The famous Florentine painter of the Pre-Renaissance period Giotto di Bondone once played a trick on his teacher Cimabue Giovanni, and drew a fly on the nose of one of the painted characters. The insect looked so plausible that Cimabue took it for real and tried several times to brush it off from the picture. And only after several unsuccessful attempts, he finally understood what was the matter.

Sir Joshua Reynolds, an English portrait and history painter, a representative of the English school of portraiture of the XVIII century, was never married. He proposed to the German artist Angelica Kauffman, who moved to London. Having been rejected and craving for revenge, he introduced her to the gigolo Frederick Brandt. The man got her into such a big mess that it got the whole Europe intrigued and inspired Victor Hugo to write his drama Ruy Blas.

One day, in the gallery of the collector spouses from New York Maya and Anatoly Bekkerman, the bell rang: the outfitter’s granddaughter offered them a picture, which Fyodor Chaliapin paid 100 years ago with ... for a tailcoat! The lady spelled the surname of the great singer as "Shatapkin", but the canvas was undoubtedly of Korovin's brush. The creators were friends, Korovin painted a portrait of Chaliapin’s daughters, so he had several works by the artist. Four of them were used to pay the merchant for the clothes.

One of the most revered Dutch painters of the seventeenth century Gerrit Dou is renowned for his small and yet incredibly meticulous and skilful works. His paintings are distinguished by a smooth, as if enamelled, surface, which was typical of the 'fijnschilders' ('fine painters') school. The amount of time the artist spent on the most minute details in his paintings can be illustrated be this legend: when Dou was complimented on his extreme patience in painting a broomstick which was hardly larger than a fingernail, the artist responded that he would require at least three more days to complete it.

Piero della Francesca is the creator of "the greatest painting in the world": that's how English writer Aldous Huxley described the painter's Resurrection in his essay Along the Road. The fresco was created somewhere between 1450 and 1465 in the artist's hometown Sansepolcro on the wall of the town hall (which is now a museum). The masterpiece survived until the modern times: it had been hidden beneath a layer of plaster for nearly two hundred years. And during the Second World War, an officer of the Royal Horse Artillery, Anthony Clarke saved the fresco and the town by holding back from using his troop's guns to shell Sansepolcro. He’d read Aldous Huxley's essay about "the greatest picture in the world." And in return, the locals named in his honour a Sansepolcro suburban street. By the way, in translation from the Italian, the name of the tower means "the Church of the Holy Sepulchre" and the fresco depicts the risen Christ on the brim of the sepulchre. Read more about the artist on Arthive.

At one time, Maurits Escher made attempts to translate Bach's works into a graphic language. However, when musicians came to him with a request to illustrate the cover of their new album, he categorically refused. The same cold shoulder received the leader of The Rolling Stones Mick Jagger, who wished to decorate his plate with an engraving "Verbum". However, many musicians did not feel confused about the artist’s position, and they used Escher's drawings without permission, which disturbed him very much.

"Women of Algiers (Version O)" by Pablo Picasso set a new world record as the most expensive painting sold at auction. On May 12, 2015 at Christie's auction in New York they paid more than $179 million for it. Previously, the most expensive work sold at auction was Francis Bacon's triptych " Three Studies for Portrait of Lucian Freud". In November 2013, it was auctioned at Christie's for $142.4 million, taking the priority from Edward Munch’s "Scream".

"When I accept a picture by myself, it's more serious than if it were judged by all juries in the world!" this was the artistic creed of the perfectionist Paul Cézanne. Because of the fact that creating one picture took a very long time, Cézanne could not paint live flowers. He complained that they fade too fast, and the ripening fruit change colours. Therefore, he preferred to depict artificial flowers. But you can’t call the flowers by Cézanne artificial, can you?

The idea of the main masterpiece of the legendary surrealist Méret Oppenheim was born by chance, during a visit to a Parisian cafe with Pablo Picasso. During the conversation, he noticed the bracelet on Oppenheim's hand, which she made of ordinary wire wrapped in fur. "You can cover anything with fur," he remarked. "Yes, even this cup and saucer," she replied. And in May 1936, at an exhibition of surreal objects in the Paris gallery of Charles Ratton, Oppenheim presented her "Breakfast in Fur" – a cup, a saucer and a spoon, their surface covered with the fur of Chinese gazelle.

At first, Edgar Degas's sculpture The Little Fourteen Year Old Dancer got the negative public reaction. "She resembles a monkey, an Aztec, a fetus. If she were smaller, one would be tempted to enclose her in a glass jar of alcohol," said one of the critics. Another reviewers described her as "astoundingly ugly" while her forehead and lips were said to be "marked with a profoundly vicious character". Yet, now The Little Fourteen Year old Dancer is considered to be one of Edgar Degas' masterpieces. The model for the statue was Marie Geneviève van Goethem. Before sculpting the piece, Degas had drawn and painted her more than seventeen times, both clothed and nude. The artist had planned to show his artwork in 1880, at the Fifth Impressionist exhibition in Paris, but by the time of the opening he was not satisfied with his sculpture. It was shown a year later – dressed in a muslin skirt with a satin hair ribbon.

