Qajar Pencil Box

Isidore Kauffman

Isidor Kaufmann (Hungarian: Kaufman(n) Izidor, Hebrew: איזידור קאופמן‎; March 22, 1853, Arad - 1921) was an Austro-Hungarian painter of Jewish themes. Having devoted his career to genre painting, he traveled throughout Eastern Europe in search of scenes of Jewish, often Hasidic life.

Raphael Soyer , Autoportrait

Niko Pirosmani, Fisherman

NIKO PIROSMANI

( May 1862; d 7 April 1918)

Georgian painter. He was orphaned at an early age and brought up by his father’s employer in Tbilisi. He worked first as a brakesman on the Transcaucasian Railway, then, following a brief and financially unsuccessful foray into business, he became an itinerant painter of signboards, windows and murals, working mainly for the shopkeepers in and around Tbilisi. He had no special schooling and evolved his own naive style based upon the colours, rhythms and spatial concepts of Georgian folk art.

Bektaşi Sanatı

Hacı Bektaşi Veli Müzesi / Hazreti Ali temsili resmi
Hacı Bektaşi Veli Müzesi / Hurufi hat sanatı örneği

Hacı Bektaşi Veli Müzesi / Teslim Taşları, Palenk, Mücerret Derviş Küpeleri

Hacı Bektaşi Veli Müzesi, Bektaşi saz ve müzik takımları

Harabati Baba Tekkesi dış cephe süslemeleri ( Makedonya, Tetova )

Harabati Baba Tekkesi mezar taşları ( Güneş sembolü )

Harabati Baba Tekkesi dış cephe süslemeleri ( Makedonya, Tetova )

Self Portrait by Gustave Courbet

Self Portrait of Gustave Courbet, date is 1852, Pencil on paper.

Staatliche Museen zu Berlin

Arnold Böcklin ( 1827 / 1901) war ein Schweizer Maler, Zeichner, Graphiker und Bildhauer des Symbolismus.

Franz von Lenbach ( 1836 – 1904 ) Porträt der jungen Dame

Heinrich Karl Anton Mücke ( 1806/1897) Dichl Katharina , 1830

Hans Toma ( 1839 / 1924 ) , Wachter vor dem urbesgarten , 1890

Mughal Miniature , Two Lover

Vojvodina Museum

Serbian Orthodox Church Museum

Arsenije Teodorović

Bishop Kiril Zivkovic

1799

Serbian Orthodox Church Museum, Belgrade

After the Collapse of the medieval Serbian state, followed by the enslavement of the population, a systematic concealment of the treasures began.At the time, it was impossible to render them avaible for wiewing, let alone display them.It was only after the foundation of the modern Serbian state early in the 19th century, and several decades upon its consolidation, that the idea of opening museums in general, and later on church museums, was gradually realized.In 1886, the first appeal was sent out concerning the founding of a museum for the See of the Metropolitaneate of Karlovci.Forty years later the Assembly of Bishops of the Serbian Orthodox Church enacteda decision in Sremski Karlovci to found a church museum and a partriarche Library for the entire terrority of the united Serbian Orthodox Church..The aim of this museum was to reflect the entire development of the Serbian Orthodox Church, at various times and in various places, wşthout stressinh any particular diocese, personality or epoch to the detriment of the whole.

Svetozar Dusanic/Serbian Orthodox Church Museum

Joseph Mallord William Turner Self-Portrait

Joseph Mallord William Turner

Self-portrait

c.1799 , Oil on canvas

London, Tate Britain

Turner began his studies at the Royal Academy, in 1789, and was already exhibiting in 1790.He was inspired by Thomas Girtin and John Robert Cozens, and painted his first landscape in 1796.He visited Switzerland and France in 1802.From then on, he frequently traveled around Europe, especially in France.In 1807, he was appointed as professor on perspective at the Royal Academy.In 1819 he produced watercolour illustrations for James Hakewill's Picturesque Tour of Italy and went to Italy for the first time.He visited the Lakes, Venice, Rome ( Where he het Antonie Canova ), Naples and Paestum.In January 1820 he returned with 90 full skecthbooks, sources of inspiration for is future paintings.From 1830, he was often a guest of Count Egremont at Petworth, where his paintings included lush floral compositions.

From
Neoclassicism&Romaticism / Silvestra Bietoletti

Armenian Architects of Istanbul

Historical  records tell us Armenian architects took on a prominent role in construction of palace buildings in the Ottoman Empire.The staff of Imperial Architects Office that directed such construction projects always included Armenian Architects.Young recruits to this office would be trained within a master-apprentice relationship.In other words, the Imperial Architects Office also operated as a kind of school of Architecture.

