French realist painter , 1849-Little 1924   Related Paintings of De Winter Pharaon :. | La Petite Nana de Cassis | Guards in a Forest Clearing | Judgement of Paris | The Hermit and the Sleeping Angelica | Madonna and Child with the Milk Soup |
Related Artists:
Henri Evenepoel
Belgian, 1872-1899 was a Belgian artist whose most important works are associated with Fauvism. He first studied art in Brussels at the Acad??mie des Beaux-Arts between 1889 and 1890, and entered Paris's Ecole des Beaux-Arts in 1892. Evenepoel entered the atelier of Gustave Moreau in 1893, which put him in contact with Henri Matisse and Georges Rouault. The artist debuted a portrait of his cousin (Louise in Mourning) at the 1894 Salon des Artistes Français. He showed four portraits at the Salon du Champ-de-Mars in 1895 and continued to exhibit there until his death. His first solo exhibition came at the Brussels Cercle Artistique (December 1897 C January 1898). Family and friends were the artist's preferred subjects; his full-length portraits, often against a neutral background, show the influence of Edouard Manet and James Abbott McNeill Whistler. His Parisian scenes were influenced by Henri de Toulouse-Lautrec and Jean-Louis Forain.
Pieter de Hooch
1629-1684 Dutch Pieter de Hooch Galleries De Hooch was born in Rotterdam to Hendrick Hendricksz de Hooch, a bricklayer, and Annetge Pieters, a midwife. He was the eldest of five children and outlived all of his siblings. He studied art in Haarlem under the landscape painter, Nicolaes Berchem. Beginning in 1650, he worked as a painter and servant for a linen-merchant and art collector named Justus de la Grange. His service for the merchant required him to accompany him on his travels to The Hague, Leiden, and Delft, to which he eventually moved. It is likely that de Hooch handed over most of his works to la Grange during this period in exchange for board and other benefits, as this was a common commercial arrangement for painters at the time, and a later inventory recorded that la Grange possessed eleven of his paintings. De Hooch was married in Delft in 1654 to Jannetje van der Burch, by whom he fathered seven children. While in Delft, de Hooch is also believed to have learned from the painters Carel Fabritius and Nicolaes Maes, who were both early members of the Delft School. He became a member of the painters' guild of Saint Luke in 1655, and had moved to Amsterdam by 1661. The early work of de Hooch, like most young painters of his time, was mostly composed of scenes of soldiers in stables and taverns, though he used these to develop great skill in light, color, and perspective rather than to explore an interest in the subject matter. After beginning his family in the mid-1650s, he switched his focus to domestic scenes and family portraits. His work showed astute observation of the mundane details of everyday life while also functioning as well-ordered morality tales. These paintings often exhibited a sophisticated and delicate treatment of light similar to those of Vermeer, who lived in Delft at the same time as de Hooch. 19th century art historians had assumed that Vermeer had been influenced by de Hooch's work, but the opposite is now believed.
RICCI, Marco
Italian Painter, 1676-1730 Painter, printmaker and stage designer, nephew of (1) Sebastiano Ricci. He probably began his career in Venice in the late 1690s as his uncle's pupil, concentrating on history paintings (untraced). Having murdered a gondolier in a tavern brawl, he fled to Split in Dalmatia, where he remained for four years and was apprenticed to a landscape painter (Temanza, 1738). Once back in Venice (c. 1700) he put this training to use in painting theatrical scenery. Little is known about his early development, and it remains difficult to establish a chronology for his work. A group of restless, romantic landscapes (examples, Leeds, Temple Newsam House; Padua, Mus. Civ.), painted with lively, free strokes and formerly thought to represent his early period, have now been convincingly attributed (Moretti) to Antonio Marini (1668-1725). His earliest dated works, a tempera painting, View with Classical Ruins (1702; priv. col.), and a Landscape with Fishermen (1703; ex-Kupferstichkab., Berlin; untraced), are serene and classical, close in style to tempera paintings generally dated 1710-30. This suggests that Ricci's style did not develop much, and that strong classicizing tendencies,