Henri fantin latour biography of barack obama
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Simon Bull
Simon Bull (born in March ) is an English-born artist living in America.
EARLY YEARS
Simon Bull was born in Bedfordshire, England. The second of four children. His father, Ian Bull served as an officer in the Royal Army Chaplains’ Department of the British Army. Ian’s extensive military postings stationed the family around the world in Guyana, Hong Kong, Germany, and Northern Ireland. Simon went to boarding school in Yorkshire, attending Ripon Cathedral Choir School from to and in Surrey, at the Royal Russell School from to In he took a one-year Foundation course at Gloucestershire College of Art and Design and went on to graduate in from Leeds Polytechnic with a BA (Hons) degree in Fine Art. He studied printmaking and Fine Art under Norman Webster and Norman Ackroyd RA.
His time at Leeds was marked by his interest in and study of the masters, such as Henri Fantin-Latour, Jean-Baptiste-Simon Chardin, and Rembrandt; he wrote his dissertation on watercolorist John Sell Cotman. In his graduating year he exhibited his etching Jackie at the Royal Academy Summer Exhibition and his works were acquired by Leeds City Art Gallery.
CAREER
His art is currently represented exclusively, by his own company Simon Bu
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A Studio at Batignolles (also called Homage to Manet),
Les Batignolles was the district where Édouard Manet and many of the future Impressionists lived. Henri Fantin-Latour, a quiet observer of this period, has gathered around Manet, presented as the leader of the school, a number of young artists with innovative ideas: from left to right, we can recognise Otto Schölderer, a German painter who had come to France to get to know Gustave Courbet&#;s followers, a sharp-faced Manet, sitting at his easel; Auguste Renoir, wearing a hat; Zacharie Astruc, a sculptor and journalist; Émile Zola, the spokesman of the new style of painting; Edmond Maître, a civil servant at the Town Hall; Frédéric Bazille, who was killed a few months later during the war, at the age of twenty-six; and lastly, Claude Monet.
Their attitudes are sober, their suits dark and their faces almost grave: Fantin-Latour wanted these young artists, who were greatly decried at the time, to be seen as serious, respectable figures. Only two accessories remind the spectator of the aesthetic choices of the new school: the statuette of Minerva bears witness to the respect due to the antique tradition; the Japanese style stoneware jar evokes the admiration of this entire generation of art