Ihlamur Kasrı / Beşiktaş-İstanbul

Nigogos Balyan

Changes in various fields based on example presented by Europe had already begun to be implemented in Ottoman Empire by the 18th century.The first examples of a new style in Architecture that would later be described as the Ottoman Baroque were also seen during this century.

Ragıp Paşa Apartmanı / Beyoğlu-İstanbul

Aram&Isaac Karakash

Still, the Ottoman state's more decisive turn towards Western norms took place in the 19th century.The Tanzimat ( Reorganization ) Edict in 1839 and Islahat ( Reform ) Edict in 1856 form the most importmant turning points in this new direction.Winds of change blowing from the west continued to influence architecture as much as any other field and the 19th century became a period of change for Ottoman architecture.Innovations in the fileds of administration, law, education and in social life led to the emergence of new building types.The Topkapı Palace, an example of traditional palace architecture, had already been adandoned in the first half of the 19th century; and ' European ' style palaces were buildt in its wake.European states were moving their embassies to the Pera/Beyoğlu neighbourhood and were commissioning new embassy buildings to their exclusively selected architects in architectural styles in vogue in their own countries.The Rum ( Greek ) and Armenian communities, benefiting form the new rights they gained with the Tanzimat and Islaha edicts, began to build the large-scale domed, bell-towered churches that were previously prohibited.Mosques buildt immediately after the proclamation of the Tanzimat Edict display a number of innovations in terms of typology and therefore also appearance.In the past, Ottoman bureaucracy was managed from the residence of the Grand Vizier, of the Kazasker ( Chief Military Judge ) and the Şeyhülislam ( Chief Religious Official ) and people would apply here; now buildings of the Grand Vizierate and Ministries were replacing these.Rüştiyes ( Secondary schools ) and idadis ( senior high schools ) had been opened in addition to the traditional madrasahs, and new types of school buildings were necessary for them.The tradional darüşşifas were now replaced by hospital buildings designed on the basis of European models.Previosuly unseen building types such as post offices and train stations began to appear.In the second half of the century, in line with changhing living conditions, in neşghbourhoods such as Galata, Pera/Beyoğlu and Tarlabaşı and later, Cihangir, Taksim, Pangaltı and Kurtuluş where non-Muslims and also Muslims who were trying to acclimatize themselves to the new life-styles; a new residential building type, the apartment block, began to appear.Business life had also changed, the older, two storey hans ( business buildings) featuring central courtyards in the business area that included the Galata, Eminönü, Sultanhamam and Mahmutpaşa neighbourhoods began to be replaced by multi-storey business hans ( official buildings )

Sadabad Camisi / Kağıthane-İstanbul

Sarkis Balyan

The changing of Istanbul's physical appearance during the era of Westernization that took place throughout the entire 19th century -and is also known as Ottoman Modernization- continued, albeit at a slower pace, in the early 10th century, until the founding of the Republic.First and foremostthe Balyans ( Balyan family ), but also other Armenian architects such as Ohannes Serveryan, Mıgırdic Charkyan, Bedros Nemtze, Mihran Azaryan, Hovsep Aznavur ( Aznavour ), Levon Gureghian, the brothers Aram and Isaac Karakaş, Kegham Kavafyan, Yervant Terzian, Andon and Garabed Tulbendciyan who in earlier periods recevied their initial training within the industry, but later also graduated from schools in European countries, and ultimately graduated from the School of Fine Arts, played a great role in this transformation.

From
Armenian Architects of Istanbul in the Era of Westernization.

Paul Emile Chabas

Derniers Rayons

Fille Au Bord De La Mer

Joyous Frolics

La Baigneuse

Le Bain

Ninfa Loira

Premier Bain

Retrato De Senhora

Pavle Paja Jovanović

Portrait of Muni

( His Wife )

Pavle "Paja" Jovanović spent a large portion of his life in Vienna, unlike his countrymen, such as Konstantin Danil, Nikola Aleksić, or Uroš Predić, who remained in Bećkerek, Modoš, Orlovat or Belgrade.Despite the fact that he had spent some time in Munich, Vienna remained the curial destination for his artistic career.He studied at the Academy of Fine Arts between 1877-1884, on a stipend from Matica Srpska, in the class of Karl Wutzinger, well known for this themes from history, and Leopold Karl Miller, the popular painter of oriental movies.Their contribution to Jovanović's thematic repertoire was certainly not small.A trip to Paris in 1876, then to Italy, enabled a better wiew into modern artistic trends as well as the skills of the old masters.The practice of that time took him on other paths as well.With Russian friend Franc Rubo he reached all the way to the Caucasus, then to Middle East, Montenegro, Hercegovina, and Albania, which is partially recounted in the Memoirs of Painter Pera Radovan.To see national dress personally, those were the imperatives for him.

