paintings of peasants, whose dignity derived from the simple placement of shapes.

In 1913, with financial backing from his wife's well-to-do family, the Bartletts traveled to the undivided Pre-Partition British India, Ceylon, Indonesia, China, and Japan. He arrived in Japan in 1915, where he met woodblock print publisher Watanabe Shōzaburō (1885–1962), who was a major force in early 20th-century Japanese art (shin-hanga). In 1916 Watanabe published 21 woodblocks from Bartlett’s designs, including six prints of Japanese landscapes. In 1917, Charles Bartlett and his second wife left Japan for England. However, they stopped off in Hawaii, where they remained—never returning to England. He did visit Japan in 1919, where he created sixteen shin-hanga prints for Watanabe Shōzaburō.

Anna Rice Cooke (1853–1934), who founded the Honolulu Museum of Art, became Bartlett’s advocate and patron. In 1928, Bartlett helped to found the Honolulu Printmakers along with local artists Alexander Samuel MacLeod, John Melville Kelly, and Huc-Mazelet Luquiens. Charles Bartlett died in Hawaii at the age of 79 on 16 April 1940.


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Richmond Barthe | Great Artist | Art | Famous

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James Richmond Barthe(January 28, 1901 – March 5, 1989) was an African-American sculptor known for his many public works, including the Toussaint L’Ouverture Monument in Port-au-Prince, Haiti, and a sculpture of Rose McClendon for Frank Lloyd Wright’s Fallingwater House.

Barthe once said: “...all my life I have been interested in trying to capture the spiritual quality I see and feel in people, and I feel that the human figure as God made it, is the best means of expressing this spirit in man.”

Richmond Barthé was born in Bay St. Louis, Mississippi (in January 1901). His father died at 22, when Richmond was only one month old, leaving his mother to raise him alone. Barthé spent his teen years in New Orleans, Louisiana.

His fourth-grade teacher and his parish priest influenced young Richmond’s aesthetic development, and he showed great promise as an artist at a young age, but as a Colored American in the South, he was barred from enrolling in any of the art schools in New Orleans, Louisiana, near his home. When he was twelve, his work was shown at the county fair in Mississippi, and he continued to develop remarkably as an artist.

At fourteen, Barthé left school to take a job as houseboy and handyman, but he still spent his free time drawing. At eighteen, after Barthé had moved to New Orleans, his parish priest in New Orleans and a writer for the New Orleans Times Picayune recognized his ability. Richmond donated a portrait he made for a church fund raiser. The priest and the writer, along with his employer determined to find an art school where Barthé could study and expand his talent.

Lyle Saxon of the Times Picayune newspaper, fighting against current racist school segregation, tried unsuccessfully to get Barthé registered in art school in New Orleans. In 1924, with the aid of a Catholic priest, the Reverend Harry Kane, S.S.I, and with less than a high school education and no formal training in art, Barthé was admitted to the Art Institute of Chicago. During the next four years Barthé followed a curriculum structured for majors in painting. During his four years of study he worked as a busboy at a small café. His work caught the attention of Dr. Charles Maceo Thompson, a patron of the arts and supporter of many talented young black artists. Barthé was a flattering portrait painter, and Dr. Thompson helped him to secure many lucrative commissions from the city’s affluent black citizens.

During his senior year he was introduced to sculpture by his anatomy teacher. He began modeling in clay to gain a better understanding of the third dimension in his painting. This transition proved to be, according to him, a turning point in his career. He exhibited two busts in the 1927 Negro in Art Week Exhibition and in the April 1928 annual exhibition of the Chicago Art League. He received much critical praise and numerous commissions following this.

Barthe's Haitian works came in a time after his 1947 move to Ocho Rios, Jamaica, and were among his largest and most famous works. The huge equestrian bronze of Dessalines was one of four heroic sculptures commissioned in 1948 by Haitian political leaders to mark independence celebrations. The Dessalines monument was part of a larger 1954 restoration of the Champs-du-Mars park in Port-au-Prince, Barthe's 40-foot-high L'Overture statue and stone monument was positioned nearer the National Palace, and was unveiled in 1950 with two other commissioned heroic sculptures (in the capital and in the north of the county) by Cuban sculptor Blanco Ramos. At the time, one African-American newspaper called the collection "the Greatest Negro Monuments on earth."  L'Overture was in fact a subject Barthe returned to several times, having created a bust (1926) and painted portrait (1929) of the figure early in his career.

Today Barthé's pieces are in the collections of the Whitney Museum of American Art, the Metropolitan Museum of Art, the Pennsylvania Museum of Art, and the Virginia Museum of Fine Arts, among others.

Richmond Barthé received many honors during his career, including the Rosenwald Fellowship and the Guggenheim Fellowship. In 1945, he was elected to the American Academy of Arts and Letters. He also received awards for interracial justice and honorary degrees from Xavier and St. Francis Universities. He was the recipient of the Audubon Artists Gold Medal in 1950.

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Vincenzo Cabianca | Great Artist | Art | Famous

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He was born in Verona. He began his artistic training at the Verona Academy, and then studied at the Venice Academy from 1845–47. During the 1850s Cabianca became acquainted with the artists, including Adriano Cecioni, Cristiano Banti, and Telemaco Signorini, who frequented the Caffè Michelangiolo in Florence, who would be known as the Macchiaioli.

He became a friend of Telemaco Signorini, and travelled with Signorini and Banti to Paris, his friend's influence led Cabianca to turn away from genre paintings towards a bolder realism, beginning in 1858. De Gubernatis terms the Macchiaioli enemies of all conventionalism and accurate researchers of effects, and describes Cabianca as principally interested in the effects of sunlight. Garollo in his Dizionario Biografico describes Cabianca as a painter of the "effects of the Sun".

Like the other Macchiaioli, he painted landscapes en plein air, but he was more reluctant than his friends were to abandon historical and literary subjects.

