His exhibitions were mainly in Cannes and Paris. In 1946 he became a member of the committee for the Salon des Realites Nouvelles. In 1950 he exhibited in South America.

He started doing abstract painting very early in his career, his first abstract work dating in 1913. From 1921 on he investigated the relationship between music and visual creation transforming musical works by Bach and Debussy into paintings.

Jacob Andries Beschey was the master of the Saint Luke Guild in Antwerp from 1727 and its dean from 1766. His main output includes biblical and mythological subjects, landscapes, and still lifes.

She studied at the Ecole des Beaux Arts in Paris. From 1910 on, she regularly presented her work at the Salon d’ Automne and the Salon des Independants. In 1938 she organized a group exhibition of women artists. After a trip to Greece, she studied sculpture und Bourdelle.

He began his studies at a free academy in Madrid and at the same time worked at the Prado, primarily copying the works of Titian, Velasquez and Goya. He linked himself to the avant garde groups in Madrid and worked for many newspapers as an illustrator. Until that period his works were presented frequently at the various salons and were rather conventional. In 1925 twenty of his works were included in an important exhibition in Madrid called “Iberian Artists”, which for the first time presented the work of non-academic painters. Immediately after that, he settled in Paris and associated himself with various Spanish painters among whom were Picasso, Miro and Picabia. He became friends with Matisse, Derain and Juan Gris.

In Paris he participated in many group exhibitions, such as the Salon of True Independents and the Salon des Tuileries, to which he was invited to participate. He also took regular part in the Salon des Superindependants, as well as in the exhibition of the School of Paris which was held in Bern in 1946.

His first solo exhibition was held at the Percier Gallery in Paris and presented works inspired by cubist collage.

He subsequently had many solo exhibitions, not only n Paris but also in Madrid, Zurich, Brussels, Stockholm, Copenhagen, Chicago, Los Angeles and New York.

During the early Thirties his style drew closer to Expressionism, mainly because of his sinewy and intense brushstroke and his drawing done straight n the canvas. Later, he turned toward strictly intellectual compositions, using his themes as a pretext for stylistic experiments. The influence of Cubism was particularly strong, something which would appear to have been unavoidable for a young painter in the Paris of that period. He belonged to a group of artists for whom Cubism offered a new way of working which supplied an answer to their need to organize the work of art in a strick manner.

His Cubism was characterized as “Cubism with curves”. In his work can be recognized the influences of Picasso, Gris, Matisse and Braque.

He gradually simplified his painting, frequently achieving near abstraction. His work is characterized by an acuteness of color and the complex use of space, and is imbued with mysticism, creating an atmosphere all its own.

Jacopo Robusti, called Tintoreto, was born in 1518 or 1519 in Venice, where he spent all of his life, perhaps with small intervals of travel, and worked until his death, in 1594. Apart from a short period of only a few days at Tiziano’s workshop, we do not know if he served as apprentice under any other painter. From 1539, he began to work as an independent painter.

His early work reveals the influence of Veronese, Schiavone, Salviati, and Tiziano, while from around 1540, the effect of Michelangelo became obvious, perhaps after the artist’s travel to Rome in the same period. Notably, he had written on a wall in his workshop: “The drawing of Michelangelo and the colour of Tiziano”. Living in Venice, he combined in his paintings the colouristic splendour of the great Venetian masters, in which the memory of the mosaics of Saint Mark was still going strong, with the monumentality, the movement, and the dramatic gestures of Michelangelo’s figures.