1814-1875 French Jean Francois Millet Galleries Millet was the first child of Jean-Louis-Nicolas and Aim??e-Henriette-Adelaide Henry Millet, members of the peasant community in the village of Gruchy, in Gr??ville-Hague (Normandy). Under the guidance of two village priests, Millet acquired a knowledge of Latin and modern authors, before being sent to Cherbourg in 1833 to study with a portrait painter named Paul Dumouchel. By 1835 he was studying full-time with Lucien-Th??ophile Langlois, a pupil of Baron Gros, in Cherbourg. A stipend provided by Langlois and others enabled Millet to move to Paris in 1837, where he studied at the Ecole des Beaux-Arts with Paul Delaroche. In 1839 his scholarship was terminated, and his first submission to the Salon was rejected. After his first painting, a portrait, was accepted at the Salon of 1840, Millet returned to Cherbourg to begin a career as a portrait painter. However, the following year he married Pauline-Virginie Ono, and they moved to Paris. After rejections at the Salon of 1843 and Pauline's death by consumption, Millet returned again to Cherbourg. In 1845 Millet moved to Le Havre with Catherine Lemaire, whom he would marry in a civil ceremony in 1853; they would have nine children, and remain together for the rest of Millet's life. In Le Havre he painted portraits and small genre pieces for several months, before moving back to Paris. It was in Paris in the middle 1840s that Millet befriended Constant Troyon, Narcisse Diaz, Charles Jacque, and Theodore Rousseau, artists who, like Millet, would become associated with the Barbizon school; Honor?? Daumier, whose figure draftsmanship would influence Millet's subsequent rendering of peasant subjects; and Alfred Sensier, a government bureaucrat who would become a lifelong supporter and eventually the artist's biographer. In 1847 his first Salon success came with the exhibition of a painting Oedipus Taken down from the Tree, and in 1848 his Winnower was bought by the government.  Related Paintings of Jean Francois Millet :. | Shepherdess | Detail of People go to work | Countrywoman | Peasant Women Carrying Firewood | Come back from field |
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k. e. jansson
Karl Emanuel Jansson, född 7 juli 1846 i Finström, Åland, död 1 juni 1874 i Jomala, var en åländsk konstnär. Han var näst äldst av sju syskon. Han far, Jan Jansson, var en bonde i Pålsböle. Sina konstnärliga inspiration fick han av sockenmålaren G Kjellgren, vid sex-sju års ålder, när han där lärde sig att läsa och skriva. Efter avlutad skolgång sattes han i skomakarlära. Efter ett år drogs han till Kjellgren och fungerade som hans hjälpreda. Kyrkoherden Frans von Knorring såg i slutet av 1859 några av hans teckningar. Han sände några till Finska Konstföreningens direktion och lovordade Karl. Förening gav ett bidrag för att kunna studera vid Finska Konstföreningens ritskola i Åbo, under ledning av Robert Wilhelm Ekman. Av Ekman fick han husrum, rit- och målningsmaterial och en hel del extra undervisning. Karl gjorde stora framsteg under de 2 åren han målade med Ekman. Jansson flyttade hösten 1862 till Stockholm, för att kunna utvecklas mer som artist, och inskrevs som elev vid Kongl. Akademin för de fria konsterna. Han tog anatomiexamen 1863. Han levde under svåra ekonomiska förhållanden och hade svårt att sälja sina verk. Jansson fick hård kritik för de målningar han sände hem, exempelvis, Babian ätande en råtta, och konstföreningen betraktade dem med avsky. Han började då kritisera sig själv allt mer och mer, och den inställningen behöll han. Han fick inte den uppmärksammad han behövde. Tavlan Den förlorade sonens återkomst, belönades med ett pris. Han avslutade sin utbildning vid akademien 1867 med mycket beröm. Jansson lyckades utverka statsstöd för studier i Dusseldorf och reste dit på hösten 1868. Han åkte hem igen sommaren 1870 och tillbringade ett år på Åland innan han återvände till Dusseldorf. Han var nu märkt av en tilltagande lungsjukdom. De sista verk han fullbordade var Talmannen och En slant i håven. För att lindra sin sjukdom reste han till Rom i mars 1872. Efter några månader åkte han runt till olika kurorter (Davos, Meran) men inget förbättrade hans tillstånd. Efter en liten tid i D??sseldorf kom han hem till Åland sensommaren 1873. Karl flyttade in på Jomala gård, där lagman Lönnblad och hans fru tog hand om honom. Han målade några verk, vilka blev ofullbordade. På dödsbädden fick han veta att han belönats på världsutställningen i Wien för sina konstverk Klöveress och Talmannen, samt att han blivit medlem i konstakademin i Sankt Petersburg. Han dog 1 juni 1874, inte ens fylld 28 år.