Among his works are La Mandriana and il Porcile al sole (1860). Returning from travels to Tuscany and Paris in 1864, he domiciled in Parma from 1864-1868, then moved to Rome. He also painted in watercolors, including La neve a Venice, Il fait sa cour, and Sulla marina di Viareggio.

Among his other works are Il bagno fra gli scogli; Sant'Angelo all' Isola di Giudecca; Reminiscenze del mare; Gondola bruna; La neve in Ciociaria; Le mura del convento; and Sotto il portico dei barattieri a Venice. At Naples in 1877, he exhibited Piccola via presso Perugia; La neve; Una casa ad Anacapri; and Reminiscenze d'Amalfi. At Rome in 1883 he displayed Rocca di Papa; Il caligo a Venice; Sul far del giorno; La pace del Chiostro; and Una sera sulla laguna.

Many of his paintings depict nuns; a well-known example is Le monachine (The nuns; 1861–62, Turin exhibition). The works of Cabianca's later years show the influence of the Symbolists and the Pre-Raphaelites. He died in Rome on March 21, 1902.

Collections holding works by Vincenzo Cabianca include the Galleria Nazionale d'Arte Moderna, Rome, and the Brooklyn Museum.

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Vincenzo Cabianca (June 21, 1827 – March 21, 1902) was an Italian painter of the Macchiaioli group.

Marie Bashkirtseff | Great Artist | Art | Famous

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Born Maria Konstantinovna Bashkirtseva in Gavrontsi near Poltava, to a wealthy noble family, she grew up abroad, traveling with her mother across most of Europe. Educated privately, she studied painting in France at the Académie Julian, one of the few establishments that accepted female students, along with Anna Bilińska-Bohdanowiczowa. The Académie attracted young women from all over Europe and the United States. Another fellow student was Louise Breslau, whom Bashkirtseff viewed as her only rival. Bashkirtseff would go on to produce a remarkable body of work in her short lifetime; her best-known works are the portrait of Paris slum children titled The Meeting (1884; Musée d'Orsay, Paris) and In the Studio, (shown here) a portrait of her fellow artists at work. Unfortunately, a large number of Bashkirtseff's works were destroyed by the Nazis during World War II.

From the age of 13, Bashkirtseff kept a journal, and it is for this that she is most famous. Her personal account of the struggles of women artists is documented in her published journals, which are a revealing story of the bourgeoisie. Titled I Am the Most Interesting Book of All, her popular diary is still in print today. The diary was cited by an American contemporary, Mary MacLane, whose own shockingly confessional diary drew inspiration from Bashkirtseff's. Her letters, consisting of her correspondence with the writer Guy de Maupassant, were published in 1891.

As a painter, Bashkirtseff took her cue from Jules Bastien-Lepage's admiration for the true forms of reality, an inspiration found in nature.

    "I say nothing of the fields because Bastien-Lepage reigns over them as a sovereign; but the streets, however, have not yet had their... Bastien".
She formed a friendship with Bastien-Lepage; both artists succumbed to chronic illness prematurely in the same year, 1884.

Dying of tuberculosis at the age of 25, Bashkirtseff lived just long enough to become an intellectual powerhouse in Paris in the 1880s. A feminist, in 1881, using the nom de plume "Pauline Orrel," she wrote several articles for Hubertine Auclert's feminist newspaper, La Citoyenne. One of her famous quotes is: Let us love dogs, let us love only dogs! Men and cats are unworthy creatures.

She died in Paris, France and she is buried in Cimetière de Passy, Paris. Her monument is a full-sized artist studio that has been declared a historic monument by the government of France.
Marie Bashkirtseff (born Maria Konstantinovna Bashkirtseva; Russian was a Ukrainian diarist, painter and sculptor.

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Georg Baselitz | Great Artist | Art | Famous

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Georg Baselitz (born 23 January 1938) is a German painter. He studied in East Germany, before moving to what was then West Germany. Baselitz's style is interpreted by the Northern American critics[clarification needed] as Neo-Expressionist, but from a European perspective, it is more seen as postmodern.[citation needed]

His career was boosted in the 1960s after police took action against one of his paintings, (Die große Nacht im Eimer), because of its provocative, offending sexual nature.

He is currently a professor at the Berlin University of the Arts.

Baselitz was born 23 January 1938, as Hans-Georg Kern in Deutschbaselitz (now a part of Kamenz, Saxony), in what was later to be East Germany. His father was an elementary-school teacher and the family lived in the local schoolhouse. Baselitz first encountered art in albums of nineteenth-century pencil drawings in the school library. He also assisted nature photographer Helmut Drechsler on occasional ornithological shoots.

In his early life, his family moved to the county town of Kamenz. Baselitz attended the local school, in the assembly hall of which hangs a reproduction of the 1859 painting Wermsdorfer Wald by Louis-Ferdinand von Rayski, an artist whose grasp of realism was a formative influence.[1] He read the writings of Jakob Böhme. At the ages of 14 and 15, he painted portraits, religious subjects, still lifes and landscapes, some in a futuristic style. In 1955, he applied to study at the Kunstakademie in Dresden but was rejected. In 1956, he passed the entrance exam to study forestry at the Forstschule in Taranth and successfully applied to study at the Hochschule für bildende und angewandte Kunst in East Berlin. He studied painting under professors Walter Womacka and Herbert Behrens-Hangler, and befriended Peter Graf and Ralf Winkler (later known as A. R. Penck). After two semesters, he was expelled for "sociopolitical immaturity." The next year he successfully applied for a place at West Berlin's Hochschule der Künste and continued his studies in Professor Hann Trier's class, a creative environment largely dominated by the gestural abstraction of Tachism and Art Informel, affecting a certain orientation towards Paris amongst both staff and students. He immersed himself in the theories of Ernst Wilhelm Nay, Wassily Kandinsky and Kasimir Malevich. During this time he became friends with Eugen Schönebeck and Benjamin Katz. Andreas Franzke gives his primary artistic influences at this time as Jackson Pollock and Philip Guston. Conversely, he argues that Baselitz found the work of Barnett Newman inaccessible, as well as that of Mark Rothko.
2010-2013

From 21 November 2009, to 14 March 2010, the Museum Frieder Burda and Baden-Baden’s Staatliche Kunsthalle exhibited a comprehensive survey of the artist, featuring approximately 140 works. “Baselitz. A Retrospective” was also presented at the two neighbouring museums, with the Museum Frieder Burda displaying “50 years of painting”, the Staatliche Kunsthalle “30 years of sculpture”.