William Turner was very reluctant to part with his paintings: he wanted the best of them to be preserved for descendants in a single collection. And if the thing was dear to him, willing to scare away a persevering buyer, he inflated the price wickedly. So it happened to "Dido building Carthage". In the bidding process, the price rose from 500 to 2,000 pounds and the angry buyer blurted out: "What are you going to do with it?" "They'll bury me in it, what else?" Turner joked spitefully. The artist's phrase became popular, so that when Turner died, the gossip spread across London. The abbot of St. Paul's Cathedral, having learned about the death of the artist, allegedly stated indignantly that he would not read the funeral prayer, if Turner was wrapped in a picture!

Apples are the landmark object in the Cézanne’s work. And the friendship of Paul Cézanne and Emil Zola began precisely with apples - the future writer, grateful for Paul’s intercession gave the future artist a whole basket of apples.
"He, Zola, was interested in absolutely nothing. He dreamed. He was absolutely unsociable, a kind of a melancholic destitute. You know, the kind of people guys usually hate. Without any reason, they bullied him. And this was the beginning of our friendship. The whole school, big guys and kids, gave me some kind of a swagger because I did not participate in their ostracism. I didn’t care about them, I came up and talked with him as usual. A nice friend. The next day he brought me a basket of apples. Here they are, Cézanne's apples!"

In 2008, Tiepolo's name was the talk of the art world: a picture of the great master was found in the attic of a French estate! Shy grandparents of the current owners prudently hid the luxurious topless lady depicted on the canvas. Thus they perfectly preserved the picture! It is believed that it was ordered by the Russian Empress Elizabeth to decorate the Winter Palace, as there are similar images of the series there. The canvas was called "Portrait of a Lady as Flora" and soon sold at Christie's auction for 4,227,780 dollars, almost three times "overlapping" the considerable estimate.

After Ruben's death in 1640, van Dyck received a letter from the King of Spain. The artist had almost no doubts he would be offered a place at court. But Philip IV asked him to complete unfinished Rubens' commission first. "He managed to humiliate me even from his grave!" – said van Dyck discontentedly. He only had 12 months to live: a year after Rubens ' death, on December 9, 1641, the 42-year-old van Dyck died of a mysterious illness and was buried the same day as his daughter Justinia's baptism.

When the house is under repair, the true artists paint from nature! Caillebotte submitted his painting Les raboteurs de parquet (The Floor Scrapers) to the jury of the Salon, the official exhibition of the Academy of Fine Arts in Paris. The work was rejected, but it caught the attention of Edgar Degas and Auguste Renoir, who encouraged Caillebotte to exhibit with the impressionists. The painting became one of the sensations of the Second Impressionist exhibition in 1876! And the reviews were mixed: the admirers appreciated it being "beautifully truthful and accurate", the critics deemed it "unfinished, vulgar and anti-artistic", and Émile Zola denounced this work as being "photographic" and "bourgeois." Now this painting is considered to be one of the pearls of the Musée d'Orsay collection.

No one managed to avoid the sarcastic jokes and condescending remarks of Edgar Degas. Everybody got it in the neck: artists and writers, critics and politicians; admiring biographers and chroniclers of Impressionism even recorded excerpts of Degas's conversations in cafes and at the exhibitions.
When Pablo Picasso settled in Montmartre, there had been legends about Edgar Degas. Residents of the commune Bateau-Lavoir, their guests and friends (poets and artists) spent evenings "playing Degas". The point of the game was to insult each other in a perfectly calm voice and as politely and secular as possible.

Ellen Andrée is a famous Parisian actress who performed in the Palais-Royal and in the bar at the Folies-Bergère. She was a model for Pierre-Auguste Renoir, Édouard Manet, and Edgar Degas; she also spent time with the artists and poets in the café New Athens, which was unprecedented audacity for the time. Ladies could visit drinking establishments only accompanied.
The painting L'Absinthe, for which Andrée posed together with the artist Marcellin Desboutin, also negatively affected her reputation. It caused a big fuss; the painting was called disgusting and immoral, they saw a challenge in it and, of course, suspected models of heavy drinking. Edgar Degas had to make an official statement that neither Ellen, nor Marcellin was an alcoholic – they just perfectly played their roles. To make up for such a blow to her reputation, Degas even offered Ellen one of his works as a gift.

Leon Bakst came to the conclusion about the advantages of lecturing over creating paintings in 1923, after delivering at the Plaza Hotel his most famous lecture on fashion and design L'art du Costume et les lois, ces applications selon toute individualité. Bakst was paid 2,000 US dollars for this lecture. Its text was published in Vogue magazine. Bakst really enjoyed it and wrote to his sister that he craved more lectures like that: "This is like Chaliapin’s tour – pleasant and much easier than painting."

Aivazovsky resourcefully attracted rich customers. Before the arrival of the guests, the artist's apprentice applied diluted ink or sepia-stains on paper with a sponge for some indeterminate outlines to emerge. Then Aivazovsky cut the paper into small pieces, stained the spots (still a brilliant brush!), to get quite spectacular seascapes with waves and clouds. They were inserted into the frame and presented to every noble person who visited the artist's studio. After that, the "flattered" visitor considered it his duty to buy a big picture from Aivazovsky for hundreds or even thousands of rubles.

When Paul Cézanne didn't like his own painting, he would just throw it out of the window. The gardener Auguste Blanc told how the old trees growing under the windows of the artist's studio were hung with unfinished still lives. Sometimes Paul would think about some not completely hopeless sketches that had been hanging in the garden for several months – and put them back on his easel.
"Son, we must get down The Apples; I think I'll work on that study some more," he asked his son, who brought to Aix-en-Provence a French art dealer Ambroise Vollard for new paintings.