French Barbizon School Painter, 1817-1878 was one of the painters of the Barbizon school, and is considered an important precursor of Impressionism. Daubigny was born into a family of painters and was taught the art by his father Edmond François Daubigny and his uncle, miniaturist Pierre Daubigny. Initially Daubigny painted in a traditional style, but this changed after 1843 when he settled in Barbizon to work outside in nature. Even more important was his meeting with Camille Corot in 1852 in Optevoz (Is??re). On his famous boat Botin, which he had turned into a studio, he painted along the Seine and Oise, often in the region around Auvers. From 1852 onward he came under the influence of Gustave Courbet. In 1866 Daubigny visited England, eventually returning because of the Franco-Prussian war in 1870. In London he met Claude Monet, and together they left for the Netherlands. Back in Auvers, he met Paul Cezanne, another important impressionist.  Related Paintings of Charles-Francois Daubigny :. | Der Zusammenflub der Seine und Oise | Landscape at Gylieu (mk09) | Landschap met boerderijen en bomen. | Port of Dieppe | The Water's Edge |
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William Harnett
(August 10, 1848 - October 29, 1892) was an Irish-American painter known for his trompe l'oeil still lifes of ordinary objects. Harnett was born in Clonakilty, County Cork, Ireland during the time of the potato famine. Shortly after his birth his family emigrated to America, settling in Philadelphia. Becoming a United States citizen in 1868, he made a living as a young man by engraving designs on table silver, while also taking night classes at the Pennsylvania Academy of the Fine Arts and later, in New York, at Cooper Union and at the National Academy of Design. His first known oil painting, a still life, dates from 1874.
Emile Schuffenecker
French Post-Impressionist Painter, 1851-1934 French painter. In 1871 he entered the stockbroking firm of Bertin, where he met Paul Gauguin who was also employed there. In his spare time he took drawing classes and studied with Paul Baudry and Carolus-Duran, making his debut at the Salon in 1874. He also became acquainted with Armand Guillaumin and Camille Pissarro. Following the stock market crash of 1882, he, like Gauguin, was forced to leave Bertin and gained a job teaching art at the Lycee Michelet in Vanves. In 1884 he was one of the co-founders of the Salon des Independants and took part in the 8th and last Impressionist Exhibition in 1886, the year in which he also met Emile Bernard in Concarneau and sent him on to see Gauguin, thus initiating their joint development of CLOISONNISM. Though he mixed with the members of the Pont-Aven group his own artistic tastes were very different. While Gauguin and his disciples had little more than contempt for Neo-Impressionism, Schuffenecker was much interested in pointillist techniques.
Gustav Klimt
Austrian Art Nouveau Painter, 1862-1918 Gustav Klimt (July 14, 1862 ?C February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of the Vienna Art Nouveau (Vienna Secession) movement. His major works include paintings, murals, sketches, and other art objects, many of which are on display in the Vienna Secession gallery. Klimt's primary subject was the female body, and his works are marked by a frank eroticism--nowhere is this more apparent than in his numerous drawings in pencil. Klimt's work is distinguished by the elegant gold or coloured decoration, often of a phallic shape that conceals the more erotic positions of the drawings upon which many of his paintings are based. This can be seen in Judith I (1901), and in The Kiss (1907?C1908), and especially in Danaë (1907). One of the most common themes Klimt utilized was that of the dominant woman, the femme fatale. Art historians note an eclectic range of influences contributing to Klimt's distinct style, including Egyptian, Minoan, Classical Greek, and Byzantine inspirations. Klimt was also inspired by the engravings of Albrecht D??rer, late medieval European painting, and Japanese Rimpa school. His mature works are characterized by a rejection of earlier naturalistic styles, and make use of symbols or symbolic elements to convey psychological ideas and emphasize the "freedom" of art from traditional culture.