In a 2013 interview, Baselitz was quoted as saying, "women don’t paint very well. It’s a fact." Citing the comparative lack of commercial success of work by women artists in the most expensive markets as proof, he stated, "as always, the market is right. Women simply don't pass the test."

Baselitz's statements elicited rebuttals from art historians and critics, including Sarah Thornton, author of Seven Days in the Art World, who countered, "[t]he market gets it wrong all the time. To see the market as a mark of quality is going down a delusional path. I’m shocked Baselitz does. His work doesn't go for so much."

The record for a painting by Baselitz is £3.2 million, while the record for a painting by Yayoi Kusama, a female artist, is £3.8 million.
Style

In the 1970s, Baselitz was part of a group of Neo-Expressionist German artists, occasionally identified as “Neue Wilden,” focusing on deformation, the power of subject and the vibrancy of the colors. He became famous for his upside-down images. He is seen as a revolutionary painter as he draws the viewer’s attention to his works by making them think and sparking their interest. The subjects of the paintings don’t seem to be as significant as the work’s visual insight. Throughout his career, Baselitz has varied his style, ranging from layering substances to his style, since the 1990s, which focuses more on lucidity and smooth changes.

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Fra Bartolomeo | Great Artist | Art | Famous

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He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Porta ("Gate") San Pier Gattolini.

Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. He was one of the greatest painters of his time. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli. In the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a direct visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence. The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on July 26, 1500. The following year he entered the convent of San Marco.
Madonna in Glory with Saints, Besançon Cathedral

He renounced painting for several years, not resuming until 1504 when he became the head of the monastery workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Bianco's family chapel in the Badia Fiorentina, finished in 1507. Soon thereafter, Raphael visited Florence and befriended the friar. Bartolomeo learned perspective from the younger artist, while Raphael added skills in coloring and handling of drapery, which was noticeable in the works he produced after their meeting. With Raphael, he remained on the friendliest terms, and when he departed from Rome, left in his hands two unfinished pictures which Raphael completed.

At the beginning of 1508 Bartolomeo moved to Venice to paint a Holy Father, St. Mary Magdalene and St. Catherine of Siena for the Dominicans of San Pietro Martire in Murano, influenced somewhat by Venetian colorism. As the Dominicans did not pay the work, he took it back to Lucca, where it can be seen now. Also in Lucca, in the October 1509, he painted by Albertinelli an altarpiece with Madonna and Child with Saints for the local cathedral. On November 26, 1510 Pier Soderini commissioned him an altarpiece for the Sala del Consiglio of Florence, now in the Museum of San Marco. Two years later he finished another altarpiece for the cathedral of Besançon.
In 1513 he went to Rome, where he painted a Peter and Paul, now in the Pinacoteca Vaticana, while from the following years are the St. Mark Evangelist of Palazzo Pitti in Florence and the frescoes in the Dominican convent of Pian di Mugnone. After a promised Feast of Venus for Duke Alfonso I d'Este of Ferrara, of which only drawings remain, his last work is fresco of Noli me tangere also in Pian di Mugnone.

He died in Florence in 1517.
Fra Bartolomeo or Fra Bartolommeo (di Pagholo) OP (March 28, 1472 – October 6, 1517), also known as Baccio della Porta, was an Italian Renaissance painter of religious subjects.

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Federico Barocci | Great Artist | Art | Famous

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Federico Barocci (c. 1526 in Urbino – 1612 in Urbino) was an Italian Renaissance painter and printmaker. His original name was Federico Fiori, and he was nicknamed Il Baroccio, which still in northwestern Italian dialects means a two wheel cart drawn by oxen. His work was highly esteemed and influential, and foreshadows the Baroque of Rubens.

He was born at Urbino, Duchy of Urbino, and received his earliest apprenticeship with his father, Ambrogio Barocci, a sculptor of some local eminence. He was then apprenticed with the painter Battista Franco in Urbino. He accompanied his uncle, Bartolomeo Genga to Pesaro, then in 1548 to Rome, where he was worked in the pre-eminent studio of the day, that of the Mannerist painters, Taddeo and Federico Zuccari.

After passing four years at Rome, he returned to his native city, where his first work of art was a St. Margaret executed for the Confraternity of the Holy Sacrament. He was invited back to Rome by Pope Pius IV to assist in the decoration of the Vatican Belvedere Palace at Rome, where he painted the Virgin Mary and infant, with several Saints and a ceiling in fresco, representing the Annunciation.

During this second soujourn, while completing the decorations for the Vatican, Barocci fell ill with intestinal complaints. He suspected that a salad which he had eaten had been poisoned by jealous rivals. Fearing his illness was terminal, he left Rome in 1563; four years later he was said to experience a partial remission after prayers to the Virgin. Barocci henceforth often complained of frail health, though he remained productive for nearly four decades more. While he is described by contemporaries as personally somewhat morose and hypochondriacal, his paintings are lively and brilliant. Although he continued to have major altarpiece commissions from afar, he never returned to Rome, and was mainly patronized in his native city by Francesco Maria II della Rovere, duke of Urbino. The Ducal Palace can be seen in the background of his paintings, rendered in a forced perspective that seems a holdover from Mannerism.

