American Realist Painter, 1844-1916. Thomas Cowperthwait Eakins (July 25, 1844 ?C June 25, 1916) was a realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history. For the length of his professional career, from the early 1870s until his health began to fail some forty years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of Philadelphia in the late 19th and early 20th centuries; individually, they are incisive depictions of thinking persons. As well, Eakins produced a number of large paintings which brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject which most inspired him: the nude or lightly clad figure in motion. In the process he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator. Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth-and early-twentieth-century American art".  Related Paintings of Thomas Eakins :. | Biglen Brothers, Turning the Stake | Repair fishnet | Bildnis des Physikers Henry A Rowland | Study of a Girl Head | Seventy yeas ago |
Related Artists:
Francisco Bayeu y Subias
Spanish Painter, 1734-1795,was a Spanish painter, active in a Neoclassic style, whose main subjects were religious and historical themes. Born in Zaragoza, he received a broad childhood education. His initial art studies were with a local master, Jose Luzan[1] and Antonio Gonzalez Velazquez. He then moved to Madrid, winning a scholarship with the painting of the ????Tyranny of Gerion???? to study in the Academia Real de Bellas Artes de San Fernando. The death of his parents and the care of his brothers forced him to return to Zaragoza, until he was recalled by Anton Raphael Mengs to help decorate the Royal Palace of Madrid. In later years, one of his colleagues was Francisco Goya, who married his sister, Josefa Bayeu. He served as court painter to King Charles III of Spain. He was named a professor of the Royal Academy of Fine Arts of San Fernando in 1765 and director in 1788. He painted in the Charterhouse of Aula Dei in Zaragoza. In 1767 he was named court painter for Charles III, king of Spain. He was involved in the decoration of various Royal palaces near Madrid.
Hill, John William
English Painter, 1812-1879 Painter and illustrator, son of John Hill. At the age of seven he moved to Philadelphia, PA, with his family. In 1822 he moved to New York, where he was apprenticed to his father for seven years. During this time, he worked on the aquatint plates for William Guy Wall's Hudson River Portfolio (1821-5),
Pierre Albert Marquet Prints
French 1875- 1947 Marquet was born in Bordeaux. In 1890 he moved to Paris to attend the Decorative Arts School, where he met Henri Matisse. They were roommates for a time, and they influenced each other's work. Marquet began studies in 1892 at the École des Beaux-Arts under Gustave Moreau, a symbolist artist who was a follower of the Romantic tradition of Eug??ne Delacroix. In these years, Marquet exhibited paintings at the Salon des Ind??pendants. Although he did not sell many paintings, the artistic community of Paris became aware of his work. His early compositions were characterised by a clear and painterly Fauvist approach, in which he had a fine control of the drawing and responded to light, not only by intensifying the strongest tones, but also by seeing the weaker ones in coloristic terms. In 1905 he exhibited at the Salon d'Automne where his paintings were put together with those of Henri Matisse, Maurice de Vlaminck, Andr?? Derain, Othon Friesz, Georges Rouault, Raoul Dufy, Henri Manguin, Georges Braque, Louis Valtat and Jean Puy. Dismayed by the intense coloration in these paintings, critics reacted by naming the artists the "Fauves", i.e. savage beasts. Although Marquet painted with the fauves for years, he used less bright and violent colours than the others, and emphasized less intense tones made by mixing complementaries, thus always as colors and never as grays. At the end of 1907 he stayed in Paris and dedicated himself, together with Henri Matisse, to a series of city views. The fundamental difference between the two is that while Matisse used strong colours, Marquet favored grayed yellows, greyed violets or blues. Black was usually used as a violent contrast to light colors for such forms as bare tree trunks or calligraphically drawn people contrasted with very light, often yellow or orange streets and sidewalks. Another difference is that Marquet used an approximation of traditional perspective, although his colors and compositions constantly referred to the rectangle and cut its plane with their calligraphy. From 1907 to his death, Marquet alternated between working in his studio in Paris and many parts of the European coast and in North Africa. He was most involved with Algeria and Algiers and with Tunisia. In his voyages he painted the sea and ships, but also the lights and animated life of the city, especially cities on the waterfront, like Algiers. Among European cities Marquet remained impressed particularly with Naples and Venice where he painted the sea and boats, accenting the light over water. He adopted a technique nothing like the Impressionists', painting water as a large area of simple tone which held the plane of the water surface without illusionistic perspective, from which the ships arise into a different plane. His views of the lagoon in Venice do this very economically. The water stays at a right angle to the picture plane and the large ships float with ease, with their reflections exactly the correct tone to project the required space. His color is much like Matisse of the 1920s, here. His contrasts of vivid colors describe the waves of the sea with simple drawing which accompany the exactly observed color tones, giving a scene of placid movement. The human figures are much simplified, calligraphically drawn in a way related to Japanese Shijo style work. Matisse is said to have called him "our Hokusai". During his voyages to Germany and Sweden he painted the subjects he usually preferred: river and sea views, ports and ships, but also cityscapes. Over the course of his career he often returned to the same subjects, even years later, recording subtle differences in the light. He painted a few portraits, and between 1910 and 1914 he painted a series of nudes in whorehouses, and prepared the illustration of a work on lesbian lovers. But he is best known for his many landscapes. Unlike Matisse, there are no obvious periods of change in his work. To the end he was one of Matisse's closest friends, and they discussed each other's work with the greatest openness. His death was unexpected and sudden, from a gall bladder attack and subsequently discovered cancer, for which at that time there was no therapy. Marquet died in Paris, on 14 June 1947.