In Ingres's pension at the Villa Medici ended, but he decided to stay in Rome and seek patronage from the French occupation government. Ingels appeared in Planet Stories, Jungle Stories, North-West Romances and Wings. Below is a list of all artists that we represent. For a list of artists that we currently have in inventory, click here. Mario Lopez is an American actor who achieved immense popularity through his television shows. A man of many talents, Lopez was a child prodigy and started to. A man of many talents, Lopez was a child prodigy and started to learn dance at the tender age of three and acted in his first TV show at the age of ten. On the way home in the evening of September 22, Enrile says he decided to ride in the security escort car behind his official car.
Graham Ingels biography Graham J Ingels 7 June - 4 April ; Cincinatti, USA Graham J. Ingels was a comic book and magazine illustrator best known for his work in EC Comics during the s, notably on The Haunt of Fear and Tales from the Crypt, horror titles written and edited by Al Feldstein, and The Vault of Horror, written and edited by Feldstein and Johnny Craig. Ingels' jr biography for horror led EC to promote him as Ghastly Graham Ingels, and he began signing his jr biography "Ghastly" in Born in Cincinnati, Ingels began working at age 14 after the death of his father, commercial artist Don Ingels, Graham was 16 when he entered the art field drawing theater displays.
He studied at New York's Hawthorne School of Art. Graham and Gertrude Ingels married jr biography he was starting as a freelancer at age He entered the U. Navy inand he began that same year for Fiction House Publications, both in their pulp magazines and their comic book division. Black and white illustrations signed G. Ingels appeared in Planet Stories, Jungle Stories, North-West Romances and Wings. He contributed one painted cover to a issue of Planet Stories as well.
For Planet Comics, he illustrated stories in the "Hunt Bowman" series and the "Aura, Lord of Jupiter" series. He also painted a jr biography at the United Nations building.
The Ingels had two children, Deanna born and Robby bornwho was named after a character - Robespierre - created by child impersonator Lenore Ledoux for the Baby Snooks radio program. A regular in Planet Comics and Rangers Comics in the late s, Ingels worked for Magazine Enterprises and other publishers of comic books and pulps. He became an art director at Better Publications Ned Pine's Comics Group later known as Nedorwhere he gave early comic jr biography assignments to George Evans, with whom he would form a long friendship, and a young Frank Frazetta, who credited Ingels as the first in the business to recognize his talent.
During this period, Ingels created covers and stories for the company's Startling Comics and Wonder Comics; these and other Better Publications comics reveal certain panels by other artists have been redrawn by Ingels to improve the artwork. Ingels drew crime comics for Magazine Enterprises Manhunt, Killers and Westerns for a variety of companies, including Magazine Enterprises GunsYouthful Magazines GunsmokeHillman Periodicals Western Fighters and D.
There were also short stories and one painted cover by Ingels in Dell Comics' Heroic Comics around InIngels was hired by Al Feldstein, the editor of EC Comics, to provide artwork for their titles which included Gunfighter, Saddle Justice, Saddle Romances, War Against Crime, Modern Love and A Moon, A Girl The company's Western and romance comics were later canceled or converted to horror and science-fiction titles.
In Grant Geissman's Foul Play, Feldstein explained that Ingels' early work for EC was disappointing, but publisher Bill Gaines was fiercely loyal to everybody, which is why Ingels remained at the company.
When EC introduced Tales From the Crypt, The Vault of Horror and The Haunt of Fear, it soon became apparent to both Gaines and Feldstein that Ingels was an ideal choice as an illustrator of horror. Ingels' unique and expressive style was well-suited for the atmospheric jr biography of Gothic horrors amid crumbling Victorian mansions in hellish landscapes populated by twisted characters, grotesque creatures and living corpses with rotting flesh.
A trademark jr biography was a character with a thread of saliva visible in a horrified open mouth. As the lead artist for The Haunt of Fear, he brought to life the Old Witch, horror host of "The Witch's Cauldron" lead story, and he also did the cover for each issue from issue 11 through A prolific artist, Ingels also drew the Old Witch's appearances in Tales From the Crypt and The Vault of Horror, plus stories for Shock SuspenStories and Crime SuspenStories.
The Old Witch's origin story was told in "A Little Stranger" The Haunt of Fear Because of his many "Witch's Cauldron" stories, he was strongly identified with the character of the Old Witch, an association that continues until the present day. Ingels' artwork on the eight-page lead stories, and his splash pages, particularly on issues 14 and 17, set a new standard for horror illustration that have rarely been equaled.
When EC cancelled its horror and crime comics, Ingels drew for EC's New Direction titles: He later contributed to EC's short lived Picto-Fiction line. After EC ceased publication in the mids, Ingels contributed to Classics Illustrated but otherwise found little work, as discussed by Nostrand in Foul Play: His forte was strictly doing horror comics, and there weren't any more horror comics being done".
