1847-1926 Theodore Clement Steele Galleries Theodore Clement Steele (September 11, 1847-July 24, 1926) was an American Impressionist painter known for his Indiana landscapes. Steele was born in Owen County, Indiana, and later moved to Indianapolis after study in Cincinnati, Chicago and Munich. He is considered to be the most important of the Hoosier Group of painters and his work is widely collected by museums and individuals. Steele earned his living primarily as a portrait painter and his portraits include one of notable Hoosier Poet James Whitcomb Riley and the official portraits of several Indiana governors. Steele exhibited at and was on the art selection for the Louisiana Purchase Exposition in 1904 and was elected to the National Academy of Design in 1913. He enjoyed plein air, or outdoor, painting, which is reflected in many of the landscapes he painted. Steele went through a notable change in style after his return from Munich in 1885. Steele's work, which in the Munich time period sported drab colors and high contrasts, shifted towards a brighter, more vivid color palette after his return to Indiana. Upon T.C. Steele's return, his family lived in the Talbot House, or Tinker Mansion, which is at what is now 16th and Pennsylvania Streets in Indianapolis. In 1898, Steele and J. Ottis Adams bought a home in Brookville, Indiana, which they called "The Hermitage." Steele sold his interest in the home to Adams after the death of his first wife. He received an honorary master's degree from Wabash College in 1900 and an honorary doctorate from Indiana University in 1916.  Related Paintings of Theodore Clement Steele :. | Child with Flowers | June Glory | Summer Days at Vernon | Portrait of Daisy | Woman on the Porch |
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Phoebe Traquair
The leading artist the Arts and Crafts movement in Edinburgh at the turn of the century , (1852-1936)
Julius LeBlanc Stewart
(September 6, 1855, Philadelphia, Pennsylvania - January 5, 1919, Paris, France), was an American artist who spent his career in Paris. A contemporary of fellow expatriate painter John Singer Sargent, Stewart was nicknamed "the Parisian from Philadelphia." His father, the sugar millionaire William Hood Stewart, moved the family to Paris in 1865, and became a distinguished art collector and an early patron of Fortuny and the Barbizon artists. Julius studied under Eduardo Zamacois as a teenager, under Jean-Leo Grôme at the École des Beaux Arts, and later was a pupil of Raymondo de Madrazo. Stewart's family wealth enabled him to live a lush expatriate life and paint what he pleased, often large-scaled group portraits. The first of these, After the Wedding (1880), showed the artist's brother Charles and his bride Mae, daughter of financier Anthony J. Drexel, leaving for their honeymoon.
Dieric Bouts
1420-1475 Flemish Dieric Bouts Locations Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter." It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background. The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions. In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places. The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape. In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature.