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Rabine-Ricci Richard-Rossetti Rossi-Rysselberghe

Rossi Karl Carlo di Giovanni Rossi, (Russian: Карл Иванович Росси) (18 December 1775 - 18 April 1849) was a Russian architect, of Italian origin, who worked the major portion of his life in Russia. He was the author of many classical buildings and architectural ensembles in Saint Petersburg and its environments. In his lifetime, he built a theater on the Arbat Square (later destroyed by the fire of 1812) and was rewarded with the Order of St. Vladimir of IV degree. Carlo Rossi was born 18 December 1775 in Naples and was brought to Russia in his childhood when his mother, a well-known ballerina, was invited into Russia to perform. From youth he was connected with the world of the arts. He trained in the studio of architect Vincenzo Brenna. In 1795 he entered the service of the admiralty board of architecture; as the assistant to Brenna, together with whom, it is assumed, he participated in the construction of Saint Michael's Palace in Saint Petersburg. From 1802 to 1803 Rossi studied in Italy. In 1806 he obtained the title of architect and an office. In 1808 he was dispatched to the Kremlin archaeological expedition in Moscow, where he built St. Catherine's Church of the Ascension Convent and the theater at Arbat Square, which burned to the ground during Napoleon's invasion of Russia. He was rewarded with the Order of St. Vladimir of IV degree. In 1814 he obtained the rank of Collegiate Councilor. In 1815 he returned to Saint Petersburg. In 1816 he was appointed to a position on the committee of structures and hydraulic works. The buildings of Rossi are characteristic of the empire style, which combines grandeur with noble simplicity. These include: the Yelagin Palace with the hothouse and the pavilions (1816-1818), Saint Michael's Palace, the buildings of the Senate and Synod (1829-1833), the façade of the Russian National Library that faces Alexandrinskaya Square, the pavilions of Anichkov Palace, the arch of the General Staff Building, the Alexander Theatre and the buildings of the Board of Theaters and Ministry of Internal Affairs. In Pavlovsk, Rossi built the palace library. One of the last buildings of Rossi was the belfry of the Yurevskogo monastery near Velikiy Novgorod. On 18 April 1849, he died of Cholera in Saint Petersburg, according to available data - in complete oblivion. He was buried in the Volkov Lutheran cemetery. During the Soviet period, he was reburied at the necropolis of the Alexander Nevsky Monastery.

Rosso Fiorentino (ne) Giovanni Battista di Jacopo di Gasparre (1494 1540). Florentine artist, one of the founders of the school of Fontaineblcau and a leading *Mannerist painter. R. was trained, briefly under Andrea del Sarto and was influenced by Michelangelo and IXirer's engravings. He painted in Florence and Rome and in 1 530 he was invited to the French court by Francis I. R.'s major surviving work is the cycle of pagan subjects.

Rotella Mimmo (1918- ). Italian artist, one of the *Nouveaux Realistes, best known for his *decollages, starting in the mid-1950s, and as an afftchiste — an artist using torn street posters as a medium. The *found torn posters offered their potential as abstract designs, textures, patterns and colours, e.g. Scotch Brand (1960). In the mid-1960s he turned to 'photo-reportages' — direct, restrained and sombre photographic or found, mechanically reproducible, images, e.g. of a Vietnam soldier, portraits of artists and advertisement still—lifes.

Rothko Mark (1903—70). Russian-born U.S. painter; one of the leading figures of * Abstract Expressionism. He studied painting under * Weber; R. also worked on the *W.P.A. Art Project (1936-7) and founded an art school, 'Subjects of the Artist' (1948) with *Baziotes, *Motherwell and *Neuman in N.Y. He was initially inspired by the freedom of expression of Miro, Ernst and U.S. Surrealists but his mature work developed, from с 1948, as single abstract images or symbols presented through colour, line and shape: floating horizontal rectangles with blurred edges, the background colour subtly and dramatically related to the colour of the rectangles, e.g. Number 2 (1962). With *Still, *Newman and *Remhardt, R.'s painting developed a non-geometric, clean and simple style of great, deep evocative power. R. said: 'The progression of a painter's work ... will be toward clarity; toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. ... To achieve this clarity is, inevitably, to be understood.'

Rottmann Carl Anton Joseph (1797-1850). German painter best known for his Greek and Latin landscapes commissioned by Ludwig I of Bavaria and painted in fresco on the walls of the Hofgarten cloisters in Munich.

