Paul Gauguin
French, 1848–1903
Post-Impressionism
Though influenced by Impres-
sionism, Gauguin used flat, vivid
areas of color rather than small brush
strokes to infuse his work with a
heightened reality. In 1891 he moved
to Tahiti, where he painted his most
significant works.
Winslow Homer
American, 1836–1910 Realism
Homer took a more personal, mod-
ern approach to his subjects than
other painters of the time. Asked to
briefly describe one of his works, he
said,“I regret very much that I have
painted a picture that requires any
description.”
Jean-Auguste-Dominique Ingres
French, 1780–1867 Neoclassicism
Ingres painted members of the
upper class with photographic real-
ism and a strong attention to detail.
His ability to capture the psychologi-
cal aspects of his subjects was
unusual for a painter of his era.
Gustav Klimt
Austrian, 1862–1918 Art
Nouveau
Klimt was recognized as a gifted
artist at the tender age of 14. His
works use symbolism inspired by
Greek and Byzantine art, as well as
gold embellishments reminiscent of
his father’s work as an engraver.
Edouard Manet
French, 1832–1883
Realism/Impressionism
Manet’s frank, confrontational nudes
scandalized French society at a time
when only idealized nudes were
acceptable. His paintings drew heavi-
ly from classic works, but he made no
effort to reveal these references —
with the result that he was consid-
ered incompetent, and his paintings,
indecent.
Michelangelo Buonarroti
Italian, 1475–1564
High Renaissance
Michelangelo is known for his mas-
tery of perspective and proportion in
a wide range of media. His most
famous works include
The Creation of
Adam, a detail from his ceiling fres-
coes for the Sistine Chapel, and his
iconic David in Florence. He also
played a major role in the construc-
tion of St. Peter’s Basilica.
Amedeo Modigliani
Italian, 1884–1920 Expressionism
Modigliani came from a bourgeois
Italian Jewish family but moved to
Paris in 1906. His first solo exhibition
in 1917 caused a scandal because of
its provocative nude subjects. His
work captures precise human
expressions using only the most
essential lines, such as the drawn-out
face typical of many of his portraits.
Claude Monet
French, 1840–1926 Impressionism
At the turn of the twentieth century,
Monet led the trend from figuration
to abstraction. He studied the effect
of light and color abstracted from
form in his garden at Giverny, built
expressly for that purpose. His series
of water lilies represent the apotheo-
sis of his signature style of loosely
defined color swatches.
Pablo Picasso
Spanish, 1881–1973 Cubism
Picasso once said,“We all know that
Art is not truth. Art is a lie that makes
us realize the truth, at least the truth
that is given to us to understand.” His
style surpassed the limitations of
realism, showing a subject from mul-
tiple perspectives simultaneously.
Raffaelo Sanzio (Raphael)
Italian, 1483–1520
High Renaissance
Raphael’s artistic education in
Florence under da Vinci and
Michelangelo, combined with his
immense talent, enabled him to cre-
ate
The School of Athens — a tribute
to the heroic role of the philosopher
in society, as well as the rediscovery
of Classical thought. Leonardo and
Michelangelo appear in the painting
as Plato and Heraclitus, respectively.
The Classics
9
Sandro Botticelli
Italian, 1444–1510
Early Renaissance
Botticelli lived in Florence during
the Medici rule. His work is remark-
able for its three-dimensional per-
spective, prefiguring the work of
Leonardo and Michelangelo.
Pieter Bruegel I (the Elder)
Flemish, c.1525 –1569
Northern Renaissance
Bruegel refused to adopt the idealized
Italian Renaissance style of portraiture
— incurring the scorn of higher art
circles even after his death. Only in
the twentieth century was he redis-
covered as one of the masters.
Pieter Bruegel II (the Younger)
Flemish, c.1564–1638
Northern Renaissance
The son of Pieter Bruegel I and broth-
er of Jan Bruegel I painted the ordi-
nary lives of villagers in scenes of
large scope and great detail.
Jan Bruegel I (the Elder)
Flemish, 1568–1625
Northern Renaissance
The second son of Pieter Bruegel I, Jan
Bruegel carried on the family tradition
of painting village life. His son Jan
established the family’s third genera-
tion of master painters.
Joannes Busschaert
Flemish, c.1610–?
Northern Renaissance
Little is known of Busschaert aside
from the fact that he was born in
Flanders in 1610. Even the date of his
death is lost to history.
Gustave Caillebotte
French, 1848–1894 Impressionism
Caillebotte was a generous patron of
the Impressionists. His own oeuvre,
roughly 500 pieces painted in a more
realistic style, was largely overlooked
until recently.
Paul Cézanne
French, 1839–1906
Post-Impressionism
Cézanne pioneered a unique style,
using flat brush strokes and a bold
color palette that prefigured Cubism
and other modern art movements.
Leonardo da Vinci
Italian; 1452–1519
High Renaissance
A consummate master in many fields
— painting, drawing, scientific discov-
ery and invention — Leonardo
brought an unprecedented level of
realism to art, especially in depictions
of the human body.
Jacques-Louis David
French, 1748–1825 Neoclassicism
First painter to Napoleon, David was
interested in historical subject matter
as well as key contemporary figures.
His work, much of which was com-
pleted during the French Revolution,
conveyed strongly nationalistic
themes such as virtue and patriotism.
Edgar Degas
French, 1834–1917 Impressionism
Degas’s fluid style of painting was
ideal for capturing the grace, beauty
and drama of the ballet. He rejected
pure Impressionism, carefully staging
his subjects and focusing on human
movement rather than the effects of
light and color.
Eugène Delacroix
French, 1798–1863 Romanticism
Delacroix’s Orientalism incorporated
vivid colors and a realistic style to
depict exotic people and settings.
Liberty suggests a feeling of solidarity
with the spirit of the July Revolution
and the French Revolution in 1789.
A B o u t t h e a r t i s t s
8
Roku Gallery Collection
