Once Auguste Renoir and Édouard Manet painted next to each other. They stayed in Claude Monet's house in Argenteuil and set up their easels in the garden, while the owner was doing his chores. After this joint plein-air, Édouard Manet, rather embarrassingly, asked Claude to somehow suggest Renoir to quit painting. The poor fellow had no talent at all!

The "Fresco" is considered a landmark work by Pollock, for he never painted huge artworks before. However, Peggy Guggenheim ordered a mural for the wall of her house, and the surrealist Marcel Duchamp advised to make it not on plaster, but on canvas. Jackson Pollock nearly put the order on the back burner, as he spent several months contemplating a blank canvas, and "gradually fell into a real depression," according to his wife Lee Krasner. However, he got out in just one night: the creator was visited by inspiration, and in less than a day he created a work later recognized as a masterpiece. Well, he got over his fear of big canvases, and they eventually became his mega-"business card".

Once, one of the Rubens' disciples fell onto a freshly painted canvas and damaged it, smudging the whole fragment. He asked another Rubens' disciple, the then unknown Anthony van Dyck, to redo that fragment. The next day Rubens was admiring his own (as he thought at first) painting ... And when the deception was revealed, he praised his disciple with the same admiration! Soon, van Dyck became Ruben's right-hand man and some customers were surprised at how the master's late works changed – as if the brush was sometimes held in someone else's hand! However, it is still uncertain which of Rubens' paintings were finished (or painted entirely) by van Dyck or his other disciples.

The First President of the Royal Academy of Arts Joshua Reynolds had an obsessive tendency of retouching and reworking the paintings of his great colleagues. For example, during the study of Rembrandt's "Susanna and the Elders" in 2015, the restorers came to a shocking conclusion: a significant part of the canvas was repainted in the XVIII century, some areas were simply washed off with solvent and painted anew in a lighter palette, which was more fashionable at that period. Scientists believe that in this "barbarism" was engaged none other than Reynolds, as this kind of "editing" refers to the period when "Susanna and the Elders" was in his collection.

The main source of biographical information about Caravaggio – police and court records: there's at least one murder and countless fights under the belt of the Italian genius. One of these recorded fights gives reason to think that Caravaggio was not only a thug who should have been sent to anger management courses, but also a gourmet.
It happened in the tavern. A waiter served Caravaggio and two of his friends a large earthenware dish with eight artichokes: half of them were fried in oil and half – in butter. Caravaggio asked which were which: perhaps for him it was as important as light and shadow. The waiter shrugged and suggested that Caravaggio should sniff the artichokes to find out for himself. Caravaggio immediately leapt up, hit him with an earthenware dish and drew his ever-ready sword.

Van Gogh's Sunflowers are fading. This was confirmed by experts who have studied the version of the painting from the artist’s museum in Amsterdam. The thing is that the artist used two differing yellow pigments in the work, one of which is extremely sensitive to light and is fading to a brownish colour over time as a result. It seems that the artist himself was all too aware that the colours in his work were transient. "Paintings fade like flowers," he wrote in a letter to his brother Theo. The Van Gogh Museum in Amsterdam has already lowered its galleries’ lighting in an attempt to slow the aging process of 200 paintings and 400 drawings by the artist.

Alphonse Mucha made his way to his luck for a long time, and he became famous literally in one night. His success was brought by the unsurpassed Sarah Bernhardt, who approved his poster sketch, in which she acted in main role in the play "Gismonda". After the posters were spread, Mucha instantly became famous. It is rumored that the Parisians liked his posters so much that they bought additional copies from the distributors, and if they did not manage to agree with them, they stole posters, cutting them off in the dark from the walls with razor blades. Well, turning ordinary objects into works of art was a special gift of the famous artist.

Old masters often portrayed brawlers and drunkards, and wine served as one of the debauchery symbols. In the painting by Jan Steen "Rascal Family", the mistress of the house tramples the Bible, the maid fills her glass with wine, holding the hand of the owner of the house. Fate hangs over these people’s heads in the form of a basket with a sword (justice and punishment), a crutch and a mug (impending poverty) and a beater (it was used by those who suffered of plague and leprosy). A brave artist! Steen himself (the father of the family), his wife Margriet van Goyen (mother) and their sons Thaddeus (behind the grandmother) and Cornelis were the models for the picture!

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.

US President Dwight Eisenhower became interested in painting before moving into the Oval Office. He claimed to be influenced by the prime minister of Great Britain Winston Churchill in his decision to take up the paintbrush. While he produced over 250 known works in his lifetime, the 34th President of the United States never took it too seriously. In a conversation with reporter Richard Cohen, after being asked about the symbolism in one of his pieces, he replied: "Let’s get something straight here, Cohen. They would have burned this [expletive] a long time ago if I weren’t the president of the United States."

The teachers of the Dutchman Van Meegeren found his own paintings stiff and imitative. The most notorious forger of the twentieth century earned millions on forgeries of paintings by Vermeer and Pieter de Hooch. For example, he sold Christ and the Adulteress, a fake Vermeer, to Nazi Reichsmarshall Hermann Göring for 1.6 million Dutch guilders. After the war, World War II, van Meegeren confessed to fraud in order to avoid accusations of collaboration for the sale of national treasures. In 1947, he was sentenced to a year in prison but died of a heart attack the next month.