Rottmayr Johann Michael (b Laufen, bapt 11 Dec 1654; d Vienna, 25 Oct 1730). Austrian painter and draughtsman. He is most notable for large-scale religious and secular decorative schemes, and his career heralded the important 18th-century German contribution to late Baroque and Rococo fresco painting. He was probably taught by his mother, who was a painter of wooden sculpture. Between 1675 and 1687–8 he was in Venice as a pupil and assistant of the Munich artist Johann Carl Loth, whose studio attracted many painters from Austria and southern Germany. It is possible that Rottmayr also visited other Italian cities, in particular Bologna and Rome. He returned to Salzburg in the late 1680s a mature painter and immediately received commissions for panels and frescoes. In 1689 he painted mythological scenes for the Karabinierisaal at the Residenz in Salzburg (in situ); in composition and style these are close to high Baroque models, particularly the work of Pietro da Cortona and Peter Paul Rubens. Such models, as well as the example of Loth, and Venetian painting, had an important influence on Rottmayr’s panel paintings of this period, for example the Sacrifice of Iphigenia (c. 1691; Vienna, Belvedere) or St Agnes (1693–5) and St Sebastian (1694; both Passau, Cathedral). In these, the solidity of the figures is emphasized through the use of intense colours. For Rottmayr, however, the rational development of the figures and the composition was less important than the overall effect achieved by the use of colour. Incorrect details of anatomy and perspective found compensation in greater expressiveness, mainly conveyed by gesture and pose. Rottmayr’s images are filled with plastic elements, creating a staccato effect. Several very important early commissions paved the way for Rottmayr’s move to Vienna in the late 1690s. In the allegorical frescoes (1695) at Schloss Frain an der Thaya (now Vranov nad Dyjí, Czech Republic) Rottmayr’s talent for accommodating architecture within decoration is evident. Rottmayr acknowledged the basic architectural design in the division of his scenes, with the central scene (an illusionistic view into the heavens) coinciding with the central cupola, a system based on Pietro da Cortona’s frescoes at the Palazzo Barberini in Rome. In spite of the weight and solidity of the figures, the use of lighter, harmonious colour achieves a transition to immateriality. This corresponds with the allegorical allusions to the virtues of the Althan family, from whom Rottmayr received this commission.

Rouault Georges (1871 — 1958). French painter, born in Pans; apprenticed as a craftsman in stained glass. He studied painting in G. *Moreau's studio (1892—8) and on Moreau's death (1898) became curator of the Mus. Moreau, a post he held until his own death. His early religious paintings reflect both the jewel-like character of Moreau's art and his own taste for medieval art. His intense religiosity was heightened by his contacts with Huysmans and with Leon Bloy whose passionate Catholic novels of sordid Parisian life prompted the Prostitute series of 1903—7: e.g. At the Mirror (1906). Superficially close to Lautrec in subject and technique, these were the crudely painted images that linked R.'s name with the *Fauves at the 1905 Salon d'Automne. But 1in1 fact these pictures were conceived as moralities of sin and redemption foreshadowing the intensely religious character of his mature style. This placed, in common with contemporary German *Expressionist painting, great emphasis on the direct expression of emotion. He concentrated on graphic work (1916—29), and these prints — particularly the Guerre ct Miserere etchings — are his most Expressionist works. His paintings, laboriously painted and with a heavy black outline reminiscent of the lead in stained glass, are the more profound hieratic images which made him the foremost religious artist of the c. He designed stained-glass windows for a church at Assy (1948).

Rouse Dominic (1959–present) is a contemporary digital photographer from England. His stylized approach to photography consists of creating digital monochrome compositions that deconstruct and reconstruct the human form.At the age of 16 Dominic Rouse started his photographic career as a press photographer for local and national newspapers. In 1982 he returned to college to study advertising and commercial photography. It was during this time period that he developed an interest in multiple exposure techniques using large format cameras. In 1986, after spending a brief time working with commercial agencies, he opened his own studio.

Rousseau Henri  called 'Le Douanier' (1844— 1910). French primitive painter. He served in the army (1870—1) and then as a minor customs official in Paris. He began to paint с I 880 and when he retired in 1885, painted full time, becoming the greatest of the self-taught *primitives. His only tuition was the advice of Canabel and the copies he made in the Louvre. The naive directness of his work ranged from the simplicity and hieratic scale of his Self-portrait (1890) to the intense visionary quality of War (1894). He was acclaimed by Jarry, Apollinaire, Delaunay and Picasso, all of whom he met с 1906. The child-like simplicity of form and the uninhibited imaginativeness of subject in such works as 1'hc Sleeping Gypsy (1897) came as a revelation to artists seeking new means of expression. Contact with such people fostered the more conscious, exotic sophistication of late works such as The Snake Charmer (1907). The 'legendary banquet' in his honour was organized in 1908 by Apollinaire and Picasso, whom he told: 'We are the two greatest artists of our age - you in the Egyptian manner, I in the modern.'

