French Realist/Impressionist Painter, 1832-1883 The roughly painted style and photographic lighting in these works was seen as specifically modern, and as a challenge to the Renaissance works Manet copied or used as source material. His work is considered 'early modern', partially because of the black outlining of figures, which draws attention to the surface of the picture plane and the material quality of paint. He became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cezanne, and Camille Pissarro, through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. The grand niece of the painter Jean-Honor?? Fragonard, Morisot's paintings first had been accepted in the Salon de Paris in 1864 and she continued to show in the salon for ten years. Manet became the friend and colleague of Berthe Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she had been introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugene. Self-portrait with palette, 1879Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas. Although his own work influenced and anticipated the Impressionist style, he resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzal??s was his only formal student. He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors, but he retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio. Manet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his Impromptu to Manet's wife. Throughout his life, although resisted by art critics, Manet could number as his champions Emile Zola, who supported him publicly in the press, Stephane Mallarme, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.  Related Paintings of Edouard Manet :. | Nana | Bunch of Asparagus | Details of The Execution of Maximilian | The Beach at Sainte Adresse | Full face Portrait of Manets Wife |
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SUBLEYRAS, Pierre
French Painter, 1699-1749 was a French painter, active during the late-Baroque and early-Neoclassic period, mainly in Italy. Subleyras was born in Saint-Gilles-du-Gard, France. He left France in 1728, having carried off the French Academy's grand prix, which carried scholarship for study in Rome. In Rome, he painted for the Elector of Saxony, Frederick Christian, a "Christ's Visit to the House of Simon the Pharisee" , (later engraved by Subleyras himself), this work procured his admission into the famed Roman artists guild, Accademia di San Luca. Cardinal Valenti Gonzaga next obtained for him the order for Saint Basil & Emperor Valens (also known as the Mass of St. Basil , which was executed in mosaic for St Peter's. Another masterpiece is his painting of St. Camillo De Lellis coming to the rescue of the diseased at the hospital of the Holy Spirit He was a remarkably incisive portraitist, as evident from the portrait of Pope Benedict XIV or of the obese Cardinal Valenti Gonzaga . The pope himself commanded two great paintings, the "Marriage of St Catherine" and the "Ecstasy of St Camilla", which he placed in his own private apartments. Subleyras shows greater individuality in his curious genre pictures, which he produced in considerable number (Louvre).
John Peter Russell
(16 June 1858 -22 April 1930) was an Australian impressionist painter. John Peter Russell was born at the Sydney suburb of Darlinghurst, the eldest of four children of John Russell, a Scottish engineer, his wife Charlotte Elizabeth, nee Nicholl, from London. J. P. Russell was a nephew of Sir Peter Nicol Russell. After his father's death J. P. Russell enrolled at the Slade School of Fine Art, University College, London, on 5 January 1881 and studied under Alphonse Legros for three years.Russell then went to Paris to study painting under Fernand Cormon. (His fellow students there included Henri de Toulouse-Lautrec and Émile Bernard.) Russell was a man of means and having married a beautiful Italian, Mariana Antoinetta Matiocco, he settled at Belle Île off the coast of Brittany, where he established an artists' colony. He would have 11 children with Matiocco, of whom six survived. John Peter Russell: Vincent van Gogh, 1886, Van Gogh Museum, AmsterdamRussell had met Vincent van Gogh in Paris and formed a friendship with him. Van Gogh spoke highly of Russell's work, and after his first summer in Arles in 1888 he sent twelve drawings of his paintings to Russell, to inform him about the progress of his work. Claude Monet often worked with Russell at Belle Île and influenced his style, though it has been said that Monet preferred some of Russell's Belle Île seascapes to his own.
Anton Graff
1736-1813 Swiss Anton Graff Gallery Swiss painter, active in Germany. He was a pupil of Johann Ulrich Schellenburg (1709-95) in Winterthur and continued his training with Johann Jakob Haid in Augsburg between 1756 and 1765. He worked for the court painter Leonhard Schneider (1716-62) in Ansbach from 1757 to 1759, producing large numbers of copies of a portrait of Frederick the Great (probably by Antoine Pesne). This was an important step in furthering his career, as were the months he spent in Regensburg (1764-5) painting miniatures of clerics and town councillors. He was court painter to the Elector Frederick-Christian of Saxe-Weimar in Dresden from 1766 and taught at the Hochschule der Bildende K?nste there. In 1771 he travelled to Berlin, where he painted portraits of Jakob Mendelssohn, Gotthold Ephraim Lessing and J. G. Sulzer. Sulzer introduced him at court, which resulted in many commissions. He was invited several times to teach at the Akademie der K?nste in Berlin, but he remained in Dresden. He often travelled to Leipzig, and in summer he frequently went to Teplitz (now Teplice, Czech Republic) and Karlsbad (now Karlovy Vary, Czech Republic); he also worked in Berlin on several occasions and returned to Switzerland for visits.