francois couperin
was a French Baroque composer, organist and harpsichordist. François Couperin was known as "Couperin le Grand" (Couperin the Great) to distinguish him from the other members of the musically talented Couperin family.
Gentile da Fabriano
1370-1427 Italian Gentile da Fabriano Locations Gentile da Fabriano, whose real name was Gentile di Niccolo di Giovanni di Massio, came from Fabriano in the Marches. According to tradition, his family was an old one and moderately prosperous. His father, who was said to have been a scholar, mathematician, and astrologer, became an Olivetan monk when a monastery of that order was established in Fabriano in 1397. Gentile brother, Ludovico, was a monk of the same order in Fabriano, and Gentile himself was living in the Olivetan monastery of S. Maria Nuova in Rome at the time of his death. A document of Oct. 14, 1427, speaks of him as dead. Gentile art indicates that he was probably trained in Lombardy, perhaps in Milan. He worked in the then current International Gothic style, to which he brought his own personal quality. His earliest works display the decorative rhythmic drapery patterns preferred by the International Gothic masters, which Gentile tempered and ultimately abandoned after his contact with Florentine art. In a document of 1408 Gentile is recorded in Venice, where he painted an altarpiece (now lost) for Francesco Amadi. Testifying to his high reputation was his commission in 1409 for frescoes in the Doges Palace in Venice (painted over in 1479). Pandolfo Malatesta commissioned Gentile to decorate a chapel (destroyed) in Brescia in 1414. The artist is last recorded in Brescia on Sept. 18, 1419, when he departed for Rome to answer the summons of Pope Martin V. Gentile name first appeared on the roll of painters in Florence in 1421. He was in Siena in 1420 and 1424-1425 and in Orvieto late in 1425. From 1426 until the time of his death he was in Rome. Typical of Gentile early style is the polyptych (ca. 1400) from the convent of Valle Romita in Fabriano, in which Gentile displays the International Gothic love for naturalistic detail in the floral turf beneath the feet of the graceful, slender saints whose figures are swathed in rhythmic, linear drapery. The central panel, the Coronation of the Virgin, shows the love for calligraphic drapery so characteristic of Gentile early style. Other noteworthy early works include the much damaged Madonna in Perugia and the Madonna with Saints and Donor in Berlin. The altarpiece Adoration of the Magi, signed and dated 1423, was Gentile major work in Florence. In remarkably good condition, with its original frame still intact, it shows Gentile Gothicism now tempered by his contact with the more austere art of Florence. The rich display of gold leaf and brilliant colors were favorite International Gothic traits, but in the interest in perspective and foreshortening and especially in the exquisite predella panels Gentile shows the influence of the Florentines. The altarpiece for the Quaratesi family, signed and dated 1425, also demonstrates the composite quality of Gentile art. The fresco Madonna Enthroned in Orvieto Cathedral of late 1425 has few traces of the International Gothic style and displays a corporeality and fullness in keeping with his evolution after Florence. His last works, the frescoes in St. John Lateran in Rome depicting the life of John the Baptist and grisaille portraits of saints, were destroyed in 1647, when Francesco Borromini reconstructed the interior.