Rousseau Theodore (1812-67). French landscape painter, leader of the *Barbizon school. He was strongly influenced by Constable and the 17th-c. Dutch landscapists. He stayed several times at Barbizon before settling there in 1848 after continued refusals in the Salon. His work combines objective observation of nature with melancholy Romanticism.

Roussel Ker Xaviers (1867-1944). French painter, one of the *Nabis but unusual in his frequent choice of mythological subjects. With his brother-in-law E. Vuillard he executed decorative paintings and stage designs.

Rowlandson Thomas (1756-1827). British painter and social caricaturist, working mainly in ink and watercolour wash. He studied at the R.A. Schools and in Paris. His exuberant, robust, exaggerated and sometimes savage caricatures of English life show consummate draughtsmanship. R.'s success began with his Academy picture Vauxhall Gardens (1784); besides caricatures he painted watercolour landscapes and ill. a series of books: four of Dr Syntax in Search of the Picturesque (1812), Dr Syntax in Search of Consolation (1820), Dance of Death (1814—16), and the works ot Goldsmith, Smollett and Sterne.

Roybal  Antonio (born October 1, 1976) is an American fine-art painter and sculptor from Santa Fe, New Mexico. Antonio is the son of David and Aggie Roybal, born in Santa Fe but raised in Southern California. He lived in San Diego during the earliest years of his childhood. He has three sisters. One of his sisters is also a painter and two of his sisters are completely deaf. His Northern New Mexican ancestry can be traced back eleven generations. His father is a mathematician and computer scientist who has worked on many weapons projects at laboratories including White Sands Missile Range and Los Alamos National Laboratory. Roybal studied fine art at The Colorado Institute of Art. He apprenticed with French artist Jean-Claude Gaugy and lived and studied with Austrian artist Ernst Fuchs. His debut show was in Payerbach, Austria in 2000. He currently lives in Albuquerque, New Mexico and has a studio in Santa Fe.

Roy Pierre (b Nantes, 10 April 1880; d Milan, 26 Sept 1950). French painter, stage designer and illustrator. After working briefly in an architect’s office in Nantes, he moved to Paris and enrolled at the Ecole Nationale des Beaux-Arts, which he disliked. He then worked on designs for the Exposition Universelle of 1900 before entering the Ecoles des Langues Orientales to learn Japanese and modern Greek. After this he studied at the Ecole des Arts Décoratifs under Eugène-Samuel Grasset and then, from 1902 to 1904, at the Académie Julian under Jean-Paul Laurens. He first exhibited paintings in 1906 at the Salon de la Société Nationale des Beaux-Arts and in 1907 and 1908 at the Salon des Indépendants. About 1910 Roy came into contact with the Fauves and the circle of writers around them, such as Max Jacob and Guillaume Apollinaire, an association that influenced his style away from its earlier academicism. In 1913, through Alberto Savinio, he met and quickly became a friend of de Chirico, who was to be a great influence on his work. The following year Roy copied de Chirico’s Premonitory Portrait of Guillaume Apollinaire (1914; Paris, Pompidou) as a woodcut for an unpublished edition of Apollinaire’s Calligrammes.

Rubenisme. Late 17th-c. movement in French painting opposed in the French Academy by Poussmism. The Rubenistes, admirers of Titian and Rubens, whose great life cycle Life of Marie de Medicis was in Pans, claimed that colour was the most important element in painting because it enabled the artist to achieve a more perfect semblance of reality. Led by Lebrun, the Poussinists, followers of the Carracci and Poussin, maintained that colour was only of decorative value and was of less significance than the more formal elements of drawing and design which gave intellectual instead of sensual satisfaction. By the end of the 17th c. the Rubenistes had won, opening the way for Watteau and *Rococo.