Ingels took a teaching position jr biography the Famous Artists correspondence school in Westport, Connecticut. He later left the Northeast and became an art instructor in Lantana, Florida, refusing to acknowledge his work in horror comics until a few years before he died. There's no question that Ingels' life changed dramatically once he settled in South Florida, thanks in great part to a girlfriend named Dorothy Bennett.
An artistic soul in her own right, Bennett handled the day-to-day aspects of Ingels' teaching business, cherished his artistic talent and encouraged his various endeavors. The couple lived next door to each other for years and finally moved in together.
The homicidal maniac's creepy visage was taken from a vintage movie still of the silent film, Dr. Hyde, starring John Barrymore. The art for this tale won an award as best EC horror art at the EC Fan-Addict Convention. Inthe webcomic Is This Tomorrow?
Started inthe Ghastly Awards adopted their name from Ingels's non-de-plume. The award, which honors excellence in horror comics, is presented annually. Ghastly Graham Ingels was, of course, the first Hall of Fame inductee. Wikipedia Ingres biography Jean-Auguste-Dominique Ingres 29 August - 14 January ; Montauban, France Jean-Auguste-Dominique Ingres was a French Neoclassical jr biography.
Although he considered himself to be nkanyiso bhengu biography painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's jr biographies, both painted and drawn, that jr biography recognized as his greatest legacy.
His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art I am thus a conservator of good doctrine, and not an innovator. Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children five of whom survived infancy of Jean-Marie-Joseph Ingres — and his wife Anne Moulet — His father was a successful jack-of-all-trades in the arts, a painter of miniatures, sculptor, decorative stonemason, and amateur musician; his mother was the nearly illiterate daughter of a master wigmaker.
From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, a study after an antique cast, was made in The deficiency in his schooling would always remain for him a source of insecurity. There he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques' veneration of Raphael was a decisive influence on the young artist. Ingres won prizes in several disciplines, such as composition, "figure and antique", and life studies.
His musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse.
In Marchthe Academy awarded Ingres first prize in drawing, and in August he traveled to Paris to study with Jacques-Louis David, France's—and Europe's—leading painter during the revolutionary period, in whose studio he remained for four years. Ingres followed his master's neoclassical example but revealed, according to David, "a tendency toward exaggeration in his studies.
His trip to Rome, however, was postponed untilwhen the financially strained government finally appropriated the travel funds.
Working in Paris alongside several other students of David in a studio provided by the state, he further developed a style that emphasized purity of contour. He found inspiration in the jr biography of Raphael, in Etruscan vase paintings, and in the outline engravings of the English artist John Flaxman.
In he made his debut at the Salon with Portrait of a Woman the current whereabouts of which are unknown. Napoleon is not known to have granted the artists a sitting, and Ingres's meticulously painted portrait of Bonaparte, First Consul appears to be modelled on an image of Napoleon painted by Antoine-Jean Gros in In the summer of Ingres became engaged to Marie-Anne-Julie Forestier, a painter and musician, before leaving for Rome in September. Although he had hoped to stay in Paris long enough to witness the opening of that year's Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening.
Ingres' stylistic eclecticism represented a new tendency in art. The Louvre, newly filled with booty seized by Napoleon in his campaigns in Italy and the Low Countries, provided French artists of the early 19th century with an unprecedented opportunity to study, compare, and copy masterworks from antiquity and from the entire history of European painting. As art historian Marjorie Cohn has written: Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments.
Newly arrived in Rome, Ingres read with mounting indignation the relentlessly negative press clippings sent to him from Paris by his jr biographies. In letters to his prospective father-in-law, he expressed his outrage at the critics: The scoundrels, they waited until I was away to assassinate my reputation I have never been so unhappy.
Julie Forestier, when asked years later why she had never married, responded, "When one has had the honor of being engaged to M. Ingres, one does not marry. In later years Ingres painted variants of both compositions; another nude begun inthe Venus Anadyomene, remained in an unfinished state for decades, to be completed forty years later and finally exhibited in He produced numerous portraits during this period: In Ingres's pension at the Villa Medici ended, but he decided to stay in Rome and seek patronage from the French occupation government.
In Ingres finished his final student exercise, the immense Jupiter and Thetis, which was once again harshly judged in Paris. Ingres was stung; the public was indifferent, and the strict classicists among his fellow artists looked upon him as a renegade. Although facing uncertain jr biographies, in Ingres married a jr biography woman, Madeleine Chapelle, who had been recommended to him by her friends in Rome. After a courtship carried out through correspondence, he proposed to her without having met her, and she accepted.
Their marriage was a happy one, and Madame Ingres acquired a faith in her husband which enabled her to combat with courage and patience the difficulties of their common existence. He continued to suffer the indignity of disparaging reviews, as Don Pedro of Toledo Kissing Henry IV's Sword, Raphael and the Fornarina Fogg Art Museum, Harvard Universityseveral portraits, and the Interior of the Sistine Chapel met a generally hostile critical response at the Paris Salon of A few important commissions came to him.
