Hungarian Painter, 1861-1927 After his studies at the highschool in Kaposvar he went to study to Budapest, where he got a degree in pharmacy. In 1884 he travels to Munich to study painting at the Academy. 2 years later he gets a grant and that makes him able to move to Paris and study by Munkacsy. In 1888 he meets with the members of Les Nabis and under their influence he paints his first important work The Inn at Pont-Aven, a very deep paining with dark atmosphere. His first big success was the paining My Grandmother (1894). Later he travels back to Hungary, first the critics does not accept him very warmly, but finally he celebrates a success with the exhibition Rippl-Ronai Impressions 1890-1900. He believes that for an artist there is important not only his work, but also how he lives and what he wears. That is why he becomes also a designer (Andrassy dining room and the window-pane in the Ernst Museum). His exhibitions in Frankfurt, Munich and Vienna have got a great success in 1911-1913. He paints his last big work in 1919 (portrait of his friend Zorka) and in 1927 dies in his villa Roma in Kaposvar.  Related Paintings of Jozsef Rippl-Ronai :. | woman with a birdcage | Living on Memories | The Home of Nymphs | In the Vineyard | Woman in red |
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Jacques Daret
Jacques Daret (c. 1404 - c. 1470) was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil, Rogier van der Weyden.
Johan Werder
Germany
Sir Hubert von Herkomer,RA,RWS
1849-1914