Rubens Peter Paul (1577-1640). Flemish painter, draughtsman, etcher and diplomat. R. had a classical education. He studied under the Dutch Mannerist, *Veen, in Antwerp, where he became a member of the Guild of St Luke (1598). His journey to Italy in 1600 greatly influenced his future development; it gave him an opportunity to study Titian, and later the Carracci and Caravaggio in Rome. In 1603 he undertook his first diplomatic misson to the court of Spain, sent by his patron Duke Vincenzo Gonzaga of Mantua. Here he came into further contact with the paintings of Titian. R. returned to Rome in 1605, where he studied Graeco-Roman antiquity and met the painter *Elsheimer, who taught him the art of etching. On his mother's death in 1608 R. returned to Antwerp and became the favourite of the Spanish governor, Albert, and his wife, Isabella. He married and settled in Antwerp, where he-won increasing admiration from his patrons and fellow-artists. The famous double portrait with Isabella Brant, his wife (c. 1609), dates from this period. R. established himself in a sumptuous palace, where his paintings were displayed and sold to the nobility and crowned heads of Europe. Artists eager to learn the secrets of his art flocked to his studio, which produced many copies and variations; R. often retouched and sold them as originals. The most important paintings of this period are religious and mythological compositions and hunting scenes, including The Last Judgement, The Battle of the Amazons and The Lionhunt (1616—17). The pressure of work increased and R. employed Anthony van Dyck as his chief assistant. In 1621 he worked for Charles I of England and in the following year was ordered to Pans by Marie de Medicis to plan large-scale decorations for the Luxembourg Palace. These were completed within з years and comprised 22 large canvases and a number of portraits. In 1625 further diplomatic missions took him to Spain, where he met Velazquez, and to Britain. He was knighted by Charles I, who commissioned decorations for the Whitehall Palace. In 1630 he married Helene Fourment, who was the subject of many of his later works; the famous portrait Le Chapeau de paille (The Straw Hat - not in fact of straw), once thought to be of Helene, is now believed to be of her elder sister Susanna. He retired to the Chateau de Steen where, though beset by illness, he painted a number of splendid landscapes and compositions of rustic life.
The work of R. shows continuous development and can be divided roughly into periods. The 1st covers his formative years, his stay in Italy and early, eclectic work in Antwerp. Colours were laid on broadly, the paintings were strong in contrast with harsh modelling of the figures and academic drawing. The influence of Tintoretto, Veronese and Titian is very evident. From с 1612 a gradual change took place. The paint became more luminous, though still opaque, and the chiaroscuro less violent. Fluency and facility combined and formed an exuberant style suitable to workshop practice and the mass production of paintings. This was the start of the Antwerp school. During the last phase from about 1625 he achieved complete mastery with his vital, free and expressive brushwork, the brilliance and luminosity of colour and an exuberantly sensual feeling for the tactile — human flesh and materials — which has not been paralleled since. Contemporary taste and criticism finds this aspect of R.'s least acceptable, but it was in fact his greatest achievement. His influence on Flemish, French and English painting has been enormous. Both Watteau and Delacroix learnt a great deal from the subtle colour relationship of his paintings, and the portrait painters of the i8th-c. English school, Reynolds, Gainsborough and later Ward and Constable, owed their freedom in the handling of paint to him. Other famous paintings by R. are The Three Graces and Peace and War (1629).

Rublev Andrei b c. 1360 - d Moscow, 1430. Russian painter and monk. All his known works and those attributed to him were undertaken in Moscow and in towns and monasteries near by; he may therefore be described as a representative of the Moscow school of painting, but his work had a profound influence on the development of Russian art in general.

Ruhlmann Emile-Jacques (b Paris, 28 Aug 1879; d Paris, 15 Nov 1933). French furniture designer. He was the son of a Protestant house-painter from Alsace. His early furniture, exhibited at the Salon d’Automne in 1910, displayed the rectilinear forms and fine craftsmanship that were to characterize his style. After World War I he founded with Pierre Laurent the Etablissement Ruhlmann & Laurent which produced luxury furniture. By the mid-1920s the company had diversified into other aspects of interior decoration, including lighting, textiles, carpets, upholstery, japanning and mirrorwork. Ruhlmann’s contribution to the Exposition Internationale des Arts Décoratifs et Industriels Modernes of 1925 in Paris illustrated his importance as a major exponent of the Art Deco style. He was responsible for the study in the Pavillon d’un Ambassadeur and was also represented by his own pavilion, the Hôtel d’un Collectionneur, designed by Pierre Patout, which exemplified the emerging role of the interior decorator as an ensemblier. The setting contained items by such designers as Léon Vagnet, Emile Gaudissart (b 1872), Pierre Emile Legrain, Jean Dunand and Jean Puiforcat.

