French 1841-1895 Berthe Morisot Galleries Berthe Morisot (January 14, 1841 ?C March 2, 1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists. Undervalued for over a century, possibly because she was a woman, she is now considered among the first league of Impressionist painters. In 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by academicians, the Salon was the official, annual exhibition of the Acad??mie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul C??zanne, Edgar Degas, Claude Monet, Morisot, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar. She became the sister-in-law of her friend and colleague, Édouard Manet, when she married his brother, Eugene.   Related Paintings of Berthe Morisot :. | Child among Staked Roses | Detail of The man at the Huaiter Island | Embroider | The Butterfly Hunt | Young Woman Powdering Herself (mk09) |
Related Artists:
Robert Delaunary
1885-1941 Orphism
Nicolas Maes
1634-1693 Dutch Nicolas Maes Galleries Nicolaes Maes, also known as Nicolaes Maas (January 1634, Dordrecht - buried November 24, 1693, Amsterdam) was a Dutch Baroque painter of genre and portraits. Maes was the son of Gerrit Maes, a prosperous merchant, and Ida Herman Claesdr. In about 1648 he went to Amsterdam, where he entered Rembrandt's studio. Before his return to Dordrecht in 1653 Maes painted a few Rembrandtesque genre pictures, with life-size figures and in a deep glowing scheme of colour, like the Reverie at the Rijksmuseum in Amsterdam, the Card Players at the National Gallery, and the Children with a Goat Carriage. So closely did his early style resemble that of Rembrandt, that the last-named picture, and other canvases in the Leipzig and Budapest galleries and in the collection of Lord Radnor, were or are still ascribed to Rembrandt. In his best period, from 1655 to 1665, Maes devoted himself to domestic genre on a smaller scale, retaining to a great extent the magic of colour he had learnt from Rembrandt. Only on rare occasions did he treat scriptural subjects, as in Hagar's Departure, which has been ascribed to Rembrandt. His favorite subjects were women spinning, or reading the Bible, or preparing a meal. While he continued to reside in Dordrecht until 1673, when he settled in Amsterdam, he visited or even lived in Antwerp between 1665 and 1667. His Antwerp period coincides with a complete change in style and subject. He devoted himself almost exclusively to portraiture, and abandoned the intimacy and glowing color harmonies of his earlier work for a careless elegance which suggests the influence of Van Dyck. So great indeed was the change, that it gave rise to the theory of the existence of another Maes, of Brussels. Maes is well represented at the London National Gallery by five paintings: The Cradle, The Dutch Housewife, The Idle Servant, The Card Players, and a man's portrait. At Amsterdam, besides the splendid examples to be found at the Rijksmuseum, is the Inquisitive Servant of the Six collection. At Buckingham Palace is The Listening Girl (repetitions exist), and at Apsley House Selling Milk and The Listener. Other notable examples are at the Berlin, Brussels, St Petersburg, the Hague, Frankfort, Hanover and Munich galleries.
Currier and Ives
American Publisher, 1834-1907