1796-1875 Corot Locations French painter, draughtsman and printmaker. After a classical education at the College de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers, his career as a whole shows his attachment to the principles of historic landscape painting which they professed.  Related Paintings of Jean Baptiste Camille Corot :. | The Harbor of La Rochelle | Corot la Palette d la main (mk11) | Mornex (mk11) | L'Etang aux trois Vaches et au Croissant de Lune | La cathedrale de Sens (mk11) |
Related Artists:
Lucas Cranach the Elder
b. 1472, Kronach, d. 1553, Weimar. German painter and printmaker. He took his name from the town of his birth. Little is known about his early life or training. In Vienna (c. 1501 ?C 04) he painted some notable portraits and landscapes characteristic of the Danube school. From 1505 to 1550 he was court painter in Wittenberg, where he achieved great success and wealth painting portraits, mythological subjects, and altarpieces for Protestant and Catholic churches. He attracted so many young artists to Wittenberg that the town became an art centre. A friend of Martin Luther, Cranach became known as the chief pictorial propagandist of the Protestant cause in Germany. He produced numerous engravings and more than 100 woodcuts, notably for the first German edition of the New Testament (1522). After his death, his style was perpetuated by his son, Lucas the Younger (1515 C 86).
Adolf Schreyer
German Academic Painter, 1828-1899,German painter, was born at Frankfurt-am-Main. He studied art first at the Städel Institute in his native town, and then at Stuttgart and Munich. He painted many of his favourite subjects in his travels in the East. He first accompanied Prince Thurn and Taxis through Hungary, Wallachia, Russia and Turkey; then, in 1854, he followed the Austrian army across the Wallachian frontier. In 1856 he went to Egypt and Syria, and in 1861 to Algiers. In 1862 he settled in Paris, but returned to Germany in 1870; and settled at Cronberg near Frankfurt, where he died. Arab Horsemen by Schreyer.Schreyer was, and is still, especially esteemed as a painter of horses, of peasant life in Wallachia and Moldavia, and of battle incidents. His work is remarkable for its excellent equine draughtsmanship, and for the artist's power of observation and forceful statement; and has found particular favour among French and American collectors. Of his battle-pictures there are two at the Schwerin Gallery, and others in the collection of Count Mensdorff-Pouilly and in the Raven Gallery, Berlin. His painting of a Charge of Artillery of Imperial Guard was formerly at the Luxembourg Museum. The Metropolitan Museum, New York owns three of Schreyer's oriental paintings: Abandoned, Arabs on the March and Arabs making a detour; and many of his best pictures are in the Rockefeller family, Vanderbilt family, John Jacob Astor, William Backhouse Astor, Sr., August Belmont, and William Walters collections.
Ambrosius Benson
(c.1495/1500, Ferrara or Milan - 1550, Flanders) was an Italian painter who became a part of the Northern Renaissance. While many surviving paintings have been attributed, there is very little known of him from records, and he tended not to sign his work. He is believed to be responsible for mainly religious art, but also painted portraits on commission. He sometime painted from classical sources, often setting the figures in modern-dress, or a contemporary domestic setting. In his lifetime he was successful; he had a large workshop, his work was sold internationally and he was especially popular in Spain. Benson became popular as a source for pastiche with 19th century painters, who are sometimes known as the "followers of Benson". In particular his many variations of the Magdalen and Sibilla Persica, were further copied and became popular with contemporary buyers. Many have retained their relative value and held in the National Gallery, London and command high prices at Sotheby's