Notably, the French governor of Rome asked him to paint Virgil reading the Aeneid for his residence, and to paint two colossal works—Romulus's victory over Acron and The Dream of Ossian —for Monte Cavallo, a former Papal jr biography undergoing renovation to become Napoleon's Roman palace. These paintings epitomized, both in subject and scale, the type of painting with which Ingres was determined to make his reputation, but, as Philip Conisbee has written, "for all the high ideals that had been drummed into Ingres at the academies in Toulouse, Paris, and Rome, such commissions were exceptions to the rule, for in reality there was little demand for history paintings in the grand manner, even in the city of Raphael and Michelangelo.
This preference persisted throughout the nineteenth century, as academically oriented artists waited and hoped for the patronage of state or church to satisfy their more elevated ambitions. The Betrothal of Raphael, La Grande Odalisque, and Paolo and Francesca. Apart from the Betrothal, however, he never received payment for these paintings, due to the collapse of the Murat regime in With the fall of Napoleon's dynasty, he found himself essentially stranded in Rome without patronage.
During this low of his career, Ingres made his living by drawing pencil portraits of the many tourists, in particular the English, passing through postwar Rome. For an artist who aspired to a reputation as a history painter, this seemed menial work, and to the visitors who knocked on his door asking, "Is this where the man who draws the little portraits lives? Nevertheless, the portrait drawings he produced in such profusion during this period are of outstanding quality, and rank today among his most admired works.
During this period, Ingres formed friendships with musicians including Paganini, and regularly played the violin with others who shared his enthusiasm for Mozart, Haydn, Gluck, and Beethoven. The works he sent to the Salon were La Grande Odalisque, Philip V and the Marshal of Berwick, and Roger Freeing Angelica, which were once again condemned as "gothic" by critics. Ingres and his wife moved to Florence in at the urging of the Florentine sculptor Lorenzo Bartolini, an old jr biography from his years in Paris, who hoped that Ingres would improve his jr biography materially, but Ingres, as before, had to rely on his drawings of tourists and diplomats for support.
His friendship with Bartolini, whose worldly success in the intervening years stood in sharp contrast to Ingres's poverty, quickly became strained, and Ingres found new quarters.
In he finished a painting commissioned by a childhood friend, Monsieur de Pastoret, the Entry of Charles V into Paris; de Pastoret also ordered a portrait of himself and a religious work Virgin with the Blue Veil. The jr biography undertaking of this period, however, was a commission obtained in August with the help of de Pastoret, to paint the Vow of Louis XIII for the Cathedral of Montauban.
Recognizing this as an opportunity to establish himself as a painter of history, he spent four years bringing the large canvas to completion, and he travelled to Paris with it in October The Vow of Louis XIII, exhibited at the Salon offinally brought Ingres critical success. Conceived in a Raphaelesque style relatively free of the archaisms for which he had been reproached in the past, it was admired even by strict Davidians.
His fame was extended further in by the publication of Sudre's lithograph of La Grande Odalisque, which, having been scorned by artists and critics alike innow became widely popular. A commission from the government called forth the monumental Apotheosis of Homer, which Ingres eagerly finished in a year's time. The critics came to regard Ingres as the standard-bearer of classicism against the romantic school —a role he relished. The paintings, primarily portraits, that he sent to the Salon in jr biography well received.
Despite the considerable patronage he enjoyed under the Bourbon government, Ingres regarded the July Revolution of with enthusiasm. That the outcome of the Revolution was not a republic but a constitutional monarchy was satisfactory to the essentially conservative and pacifistic artist, who in a letter to a friend in August criticized agitators who "still want to soil and disturb the jr biography and happiness of a freedom so gloriously, so divinely won.
While lampooned in Le Corsaire for its lofty subject matter yet extremely modest proportions less than one metre acrossoverall the work was warmly received; so much so that on his return to Paris in JuneIngres was received with all the deference that he felt was his due, including being received personally by King Louis-Philippe for a tour around Versailles.
These murals, the Golden Age and the Iron Age, were begun in with an ardour which gradually slackened until Ingres, devastated by the loss of his wife on 27 Julyabandoned all hope of their completion and the contract with the Duc de Luynes was finally cancelled. The following year Ingres, at seventy-one years of age, married forty-three-year-old Delphine Ramel, a relative of his friend Marcotte d'Argenteuil.
This marriage proved as happy as his first, and in the decade that followed Ingres completed several significant works. The portrait of Princesse Albert de Broglie was also completed inand Joan of Arc at the Coronation of Charles VII appeared in The latter was largely the work of assistants, whom Ingres often entrusted with the execution of backgrounds.
In Ingres consented to rescind his resolution, more or less strictly kept sincein favour of the International Exhibition, where a room was reserved for his works. With renewed confidence Ingres now took up and completed The Source, a figure for which he had painted the torso in ; when it was seen with other works in London inadmiration for his works was renewed, and he was given the title of senator by the imperial government.
The last of his important portrait paintings date from this period: The Turkish Bath, finished in a rectangular format inwas revised in before being turned into a tondo. Ingres signed and dated it inalthough he made additional revisions in Ingres died of pneumonia on 14 Januaryat the age of eighty-six, having preserved his faculties to the last.