Three Centuries of Serbian Painting - Miodrag Jovanovic

Katarina Ivanović (Vesprem,Hungary,1811-1882)

Katarina Ivanović

One hundred years separated two major abd decisive points in the development of modern Serbian painting.The first one marked by Hristofor Zefarovic in Bodani in the midle age of 18th century, the other by Katarina Ivanovic in the Middle of the 19th century with her decision to continue artistic studies at the Academy in Munich.The road to Bavarian arts school went via the lessons at the Best painter Jozef Pesky.As a 25 years old student she was christened in the women's department at the Academy of Figurative Art in Vienna.This was made possible by Countess Csaki, who directed her to significant names in elite Viennese art circles.Among other things, she landed in the class of the leading representative of the Austrian biedermeier, Ferdinand George Valdmiller, as the first Serb woman who ruled paintbrush deftly.Born in Vesprem near Stoni Beograd ( Sekesfeharvar ) as one of six children in a Serbian family, she didn't speak her native language, but this was not an obstacle in her associating with the Serbian Viennese circle.The Serbian Writer Sima Milutinovic Sarajlija, initally her fiance and them simply a blood brother, dedicated to her his Poem Trojesestarstvo.


She was so committed to painting that she never married, but some of her beautiful male models, like Danilo Danic, 1846, were not not by coincidence bathed in the wamth of the painter's perception.There followed trips to Paris, Holland, Italy, a sojourn in Belgrade, studies in Munich, and later the decision to spend the rest of her life in Stoni Beograd, and not to be forgotten, she was elected in Belgrade as the honourary member of the Serbian Learned Society, the precursor to the Academy of Sciences.She is interred in the Serbian capital, in the New Cemetery in Belgrade.As an act of gratitude for her bequest to the National Museum, her remains were moved to Belgrade from Stoni Beograd in 1967 by members of the Society of the Friends of the National Museum in Belgrade.The Artistic legacy of Katarina Ivanovic numbers oly 35 preserved works, but that is more than enough to determine and value their significance for the development of modern Serbian Painting.The influence of the Vienna school and the governing biedermeier taste in Middle Europe influenced one portion of her paintings.Grasping the messages of leading indivuals of the Vienna Academy: Valdmiller, Friedrich Amerling, Leopold Kupelvizer, Joseph Dannhauser, Peter Kraft - Ivanovic conquered, first and foremost, master of realistically respresenting matter; two of her autoportraits are done in the best manner of  Valdmiller ( 1836 )


A contemporary of the civil epoch and its concomitant tastes, Katarina Ivanovic accepted all of its challenges.The Portraits of Sima Milutinovic ( 1840 ), Persida KaraDordevic, Young man with Letter, 1847-1850, were rendered with the expectation that they be represented faithfully, naturalistically, but also secretly idealized.Perhaps not an entirely original composition, Italian Winemaker ( 1842 ) thematically approached the biedermeier.Katarina Ivanovic was among few Serbian painters to accept these genre-scenes in the wa that civil painters from 19th century Middle of the 17th century.Death of a Wealthy Woman, Death of a Poor Woman, Woman with letter in her Boudoir even artist in her studio 1860-1865, speak of Ivanovic's refined intelligence.The controlled representation of grapes bear witness to her exemlary trade skilss, and an emphasized precision in using brushes, 1855-1860,1867.


The defining turning point occured in Munich not onl her studies, but in her encounters with reverberations of contemporary artistic events in other European centres.Some paintings that were drawn in Munich or begun there were later completed in Sekesfehervar.A fateful experience for her was the one with some of the Belgian and Antwerpian historical painters, Louis Galea and Eduard De Bief, inaugurators of future national schools in many European countries.And so Ivanovic had by 1844745 already been awarded in Munich for her work The Conquest of Belgrade ( Liberation of Belgrade in 1806 ), a large dramatic panel dedicated to the First Serbian Uprising.Some 30 years later, the solutions in the matrix of Galeo and De Bief's compositions would be revisited and reinterpreted through a romantic intonation of the theme : Greeting the Serbian Jelena, the Hungarian Queen, Turkish Emissaries Propose to Mara, The Oath of King Matija, The Patriach of Constantinople Imprecates Luxury ( 1865 -1873 )

In works completed with Patience, from a Viennese era, one could tear the sonorous demands for a more beautiful world, which characterized the biedermeier period.The Munich inspiration, more in terms of theme, revealed also her romantic sensibilities and were a harbinger of the upcoming tendencies of  Serbian Art

From
Three Century of Serbian Painting, Miodrag Jovanovic