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・ Bruno Lawrence
・ Bruno Lazaro
・ Bruno Lazaroni
・ Bruno Le Maire
・ Bruno Le Roux
・ Bruno Le Stum
・ Bruno Leali
・ Bruno Leibundgut
・ Bruno Leonardo Gelber
・ Bruno Leonardo Vicente
・ Bruno Leoni
・ Bruno Leoni Institute
・ Bruno Leuzinger
・ Bruno Levy
・ Bruno Liberda
Bruno Liljefors
・ Bruno Limido
・ Bruno Lips
・ Bruno Loatti
・ Bruno Lochet
・ Bruno Loerzer
・ Bruno Lohse
・ Bruno Lopes (footballer)
・ Bruno Loureiro
・ Bruno Loureiro Barros
・ Bruno Lucchesi
・ Bruno Lucia
・ Bruno Luiz de Almeida Rodrigues
・ Bruno Lulaj
・ Bruno Lutz


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Bruno Liljefors : ウィキペディア英語版
Bruno Liljefors

Bruno Andreas Liljefors (1860–1939) was a Swedish artist, the most important and probably the most influential wildlife painter of the late nineteenth and early twentieth century.〔Hammond, Nicholas, ''Modern Wildlife Painting'', Pica Press, 1998, ISBN 1-873403-55-0, pp. 31-40.〕 He also drew some sequential picture stories, making him one of the early Swedish comic creators. He was brother of the composer and conductor Ruben Liljefors.
==Life and work==

Liljefors is held in high esteem by painters of wildlife and is acknowledged as an influence, for example, by American wildlife artist Bob Kuhn.〔 All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.〔 However, he never exaggerated the ferocity of the predator or the pathos of the prey, and his pictures are devoid of sentimentality.
The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in
his ''Mallards, Evening'' of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname ''Panterfällen''.〔 Bruno was fascinated by the patterns to be found in nature, and he often made art out of the camouflage patterns of animals and birds. He particularly loved painting capercaillies against woodland, and his most successful painting of this subject is the largescale ''Capercaillie Lek'', 1888, in which he captures the atmosphere of the forest at dawn. He was also influenced by Japanese art, for example in his ''Goldfinches'' of the late 1880s.〔
During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life, as he left his wife, Anna, and took up with her younger sister, Signe, and was often short of money.〔 This darker quality in his paintings gradually began to attract interest and he had paintings exhibited at the Paris Salon.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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