(1610-1696) was a French painter in the Baroque era. She became known as one of the best female still life painters during her time, and worked for King Charles I of England, as well as the French nobility.
Moillon came from a strict Calvinist family. Her father, brother Isaac, and stepfather were both paint dealers and artists themselves. According to the RKD, Louise (also known as Louisa) learned to paint from her father Nicolas Moillon and Francois Garnier. She gained her particular style of still life painting from the Academie de Saint-Germain-des-Pres. She usually signed her paintings with Louyse Moillon. Moillon lived and worked in France her whole life. Related Paintings of Louise Moillon :. | Basket of Apricots | Basket of Apricots | Still-Life with a Basket of Fruit | Apfel und Melonen | Still-Life with a Basket of Fruit | Related Artists:
Carl Wimar 1828 - 1862,American painter and photographer of German birth. He arrived in St Louis in 1843. From 1846 to 1850 he studied painting under the St Louis artist Leon de Pomarede (1807-92). In 1852 he continued his studies at the Kunstakademie in Desseldorf, where he worked with Josef Fay (1813-75) and Emanuel Gottlieb Leutze until about 1856. In 1858, having once more based himself in St Louis, he travelled up the Mississippi in order to draw and photograph Indians. Wimar joined a party of the American Fur Trading Company and made several journeys between 1858 and 1860 up the Mississippi, Missouri and Yellowstone rivers in search of Indian subjects. His painting, the Buffalo Hunt (1860; St Louis, MO, Washington U., Gal. A.), became one of the original works in the collection of the Western Academy of Art. In 1861 Wimar was commissioned to decorate the rotunda of the St Louis Court-house with scenes of the settlement of the West.
Maris, JacobDutch, 1837-1899
was a Dutch painter, who with his brothers Willem and Matthijs belonged to what has come to be known as the Hague School of painters. Maris studied at the Antwerp Academy, and subsequently in Hubertus van Hove's studio during a stay in Paris from 1865 till 1871. He returned to Holland when the Franco-Prussian War broke out, and died there in August 1899. Though he painted, especially in early life, domestic scenes and interiors invested with deeply sympathetic feeling, it is as a landscape painter that Maris excelled. He was the painter of bridges and windmills, of old quays, massive towers, and level banks; even more was he the painter of water, and misty skies, and chasing clouds. In all his works, whether in water or oil color, and in his etchings, the subject is always subordinate to the effect. His art is suggestive rather than decorative, and his force does not seem to depend on any preconceived method, such as a synthetical treatment of form or gradations of tone. And yet, though his means appear so simple, the artist's mind seems to communicate with the spectator's by directness of pictorial instinct, and we have only to observe the admirable balance of composition and truthful perspective to understand the sure knowledge of his business that underlies such purely impressionist handling. Maris has shown all that is gravest or brightest in the landscape of Holland, all that is heaviest or clearest in its atmosphere for instance, in the " Grey Tower, Old Amsterdam," in the " Landscape near Dordrecht," in the " Sea-weed Carts, Scheven-ingen," in " A Village Scene," and in the numerous other pictures which have been exhibited in the Royal Academy, London, in Edinburgh (1885), Paris, Brussels
Samuel Massepainted Lot and his daughters. in 1710s
