Caribbean-born French Pointillist/Impressionist Painter, ca.1830-1903 .Painter and printmaker. He was the only painter to exhibit in all eight of the Impressionist exhibitions held between 1874 and 1886, and he is often regarded as the 'father' of the movement. He was by no means narrow in outlook, however, and throughout his life remained as radical in artistic matters as he was in politics. Thad?e Natanson wrote in 1948: 'Nothing of novelty or of excellence appeared that Pissarro had not been among the first, if not the very first, to discern and to defend.' The significance of Pissarro's work is in the balance maintained between tradition and the avant-garde. Octave Mirbeau commented: 'M. Camille Pissarro has shown himself to be a revolutionary by renewing the art of painting in a purely working sense;  Related Paintings of Camille Pissarro :. | Back hay farmer | Road to Port-Marly Route de Port-Marly | Harvest | handelstradgard med blommande trad | Grassland |
Related Artists:
Alden J Weir
1852-1919 Painter, printmaker and teacher, son of (1) Robert Walter Weir. His art education began in the studio of his father. There he and his half-brother (2) John Ferguson Weir acquired an appreciation for the Old Masters, particularly of the Italian Renaissance and of the 17th-century Dutch schools. While Weir pursued in his art a course very different from that of his father and half-brother, his personality as well as his artistic attitudes were shaped by them. In the winters of 1870-71 and 1871-2, he continued his studies at the National Academy of Design in New York, where his instructor was Lemuel Wilmarth (1835-1918).
Arnold Bocklin
Swiss 1827-1901 Arnold Bocklin Locations Arnold Bocklin was born on Oct. 16, 1827, in Basel. He attended the Dusseldorf Academy (1845-1847). At this time he painted scenes of the Swiss Alps, using light effects and dramatic views subjectively to project emotional moods into the landscape. In 1848 this romantic introspection gave way to plein air (open-air) objectivity after he was influenced by Camille Corot, Eugene Delacroix, and the painters of the Barbizon school while on a trip to Paris. But after the February and June revolutions Bocklin returned to Basel with a lasting hatred and disgust for contemporary France, and he resumed painting gloomy mountain scenes. In 1850 Bocklin found his mecca in Rome, and immediately his paintings were flooded by the warm Italian sunlight. He populated the lush southern vegetation, the bright light of the Roman Campagna, and the ancient ruins with lonely shepherds, cavorting nymphs, and lusty centaurs. These mythological figures rather than the landscapes became Bocklins primary concern, and he used such themes as Pan Pursuing Syrinx (1857) to express the polarities of life: warm sunshine contrasts with cool, moist shade, and the brightness of womans spirituality contrasts with mans dark sensuality. When Bocklin returned to Basel with his Italian wife, he completed the painting which brought him fame when the king of Bavaria purchased it in 1858: Pan among the Reeds, a depiction of the Greek phallic god with whom the artist identified. He taught at the Academy of Art in Weimar from 1860 to 1862, when he returned to Rome. Called to Basel in 1866, he painted the frescoes and modeled the grotesque masks for the facade of the Basel Museum. Bocklin resided in Florence from 1874 until 1885, and this was his most active period. He continued to explore the male-female antithesis and painted religious scenes, allegories of Natures powers, and moody studies of mans fate. He ceased working with oils and began experimenting with tempera and other media to obtain a pictorial surface free of brushstrokes. Bocklin spent the next 7 years mostly in Switzerland, with occasional trips to Italy; he devoted much of his energy to designing an airplane. Following a stroke in 1892, he returned to Italy, bought a villa in Fiesole, and died there on Jan. 16, 1901. Many of his late works depict nightmares of war, plague, and death.
Jost Amman
(June 13, 1539, Zerich - March 17, 1591, Nuremberg, Bavaria) was a Swiss artist, celebrated chiefly for his woodcuts, done mainly for book illustrations. Amman was born in Zurich, the son of a professor of Classics and Logic. He was himself well-educated. Little of his personal history is known beyond the fact that he moved to Nuremberg in 1560, where he continued to reside until his death in March 1591. He worked initially with Virgil Solis, then a leading producer of book illustrations. His productiveness was very remarkable, as may be gathered from the statement of one of his pupils, that the drawings he made during a period of four years would have filled a hay wagon. A large number of his original drawings are in the Berlin print room. About 1,500 prints are attributed to him. He was one of the last major producers of woodcuts for books, as during his career engravings were gradually taking over that role. Although like most artists for woodcut he normally let a specialist formschneider cut the block to his drawing, he sometimes included both a cutter's knife and a quill pen in his signature on prints, suggesting he sometimes cut his own blocks. A series of engravings by Amman of the kings of France, with short biographies, appeared in Frankfurt in 1576. He also executed many of the woodcut illustrations for the Bible published at Frankfurt by Sigismund Feierabend. Another serial work, the Panoplia Omnium Liberalium Mechanicarum et Seden-tariarum Artium Genera Continens, containing 115 plates, is of great value. Amman's drawing is correct and spirited, and his delineation of the details of costume is minute and accurate. Paintings in oil and on glass are attributed to him, but none have been identified.