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BOSSCHAERT, Ambrosius the Elder
Dutch Baroque Era Painter, 1573-1621 Painter and dealer. He left Antwerp with his parents c. 1587 because as Protestants they were vulnerable to religious persecution; the family moved to Middelburg, where in 1593 Ambrosius became a member of the Guild of St Luke, of which he served as Dean on several occasions (1597, 1598, 1603, 1604, 1612 and 1613). In 1604 he married Maria van der Ast, the sister of Balthasar van der Ast who later became his pupil and possible collaborator. Bosschaert bought a house in Middelburg in 1611. There are flower-pieces by Bosschaert that are signed (with a monogram) and dated between 1605 and 1621, though there were two periods of artistic inactivity, in 1611-13 and 1615-16, when he was probably more active as a dealer in the art of both Dutch and foreign artists (e.g. Veronese and Georg Flegel). He was recorded in Bergen-op-Zoom in 1615 and became a citizen of Utrecht in 1616, where his name appears in the register of the Utrecht Guild of St Luke for the same year. In 1619 he was involved in a court case in Breda, where he lived from that year. He died during a journey to The Hague.
Pierre Puvis de Chavannes
1824-1898 French Pierre Puvis de Chavannes Art Galleries Born in Lyons on Dec. 14, 1824, Pierre Puvis de Chavannes belonged to the generation of Gustave Courbet and ??douard Manet, and he was fully aware of their revolutionary achievements. Nevertheless, he was drawn to a more traditional and conservative style. From his first involvement with art, which began after a trip to Italy and which interrupted his intention to follow the engineering profession that his father practiced, Puvis pursued his career within the scope of academic classicism and the Salon. Even in this chosen arena, however, he was rejected, particularly during the 1850s. But he gradually won acceptance. By the 1880s he was an established figure in the Salons, and by the 1890s he was their acknowledged master. In both personal and artistic ways Puvis career was closely linked with the avant-grade. In the years of his growing public recognition, when he began to serve on Salon juries, he was consistently sympathetic to the work of younger, more radical artists. Later, as president of the Societe Nationale des Beaux-Arts - the new Salon, as it was called - he was able to exert even more of a liberalizing influence on the important annual exhibitions. Puvis sympathy to new and radical artistic directions was reflected in his own painting. Superficially he was a classicist, but his personal interpretation of that style was unconventional. His subject matter - religious themes, allegories, mythologies, and historical events - was clearly in keeping with the academic tradition. But his style eclipsed his outdated subjects: he characteristically worked with broad, simple compositions, and he resisted the dry photographic realism which had begun to typify academic painting about the end of the century. In addition, the space and figures in his paintings inclined toward flatness, calling attention to the surface on which the images were depicted. These qualities gave his work a modern, abstract look and distinguished it from the sterile tradition to which it might otherwise have been linked. Along with their modern, formal properties, Puvis paintings exhibited a serene and poetic range of feeling. His figures frequently seem to be wrapped in an aura of ritualistic mystery, as though they belong in a private world of dreams or visions. Yet these feelings invariably seem fresh and sincere. This combination of form and feeling deeply appealed to certain avant-garde artists of the 1880s and 1890s. Although Puvis claimed he was neither radical nor revolutionary, he was admired by the symbolist poets, writers, and painters - including Paul Gauguin and Maurice Denis - and he influenced the neoimpressionist painter Georges Seurat. During his mature career Puvis executed many mural paintings. In Paris he did the Life of St. Genevieve (1874-1878) in the Panth??on and Science, Art, and Letters (1880s) in the Sorbonne. In Lyons he executed the Sacred Grove, the Antique Vision, and Christian Inspiration (1880s) in the Mus??e des Beaux-Arts. He painted Pastoral Poetry (1895-1898) in the Boston Public Library. These commissions reflect the high esteem with which Puvis was regarded during his own lifetime. Among his most celebrated oil paintings are Hope (1872) and the Poor Fisherman (1881). He died in Paris on Oct. 10, 1898.
Ernest Laurent
(June 8, 1859 -- June 25, 1929) was a French painter and printmaker. He was born in Gentilly and died in Bievre. Laurent was a neo-impressionist artist whose main influences were his instructor Ernest Hebert and his friend Georges Seurat. Laurent took second prize in the Prix de Rome in 1889 and in 1890, Laurent arrived in Rome, where Hebert remained Director of the Academie de France. From Rome, he went to Assisi where he underwent a mystical experience. It would profoundly influence his art. The work he returned to Paris from Assisi was noted for its religious themes. Over time, profound religious devotion influenced his artistic motif and religious symbolism and scenery crept into his work. This aspect of his life ran counter to Seurat's materialism and the two parted ways.