Ruisdael, Jacob van (1628/9-82). Dutch landscape painter, born in Haarlem; also a practising physician. R. was probably the pupil of his father and uncle (Salomon van Ruysdael). His painting reinvigorated the realistic landscape and was a major influence on later painting in the genre; his predilection was for melancholy scenes, usually with some elements suggesting decay - heavy and oppressive, as in 'The Great Forest, or tranquil, as in The Water-Mill. *Hobbema was his pupil.

Runci Edward. Pin-Up Art

Runge Philipp Otto  (1777-1810). German painter, etcher and writer, with *Friedrich the leading artist of the German Romantic school. He was mainly active in Hamburg, famous for his portraits painted with a melancholy symbolism. He went to study in Denmark, attracted by the then prevalent interest in the legendary epics and mythology of Scandinavia. The mystical spirit of R.'s historical, biblical and mural compositions foreshadowed Wagner and the Pre-Raphaelites.

Rusiti Filippo ( fl c. 1297–1317). Italian painter and mosaicist. His only certain work is the mosaic on the façade of S Maria Maggiore, Rome, which is signed on the mandorla of Christ. He served as ‘King’s painter’ in France during the reigns of Philip IV and Louis IX, receiving payments in 1304/5, 1308 (for repairs in the Grande Salle of the royal palace at Poitiers), 1309, 1316 and 1317, but none of this work survives.

Ruskin John (1819—1900). British writer on art, economics and social reform; with Carlyle, and others, one of the 'prophets' of the Victorian age. The work of Turner, which he began to collect when young, triggered his meditations on art, eloquently paraded in Modern Painters (1843—60), Seven Lamps of Architecture (1849) and The Stones of Venice (1851—3), valuable less for judgments ad hoc than for his recognition that 'the whole function of the artist ... is to be a seeing and feeling creature' (Stones of Venice), and that the excellence of art, though reached through nature is independent of representation. At its best his prose (Proust's favourite reading) is of unsurpassed magnificence, though in earlier work sometimes losing relevance, especially in his descriptions of nature. In his social and economic writings, of world-wide influence, e.g. Unto This Last (1862) — the essays of which Thackeray refused to continue printing in The Cornhill — Fors Clavigera (1871—84) and Munera Pulveris (1872), he stated the case against capitalism. He left a classic autobiography in Praeterita (1886-9).

Russolo Luigi (1885—1947). Italian painter and composer, a signatory of the *Futurist Manifesto (1910). His paintings were not outstanding but his music (Bruitism) and his noise-making instruments ('intonarumon') made a significant contribution to the Futurist movement. He expounded his principles in L'Arte dei rumori (1916).

