In the middle of the 19th century, English painting is characterized by rigid and academic traditions. The requirements for admission to an academy are high. The opportunities for artists to show their works to a select circle of art enthusiasts are subject to strict regulations. In protest, three students founded the Pre-Raphaelite Brotherhood. The painters of the brotherhood strove for a completely new kind of painting. The painters devoted themselves to motifs close to nature, which they created with a special blaze of colour. The Pre-Raphaelites were critical of social conditions and opposed the elitist guidelines that applied to artists. The brotherhood lasted only briefly, but nevertheless laid the foundations for the future development that the artists underwent in the transition from the Victorian age to the reign of King Edward VII.
Edgar Bundy did not go through any academic training. Alfred Stevens was the mentor and teacher of the young Englishman and taught him the practical aspects of painting. Following his teacher, Bundy specialized in paintings with historical content. The aftermath of the Pre-Raphaelites can be seen in the splendor of color with which Bundy decorated the scenes in the interiors. Bundy often finds his motifs in literature and creates a visual counterpart to the so popular novels of British society. Lively and detailed are the depictions of the painter who finds his artistic centre in narrative art. The cautious openings of the high art scene allow Bundy to exhibit at the Royal Academy and the Paris Salon. Works relating to the events of the war and the hero of the battle join the ranks of the great British names.
With the beginning of the Edwardian era, England opened up to the artistic influences of the European continent. Art and literature became pictorial narratives and enjoyed great popularity among the Edwardians. Edgar Bundy was a master in telling vivid stories with his pictures. Lively scenes that stimulate the imagination of the viewer and formulate a statement independent of his culture. While the power of the writer is as changeable as the talent of the translator, Bundy's paintings require no translation. With brush and paint, Edgar Bundy tells stories from life and transfers emotions across the canvas. The broad spectrum of his talent is equally evident in speakers in the coffee house, Stradivari while making a violin, or the young farmer walking his donkeys.
In the middle of the 19th century, English painting is characterized by rigid and academic traditions. The requirements for admission to an academy are high. The opportunities for artists to show their works to a select circle of art enthusiasts are subject to strict regulations. In protest, three students founded the Pre-Raphaelite Brotherhood. The painters of the brotherhood strove for a completely new kind of painting. The painters devoted themselves to motifs close to nature, which they created with a special blaze of colour. The Pre-Raphaelites were critical of social conditions and opposed the elitist guidelines that applied to artists. The brotherhood lasted only briefly, but nevertheless laid the foundations for the future development that the artists underwent in the transition from the Victorian age to the reign of King Edward VII.
Edgar Bundy did not go through any academic training. Alfred Stevens was the mentor and teacher of the young Englishman and taught him the practical aspects of painting. Following his teacher, Bundy specialized in paintings with historical content. The aftermath of the Pre-Raphaelites can be seen in the splendor of color with which Bundy decorated the scenes in the interiors. Bundy often finds his motifs in literature and creates a visual counterpart to the so popular novels of British society. Lively and detailed are the depictions of the painter who finds his artistic centre in narrative art. The cautious openings of the high art scene allow Bundy to exhibit at the Royal Academy and the Paris Salon. Works relating to the events of the war and the hero of the battle join the ranks of the great British names.
With the beginning of the Edwardian era, England opened up to the artistic influences of the European continent. Art and literature became pictorial narratives and enjoyed great popularity among the Edwardians. Edgar Bundy was a master in telling vivid stories with his pictures. Lively scenes that stimulate the imagination of the viewer and formulate a statement independent of his culture. While the power of the writer is as changeable as the talent of the translator, Bundy's paintings require no translation. With brush and paint, Edgar Bundy tells stories from life and transfers emotions across the canvas. The broad spectrum of his talent is equally evident in speakers in the coffee house, Stradivari while making a violin, or the young farmer walking his donkeys.
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