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・ Martha Stewart Weddings
・ Martha Stone Hubbard
・ Martha Stout
・ Martha Strongin Katz
・ Martha Summerhayes
・ Martha Tabor
・ Martha Tabram
・ Martha Tagle Martínez
・ Martha Tamayo
・ Martha Tenorio
・ Martha Thomas Fitzgerald
・ Martha Thompson
・ Martha Thorne
・ Martha Tilston
・ Martha Tilton
Martha Van Coppenolle
・ Martha Van Rensselaer
・ Martha Vasconcellos
・ Martha Veléz
・ Martha Vicinus
・ Martha Vickers
・ Martha Villalobos
・ Martha Vital
・ Martha von Sabinin
・ Martha Vázquez
・ Martha W. Alibali
・ Martha W. Bark
・ Martha W. McCartney
・ Martha Wadsworth Brewster
・ Martha Wainwright


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Martha Van Coppenolle : ウィキペディア英語版
Martha Van Coppenolle

Martha Van Coppenolle (1912–2004) was a Flemish Belgian artist and book illustrator. She was cited by the 'Letterenhuis - Museum' (the Antwerp Museum of the Literary Arts) to be one of the most prolific and influential of all Flemish illustrators. She created pen and ink drawings for over 40 novels and children's books, particularly during the period between 1930 to 1960 within the Flemish region. Her early work leaned strongly towards the Russian Avant-Garde Movement, although she would equally be at ease, creating very colourful and detailed fairy tale illustrative motifs, for certain nursery rhymes when needed. Aside from illustrating, she was equally involved in creating graphic design, ceramic sculptures, oil paintings and furniture design concepts. In the later stages of her life, she gained international recognition as a stained glass artist.
==Early life and influences==
Martha Van Coppenolle was born in Merksem (Antwerp) Belgium, on April 13. 1912. She was the first daughter of Octaaf Van Coppenolle and Helena Van Immerzeel. As of the early age of seven, she became fascinated by art in all its forms and at the age of fourteen, she created her first oil on canvas painting. Though unfinished, the painting is supposedly a mirrored self-portrait. In 1927, she painted her second canvas, a still-life flower arrangement. Van Coppenolle was mainly influenced by her contemporary artist friends. However, she had a particular preference towards most of the British Pre-Raphaelite painters and illustrators of that period, together with the current wave of Avant-Gardism sweeping the continent at that time.

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