Related Paintings of unknow artist :. | The Count-Duke of Olivares on Horseback 1634 | Arab or Arabic people and life. Orientalism oil paintings 610 | Landscape with cows small farm and windmill | ross och andra sydpolsforskare | Still life floral, all kinds of reality flowers oil painting 152 |
Related Artists:
VERNET, Claude-Joseph
French Painter, 1714-1789 Painter. Vernet probably received his first lessons in painting from his father, Antoine, who then encouraged him to move to the studio of Philippe Sauvan (1697-1792), the leading master in Avignon. Sauvan supplied altarpieces to local churches and decorative works and mythologies for grand houses in the area. After this apprenticeship Vernet worked in Aix-en-Provence with the decorative painter Jacques Viali ( fl 1681- 1745), who also painted landscapes and marine pictures. In 1731 Vernet independently produced a suite of decorative overdoors for the h?tel of the Marquise de Simiane at Aix-en-Provence; at least two of these survive (in situ) and are Vernet's earliest datable landscapes. These are early indications of his favoured type of subject, and Vernet would have studied works attributed to such 17th-century masters as Claude Lorrain, Gaspard Dughet and Salvator Rosa in private collections at Aix and Avignon. Three years later Joseph de Seytres, Marquis de Caumont, who had previously recommended Vernet to the Marquise de Simiane, offered to sponsor a trip to Italy.
George Cattermole
1800-1868 English painter and illustrator. From the age of 14 Cattermole worked with his brother Richard (?1795-1858) for the antiquarian John Britton, producing architectural drawings. This training equipped him with a repertory of accurate architectural backgrounds, and from the later 1820s his work shifted from delineations of historic buildings to imaginative depictions in watercolour of episodes from literature and history and genre subjects with historical settings. He became the foremost historical watercolour painter, recreating the medieval, Elizabethan and 17th-century past. The intimate history pictures of Richard Parkes Bonington were undoubtedly influential, while Cattermole's bold and loose handling of watercolour owed much to David Cox, an admirer of his work. As an illustrator, his works included The Great Civil War of Charles I and Parliament (written by his brother Richard and published in two volumes in 1841 and 1855) and Evenings at Haddon Hall (1846).
Felix Vallotton
1865-1925was a Swiss painter and printmaker associated with Les Nabis. He was an important figure in the development of the modern woodcut. He was born into a conservative middle class family in Lausanne, and there he attended College Cantonal, graduating with a degree in classical studies in 1882. In that year he moved to Paris to study art under Jules Joseph Lefebvre and Gustave Boulanger at the Academie Julian. He spent many hours in the Louvre, where he greatly admired the works of Holbein, Derer and Ingres; these artists would remain exemplars for Vallotton throughout his life.[1] His earliest paintings, such as the Ingresque Portrait of Monsieur Ursenbach (1885), are firmly rooted in the academic tradition, and his self portrait of 1885 (seen at right) received an honorable mention at the Salon des artistes français in 1886. During the following decade Vallotton painted, wrote art criticism and made a number of prints. In 1891 he executed his first woodcut, a portrait of Paul Verlaine. The many woodcuts he produced during the 1890s were widely disseminated in periodicals and books in Europe as well as in the United States, and were recognized as radically innovative in printmaking. They established Vallotton as a leader in the revival of true woodcut as an artistic medium; in the western world, the relief print, in the form of commercial wood engraving, had long been mainly utilized unimaginatively as a medium for the reproduction of drawn or painted images and, latterly, photographs. Vallotton's starkly reductive woodcut style features large masses of undifferentiated black and areas of unmodulated white. While emphasizing outline and flat patterns, Vallotton generally made no use of the gradations and modeling traditionally produced by hatching. The influences of post-Impressionism, symbolism and the Japanese woodcut are apparent; a large exhibition of ukiyo-e prints had been presented at the École des Beaux-Arts in 1890, and Vallotton, like many artists of his era an enthusiast of Japonism, collected these prints. He depicted street crowds and demonstrations including several scenes of police attacking anarchists bathing women, portrait heads, and other subjects which he treated with a sardonic humor. His graphic art reached its highest development in Intimit's (Intimacies), a series of ten interiors published in 1898 by the Revue Blanche, which deal with tension between men and women. Vallotton's prints have been suggested as a significant influence on the graphic art of Edvard Munch, Aubrey Beardsley, and Ernst Ludwig Kirchner .By 1892 he was affiliated with Les Nabis, a group of young artists that included Pierre Bonnard, Ker-Xavier Roussel, Maurice Denis, and Edouard Vuillard, with whom Vallotton was to form a lifelong friendship. During the 1890s, when Vallotton was closely allied with the avant-garde, his paintings reflected the style of his woodcuts, with flat areas of color, hard edges, and simplification of detail.