(September 6, 1855, Philadelphia, Pennsylvania - January 5, 1919, Paris, France), was an American artist who spent his career in Paris. A contemporary of fellow expatriate painter John Singer Sargent, Stewart was nicknamed "the Parisian from Philadelphia." His father, the sugar millionaire William Hood Stewart, moved the family to Paris in 1865, and became a distinguished art collector and an early patron of Fortuny and the Barbizon artists. Julius studied under Eduardo Zamacois as a teenager, under Jean-Leo Grôme at the École des Beaux Arts, and later was a pupil of Raymondo de Madrazo. Stewart's family wealth enabled him to live a lush expatriate life and paint what he pleased, often large-scaled group portraits. The first of these, After the Wedding (1880), showed the artist's brother Charles and his bride Mae, daughter of financier Anthony J. Drexel, leaving for their honeymoon.  Related Paintings of Julius LeBlanc Stewart :. | La Clairiere | Nymphes de Nysa | Portrait of Mrs. Francis Stanton Blake | Yachting in the Mediterranean | The Baptism |
Related Artists:
WEYDEN, Goossen van der
Flemish painter (b. ca. 1465, Bruxelles, d. after 1538, Antwerpen)
Charles Dauphin
Charles Claude Dauphin or Dofin, called in Italian Delfino, a French painter of historical subjects and portraits, was the son of Olivier Dauphin. He went to Turin about the year 1664, and worked there for the Prince of Carignano. He was also employed for the churches, but his works are in no great estimation, abounding as they do with the most ridiculous absurdities. In the church of San Carlo is an altar-piece by him, described by Lanzi as a most ludicrous composition. He died in 1677.
Crane, Walter
English Golden Age Illustrator, 1845-1915 English painter, illustrator, designer, writer and teacher. He showed artistic inclinations as a boy and was encouraged to draw by his father, the portrait painter and miniaturist Thomas Crane (1808-59). A series of illustrations to Tennyson's The Lady of Shalott (Cambridge, MA, Harvard U., Houghton Lib.) was shown first to Ruskin, who praised the use of colour, and then to the engraver William James Linton, to whom Crane was apprenticed in 1859. From 1859 to 1862 Crane learnt a technique of exact and economical draughtsmanship on woodblocks.