Australian Naturalist Painter, 1865-1915 Australian painter and teacher. From 1878 to 1886 he trained at the National Gallery of Victoria Art Schools, Melbourne, and in 1887 left to study in Europe. In Paris he attended the Academie Julian and was taught by Jean-Leon Gereme at the Ecole des Beaux-Arts and by the American artist T. Alexander Harrison (1853-1930). He was involved with the plein-air artists at Etaples, Pas-de-Calais, and in Brittany and also visited Giverny, where from 1883 Monet was living. By 1890 he had moved to England, to the artists' colony at St Ives, Cornwall. In 1892 he returned to Melbourne where he chiefly painted portraits and landscapes. He was a member of the Victorian Artists' Society, exhibiting with them between 1892 and 1900. In 1893 he established the lively Melbourne Art School with Tudor St George Tucker (1862-1906). There an academic training coupled with a modified Impressionist technique was taught, as can be seen in Fox's painting the Art Students . In 1901 he left for London, having been commissioned by the Trustees of the National Gallery of Victoria to paint the Landing of Captain Cook at Botany Bay. After his marriage in 1905 to the artist Ethel Carrick, he and his wife settled in Paris and remained there until 1913.  Related Paintings of E.Phillips Fox :. | The arbour | The green parasol, | Studio,Charterisville | Landing of Captain Cook at Botany Bay | Cabbage Patch |
Related Artists:
Charles Meurer
American Painter, 1865-1955
Artemisia gentileschi
1593-1652 was an Italian Early Baroque painter, today considered one of the most accomplished painters in the generation influenced by Caravaggio. In an era when women painters were not easily accepted by the artistic community, she was the first female painter to become a member of the Accademia di Arte del Disegno in Florence. She was one of the first female artists to paint historical and religious paintings, at a time when such heroic themes were considered beyond a woman's reach. Artemisia Gentileschi was born in Rome, July 8, 1593, the first child of the Tuscan painter Orazio Gentileschi, one of the best representatives of the school of Caravaggio. Artemisia was introduced to painting in her father's workshop, showing much more talent than her brothers, who worked alongside her. She learned drawing, how to mix color and how to paint. Since her father's style took inspiration from Caravaggio during that period, her style was just as heavily influenced in turn. But her approach to subject matter was different from her father's, as her paintings are highly naturalistic, where Orazio's are idealized. The first work of the young 17-year-old Artemisia (even if many at the time suspected that she was helped by her father) was the Susanna e i Vecchioni (Susanna and the Elders) (1610, Schönborn collection in Pommersfelden). The picture shows how Artemisia assimilated the realism of Caravaggio without being indifferent to the language of the Bologna school (which had Annibale Carracci among its major artists). It is one of the few Susanna paintings showing the two men planning their sexual harassment. It is likely that Artemisia had been sexually harrassed and painted Susanna as a reflection. In 1612, despite her early talent, Artemisia was denied access to the all-male professional academies for art. At the time, her father was working with Agostino Tassi to decorate the vaults of Casino della Rose inside the Pallavicini Rospigliosi Palace in Rome, so Orazio hired the painter to tutor his daughter privately. During this tutelage, Tassi raped Artemisia. Another man, Cosimo Quorlis had helped Tassi with the rape. After the initial rape, Artemisia continued to have sexual relations with Tassi, with the expectation that they were going to be married. However, Tassi reneged on his promise to marry Artemisia after he heard the rumor that she was having an affair with another man. Quorlis had threatened that if he could not have her, he would publicly humiliate her. Orazio pressed charges against Tassi only after he learned that Artemisia and Tassi were not going to be married. Orazio also claimed that Tassi stole a painting of Judith from the Gentileschi household. The major issue of this trial was the fact that Tassi had deflowered Artemisia. If Artemisia had not been a virgin before Tassi raped her, the Gentileschis would not be able to press charges. In the ensuing 7-month trial, it was discovered that Tassi had planned to murder his wife, had enjoined in adultery with his sister-in-law and planned to steal some of Orazio??s paintings. During the trial Artemisia was given a gynecological examination and was tortured using a device made of thongs wrapped around the fingers and tightened by degrees ?? a particularly cruel torture to a painter. Both procedures were used to corroborate the truth of her allegation, the torture device used due to the belief that if a person can tell the same story under torture as without it, the story must be true. At the end of the trial Tassi was imprisoned for one year. The trial has subsequently influenced the feminist view of Artemisia Gentileschi during the late 20th century. The painting Giuditta che decapita Oloferne (Judith beheading Holofernes) (1612 - 1613), displayed in the Capodimonte Museum of Naples, is impressive for the violence portrayed, and has been interpreted as a wish for psychological revenge for the violence Artemisia had suffered. One month after the trial, in order to restore her honor, Orazio arranged for his daughter to marry Pierantonio Stiattesi, a modest artist from Florence. Shortly afterwards the couple moved to Florence, where Artemisia received a commission for a painting at Casa Buonarroti and became a successful court painter, enjoying the patronage of the Medici family and Charles I. It has been proposed that during this period Artemisia also painted the Madonna col Bambino (The Virgin and Child), currently in the Spada Gallery, Rome. While in Florence,
WINTERHALTER, Josef the Younger
German painter (b. 1743, Vöhrenbach, d. 1807, Znojmo).