While Barocci was removed from Rome, the fulcrum of artistic fame and influence, he continued to innovate in his style. At some point he may have seen colored chalk/pastel drawings by Correggio, but Barocci's remarkable pastel studies are the earliest examples of the technique to survive. In pastels and in oil sketches (another technique he pioneered) Barocci's soft, opalescent renderings evoke the ethereal. Such studies were part of a complex process Barocci used to complete his altarpieces. An organized series of steps leading up to the final product ensured its speed and success in execution. Barocci did innumerable sketches: gestural, compositional, figural studies (using models), lighting studies (using clay models), perspective studies, color studies, nature studies, etc. Today, over 2,000 drawings by him are extant. Every detail of his subsequent cartoons for canvases was worked out in this way. A good example is his famed Madonna del Popolo (Uffizi). It is a vortex of color and vitality, made possible by the great variety of people, poses, perspectives, natural details, colors, lighting and atmospheric effects. There are many surviving drawings for the Madonna del Popolo, from initial sketches to color studies of heads, to the final full size cartoon. Despite this painstaking process, Barocci's genius kept the brushstrokes passionate and liberated, and a spiritual light seems to flicker as a jewel across faces, hands, drapery, and sky

Barocci's embrace of the Counter Reformation would shape his long and fruitful career. By 1566, he joined a lay order of Capuchins, an offshoot of Franciscans. He may have been influenced by Saint Philip Neri, whose Oratorians sought to reconnect the spiritual realm with the lives of everyday people. Neri, who was somewhat ambivalent about the accumulating richness of his Santa Maria in Vallicella, commissioned two completed works from Barocci, the pre-eminent artist of these large pious altarpieces: The Visitation (1583-6) and Presentation of the Virgin (1593–94). Neri is said to have been moved to ecstasy by Barocci's accomplishment in the former painting, which shows the Virgin and Elizabeth greeting each other.

In Urbino, where he painted a Descent from the Cross for the cathedral of San Lorenzo at Perugia. He again visited Rome during the papacy of Gregory XIII when he painted two admirable pictures for the Chiesa Nuova, representing the Visitation of the Virgin Mary to Elisabeth and the Presentation in the Temple, and for the Chiesa della Minerva, a Last Supper.


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Ernie Barnes | Great Artist | Art | Famous

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Ernest “Ernie” Eugene Barnes, Jr. (July 15, 1938 – April 27, 2009) was an African-American painter, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.

Ernest Barnes, Jr. was born during the Jim Crow era in “the bottom” community of Durham, North Carolina. His father, Ernest E. Barnes, Sr. (1900–1966) worked as a shipping clerk for Liggett Myers Tobacco Company. His mother, Fannie Mae Geer (1905–2004) oversaw the household staff for prominent Durham attorney and Board of Education member Frank L. Fuller, Jr.

On days when Fannie allowed “June” (Barnes’ nickname to his family and childhood friends) to accompany her to work, Barnes had the opportunity to peruse the art books and listen to the classical music in Fuller’s study. The young Ernest was intrigued and captivated by the works of master artists. By the time Barnes entered the first grade, he was familiar with the works of such masters as Toulouse-Lautrec, Delacroix, Rubens, and Michelangelo. When he entered junior high, he could appreciate, as well as decode, many of the cherished masterpieces within the walls of mainstream museums – although it would be a half dozen more years before he was allowed entrance because of his race.

A self-described chubby and unathletic child, Barnes was taunted and bullied by classmates. He continually sought refuge in his sketchbooks, hiding in the less-traveled parts of campus away from the other students. One day in a quiet area, Ernest was found drawing in a notebook by the masonry teacher, Tommy Tucker, who was also the weightlifting coach and a former athlete. Tucker was intrigued with Barnes' drawings so he asked the aspiring artist about his grades and goals. Tucker shared his own experience of how bodybuilding improved his strength and outlook on life. That one encounter would begin Barnes' discipline and dedication that would permeate his life. In his senior year at Hillside High School, Barnes became the captain of the football team and state champion in the shot put and discus throw.

Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. “He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences.”

All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. “(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there’s a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like.”

Barnes’ first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones' home.

Critics have defined Barnes’ work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement - because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.

Numerous artists have been influenced by Barnes’ art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.


n homage to his father, Barnes would frame his paintings in distressed wood. In his autobiography, Barnes wrote of his father “with so little education, had worked so hard for us. His legacy to me was his effort and that was plenty. He knew absolutely nothing about art.” A few weeks before Barnes' first solo exhibition, and as his father lay in the hospital after suffering a stroke, Barnes was at his parents' Durham home and noticed the unkept condition of the usually well-maintained backyard and "once-white fence." Barnes wrote, "One day, I placed a painting against the fence and stood away and had a look. I was startled at the marriage between the old wood fence and the painting. It was perfect. In tribute... Daddy’s fence would hug all my paintings in a prestigious New York gallery. That would have made him smile.”

Barnes created the painting Sugar Shack in the early 1970s. It gained international exposure when it was used on the Good Times television series and on a 1976 Marvin Gaye album.
Marvin-gaye-i-want-you.jpg

According to Barnes, he created the original version of Sugar Shack after reflecting upon his childhood, during which he was not "able to go to a dance." In a 2008 interview, Barnes said, "Sugar Shack is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re-created in the person viewing it. To show that African-Americans utilize rhythm as a way of resolving physical tension.”The Sugar Shack has been known to art critics for embodying the style of art composition known as "Black Romantic," which, according to Natalie Hopkinson of The Washington Post, is the "visual-art equivalent of the Chitlin' circuit."

