French Post-Impressionist Painter, 1839-1906 During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world. As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world. The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness. C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861. In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design. The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871).  Related Paintings of Paul Cezanne :. | Portrait of Achille Emperaire | La Montagne | woman was wearing blue clothes | Le Chateau Noir | farmers |
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Johann Barthold Jongkind
1819-1891 Dutch Johann Barthold Jongkind Gallery was a Dutch painter and printmaker regarded as a forerunner of Impressionism who influenced Claude Monet. Jongkind was born in the town of Lattrop in the Overijssel province of the Netherlands near the border with Germany. Trained at the art academy in The Hague, in 1846 he moved to the Montmartre quarter of Paris, France where he studied under Eugene Isabey and Francois-Edouard Picot. Two years later, the Paris Salon accepted his work for its exhibition, and he received acclaim from critic Charles Baudelaire and later on from Emile Zola. Jongkind was to experience little success, however, and he suffered bouts of depression complicated by alcoholism. Jongkind returned to live in Rotterdam in 1855, and remained there until 1860. Back in Paris, in 1861 he rented a studio on the rue de Chevreuse in Montparnasse where some of his paintings began to show glimpses of the Impressionist style to come. In 1862 he befriended the young Claude Monet who later referred to Jongkind as the "master." The following year Jongkind exhibited at the first Salon des Refus??s. Despite several successes, in another of his down periods the Impressionist group did not accept his work for their first exhibition in 1874. In 1878 with his wife, painter of nude people Josephine Fesser, Jongkind moved to live in the small town of La Cote-Saint-Andre near Grenoble in the Isere departement in the southeast of France where he died in 1891. He is buried there in the local cemetery.
Fitz Hugh Lane
1804-1865 Fitz Henry Lane was born on December 19, 1804, in Gloucester, Massachusetts. Lane was christened Nathaniel Rogers Lane on March 17, 1805, and would remain known as such until he was 27. It was not until March 13, 1832 that the state of Massachusetts would officially grant Lane??s own formal request (made in a letter dated December 26, 1831) to change his name from Nathaniel Rogers to Fitz Henry Lane. As with practically all aspects of Lane??s life, the subject of his name is one surrounded by much confusion??it was not until 2005 that historians discovered that they had been wrongly referring to the artist as Fitz Hugh, as opposed to his chosen Fitz Henry, and the reasons behind Lane??s decision to change his name, and for choosing the name he did, are still very unclear. From the time of his birth, Lane would be exposed to the sea and maritime life??a factor that obviously had a great impact his later choice of subject matter. Many circumstances of his young life ensured Lane??s constant interaction with various aspects of this maritime life, including the fact that Lane??s family lived ??upon the periphery of Gloucester Harbor??s working waterfront,?? , and that his father, Jonathan Dennison Lane, was a sailmaker, and quite possibly owned and ran a sail loft. It is often speculated that Lane would most likely have pursued some sea-faring career, or become a sail-maker like his father, instead of an artist, had it not been for a life-long handicap Lane developed as a child. Although the cause cannot be known with complete certainty, it is widely accepted most plausible that the ingestion of some part of the Peru-Apple??a poisonous weed also known as jimsonweed??by Lane at the age of eighteen months caused the paralysis of the legs from which Lane would never recover. It is suggested, and seems logical to assume, that because he could not play games as the other children did, he was forced to find some other means of amusement, and that in such a pursuit he discovered and was able to develop his talent for drawing. To go a step further, as a result of his having a busy sea-port as immediate surroundings, he was able to develop a special skill in depicting the goings-on inherent in such an environment. It is true that Lane could still have become a sail-maker, as such an occupation entailed much time spent sitting and sewing, and that Lane already had some experience sewing from his short-lived apprenticeship in shoe-making. However, as evidenced in this quote from Lane??s nephew Edward Lane??s ??Early Recollections,?? his interest in art held much sway in his deciding on a career: ??Before he became an artist he worked for a short time making shoes, but after a while, seeing that he could draw pictures better than he could make shoes he went to Boston and took lessons in drawing and painting and became a marine artist.?? Lane acquired such ??lessons?? by way of his employment at Pendleton??s lithography shop in Boston, which lasted from 1832 to 1847. With the refinement and development of his artistic skills acquired during his years working as a lithographer, Lane was able to successfully produce marine paintings of high quality, as evidenced in his being listed, officially, as a ??marine painter?? in the Boston Almanac of 1840. Lane continued to refine his painting style, and consequently, the demand for his marine paintings increased as well. Lane had visited Gloucester often while living in Boston, and in 1848, he returned permanently. In 1849, Lane began overseeing construction of a house/studio of his own design on Duncan??s Point??this house would remain his primary residence to the end of his life. Fitz Henry Lane continued to produce beautiful marine paintings and seascapes into his later years. He died in his home on Duncan??s Point on August 14, 1865, and is buried in Oak Grove Cemetery.
Albani Francesco
Italian Baroque Era Painter, 1578-1660 Italian painter and draughtsman. He was a distinguished artist of the Bolognese school, deeply influenced by Annibale Carracci's classicism, who worked in Rome as well as Bologna, painting altarpieces, frescoes and and cabinet pictures. His fame rests on his idyllic landscapes and small mythological pictures,