Guitariste

ID: #6037 | Romantisme | Personnes

La peinture représente un homme et une femme en costume traditionnel sur une scène musicale. L'homme est assis sur une poutre en bois et joue d'un instrument à cordes, probablement un banjo ou un luth. Il porte une chemise à rayures bleues et blanches et une casquette sombre. Une femme se tient en face de l'homme, la bouche ouverte, comme si elle chantait ou parlait. Elle porte un haut rouge et rose et un foulard rayé blanc et rouge. L'arrière-plan est le mur sombre d'une maison dont le plâtre s'écaille.
Créé par une intelligence artificielle, veuillez faire preuve d'indulgence.

Prevailing color of this fine art print is vif and its shape is paysage. This image is printed on demand - you can choose material, size and finishing.

Brazilian artist José Ferraz de Almeida Júnior (1850-1899) started painting when he worked as a bell ringer at the church of Our Lady of Candelaria. In his free time, he painted several small paintings with religious themes. The chief priest was so impressed with his work that he organized a collection enabling Júnior to attend drawing lessons. In 1869, he studied at the Academia Imperial de Belas Artes. After graduation, he opened his own studio in order to earn a trip to Europe. In 1876, he exhibited in Sao Paulo, where he came to the attention of the Emperor Pedro II. He was so fascinated by his paintings, for example Yearning and Waterfalls, that he offered Júnior financial support. This fulfilled his dream to travel to Paris and study at the Beaux-Arts. After returning to Brazil in 1882, he gave lessons in his studio. He didn’t leave Sao Paulo even when he received an offer to become a professor of art history at the Academy. His life ended violently at the hands of his cousin, who stabbed him because of a long-standing affair with his wife. For his work from the Romantic period, Júnior was awarded the title of Knight of the Rose Order from the emperor.