b Feb. 15, 1817, Paris, France d.Feb. 19, 1878, Paris French 78, French landscape painter. He went to Italy early in life and later studied in Paris with Paul Delaroche. Although usually classed with the Barbizon school, he never lived in Barbizon. His last 30 years were spent largely in his houseboat on the Seine and the Oise, and he is best known for his pictures of the banks of those rivers. He was particularly successful in his atmospheric depiction of dawn, twilight, and moonlight. His later pictures are handled with great breadth. Monet and Boudin were especially attentive to his work. Daubigny is well represented in the Louvre, the Mesdag Museum (The Hague), the National Gallery (London), and the Metropolitan Museum. Characteristic are his Return of the Flock??Moonlight, Banks of the Oise, and Moonlight. His son Karl Pierre Daubigny, 1846?C86, painted in his father manner.   Related Paintings of Charles Francois Daubigny :. | Soleil Coucbant | Spring | Landscape | The Edge of the Pond | Spring |
Related Artists:
Charles Van Beveren
Charles van Beveren, born at Mechlin in 1809, was instructed in the rudiments of art in the academy of his native city and at Antwerp. He settled in Amsterdam in 1830, subsequently visiting Paris, Rome, and other cities of Italy, and distinguished himself as a painter of history, genre, and portraits. He died at Amsterdam in 1850. The best known of his works are: The Confession of a Sick Girl (in the Pinakothek at Munich). Male Figure. A study (in the Rotterdam Museum). The Vision of St. Ignatius. The Death of St. Anthony of Padua (in the church of Moses and Aaron at Amsterdam, his chef-d'oeuvre).
tchaikovsky
Born: 7 May 1840 Birthplace: Votkinsk, Russia Died: 6 November 1893 Best Known As: Russian composer of The Nutcracker
SAENREDAM, Pieter Jansz
Dutch Baroque Era Painter, 1597-1665,Painter and draughtsman, son of Jan Saenredam. His paintings of churches and the old town halls in Haarlem, Utrecht and Amsterdam must have been appreciated by contemporary viewers principally as faithful representations of familiar and meaningful monuments. Yet they also reveal his exceptional sensitivity to aesthetic values; his paintings embody the most discriminating considerations of composition, colouring and craftsmanship. His oeuvre is comparatively small, the paintings numbering no more than 60, and each is obviously the product of careful calculation and many weeks of work. Their most striking features, unusual in the genre, are their light, closely valued tonalities and their restrained, restful and delicately balanced compositions. These pictures, always executed on smooth panels, are remarkable for their sense of harmony and, in some instances, serenity. Here, perhaps, lies a trace of filial fidelity to the Mannerist tradition of refinement and elegance, of lines never lacking in precision and grace. But Mannerist figures and the more comparable components of strap- and scrollwork embellishment lack the tension and clarity of Saenredam's designs, which also have a completeness reminiscent of the fugues of Gerrit Sweelinck (1566-?1628).