French Painter, ca.1885-1956 French painter, stage designer and illustrator. After studying porcelain painting at the Sevres factory (1901) and drawing in Paris under the French flower painter Madelaine Lemaire (1845-1928), in 1903-4 she studied at the Academie Humbert in Paris, where she met Georges Braque and Francis Picabia. In 1907 she first exhibited paintings at the Salon des Independants, met Picasso at Clovis Sagot gallery and through Picasso was introduced to the poet Guillaume Apollinaire. Laurencin and Apollinaire were soon on intimate terms, their relationship lasting until 1912.  Related Paintings of Marie Laurencin :. | Two children with birds | Self-Portrait | Female image | Charming prince coming | Artist-mother sit reading |
Related Artists:
Enoch Seeman
Enoch Seeman the Younger was born in Danzig, now Gdansk, Poland, around 1694. His father, also Enoch was born around 1661, and the Seeman family were painters. Having been brought to London from his home of Flanders by his father in 1704, the younger Seeman's painting career as we know it began with a group portrait of the Bisset family in the style of the portraitist Godfrey Kneller, now held at Castle Forbes in Grampian, Scotland, and dated by an inscription 1708. As a painter to the British royal court Seeman the Younger completed portraits of George I, in 1730, in the robes of his coronation and of George II some years later. The first of these pictures is held at the Middle Temple in London, England, and the second is at Windsor Castle in Berkshire, England, part of the royal collection. In 1734, Seeman painted a portrait of Jane Pratt Taylor, daughter of Lord Chief Justice John Pratt. The portrait was sent to William Byrd, II of Westover, in Virginia, where it became part of the largest colonial portrait collection of the early eighteenth-century. The painting is now part of the collection of the Virginia Historical Society. The Yale University Art Gallery owns a portrait of Elihu Yale in 1717 by Seeman and the Metropolitan Museum in New York, USA owns his rendering of Sir James Dashwood, described by the Grove Dictionary of Art as 'Exceptionally lively'. Also by Seeman the younger, Abraham Tucker in 1739 at the National Portrait Gallery in London, England, and various copies of sixteenth and seventeenth century portraits. The National Trust owns two examples of this set of his work - at Dunham Massey in Cheshire, England, a copy of a portrait of Lady Diana Cecil, and at Belton House in Lincolnshire, England, of Lady Cust and her Nine Children.
Benjamin Champney
(November 20, 1817 - December 11, 1907) was a painter whose name has become synonymous with White Mountain art of the 19th century. He began his training as a lithographer under celebrated marine artist Fitz Henry Lane at Pendleton's Lithography shop in Boston. Most art historians consider him the founder of the "North Conway Colony" of painters who came to North Conway, New Hampshire and the surrounding area during the second half of the 19th century. His paintings were often used to make chromolithographs that were subsequently sold to tourists who could not afford Champney's originals. He exhibited regularly at the Boston Athenæum and was a founder of the Boston Art Club
Pieter de Hooch
1629-1684 Dutch Pieter de Hooch Galleries De Hooch was born in Rotterdam to Hendrick Hendricksz de Hooch, a bricklayer, and Annetge Pieters, a midwife. He was the eldest of five children and outlived all of his siblings. He studied art in Haarlem under the landscape painter, Nicolaes Berchem. Beginning in 1650, he worked as a painter and servant for a linen-merchant and art collector named Justus de la Grange. His service for the merchant required him to accompany him on his travels to The Hague, Leiden, and Delft, to which he eventually moved. It is likely that de Hooch handed over most of his works to la Grange during this period in exchange for board and other benefits, as this was a common commercial arrangement for painters at the time, and a later inventory recorded that la Grange possessed eleven of his paintings. De Hooch was married in Delft in 1654 to Jannetje van der Burch, by whom he fathered seven children. While in Delft, de Hooch is also believed to have learned from the painters Carel Fabritius and Nicolaes Maes, who were both early members of the Delft School. He became a member of the painters' guild of Saint Luke in 1655, and had moved to Amsterdam by 1661. The early work of de Hooch, like most young painters of his time, was mostly composed of scenes of soldiers in stables and taverns, though he used these to develop great skill in light, color, and perspective rather than to explore an interest in the subject matter. After beginning his family in the mid-1650s, he switched his focus to domestic scenes and family portraits. His work showed astute observation of the mundane details of everyday life while also functioning as well-ordered morality tales. These paintings often exhibited a sophisticated and delicate treatment of light similar to those of Vermeer, who lived in Delft at the same time as de Hooch. 19th century art historians had assumed that Vermeer had been influenced by de Hooch's work, but the opposite is now believed.