Scottish Painter, 1871-1935,Scottish painter. He studied at the Royal Scottish Academy schools from 1893 to 1894, and then at the Academie Julian and Acad?mie Colarossi in Paris, where he shared rooms with Robert Brough. The influence of the rustic realism of French painters and of the Glasgow Boys is clear in landscape drawings and paintings executed in Edinburgh from the mid-1890s. His still-life studies reveal the influence of the work of both Manet and Hals, which he saw in European galleries, with their combinations of thick impasto and fluid brushwork, dark background, strong lighting and meticulous handling of tones. Between 1900 and c. 1910, when he moved to Paris, he painted in Edinburgh, on sketching holidays in Scotland and in northern France with John Duncan Fergusson, and exhibited in Edinburgh, Glasgow and London.   Related Paintings of Samuel John Peploe :. | Palm Trees,Antibes | Still Life with Coffee Pot | The Black Bottle | Tulips and Fruit | Roses in a Blue and White Vase,Black Background |
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Charles Lock Eastlake
English Painter, 1793-1865 English painter, museum director, collector and writer. Fourth son of an Admiralty lawyer at Plymouth, he was educated at local grammar schools and then, briefly, at Charterhouse, Surrey. Determined to become a painter, he began work in 1809 as Benjamin Robert Haydon's first pupil and as a student at the Royal Academy Schools in London. In 1815 he exhibited for the first time at the British Institution, visited Paris and studied the pictures in the Musee Napoleon. He achieved his first conspicuous success with a scene from contemporary history that he had himself witnessed,
Eastman Johnson
American portrait and genre painter, 1824-1906 American painter and printmaker. Between 1840 and 1842 he was apprenticed to the Boston lithographer John H. Bufford (1810-70). His mastery of this medium is apparent in his few lithographs, of which the best known is Marguerite (c. 1865-70; Worcester, MA, Amer. Antiqua. Soc.). In 1845 he moved to Washington, DC, where he drew portraits in chalk, crayon and charcoal of prominent Americans, including Daniel Webster, John Quincy Adams and Dolly Madison (all 1846; Cambridge, MA, Fogg). In 1846 he settled in Boston and brought his early portrait style to its fullest development. His chiaroscuro charcoal drawings, of exceptional sensitivity, were remarkably sophisticated for an essentially self-trained artist. In 1848 he travelled to Europe to study painting at the D?sseldorf Akademie. During his two-year stay he was closely associated with Emanuel Leutze, and painted his first genre subjects
Michael Ancher
Danish Painter, 1849-1927 He studied at the Kongelige Akademi for de Sk?nne Kunster, Copenhagen (1871-5), where his teachers Wilhelm Marstrand and Frederik Vermehren encouraged his interest in genre painting. He first visited Skagen in 1874 and settled there in 1880, having found that subject-matter drawn from local scenery was conducive to his artistic temperament. In Will he Manage to Weather the Point? (1880; Copenhagen, Kon. Saml.) several fishermen stand on the shore, evidently watching a boat come in. The firmly handled composition focuses on the group of men (the boat itself is invisible); each figure is an individual portrait that captures a response to the moment. Ancher's skill at grouping large numbers of figures with heroic monumentality compensates for his lacklustre colour sense. A change in his use of colour is noticeable in the works produced after an influential visit to Vienna in 1882; he was deeply impressed by the Dutch Old Masters at the Kunsthistorisches Museum, especially the Vermeers. Their effect on his painting can be seen in the Sick Girl (1883),