Ryden Mark (b. January 20, 1963 in Medford, Oregon) is an American painter. Mark is the son of Barbara and Keith Ryden, born in Medford, Oregon but was raised in Southern California, in cities like Escondido. Ryden studied Illustration and graduated from the Art Center College of Design in Pasadena, in 1987. His solo debut show entitled "The Meat Show" was in Pasadena, California in 1998. He currently lives and works in Eagle Rock, California, in a studio that he shares with his partner, artist Marion Peck. He is divorced and has two children Rosie and Jasper. Ryden's work combines a saccharine cartoon-like sensibility - much like the doe-eyed Margaret Keane creatures of the 1960s - with a detailed fullness and a creepy combination of numerology, little girls, meat, Catholic and Buddhist symbolism, and carnivalesque Americana. Toys are a big component of his art.] His work ranges from large highly-polished oil paintings to small black-and-white works on paper. Like modern illustrators Sir John Tenniel and Edward Gorey, Ryden is influenced by the fantastic art of Alice in Wonderland and early Renaissance landscapes. Ryden's work has gained greater prominence within the public domain thanks to so-called lowbrow art publications such as Juxtapoz in which his work features regularly. In fact Ryden has collaborated with other lowbrow artists such as Gary Baseman and Tim Biskup, in addition to composers Stan Ridgway (Wall of Voodoo) and Pietra Wexstun, ( the CD soundtrack to "Blood - Miniature Paintings of Sorrow and Fear"). Mark Ryden's paintings instantly trigger a warped deja vu. His works recall a parallel universe of 1950s Golden Books and the whimsy of Lewis Carroll. His cheery bunnies, rendered in the glowing hues of children's books, are more likely to be carving slabs of meat rather than frolicking in the forest. Ryden's work mingles superb technique with outre images to create a world of strange and disturbing beauty. At once intriguing and unsettling, baffling and enchanting, Ryden's works are subtle amalgams of many sources and influences as wide-ranging as Psychedelic and Vienna School artists, Neon Park and Ernst Fuchs, to classical French formalists Ingres and David. In November of 2001 Ryden his debut New York exhibition with the Earl McGrath Gallery which then traveled on to the Grand Central Art Center in Santa Ana, CA. Mark Ryden was born on January 20, 1963 in Medford, Oregon, but grew up in Southern California. He received a B.F.A. in 1987 from Art Center in Pasadena, California. He currently resides in Eagle Rock, California.Over the past decade, the marriage of accessibility and craftsmanship has catapulted Ryden beyond his roots and to the attention of museums, critics and serious collectors. Ryden’s work has been exhibited in museums and galleries worldwide, including a recent museum retrospective “Wondertoonel” at the Frye Museum of Art in Seattle and Pasadena Museum of California Art. Ryden's current exhibit, "The Tree Show," opened to acclaim at the Michael Kohn gallery in Los Angeles on March 10, 2007 -- and features a selection of oil paintings and sculptures. A separate chamber, containing many of Ryden's detailed studies for each of the paintings and exquisitely carved frames, is also made available. The largest of the paintings, "The Tree of Life," sold for $800,000 before the exhibit opened. According to Gallery currators, one later addition, an oil painting featuring a ghostly girl in a wooded location, has been acquired by Los Angeles Museum of Contemporary Art.Mark Ryden has two sisters and two brothers, one a fellow artist named Keyth, (the spelling from Keith was changed in 1969, for reasons relating to numerology and to distinguish himself from his father's first name) who professionally goes by the name KRK Ryden. Ryden was one of the guests to attend the wedding of Jessicka and Christian Hejnal of Scarling. on October 13, 2007 in Los Angeles. His wedding gift was a miniature portrait of the couple was a faithful adaptation of Jan Van Eyck's "Arnolfini Portrait" that was reproduced on the invitations.

Ryder Albert Pinkham (1847-1917). U.S. painter of visionary and poetic imagination. Living a solitary life in a N.Y. attic he painted small Romantic landscapes and scenes of the sea by night as well as symbolic and literary subjects. Death on a Pale Horse is a famous and characteristic work. His paintings have deteriorated as a result of his constant repainting.

Rylov Arkady (b Istobenskoye, Vyatka province, 17 Jan 1870; d Leningrad [now St Petersburg], 22 June 1933). Russian painter. After attending the Stieglitz Central School of Technical Drawing in St Petersburg in 1888–91, he studied at the Academy of Arts (until 1897). His principal teacher there was Arkhip Kuindzhi, whose luminarist style greatly influenced Rylov’s approach to painting and predetermined his concentration on landscape. Rylov’s early works, such as Green Sound (1904; Moscow, Tret’yakov Gal.), maintain the delicate colour harmonies of Kuindzhi and also connect with the concurrent work of other students of Kuindzhi such as Nicholas Roerich. Rylov exhibited with the World of Art group, although he did not share their enthusiasm for Art Nouveau and, in closer sympathy with the less affected style of the Moscow landscape school, he joined the Union of Russian Artists in 1903. Rylov favoured the Russian forest, the Black Sea, birds and animals as subject-matter, as in Seagulls (1910; St Petersburg, Rus. Mus.), and rarely investigated the portrait or the still-life.

Rysselberghe Theo Van (b Ghent, 23 Nov 1862; d St-Clair, Manche, France, 13 Dec 1926). Painter, designer and sculptor, brother of Octave Van Rysselberghe. He was enrolled in the Academie van Beeldende Kunsten in Ghent at an early age. In 1879 he became a pupil of Jean-François Portaels, director of the Académie Royale des Beaux-Arts in Brussels, whose Orientalist works he admired. Van Rysselberghe first exhibited at the Salon in Brussels in 1881. The next year he won a travelling scholarship and, following in the footsteps of Portaels, visited Spain and Morocco. With fellow artists Darío de Regoyos and Constantin Meunier, Van Rysselberghe recorded picturesque scenes of everyday life. He exhibited these Mediterranean pictures in 1883 at L’Essor. He attended the historic meeting on 28 October 1883 at which the avant-garde exhibition society Les XX was created, and at their exhibition in 1885 he showed the results of a second Moroccan trip, including the exotic Fantasia (Brussels, Mus. A. Mod.).

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