On the original Sugar Shack, Barnes included his hometown Durham, North Carolina radio station WSRC on a banner. He incorrectly listed the frequency at 620. It was actually 1410. Barnes confused what he used to hear WSRC's on-air personality Norfley Whitted saying "620 on your dial" when Whitted was at his former station WDNC in the early 1950s.

After Marvin Gaye asked him for permission to use the painting as an album cover, Barnes then augmented the painting by adding references that allude to Gaye's album, including banners hanging from the ceiling to promote the album's singles.

During the Motown 25: Yesterday, Today, Forever anniversary television special on March 25, 1983, tribute was paid to Sugar Shack with a dance interpretation of the painting.
Music album covers

Barnes’ work appears on the following album covers:

    Sugar Shack on Marvin Gaye’s 1976 I Want You
    Disco on self-titled 1978 Faith, Hope & Charity
    Donald Byrd and 125th Street, NYC on self-titled 1979 album
    Late Night DJ on Curtis Mayfield’s 1980 Something to Believe In
    The Maestro on The Crusaders' 1984 Ghetto Blaster
    Head Over Heels on The Crusaders’ 1986 The Good and Bad Times
    In Rapture on B.B. King’s 2000 Making Love is Good For You

Barnes’ final public exhibition was in October 2007 when the NFL and Time Warner sponsored A Tribute to Artist and NFL Alumni Ernie Barnes in New York City. It was hosted by Donna Brazile, Susan L. Taylor, Brig Owens and his former teammate, the Hon. Jack Kemp (who died five days after Barnes in 2009).

At the time of his death, Barnes had been working on an exhibition titled Liberating Humanity From Within which featured a majority of paintings he created in the last three years of his life. Plans will continue. The exhibition will travel throughout the country and abroad.



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James Bard | Great Artist | Art | Famous

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James Bard was a marine artist of the 19th century. He is known for his paintings of watercraft, particularly of steamboats. His works are sometimes characterized as naïve art. Although Bard died poor and almost forgotten, his works have since become valuable. Bard had a twin brother, John (1815–1856) and they collaborated on earlier works.

James Bard and John Bard were born in 1815 in New York City. Their father was Joseph Bard, who had been born in England. Their mother was Nellie Purvis Bard, who had been born in Scotland. They had at least two brothers (Joseph and George), two older sisters (Ellen and Mary) and one younger sister, Margaret. Sometime before 1843, Bard married Harriet DeGroot, who was six years older than he was. They had six children, but between 1843 and 1856 five of them died. Only their daughter Ellen survived.Harriet's brother, Albert DeGroot, later became a steamboat captain and a wealthy man, who commissioned a number of works by James Bard.

The break into works done alone by James Bard is marked by the oil paintings of the steamboats Ocean and Boston in March 1850, which are signed by James alone. The 1850s were a boom-time for ship construction in New York, and Bard received many commissions from owners of newly built vessels. Bard appears to have earned a modest living from his work, as he was listed as "artist" in various city directories, but his financial success was somewhat limited, as there is no record that Bard ever opened a bank account or owned real estate. There is some indication he may have worked as a railroad mechanic or engineer in the 1860s. In the 1880s Bard's commissions declined, although as late as 1890 he was still able to produce two commercial watercolors.

Bard may have gone to California in the late 1870s, as he painted two vessels that were assembled there from prefabricated parts manufactured in Brooklyn. There is no record of Bard having traveled to California but it has been pointed out that it would have been unlikely for him to have painted vessels he had never seen in operation.

By 1892, however, with age his ability to draw had deteriorated, and he apparently was no longer able to earn a living. In the 1890s, Bard and his wife moved to White Plains, New York, apparently to live with his daughter, Ellen, who apparently had the sole, if limited ability to support them. In late 1896, Bard's wife Harriet fell ill with pneumonia and she died on January 5, 1897. James Bard himself died on March 26, 1897. Their daughter Ellen lived until 1919. She worked as a maid. Her father's friend, Samuel Ward Stanton, helped her stay off public assistance by sending her money every month. Other than their works, James and John Bard left no papers, journals, wills, or other documents. Bard was almost forgotten by the time of his death in 1897, although he was the subject of a single obituary, probably written by his friend, the important marine artist and historian Samuel Ward Stanton.

During his life, Bard painted or made drawings of at least 3,000 vessels, including probably every steamer built at New York during his active life as an artist. Bard's works included common features intended to please patrons. Sailboats were shown underway with all sails up. Steamboats likewise were shown underway, with numerous flags flying, including a large one bearing the vessel's name. There would often be inscriptions about the ship and its owner. In one example, James and John Bard painted for their patron Cornelius Vanderbilt, then one of the wealthiest men in the United States, a portrait of the Hudson River steamboat Cornelius Vanderbilt racing the Oregon. Although Oregon won the race, the Vanderbilt is shown in the lead, and all that is visible of the Oregon is the prow and the flag on the jackstaff.

Bard went to great lengths to get the details of the vessel correctly, including personally measuring the vessel in question. Preliminary drawings exist for some vessels. It was customary at that time for marine artists to paint multiple works of a single vessel, which could be different as to the background and other details, depending on orders from patrons. Bard followed this practice, often painting the same vessel multiple times.


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Vladimir Baranov-Rossine | Great Artist | Art | Famous

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Wladimir Davidovich Baranoff-Rossine  (1888–1944) was a Russian-French painter, avant-garde artist (Cubo-Futurism), and inventor.
Wladimir Baranoff-Rossine was born in Kherson, Russian Empire.
In 1902 he studied at the School of the Society for the Furthering of the Arts in St. Petersburg. From 1903 to 1907 he attended the Imperial Academy of Arts in St. Petersburg.
In 1908 he exhibited with the group Zveno (The Link) in Kiev organized by the artist David Burliuk and his brother Wladimir Burliuk.
In 1910 he moved to Paris, where until 1914 he was a resident in the artist's colony La Ruche together with Alexander Archipenko, Sonia Delaunay-Terk, Nathan Altman and others. He exhibited regularly in Paris after 1911.

