Helen Hardin (May 28, 1943 – June 9, 1984) (Tewa name: Tsa-sah-wee-eh, which means “Little Standing Spruce”) was a Native American painter. She started making and selling paintings, participated in University of Arizona’s Southwest Indian Art Project and was featured in Seventeen magazine, all before she was 18 years of age. Creating art was a means of spiritual expression that developed from her Roman Catholic upbringing and Native American heritage. She created contemporary works of art with geometric patterns based upon Native American symbols and motifs, like corn, katsinas, and chiefs. In 1976 she was featured in the PBS American Indian artists series.
Norman Wilfred Lewis (July 23, 1909 – August 27, 1979) was an American painter, scholar, and teacher. Lewis, who was African-American (of Bermudian descent), was associated with abstract expressionism, and used representational strategies to focus on black urban life and his community’s struggles.
He also painted social realism, painting with “an overtly figurative style, depicting bread lines, evictions, and police brutality.”
Lewis said he struggled to express social conflict in his art, but in his later years, focused on the inherently aesthetic. “The goal of the artist must be aesthetic development,” he told art historian Kellie Jones, “and in a universal sense, to make in his own way some contribution to culture.”
Norman Lewis was the only African- American artist among the first generation of abstract expressionists; his work was overlooked by both White and African-American art dealers and gallery owners. He did not fit into either category perfectly. As was recently noted in a catalogue accompanying a major retrospective of Lewis’s paintings this omission seem clear enough. His work was overlooked many times because of his political involvement, and also because of the area where he lived. His skin colour at this time period had a major impact on his work life.
Frances Mallalieu Payne (1885–1976), known as Frank Payne, was an Australian artist and illustrator.
Payne was born at Kangaroo Point, Brisbane, Australia on 7 May 1885 to Peel Payne, a shipping clerk, and his wife Julia Finch, née Batchello, who were both born in England.
She was educated at All Hallows’ Convent followed by Brisbane Technical College. At the latter she studied portraiture under Godfrey Rivers. From 1905–1906, she studied in Paris, at the Académie Colarossi, then at the École Nationale Supérieure des Beaux-Arts, and in London, where she worked in Frank Brangwyn’s studio. She returned to Australia in September 1907. She undertook freelance design work, producing catalogues and magazine covers.
A member of the Society of Women Painters from 1919, she held various positions for several years and contributed to each of its annual exhibitions from 1921. She painted in oils and watercolour. her subjects included children, landscapes and genre paintings. She was the first president of the Women’s Industrial Art Society from 1934, and received the King George VI Coronation Medal in 1937.
She died on 11 July 1976 at Normanhurst, Sydney, New South Wales, and was cremated.
A retrospective exhibition of her work, “Frank Payne: The Forgotten Artist” was held at the Redland Art Gallery in Queensland, Australia in 2011.
François Joseph Guiguet (8 January 1860, in Corbelin – 3 September 1937, in Corbelin) was a French painter.
He specialized in painting woman and children, frequently returned to his hometown seeking inspiration and exhibited widely, including England, the United States, Germany and even Réunion. In 1910, he received the Légion d’honneur.
Robert Delaunay (12 April 1885 – 25 October 1941) was a French artist who, with his wife Sonia Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were more abstract. His key influence related to bold use of colour and a clear love of experimentation with both depth and tone.
Delaunay is most closely identified with Orphism. From 1912 to 1914, he painted nonfigurative paintings based on the optical characteristics of brilliant colors that were so dynamic they would function as the form. His theories are mostly concerned with color and light and influenced many, including Stanton Macdonald-Wright, Morgan Russell, Patrick Henry Bruce, Der Blaue Reiter, August Macke, Franz Marc, Paul Klee, and Lyonel Feininger. Apollinaire was strongly influenced by Delaunay’s theories of color and often quoted from them to explain Orphism. Delaunay’s fixations with color as the expressive and structural means were sustained by his study of color.
His writings on color, which were influenced by scientists and theoreticians, are intuitive and can sometimes be random statements based on the belief that color is a thing in itself, with its own powers of expression and form. He believes painting is a purely visual art that depends on intellectual elements, and perception is in the impact of colored light on the eye. The contrasts and harmonies of color produce in the eye simultaneous movements and correspond to movement in nature. Vision becomes the subject of painting.
When World War II erupted, the Delaunays moved to the Auvergne, in an effort to avoid the invading German forces. Suffering from cancer, Delaunay was unable to endure being moved around, and his health deteriorated. He died from cancer on 25 October 1941 in Montpellier at the age of 56. His body was reburied in 1952 in Gambais.