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 :. | Portrait of Jolusi | Gentlest dancer | Two woman | Bust of woman | Landscape |
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Gustave Dore
(French pronunciation: January 6, 1832 - January 23, 1883) was a French artist, engraver, illustrator and sculptor. Dore worked primarily with wood engraving and steel engraving. Dore was born in Strasbourg and his first illustrated story was published at the age of fifteen. His skill had manifested itself even earlier, however. At age five he had been a prodigy troublemaker, playing pranks that were mature beyond his years. Seven years later, he began carving in cement. Subsequently, as a young man, he began work as a literary illustrator in Paris, winning commissions to depict scenes from books by Rabelais, Balzac, Milton and Dante. In 1853, Dore was asked to illustrate the works of Lord Byron. This commission was followed by additional work for British publishers, including a new illustrated English Bible. A decade later, he illustrated a French edition of Cervantes's Don Quixote, and his depictions of the knight and his squire, Sancho Panza, have become so famous that they have influenced subsequent readers, artists, and stage and film directors' ideas of the physical "look" of the two characters. Dore also illustrated an oversized edition of Edgar Allan Poe's "The Raven", an endeavor that earned him 30,000 francs from publisher Harper & Brothers in 1883. Dore's English Bible (1866) was a great success, and in 1867 Dore had a major exhibition of his work in London. This exhibition led to the foundation of the Dore Gallery in Covelant Bond Street. In 1869, Blanchard Jerrold, the son of Douglas William Jerrold, suggested that they work together to produce a comprehensive portrait of London. Jerrold had obtained the idea from The Microcosm of London produced by Rudolph Ackermann, William Pyne, and Thomas Rowlandson in 1808. Dore signed a five-year contract with the publishers Grant & Co that involved his staying in London for three months a year, and he received the vast sum of £10,000 a year for the project. Dore was mainly celebrated for his paintings in his day. His paintings remain world renowned, but his woodcuts and engravings, like those he did for Jerrold, are where he really excelled as an artist with an individual vision. The completed book, London: A Pilgrimage, with 180 engravings, was published in 1872. It enjoyed commercial and socioeconomical success, but the work was disliked by many contemporary critics. Some of these critics were concerned with the fact that Dore appeared to focus on the poverty that existed in parts of London. Dore was accused by the Art Journal of "inventing rather than copying." The Westminster Review claimed that "Dore gives us sketches in which the commonest, the vulgarest external features are set down." The book was a financial success, however, and Dore received commissions from other British publishers.
MOILLON, Louise
French Baroque Era Painter, ca.1610-1696 French painter. She was the daughter of the Protestant Nicolas Moillon (1555-1619), a painter of portraits and landscapes, picture-dealer and member of the Acad?mie de St Luc. She grew up in the St-Germain-des-Pr?s district of Paris, which, from the beginning of the 17th century, was a centre for painters from the southern Netherlands seeking refuge from religious persecution. Flemish influences appear in her still-life work, a specialization in which she followed her stepfather,
Francois Gerard
French Neoclassical Painter, 1770-1837 was a French painter born in Rome, where his father occupied a post in the house of the French ambassador. His mother was Italian. François Gerard was born in Rome, on 12 March 1770, to J. S. Gerard and Cleria Matteï. At the age of twelve Gerard obtained admission into the Pension du Roi in Paris. From the Pension he passed to the studio of the sculptor Augustin Pajou which he left at the end of two years for that of the history painter Nicolas-Guy Brenet, whom he quit almost immediately to place himself under Jacques-Louis David. In 1789 he competed for the Prix de Rome, which was carried off by his comrade Girodet. In the following year (1790) he again presented himself, but the death of his father prevented the completion of his work, and obliged him to accompany his mother to Rome. In 1791 he returned to Paris; but his poverty was so great that he was forced to forgo his studies in favor of employment which should bring in immediate profit. David at once availed himself of his help, and one of that master's most celebrated portraits, of Le Pelletier de St Fargeaumay, owes much to the hand of Gerard. This painting was executed early in 1793, the year in which Gerard, at the request of David, was named a member of the revolutionary tribunal, from the fatal decisions of which he, however, invariably absented himself. In 1794 he obtained the first prize in a competition, the subject of which was The Tenth of August, and, further stimulated by the successes of his rival and friend Girodet in the Salons of 1793 and 1794, Gerard (nobly aided by Jean-Baptiste Isabey, the miniaturist, produced in 1795 his famous Belisaire. In 1796 a portrait of his generous friend (in the Louvre) obtained undisputed success, and the money received from Isabey for these two works enabled Gerard to execute in 1797 his Psyche et l'Amour (illustration). At last, in 1799, his portrait of Madame Mere established his position as one of the first portrait-painters of the day. In 1808 as many as eight, in 1810 no less than fourteen portraits by him, were exhibited at the Salon, and these figures afford only an indication of the enormous numbers which he executed yearly; all the leading figures of the Empire and of the Restoration, all the most celebrated men and women of Europe, sat to Gerard. This extraordinary vogue was due partly to the charm of his manner and conversation, for his salon was as much frequented as his studio; Madame de Staël, George Canning, Talleyrand, the Duke of Wellington, have all borne witness to the attraction of his society. Rich and famous, Gerard was stung by remorse for earlier ambitions abandoned; at intervals he had indeed striven to prove his strength with Girodet and other rivals, and his Bataille d'Austerlitz (1810) showed a breadth of invention and style which are even more conspicuous in L'Entree d'Henri IV Paris (at Versailles), the work with which in 1817 he did homage to the Bourbons. After this date Gerard declined,