He returned to Russia in 1914. In 1916 he had a solo exhibition in Oslo. In 1918 he had exhibits with the union of artists Mir Iskusstva (World of Art) in Petrograd (St.Petersburg). In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Nathan Altman, El Lissitzky and David Shterenberg. He participated at the First State Free Art Exhibition in Petrograd in 1919.

In 1922 Baranoff-Rossine was the teacher at the Higher Artistic-Technical Workshops (VKhUTEMAS) in Moscow.

In 1924 he had the first presentation of his optophonic piano during a performance at the Bolshoi Theatre in Moscow - a synaesthetic instrument that was capable of creating sounds and coloured lights, patterns and textures simultaneously.

In 1925 he emigrated to France.

Continuously experimenting, Baranoff-Rossine applied the art of colour to military art with the technique of camouflage or the Cameleon process and this was marketed with Robert Delaunay. Baranov-Rossine is credited as an author of pointillist or dynamic military camouflage. He also invented a "photochromometer" that allowed the determination of the qualities of precious stones. In another field, he perfected a machine that made, sterlized and distributed fizzy drinks, the "Multiperco", and this received several technical awards at the time.

During the German occupation Baranoff-Rossine was deported to a German concentration camp and murdered there by the Nazi's.

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Rupert Bunny | Great Artist | Art | Famous

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Rupert Charles Wulsten Bunny (29 September 1864 – 25 May 1947) was an Australian painter, born in St Kilda, Victoria. He achieved success and critical acclaim as an expatriate in fin-de-siècle Paris. He gained an honourable mention at the Paris Salon of 1890 with his painting Tritons and a bronze medal at the Paris Exposition Universelle in 1900 with his Burial of St Catherine of Alexandria. The French state acquired 13 of his works for the Musée du Luxembourg and regional collections. He was a "sumptuous colourist and splendidly erudite painter of ideal themes, and the creator of the most ambitious Salon paintings produced by an Australian."

Bunny was the third son of a Victorian County Court judge, Brice Frederick Bunny, and Marie Hedwig Dorothea Wulsten. He travelled to England in 1884 and studied at Calderon's art school in London. After 18 months he went to Paris to study at the atelier of Jean-Paul Laurens.

Between 1893 and 1907, he was a frequent visitor to the Étaples art colony and has left some memorable paintings, among them the atmospheric Light on the Canche and Rainy Weather at Étaples, now in the Art Gallery of New South Wales. Both these date from 1902, the year he married Jeanne Heloise Morel, a former art student and model, who appeared frequently in his paintings. Bunny continued to live in France until 1911, when he returned to Australia for a visit. For a number of years afterwards he travelled back and forth between Australia and France. After his wife died in 1933, he returned permanently to Australia and settled in South Yarra, Victoria.

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Thomas Baines | Great Artist | Art | Famous

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(John) Thomas Baines (27 November 1820 – 8 May 1875) was an English artist and explorer of British colonial southern Africa and Australia.

Born in King's Lynn, Norfolk, Baines was apprenticed to a coach painter at an early age. When he was 22 he left England for South Africa aboard the "Olivia" (captained by a family friend William Roome) and worked for a while in Cape Town as a scenic and portrait artist, and as official war artist during the so-called Eighth Frontier War for the British Army.

In 1855 Baines joined Augustus Gregory's 1855–1857 Royal Geographical Society sponsored expedition across northern Australia as official artist and storekeeper. The expedition's purpose was to explore the Victoria River district in the north-west and to evaluate the entire northern area of Australia in terms of its suitability for colonial settlement. His association with the North Australian Expedition was the highpoint of his career, and he was warmly commended for his contribution to it, to the extent that Mount Baines and the Baines River were named in his honour.

In 1858 Baines accompanied David Livingstone along the Zambezi, and was one of the first white men to view Victoria Falls. In 1869 Baines led one of the first gold prospecting expeditions to Mashonaland in what later became Rhodesia.

From 1861 to 1862 Baines and James Chapman undertook an expedition to South West Africa. Chapman's Travels in the Interior of South Africa (1868) and Baines' Explorations in South-West Africa (1864), provide a rare account of different perspectives on the same trip. This was the first expedition during which extensive use was made of both photography and painting, and in addition both men kept journals in which, amongst other things, they commented on their own and each other's practice.

Baines made some of the drawings for the engravings illustrating Alfred Russel Wallace's 1869 book The Malay Archipelago.

In 1870 Baines was granted a concession to explore for gold between the Gweru and Hunyani rivers by Lobengula, leader of the Matabele nation. Thomas Baines died in Durban in 1875.

Baines is today best known for his detailed paintings and sketches which give a unique insight into colonial life in southern Africa and Australia. Many of his pictures are held by the National Library of Australia, National Archives of Zimbabwe, National Maritime Museum, Brenthurst Library and the Royal Geographical Society. There are also numerous paintings at the Castle of Good Hope in Cape Town.


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Elbridge Ayer Burbank | Great Artist | Art | Famous

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Elbridge Ayer (E. A.) Burbank (August 10, 1858 – April 21, 1949) was an American artist who sketched and painted more than 1200 portraits of Native Americans from 125 tribes. He studied art in Chicago and in his 30s traveled to Munich, Germany for additional studies with notable German artists. He is believed to be the only person to paint the war chief Geronimo from life.

Elbridge was born on August 10, 1858 in Harvard, Illinois to Anna Maria (Ayer) and Abner Jewett Burbank. After attending public schools, he started art studies at the Chicago Academy of Design, where he was influenced by Leonard Volk and graduated in 1874.

