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Undeterred by his friend's departure, Fiscus carried on alone. Even though there was less competition in Indianapolis, working as an artist without a patron was challenging to state the least; nevertheless, C.J. Fiscus eked out a meager living drawing crayon portraits and selling an occasional sketch over the next three years. [7]
The other, producing what is generally referred to as a “crayon enlargement”, [2] [3] was to use a magic lantern to project the photograph onto the rear of drawing paper or a canvas. [4] Both of these provided a photographic image which could then be used as the base from which to colour in the features using crayons, oils or watercolours.
He moved to London in 1855, taking lodgings in Kennington Road, Lambeth, and supporting himself by drawing crayon portraits while studying in the British Museum and in the schools of the Royal Academy. [1] Following in the footsteps of William Mulready, [2] he became a genre painter, his street scenes and interior scenes often showing children ...
The use of crayon or pastel sticks of ground pigments in various levels of saturation is also considered a highly skilled colourist's domain, as it requires knowledge of drawing techniques. Like oils, crayons and pastels generally obscure the original photograph, which produces portraits more akin to traditional paintings.
Two of Abraham's siblings were also artists: his sister, Rebecca Solomon (1832–1886), and his youngest brother, Simeon Solomon (1840–1905), who acquired much acclaim as an associate of the Pre-Raphaelites and exhibited at the Royal Academy from 1858 to 1872; his later crayon drawings of idealized heads are still popular.
His brother, Charles "Carl" Akers, was also a sculptor and crayon portrait artist. He wrote articles on art for the Atlantic Monthly and also The Crayon, a short-lived New York art magazine in the mid-19th century. [2] Akers spent the winter of 1849 in Boston learning the art of plaster casting with the sculptor Joseph Carew. In 1850 he opened ...
While at the camp, Curry produced nearly a hundred sketches covering virtually all training exercises, a crayon portrait of Lieut. Col. Edward A. Zimmerman, and even a large oil portrait of Brig. Gen. Roy C. Heflebower, the commanding general of the medical replacement training center. [63] Sketches held by the Beach Museum of Art
Born in Grenoble, Isère, Ignace Henri Jean Théodore Fantin-Latour first had drawing lessons with his father Théodore Fantin-Latour (1805-1875), who was a painter. [2] In 1850 he moved to Paris where he enrolled in the small Paris School of Drawing, where he studied with Louis-Alexandre Péron and Horace Lecoq de Boisbaudran, an innovative and non-traditional instructor who developed his own ...