Creator of Lucky Compiler (, featuring interviews with eminent artists and photographers from across the world; It’s Quoted (, a tumblr blog dedicated exclusively to celebrate the power of words; Digital Filbert (, devoted to my musings about the world of web and beyond.

Our own affections still at home to please
Is a disease;
To cross the seas to any foreign soil,
Peril and toil;
Wars with their noise affright us; when they cease,
We’re worse in peace:
What then remains, but that we still should cry
For being born, and, being born, to die?
Francis Bacon (via itsquoted)
There is a cropping–time in the races of men, as in the fruits of the field; and sometimes, if the stock be good, there springs up for a time a succession of splendid men; and then comes a period of barrenness.
Aristotle (via itsquoted)


During the inaugural Photographic Salon of 1893, Henry Peach Robinson’s art photography received universal acclaim. His revolutionary techniques in creating photomontage by combination printing also enhanced his already considerable reputation as one of the finest photographers of the day.

Henry Peach Robinson (July 9, 1830 – February 21, 1901) was a trained artist. At a very young age he apprenticed as a printer to Richard Jones, a local bookseller. He even exhibited his paintings at the Royal Academy in 1852, a year that proved to be a fateful one for him as his love of photography began around the same time. The paintings of J M W Turner and the Pre–Raphaelite movement created deep impressions on him. So when he imbibed the very essence of fine art into his pictorial photographs it did not surprise many. He was privileged to receive the mentorship of noted psychiatrist and photographer Dr Hugh Welch Diamond. Robinson was also an admirer of another famous contemporary photographer, Julia Margaret Cameron.

By 1864 Henry Peach Robinson, then in his mid–thirties, was forced to give up the dark room techniques of creating photomontages that he had pioneered. His health was failing rapidly by being exposed to toxic chemicals in the dark room. A four year’s recess proved to be healing enough to allow him back, though, with a lingering speech impediment that continued bothering him lifelong. He dedicated himself to photography with renewed enthusiasm.

Besides practicing, Robinson indulged in writing extensively on his favourite subject. His essay Pictorial Effect in Photography, Being Hints on Composition and Chiaroscuro for Photographers (1868) is still considered to be an important document on this visual medium. He was a believer of photography’s eligibility as a legitimate art form and advocated the same strongly all his life.

So long as you live and work, you will not escape being misunderstood; to that you must resign yourself once for all. Be silent.
Johann Wolfgang von Goethe (via itsquoted)


Lovis Corinth’s unconventional brushstrokes traced the serenity of Lake Lucerne and the bloodbath of the interior of a slaughterhouse with equal élan. From mythology to florid landscapes there is not a genre that his artistry did not explore. Similarly he used various techniques, from realism to expressionism, for his visual portrayals on canvas. Not surprisingly then, he found poetry In the Fisherman’s House (1886) as much as On the Balcony in Bordighera (1912).

Lovis Corinth was born on July 21, 1858 in Tapiau, part of historical Prussia. At birth his name was Franz Heinrich Louis. Since he exhibited early signs of his talent in painting, he was sent to academy of Königsberg (1876) and later to the Academy of Fine Art in Munich (1880). Among his tutors Robert Trossin and Otto Edmund Günther left marked impressions on him. His interest in the art of etching and printmaking was further sparked by the presence of the former. His experiences of life could be best summed up by using his own words,

I have been unhappy throughout my life. From the beginning there was the secret war of my stepbrothers against me, a continuous strife and quarrel over the fact that they had received no education. Secretly they even threatened to kill me. The memory of this situation from my childhood has remained with me to this day. I have always felt a certain respect toward the more privileged classes. Yet my disposition did not allow me to love anyone. On the contrary, everyone considered me rather repulsive and crude on account of my ill–bred barbarity. I envied those who possessed a cheerful temperament or greater ability than I. A burning ambition has always tormented me. There has not been a day when I did not curse my life and did not want to terminate it.

Lovis Corinth’s paintings vividly exhibit the emotional strife he had undergone all through his life. His masterful techniques surpassed many of his contemporaries and even his most illustrious teacher William–Adolphe Bouguereau. He joined Munich Secession in 1892 and later succeeded Max Liebermann as the president of Berlin Secession. Corinth suffered a stroke in 1911 which instead of being a setback inspired him to find even newer modes of expression. His frail health though could not withstand the onslaught of an attack of pneumonia to which he succumbed on July 17, 1925.


Constant Puyo often insisted that photography be considered as a legitimate art form. He himself was greatly affected by the art movements of the day, including, impressionism. He photographed Montmartre (1904) as an ode to Edvard Munch’s Rue Lafayette (1891). Constant Puyo’s devotion to all things ‘beautiful’ was legendary. For, like Johann Wolfgang von Goethe he believed, ‘beauty is the highest principle and the highest aim of art.

Born as Émile Joachim Constant Puyo (November 12, 1857 – October 6, 1933), Puyo’s introduction to the world of art happened through his father. In fact, his tryst with camera began when he used it as a tool to photograph his drawings. The camera became his trusted companion during his trips across Europe and North Africa. Constant Puyo was a pioneer among the pictorialists. In 1894, he joined the Photo Club of Paris which he served for more than thirty years before retiring as a president.

Before his death in 1933, Puyo established himself as the pre–eminent photographer of his day. He effectively used a soft focus technique to bring about an enigmatic quality to his visual essays. Camera in hand he sought to tell the untold stories of wild flowers as vividly as the everyday lives of rustic folks. Figures of women, sometimes in contemplative and at other times in playful moods, graced his photographic plates. Without fail and irrespective of the subject, Constant Puyo’s photography remained faithful to beauty and harmony in their truest senses.


Today Lola Mora’s public sculptures grace prominent sites of Buenos Aires and other major places of Argentina. She is widely considered to be the first woman from Argentina, if not the first South American, to receive global recognition for her sculptures. However, this did not happen during her lifetime.

Lola Mora was born on November 17, 1866 in in Trancas, province of Tucumán as Dolores Candelaria Mora Vega de Hernández. She excelled in studies in her provincial school. Boosted by a scholarship received from Argentinean government she made a journey to Italy in her twenties. It is needless to say renaissance art left a deep impression on her mind as much as the sculptures of Auguste Rodin. A close study of her sculptural pieces reveals these influences unmistakably.

In spite of having numerous opportunities in Europe to study and advance her career as a sculptor she chose to return to Argentina where she devoted time doing what she loved most, creating pieces of art. Her public sculptures though sent a shockwave across the traditionalists of the country. The public were unaccustomed to the nude statues, often considered carrying the very essence of aestheticism and the skills of the artist in Europe, which made the matters worse. Her political allegiance also caused a stir.

As a result of all these wild rumours started flying about Lola Mora, her relationships and even her sexuality. She died on June 7 of 1936 in relative anonymity and abject poverty if not bitter with the kind of hostility she endured as an artist. Besides being a sculptor, Lola Mora also created a niche for herself as an inventor holding a number of patents which included systems for mining and filming using a column of vapour. Truly said Jean Cocteau when he claimed,

When a work appears to be ahead of its time, it is only the time that is behind the work.