His maternal uncle Edward E. Ayer was a successful business magnate, museum philanthropist and antiquarian collector. He collected books, original manuscripts and other materials relating to the history and ethnology of Native American peoples at the time of European encounter. His collection, one of the founding donations to the Newberry Library in Chicago, contains a number of Burbank's works.

Burbank was the only artist to paint Geronimo from life.[1] He painted or sketched more than 1,200 Native Americans from 125 tribes. Over a period of several years, he spent many months at the Hubbell Trading Post, where he studied and painted Native Americans. Burbank, Oklahoma is named after him.

In 1910, the Editor of The Harvard Independent noted: “No other artist in the country has enjoyed the opportunities experienced by Mr. E. A. Burbank, now a resident of Los Angeles - the painter of Indian portraits, to meet face to face, and on their own ground, the once noted Indian chiefs America now so rapidly passing away. For the last twenty years Mr. Burbank has journeyed from camp to camp among the aborigines of the northwest and southwest, painting successively all the great warriors whose prowess has made their names famous in frontier history. It is, therefore, with considerable pride that The Graphic calls attention to a series of articles from Mr. Burbank's pen, describing his personal interviews with these once-powerful war chiefs, and illustrated by portraits from life, re-drawn in pencil especially for the Graphic, from his original studies. First in this notable galaxy was a picture and story of Red Cloud, the famous Ogallalla (sic) Sioux, recently deceased. Geronimo, the noted Apache chief who preceded Red Cloud the happy hunting grounds by a few months, followed."

Burbank arranged for two periods of extended study in Munich, Germany with notable artists. In 1886-87 he studied with Paul Navin and Frederick Fehr. He returned a couple of years later, when he studied from 1889 to 1890 with Toby Rosenthal. He also traveled to Oberammergau, Germany; Cardiff, Wales; and Fort Sill, Oklahoma.

As an adult, Burbank was diagnosed with bipolar disorder, referred to then as "manic depression". He was treated at several different facilities during his life, most notably for more than ten years at the State Mental Hospital in Napa, California.

He died April 21, 1949 in San Francisco, California after being struck and severely injured by a cable car on January 27. The accident occurred in front of the Manx Hotel (now the Villa Florence). He was first buried at Mt. Olivet Memorial Park, San Francisco, California, but his remains were reinterred at Forest View Abby in Rockford, Illinois. In 1984 relatives had his remains moved and reinterred at Mount Auburn Cemetery, Harvard, Illinois.


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Hans Burgkmair | Great Artist | Art | Famous

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Hans Burgkmair the Elder (1473–1531) was a German painter and woodcut printmaker.

Burgkmair was born in Augsburg, the son of painter Thomas Burgkmair and his son, Hans the Younger, became one too.[1] From 1488, he was a pupil of Martin Schongauer in Colmar, who died during his two years there, before Burgkmair completed the normal period of training. He may have visited Italy at this time, and certainly did so in 1507, which greatly influenced his style. From 1491, he was working in Augsburg, where he became a master and opened his own workshop in 1498.

Hollstein ascribes 834 woodcuts to him, mostly for book illustrations, with slightly over a hundred being "single-leaf", that is prints not for books. The best of them show a talent for striking compositions, and a blend, not always fully successful, of Italian Renaissance forms and underlying German style.

From about 1508, he spent much of his time working on the woodcut projects of Maximilian I until the Emperor's death in 1519. He was responsible for nearly half of the 135 prints in the Trumphs of Maximilian, which are large and full of character. He also did most of the illustrations for Weiss Kunig and much of Theurdank. He worked closely with the leading blockcutter Jost de Negker, who became in effect his publisher.
Burgkmair's 1522 colored woodcut of the Coat of arms of the Swabian League, with a flag of St. George. Two putti support a red cross in a white field; the motto: What God has joined let man not separate.

He was an important innovator of the chiaroscuro woodcut, and seems to have been the first to use a tone block, in a print of 1508. His Lovers Surprised by Death (1510) is the first chiaroscuro print to use three blocks, and also the first print that was designed to be printed only in colour, as the line block by itself would not make a satisfactory image. Other chiaroscuro prints from around this date by Baldung and Cranach had line blocks that could be and were printed by themselves.He produced one etching, Venus and Mercury (c1520), etched on a steel plate, but never tried engraving, despite his training with Schongauer.

Burgkmair was also a successful painter, mainly of religious scenes and portraits of Augsburg citizens and members of the Emperor's court. Many examples of his work are in the galleries of Munich, Vienna and elsewhere, carefully and solidly finished. His portraits suit modern taste better than his religious works.

Burgkmair died at Augsburg in 1531.


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Willem Pieterszoon Buytewech | Great Artist | Art | Famous

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Willem Pieterszoon Buytewech (1591/1592 – September 23, 1624) was a Dutch Golden Age painter, draughtsman and etcher. He is one of the early specialists in the merry company type of subject in Dutch genre painting. His contemporaries named him “Gheestige Willem” (Jolly or spirited William).

Buytewech was born and died in Rotterdam. He was the son of Pieter Jacobsz, a cobbler and candlemaker. He learned his trade in Haarlem, where he became a member of the artists' guild (Haarlem Guild of St. Luke) in 1612, together with Hercules Segers and Esaias van de Velde. Frans Hals, who was a member of this guild since 1610, had much influence on Buytenwech's work, as shown by the many drawings that the latter made after Hals's paintings. After his marriage on November 10, 1613 with Aeltje van Amerongen, of a patrician family, he returned to Rotterdam. There Hendrik Martenszoon Sorgh was one of his pupils.

Buytewech was primarily a graphic artist, mostly of landscapes and genre pieces, but occasionally also of biblical and allegorical themes. Of his paintings only eight have survived to this date, all genre pieces, most depicting merry companies.

He died at the age of only 32 or 33 of unrecorded causes. His son Willem Willemsz Buytewech (1625–1670), born after his death, would become a painter as well. It is suggested that Herman van Swanevelt could have been his pupil.




