French Realist/Impressionist Painter and Sculptor, 1834-1917 French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues.  Related Paintings of Edgar Degas :. | The woman take the telescope look at the opera | Woman with a Dog_y | The actress in the tiring room | The Portrait of Martelli | Dress rehearsal Dancer |
Related Artists:
Antonio Maria Esquivel
Nacio en Sevilla en 1806. Comenzo los estudios de pintura en la Academia de Bellas Artes de Sevilla. Alli se familiarizo con la tecnica pictorica y el detallismo al estilo de Murillo. En 1831, se traslado a Madrid, donde concurso en la Academia de San Fernando, siendo nombrado academico de merito. En contacto con el ambiente intectual madrileno de esos anos, participo activamente en la fundacion del Liceo Artistico y Literario en 1837, donde daria clases de Anatomia, asignatura que impartiria tambien mas tarde en la Academia de San Fernando. En 1839, otra vez en Sevilla, sufrio una enfermedad que le dejo practicamente ciego; el artista, sumido en una profunda depresion, se intento suicidar arrojandose al rio Guadalquivir. Enterados sus companeros y amigos poetas y artistas y movilizados por el Liceo para ayudarle, sufragaron entre todos un caro tratamiento realizado por un prestigioso oftalmologo frances. Gracias a esto, en 1840 sano y recupero la vision. El artista, agradecido, pinto a sus amigos, poetas y pintores del Romanticismo, en un cuadro que se ha hecho justamente celebre. Como reconocimientos oficiales, recibo la placa del Sitio de Cadiz y la Cruz de Comendador de la Orden de Isabel la Catolica. En 1843 es nombrado Pintor de Camara y en 1847 academico de San Fernando, siendo ademas miembro fundador de la Sociedad Protectora de Bellas Artes. Como teorico de la pintura, redacto un Tratado de Anatomia Pictorica, cuyo original se guarda en el Museo del Prado. Fallecio en Madrid en 1857. Sus hijos Carlos Maria (1830-1867) y Vicente tambien fueron pintores.
Domenico Tintoretto
Italian, 1560-1635,Son of Jacopo Tintoretto. He was taught by his father and assisted him in his workshop. At the age of 17 he was admitted to the Venetian painters' guild, and he is recorded in the confraternity of painters from 1594. He began his career by helping his father to execute the paintings in the Sala del Collegio and Sala del Senato in the Doge's Palace, Venice. Following this he worked independently at the palace, on the Sala dello Scrutinio and the Sala del Maggiore Consiglio. His training with his father helped him in his own compositions, several of which, such as the Battle of Salvore, or the Second Conquest of Constantinople, are heroic battle themes with complex groupings and dramatic poses. In the last two decades of the 16th century Domenico concentrated on religious commissions in Venice, including a Last Supper and Crucifixion (both c. 1583) for S Andrea della Zirada (both in situ), a Marriage of the Virgin for S Giorgio Maggiore (in situ) and a Crucifixion for the Scuola dei Mercanti.
James Seymour
British Painter , ca.1702-1752 English painter and draughtsman. The son of James Seymour (d 1739), a dealer in pictures and precious metals, Seymour was among the first English painters to specialize exclusively in sporting subject-matter. Though he possibly received some informal drawing instruction from the topographer Francis Place, Seymour was essentially a self-taught artist whose education was based on the study of pictures that passed through his father's hands; one of his earliest known works is a sketch of a horse's head after van Dyck (sold London, Christie's, 16 June 1970). His early 'genius to drawing of horses' was, according to George Vertue, compromised by 'modish extravagances' through living 'gay high and loosely' and because he 'never studied enough to paint or colour well'. Elsewhere, however, it was recorded that by 1739 he was 'reckoned the finest draughtsman in his way [of horses, hounds etc.] in the whole world' (Universal Spectator, 1739), and he was certainly preferred to his chief rival, John Wootton, by many sporting patrons. Among his employers was William Jolliffe MP, of Ammerdown. Though many of his paintings are either derivative of Wootton or simply inept, or both, others are characterized by a self-conscious stylistic naivety in which meticulous attention to detail and eerily static compositions combine to create curiously memorable images of some apparent sophistication.