British Pre-Raphaelite Painter, 1833-1898 English painter and decorative artist. He was the leading figure in the second phase of the Pre-Raphaelite movement. His paintings of subjects from medieval legend and Classical mythology and his designs for stained glass, tapestry and many other media played an important part in the Aesthetic Movement and the history of international Symbolism.  Related Paintings of Sir Edward Coley Burne-Jones :. | Phyllis and Demophoon (mk46) | Merlin and Nimue | The Godhead Fires | The Baleful Head (mk28) | Night |
Related Artists:
GREUZE, Jean-Baptiste
French Rococo Era Painter, 1725-1805 French painter and draughtsman. He was named an associate member of the Academie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads . These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Simeon Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Francois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850, when 18th-century painting returned to favour, by such critics as Theophile Thore, Ars?ne Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huitieme siecle. By the end of the century Greuze's work, especially his many variations on the Head of a Girl, fetched record prices, and his Broken Pitcher (Paris, Louvre) was one of the most popular paintings in the Louvre. The advent of modernism in the early decades of the 20th century totally obliterated Greuze's reputation.
johann friedrich august tischbein
German Painter, 1750-1812. 1750 Maastricht ?C Heidelberg 1812. First he was a pupil of his father Johann Valentin Tischbein (1715-1768) in Hildburghausen, from 1768 one of his uncle Johann Heinrich Tischbein the elder (1722-1789) in Kassel. Supported by Prince Friedrich von Waldeck he stayed in Paris from 1772 until 1777, where he studied at the academy of arts under N. B. L??pici?? (1735-1784). Afterwards he travelled to Rome, where he got in contact with the painters A.R. Mengs (1728-1779), J.L. David (1748-1825) and Fr.H. F??ger (1751-1818) and probably also with the English style of portrait painting. 1779 he travelled to Naples. In 1780 he returned to Arolsen via Vienna, Munich, Stuttgart and Kassel, where he worked for the Prince of Waldeck. From 1780 he was his councillor and court painter. During this time he made several journeys e.g. to Holland and after 1785 to Weimar where he met Wieland (1785), Schlegel (1792) and other important people. From 1795 he worked for Leopold III. of Anhalt-Dessau. 1800 he succeeded A. Fr. Oeser (1717-1799) as director of the academy of arts in Leipzig. From 1806 to 1808 he stayed in St Petersburg. He died 1812 when he visited his daughter Caroline Wilken (1783-1843) in Heidelberg
Payne, Edgar Alwin
American, 1882-1947