French Painter, 1836-1902 French painter, printmaker and enamellist. He grew up in a port, an experience reflected in his later paintings set on board ship. He moved to Paris c. 1856 and became a pupil of Louis Lamothe and Hippolyte Flandrin. He made his Salon d?but in 1859 and continued to exhibit there successfully until he went to London in 1871. His early paintings exemplify Romantic obsessions with the Middle Ages, while works such as the Meeting of Faust and Marguerite (exh. Salon 1861; Paris. Mus. d'Orsay) and Marguerite at the Ramparts (1861; untraced, see Wentworth, 1984, pl. 8) show the influence of the Belgian painter Baron Henri Leys. In the mid-1860s Tissot abandoned these tendencies in favour of contemporary subjects, sometimes with a humorous intent, as in Two Sisters (exh. Salon 1864; Paris, Louvre) and Beating the Retreat in the Tuileries Gardens (exh. Salon 1868; priv. col., see Wentworth, 1984, pl. 45). The painting Young Ladies Looking at Japanese Objects (exh. Salon 1869; priv. col., see Wentworth, 1984, pl. 59) testifies to his interest in things Oriental, and Picnic (exh. Salon 1869; priv. col., see 1984 exh. cat., fig. 27), in which he delved into the period of the Directoire, is perhaps influenced by the Goncourt brothers. Tissot re-created the atmosphere of the 1790s by dressing his characters in historical costume.  Related Paintings of James Tissot :. | Captain Frederick Gustavus Burnaby | Mrs.Newton with a Parasol, | Goodbye-On The Mersey (nn01) | Young Ladies Looking at Japanese Objects | Room Overlooking the Harbour |
Related Artists:
Emil Orlik
(July 21, 1870 - September 28, 1932) was born in Prague, which was at that time part of the Austro-Hungarian Empire, and lived and worked in Prague, Austria and Germany. He was a painter, an etcher and lithographer. In 1905 Emil Orlik moved to Berlin and took a post at the "School for Graphic and Book Art" of the Museum of Decorative Arts (Kunstgewerbemuseum), now part of the Berlin State Museums.
BERLINGHIERI, Bonaventura
Italian Gothic Era Painter, active 1215-1242 Italian painter. Originally from Lucca, he was the most gifted of a family of Lombardian painters. His Scenes from the Life of St. Francis on the predella of the altar of San Francesco (Pescia) is the earliest known visual representation of St. Francis' life. Also noted are Scenes from the Life of St. Francis (Santa Croce, Florence) and St. Francis Receiving the Stigmata (Accademia, Florence).
VOS, Marten de
Flemish painter (b. 1532, Antwerpen, d. 1603, Antwerpen). Flemish painter and draughtsman. Together with the brothers Ambrosius Francken I and Frans Francken I, he ranks among the most important painters of altarpieces in Antwerp during the 1590s. Due, in part, to the Counter-Reformation, there was a renewed demand for altarpieces to replace those lost during iconoclastic riots in 1566 or the reformist movement of 1581. De Vos produced works for, among others, the Old Crossbowmen, the Brabant Coiners, the Antonites, the wine merchants and the Guild of St Luke. The importance of these works would seem to suggest that, after the deaths of Pieter Bruegel I in 1569 and Frans Floris in 1570, de Vos was considered, with some justification, the most important figure painter in Antwerp before Rubens. He was also a prolific draughtsman, especially during the first half of the 1580s, when the Calvinists were in power in Antwerp. During this period he provided numerous designs for print publishers, such as Peeter Baltens, Frans van Beusecom, the widow of Hieronymus Cock, Adriaen Collaert, Phillip Galle, Willem van Haecht, Eduard van Hoeswinkel, Gerard de Jode, Hans van Luyck and Johannes Baptista Vrints. This increased activity is probably indicative of the economic recession and a dwindling market for paintings (especially of religious themes). A total of some 1600 prints were produced after designs by de Vos, an output three times that of Maarten van Heemskerck. De Vos's drawings have been praised (see Mielke) for their lively,