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 :. | The Cote des Boeufs at L Hermitage | Mothers and children in the garden | Rue de L-Epicerie,Rouen | The Woman is sewing in front of the window | Walnut and apple trees |
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Alfred Stevens
1823-1906 Alfred Stevens Galleries Flemish Alfred Emile Stevens (May 11, 1823 - August 29, 1906) , Belgian painter, was born in Brussels. El??gants sur les BoulevardsHis father, an old officer in the service of William I of the Netherlands, was passionately fond of pictures, and readily allowed his son to draw in the studio of François Navez, director of the Brussels Academy. In 1844 Stevens went to Paris and worked under the instructing of Camille Roqueplan, a friend of his father's; he also attended the classes at the Ecole des Beaux-Arts, where Ingres was then professor. In 1849 he painted at Brussels his first picture, A Soldier in Trouble, and in the same year went back to Paris, where he definitely settled, and exhibited in the Salons. He then painted Ash-Wednesday Morning, Burghers and Country People finding at Daybreak the Body of a Murdered Gentleman, An Artist in Despair, and The Love of Gold. Allegory of the Night MSK, Oostende, BelgiumIn 1855 he exhibited at the Antwerp Salon a little picture called At Home, which showed the painter's bent towards depicting ladies of fashion. At the Great Exhibition in Paris, 1855, his contributions were remarkable, but in 1857 he returned to graceful female subjects, and his path thenceforth was clear before him. At the Great Exhibition of 1867 he was seen in a brilliant variety of works in the manner he had made his own, sending eighteen exquisite paintings; among them were the Lady in Pink (in the Brussels Gallery), Consolation, Every Good Fortune, Miss Fauvette, Ophelia, and India in Paris. At the Paris International Exhibitions of 1878 and 1889, and at the Historical Exhibition of Belgian Art, Brussels, 1880, he exhibited The Four Seasons (in the Palace at Brussels), The Parisian Sphinx, The Japanese Mask, The Japanese Robe, and The Lady-bird (Brussels Gallery). "Alfred Stevens is one of the race of great painters," wrote Camille Lemonnier, "and like them he takes immense pains with the execution of his work." The example of his finished technique was salutary, not merely to his brethren in Belgium, but to many foreign painters who received encouragement from the study of his method. The brother of Alfred Stevens, Joseph Stevens, was a great painter of dogs and dog life. See J. du Jardin, L'Art flamand; Camille Lemonnier, Histoire des beaux arts en Belgique.
MASACCIO
Italian Early Renaissance Painter, 1401-1428 was the first great painter of the Quattrocento period of the Italian Renaissance. His frescoes are the earliest monuments of Humanism, and introduce a plasticity previously unseen in figure painting. The name Masaccio is a humorous version of Tommaso, meaning "big", "fat", "clumsy" or "messy" Tom. The name was created to distinguish him from his principal collaborator, also called Tommaso, who came to be known as Masolino ("little/delicate Tom"). Despite his brief career, he had a profound influence on other artists. He was one of the first to use scientific perspective in his painting, employing techniques such as vanishing point in art for the first time. He also moved away from the Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more natural mode that employed perspective for greater realism. Masaccio was born to Giovanni di Mone Cassa??i and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno (now part of the province of Arezzo, Tuscany). His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello, a town a few miles south of Florence. His family name, Cassai, comes from the trade of his grandfather Simone and granduncle Lorenzo, who were carpenters - cabinet makers ("casse", hence "cassai"). His father died in 1406, when Tommaso was only five; in that year another brother was born, called Giovanni after the dead father. He also was to become a painter, with the nickname of "Scheggia" meaning "splinter". The mother was remarried to an elderly apothecary, Tedesco, who guaranteed Masaccio and his family a comfortable childhood.
Gregorio Lopes
Gregorio Lopes (c. 1490 - 1550) was one of the most important Renaissance painters from Portugal. Gregorio Lopes was educated in the workshop of Jorge Afonso, the court painter of King Manuel I. Later he himself became court painter for both Manuel I and for his successor, John III. In 1514 he married the daughter of Jorge Afonso, and in 1520 was knighted by Prince Jorge de Lencastre and entered the Order of Santiago. The work of Gregorio Lopes mainly consists of painted religious altarpieces for various churches and monasteries in central Portugal. Between 1520 and 1525 he worked (together with Jorge Leal) in painting altarpieces for the Saint Francis Convent of Lisbon. Also in the 1520s he painted panels for the Church of Paraeso (Paradise), also in Lisbon. In his first fase, Gregorio Lopes also worked in Sesimbra, Setebal and in the Monastery of Ferreirim, in this latter case together with Cristevao de Figueiredo and Garcia Fernandes. The painter moved in the 1530s to the city of Tomar, where he painted various panels for the Round Church of the Convent of Christ (1536 - 1539) and the main altarpiece of the Church of Saint John the Baptist (1538 - 1539). His last known works include altarpieces for the Convent of Santos-o-Novo in Lisbon (1540) and the Valverde Convent, near Évora (1545).