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Johann Rudolf Byss | Great Artist | Art | Famous

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Johann Rudolf Byss (1660–1738) was a Swiss painter.

He was born in Solothurn and first learned painting from his father Johann Joseph Byss, and later from Johann Heinrich Roos, whose sons he would have known well. Byss' most important works were done during his stay in Prague. He traveled to Germany, England and the Netherlands in the 1680s to study. In 1689, he became court painter to Count Hermann Jakob Cern. Later that year, Byss married Maximiliana Wagner.

Johann Rudolf Byss is credited with bringing the Netherlandish and Italian classic styles to the art sphere in Prague. These influences are clearly present in his 1691 painting 'John of God' and in the 1692 'Vestal Claudia Quinta'.

Johann Rudolf Byss obtained the citizenship of Prague in 1692. Two years later, he was inducted into the painters' guild, of which he later became master. He is known for religious works and flower still lifes, and his pupil was Johann Adalbert Angermeyer. Johann Rudolf Byss is also believed to be the teacher of the German painter Johann Michael Bretschneider (1680-1729).

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Balthus | Great Artist | Art | Famous

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Balthasar Klossowski (or Kłossowski) de Rola (February 29, 1908 – February 18, 2001), best known as Balthus, was a Polish-French modern artist.

Throughout his career, Balthus rejected the usual conventions of the art world. He insisted that his paintings should be seen and not read about, and he resisted any attempts made to build a biographical profile. A telegram sent to the Tate Gallery as it prepared for its 1968 retrospective of his works read: "NO BIOGRAPHICAL DETAILS. BEGIN: BALTHUS IS A PAINTER OF WHOM NOTHING IS KNOWN. NOW LET US LOOK AT THE PICTURES. REGARDS. B."

Born in Paris, in his formative years his art was sponsored by Rainer Maria Rilke, Maurice Denis, Pierre Bonnard and Pierre Matisse. His father, Erich Klossowski, a noted art historian who wrote a monograph on Daumier, and his Jewish mother, Elisabeth Dorothea Spiro (known as the painter Baladine Klossowska), were part of the cultural elite in Paris. Balthus's older brother, Pierre Klossowski, was a philosopher and writer influenced by theology and the works of the Marquis de Sade. Among the visitors and friends of the Klossowskis were famous writers such as André Gide and Jean Cocteau, who found some inspiration for his novel Les Enfants Terribles (1929) in his visits to the family.

In 1921 Mitsou, a book which included forty drawings by Balthus, was published. It depicted the story of a young boy and his cat, with a preface by Balthus's mentor, the Bohemian-Austrian poet Rainer Maria Rilke (1875-1926) who at the time was his mother's lover. The theme of the story foreshadowed his lifelong fascination with cats, which resurfaced with his self-portrait as The King of Cats (1935). In 1926 he visited Florence, copying frescos by Piero della Francesca, which inspired another early ambitious work by the young painter: the tempera wall paintings of the Protestant church of the Swiss village of Beatenberg (1927). From 1930 to 1932 he lived in Morocco, was drafted into the Moroccan infantry in Kenitra and Fes, worked as a secretary, and sketched his painting La Caserne (1933).

Balthus's style is primarily classical. His work shows numerous influences, including the writings of Emily Brontë, the writings and photography of Lewis Carroll, and the paintings of Masaccio, Piero della Francesca, Simone Martini, Poussin, Jean-Étienne Liotard, Joseph Reinhardt, Géricault, Ingres, Goya, Jean-Baptiste-Camille Corot, Courbet, Edgar Degas, Félix Vallotton and Paul Cézanne. Although his technique and compositions were inspired by pre-renaissance painters, there also are eerie intimations of contemporary surrealists like de Chirico. Painting the figure at a time when figurative art was largely ignored, he is widely recognised as an important 20th-century artist.

Many of his paintings show young girls in an erotic context. Balthus insisted that his work was not erotic but that it recognized the discomforting facts of children's sexuality.

Balthus's father, Erich, was born to a family supposedly belonging to the former Polish petty nobility (drobna szlachta), bearing the Rola coat of arms and living in the Prussian part of today's Poland. This (largely undocumented) family background prompted his son Balthus to add, later, "de Rola" to his family name Klossowski, which was in szlachta tradition (if he had lived in Poland, the arrangement of his last name would have been Rola-Kłossowski or Kłossowski h. Rola.) The artist was very conscious of his Polish ancestry and the Rola arms was embroidered onto many of his kimono, in the style of Japanese kamon.[citation needed]

In the catalogue of the Metropolitan Museum of Art's 1984 Balthus exhibition, Balthus' mother, Baladine Spiro, was described as the daughter of a cantor from Kovelitz in Novgorod in the Russian Empire.Balthus told his biographer Nicholas Fox Weber that this was erroneous, and that his mother came "apparently from a Protestant family in the south of France".[page needed] According to Weber, Balthus would frequently add to the story of his mother's ancestry, saying that she was also related to the Romanov, Narischkin, and lesser known Raginet families among others, though conceding Balthus never claimed his mother's side was from a straight unmixed lineage. Weber quoted Baladine's lover, the poet Rainer Maria Rilke, who stated that the Spiros were descended from one of the richest Sephardic-Spanish families. Weber wrote: "The artist neglected, however, to tell me that, in the most miserable of ironies, Fumio (Balthus's son) suffered from Tay-Sachs disease." Weber presented this as evidence that Balthus was lying about not having Jewish ancestry, given Tay-Sachs is a heavily Ashkenazic-Jewish disease. This conflicts with Rilke's report of the Spiros being Sephardic, which Weber later said was a "Rilke embellishment" and also brings up the relevance of the preponderance of Japanese infantile Tay-Sachs,[citation needed] since Balthus's wife was Japanese.


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