(15 October 1836 -- 8 August 1902) was a French painter. Tissot was born at Nantes. He studied at the École des Beaux-Arts in Paris under Ingres, Flandrin and Lamothe, and exhibited in the Paris Salon for the first time at the age of twenty-three. In 1861 he showed The Meeting of Faust and Marguerite, which was purchased by the state for the Luxembourg Gallery. His first characteristic period made him a painter of the charms of women. Demi-mondaine would be more accurate as a description of the series of studies which he called La Femme a Paris.   Related Paintings of James Jacques Joseph Tissot :. | The Circus Lover | Hide and Seek | London Visitors | Hide and Seek | A Woman of Ambition |
Related Artists:
Master of Moulins
French 1480-1500 Master of Moulins Gallery Until the late 20th century, the name of the painter of the Moulins Triptych was unknown, although art historians identified a number of other works that were evidently by the same hand. The first monograph on the Master of Moulins, written in 1961 by Madeleine Huillet d'Istria, argued that this artist did not actually exist, and that more than 12 different artists were responsible for the corpus of works traditionally ascribed to him. The Master's identity was established after an inscription was found on the reverse of a damaged painting, Christ with Crown of Thorns (1494) in the Royal Museums of Fine Arts of Belgium, Brussels, identifying the artist as Jean Hey, teutonicus and pictor egregius ("the famous painter"), and identifying the patron as Jean Cueillette, who was secretary to the King and an associate of the Bourbon family. Stylistic similarities link this painting to the works attributed to the Master of Moulins. The Master of Moulins appears to have been the court painter for the Bourbons, and from a surviving account for 1502-03, it is clear that the court painter's name was Jean; other candidates once considered plausible, such as Jean Perr??al and Jean Prevost, have proven untenable in the light of subsequent research. The term "Teutonicus", or "German" included Flemings at this date.
Kerstiaen de Keuninck
1560-1635 Flemish Kerstiaen de Keuninck Gallery Flemish painter. Although from Courtrai, from an early age he lived in Antwerp. He was listed in 1577 as one of the recipients of the Poor-box (armenbus) of the Antwerp Guild of St Luke, where he was received as master in 1580. He married in 1585. De Keuninck took on Carel de Ferrara as an apprentice in 1599. His son Kerstiaen de Keuninck the younger (d 1642-3) became a master in 1613. In 1629 Engel Ergo started an apprenticeship with a Kerstiaen de Keuninck: it is not clear whether this refers to father or son.
Pradilla, Francisco
Spanish, 1848-1921 Spanish painter and museum official. He first studied in Saragossa with the stage designer Mariano Pescador (d 1886), and in 1866 moved to Madrid where he began to work with the stage designers and decorators Ferri and Busato. He entered the Escuela Superior de Pintura, Escultura y Grabado and also attended the Academia de Acuarelistas. In 1873 Pradilla and his fellow student Casto Plasencia (1846-90) won history painting scholarships to study at the newly founded Academia Espaola de Bellas Artes in Rome. In 1874 he sent from Rome a copy of Raphael's Dispute over the Holy Sacrament, a work Pradilla completed in collaboration with Alejandro Ferrant (b 1844), another Spanish scholarship holder. During Pradilla's second and third years abroad he travelled through France, visiting the Paris Exposition Universelle of 1875, and Italy, where he was particularly impressed by Venice and the works of Veronese, Titian and Jacopo Tintoretto. Pradilla won a major prize in 1878 at the Exposicien Nacional de Bellas Artes in Madrid; as a result of this success he received the commission for another large picture on a historical theme, the Surrender of Granada (1882; in situ) for the Palacio del Senado (now Pal. de las Cortes) in Madrid. This work shows Pradilla's concern to paint from life in his treatment of the landscape of Granada. He produced other paintings on related subjects, including Mad Queen Joanna Imprisoned at Tordesillas (priv. col., see Pardo Canalis, pl. xviii) and the Sigh of the Moor (Madrid, Rodriguez Bauze priv. col., Pardo Canalis, pl. xvii). Pradilla also painted lively scenes of local life and colour. The years of his stay in Rome, where he was director of the Academia Espa?ola between 1881 and 1883,