Ernst Nowak était un peintre autrichien né le 7 janvier 1851 à Opava, en République tchèque, et mort le 30 mai 1919 à Vienne, en Autriche.
Il est surtout connu pour ses scènes religieuses, ses scènes de genre et ses portraits. Il a suivi l'enseignement de Carl Wurzinger (1817-1883) et d'August Eisenmenger (1830-1907) à l'Académie de Vienne. Plusieurs de ses œuvres sont conservées dans des musées.
Fritz Wagner est né à Zurich le 20 juillet 1872 et mort en 1967. C'était un peintre allemand de natures mortes, de paysages et de scènes de genre représentant généralement des cavaliers. Wagner a étudié à l'Accademia di Belle Arti di Brera de Milan.
Fritz Wagner était l'élève de Karl Roth et de Robert Seitz à Munich. Il a été influencé par Hiasl Maier-Erding. Il a été actif à Munich et à Frauenchiemsee.
Il effectua des voyages d'étude en Italie, en Hongrie et en Roumanie. Il s'inspira de Max Gaisser (1857-1922) et de ses intérieurs hollandais, et il a réalisé des portraits de moines à la manière d'Eduard von Grützner (1846-1925). Wagner était membre de l'Association nationale des artistes d'Allemagne.
Seeing talk again about Neil Gaiman as more people become aware of his abuses, and reminded of something I wrote earlier that absolutely relates.
The short of it is, as always, we want to simply repaint people as inhuman monsters the moment we find out behaviors like this. We want them to be "them" not "us", because if they're regular people who do awful things then all of "us" can be awful and I can't conveniently ignore the awful things people do around me.
Likewise, in the case of artists, there's a tendency to immediately see all of their art as complete trash. Not just tainted, but as being poor quality to begin with. Sometimes there's validity when it was rose-colored glasses before (ie. JKR's blatant bigotry throughout her writing that we glossed over mostly because we were kids and not paying attention), but often it's not based in the actual quality and experience of the work itself... just the tainted associations around it.
I'm not suggesting you should ignore the artist and just "get over yourself" or anything like that. I'm saying it's important to not automatically associate good artist with good person.
Because it's such a clear and easy example I love to point out Joss Whedon with this. His good stuff doesn't stop being good, it just becomes unenjoyable because you see him reflected in it. And what I think happens in both Joss Whedon's case and Neil Gaiman's is that their awfulness contributed to the quality, it didn't just fly under the radar.
In the case of Whedon, it's because his fetish was "breaking strong women", to fulfill that fetish in his writing that meant he had to write strong women. Because he so often wrote series, it mean he also had to write stories of them recovering their strength after being broken (so he could ultimately break them again). We connected with the strength of these women, that's what often made his stories so good and he hid behind that.
Dismissing all of that because it's come out that he's awful means we're not paying attention to how other artists show themselves, or how seemingly positive people might just be awful people with the mirror opposite abuses to the positives being celebrated.
*(Reposting because my node crashed and lost all my posts and I want to keep this one pinned)*
I've been mulling over making this post for a little bit, but I think it's really **really** important.
It's critically important that you remember and acknowledge the humanity of monsters. Not for their benefit, but for *everyone else's* benefit.
When someone commits a monstrous act or shares a monstrous belief, we want to think of them as an inherently vile and non-human thing.
But doing so shields and protects other monsters.
When you make a Nazi, or any kind of abuser, into a one-dimensional monster. When you make their whole existence *center* on this monstrous act or belief... you make it hard to see their humanity. And that's the point, you don't *want* to see their humanity.
*** You Don't Want To Believe That Someone You Know And Trust (Maybe Even Love) Is Capable Of Such Atrocity. ***
And that's the problem. Because when you reject their humanity, that humanity becomes their shield. Your friend Bob can't possibly be a Nazi or a child-abuser, he's such a loving father and he helped you move!
Because you see their humanity, you can't possibly imagine them as monsters because the monsters have no humanity in your eyes.
There's a reason that when serial killers get caught their neighbors say they couldn't imagine them doing such things.
So don't ignore their humanity, keep it in your mind... so the next one can't use it as a shield.
Henriëtte Ronner-Knip, née le 31 mai 1821 à Amsterdam et morte le 28 février 1909 à Ixelles, était une peintre animalière belgo-néerlandaise.
Henriëtte est le deuxième enfant du peintre Josephus-Augustus Knip (1777-1847) et de Cornelia van Leeuwen (1790-1848). Élève de son père, elle débute très jeune par la peinture d'animaux, de paysages et de natures mortes.
Henriëtte épouse le 14 mars 1850 à Amsterdam Feico Ronner (1819-1883), originaire de Dokkum. Ils eurent six enfants, Marie-Thérèse (1851-1852), Alfred Feico (1852-1901), Edouard (1854-1910), Marianne Mathilde (1856-1946), Alice (1857-1957) et Stéphanie-Emma (1860 -1936). Alfred, Alice et Emma devinrent artistes et Edouard avocat.
Henriëtte et Feico Ronner s'installent à Bruxelles en 1850, après leur mariage, où ils habitèrent successivement - Rue de la Régence, 7 (de 1850 à 1854) en 1852, cependant, ils habitèrent rue du Lait battu à Saint-Josse-ten-Noode - Avenue Rogier, 157 (de 1854 à 1856) - Chaussée d'Etterbeek, 172 (de 1856 à 1871) - Rue du Maelbeek (de 1871 à 1873) - Rue de la Vanne, 19 (de 1873 à 1878) - Chaussée de Vleurgat, 51 (de 1878 à 1903) - Rue Gachard, 43 (de 1903 à 1909), chez ses filles
Elle se spécialise dans la peinture animalière, au début surtout des chiens puis, à partir de 1870, presque exclusivement des chats, pour lesquels elle parvient avec une grande virtuosité à représenter le détail du pelage. Elle reçoit de nombreuses commandes notamment de la Cour belge mais aussi de notables anglais.