The great Sandro Botticelli could annoy the annoying with consummate skill. His new neighbour, cloth-weaver, wouldn't let the artist live: his eight looms rumbled to the point they shook the house! It was impossible for Sandro to work or to stay in his house. In response to complaints and requests, the neighbour only answered that in his own house he could and would do what pleased him. Well, once the weaver woke up in the morning, looked into his yard and was taken aback: on the wall of Sandro's house, which was higher than his neighbour's one, poised a huge stone. So every time the wall shook the stone seemed to be just about to fall and crush the weaver's house. And Botticelli smiled and gave him answer in his own words, that in his own house he could and would do whatever pleased him. The weaver could get no other answer, until at last he was forced to come to terms. Giorgio Vasari wrote about this incident in his Lives... Read more stories about Botticelli on Arthive.

By the early 1940s, Lucian Freud – the grandson of the founder of psychoanalysis Sigmund Freud and the future cult British artist – had already been a student of two British schools. He got kicked out of the last one for bad behaviour: dropping his trousers in public for a bet. Having been thrown out of several art schools, Freud finally gave up on academic education and decided to become a sailor. Having mastered the art of tattooing, Lucian quickly made friends with other sailors, but his first voyage left him with severe tonsillitis, putting paid to the sea career. Freud had no other choice rather than becoming an artist.

The Russian artist had a legendary exclusive visual memory. One day, into the hometown of Vrubel, Saratov, they brought a large-scale copy of the "Last Judgment" fresco by the great Italian Renaissance painter Michelangelo. The future brilliant Russian artist was just Misha then, he was 9 years old. The boy took pencils and brushes at the age of five, so he hastened to look at the work, housed in the church, together with his father, and for a long time he studied every detail of it, even though his father called him to return home. Afterwards, having retired to his nursery, he reproduced the seemingly impossible for the child composition with masterful precision.

For a long time, the famous English Pre-Raphaelite artists George Frederick Watts and Frederic Leighton were not only friends, but also neighbours. They lived on adjacent plots of a unique artists' colony built in Holland Park in the second half of the XIX century. The "brothers in art" shared the gate that connected their gardens, and every morning Leighton would call Watts to tell him about the latest news of the Royal Academy of Arts. Leighton was a member of each committee of the Royal Academy, the so-called social activist, and in 1878, at the early age of 48 he became president of the Academy. Watts wasn't that interested in the affairs of the institution, and Leighton was constantly making efforts to prevent his friend from being excluded from it.

The third place on the list of the most expensive living female artists is taken by Yayoi Kusama with her polka dots obsession. There are polka dots on her canvases, objects and even people... Actually, "obsession" here is far from being a metaphor: the Japanese artist admitted herself into a psychiatric hospital and confessed: "I am deeply terrified by the obsessions crawling over my body, whether they come from within me or from outside. I fluctuate between feelings of reality and unreality. My artwork is an expression of my life, particularly of my mental disease. If it wasn't for art, I would have killed myself long ago." Indeed, the saving art is polka-dotted.

Alexander Benois is considered the main critic and opponent of creativity of Kazimir Malevich. Benois considered the works of Malevich a "dead-end branch". It is no surprise, as Malevich called for "stabbing the art of painting and abandoning obsolete Madonnas and Venuses." For Benoit, such a philosophy was blasphemous, so he tirelessly criticized Malevich in his articles and speeches. Here is his review on the "Black Square": this work allegedly had its beginning in an abomination of desolation and through "trampling all the tenderness and love, it will inevitably lead the world to imminent death." Well, has history judged them?

Queen Victoria made intimate sketches of members of the Royal Family that she never expected or wanted the public to see. When a journalist leaked them in the, she took him to court in what is one of the earliest examples of a public figure going after the media. So her first solo exhibition was arranged only 111 years after her death – in 2012. The public had the opportunity to see sweet sketches of her daughter at bath time and in her royal finery. The drawings displayed a talent that few people were aware that the Queen possessed. By the way, her descendant – Charles, Prince of Wales is also interested in drawing. He creates scenic watercolour landscapes of locations worldwide, including Australia, Jamaica, Asia, and of course, the Royal Gardens.

Yvette Guilbert, the Moulin Rouge cabaret singer, hugely impressed the artist Toulouse-Lautrec. He told all his friends about her, took them to concerts, and didn't miss her single performance himself. Once, Toulouse-Lautrec made a charcoal sketch for a poster and sent it to Guilbert with a proposal for collaboration. That sketch was cruel and striking, offensive and sensitive. Guilbert was ready to print the poster, but it turned out that she was the only one who wanted to do it. Her friends and family were offended by that ugly, grotesque caricature, and her entrepreneur threatened to break the contract. Soon Guilbert and Lautrec met in person. He conceived a 14-page album of lithographs dedicated to her – and she agreed to pose. The album appeared to be scandalous – this time the outraged friends recommended Yvette to sue Lautrec without hesitation. Instead, she put her signature on each copy of the album.