Paris 1754-1829 French painter. His first teacher was the history painter Jean Bardin, who took him to Rome in 1768. Back in Paris in 1772, he transferred to the studio of Nicolas-Bernard Lepicie. In 1776 he won the Prix de Rome with Alexander and Diogenes (Paris, Ecole N. Sup. B.-A.) and returned to Rome, where he was to spend the next four years at the Academie de France in the company of Jacques-Louis David and Jean-Francois-Pierre Peyron. While witnessing at first hand Peyron's development of a manner indebted to Poussin and David's conversion to Caravaggesque realism, Regnault inclined first towards a Late Baroque mode in a Baptism of Christ (untraced; recorded in two sketches and an etching), then, in Perseus Washing his Hands (1779; Louisville, KY, Speed A. Mus.), to the static Neo-classicism of Anton Raphael Mengs.  Related Paintings of Baron Jean-Baptiste Regnault :. | The Education of Achilles by the Centaur Chiron (mk05) | Regnault Socrates Tears Alcibiades from the Embrace of Sensual Pleasure | Socrate arrachant Alcibiade du sein de la Volupte | The Three Graces | The Origin of Painting: Dibutades Tracing the Portrait of a Shepherd |
Related Artists:
Karl Hagemeister
German, 1848-1933,German painter. He studied from 1871 at the Kunstschule in Weimar under Friedrich Preller, who introduced him to the principles of classical landscape painting. In 1873 he began to develop a more modern approach when he met Carl Schuch at the Hintersee, near Berchtesgaden; he immediately became his pupil and later wrote Schuch's biography. Schuch introduced Hagemeister to the Leibl circle (see LEIBL, WILHELM). He travelled to the Netherlands and Belgium (1873-4), Italy (1876) and France (1884-5), often accompanying Schuch and, in the early journeys, Wilhelm Trebner. His approach to landscape changed from classical Naturalism to 'pure painting', a more formalist approach in which purely pictorial qualities were given priority over naturalistic representation, as in Lake Shore (c. 1900; Schweinfurt, Samml. Schefer). His brushwork became broader, his depiction of objects became increasingly summary, and his colours lighter and cooler. Absorbing the influence of Japanese art through the interpretations of the French Impressionists, and following trends in international Art Nouveau, Hagemeister developed an individual variant of Jugendstil. His pictures were composed in accordance with decorative rather than naturalistic principles and became primarily ornamental, as in White Poppy
Gabriel von Max
(August 23, 1840 - November 24, 1915) was a Prague-born Austrian painter. He was born Gabriel Cornelius Max, the son of Czech sculptor Joseph Max and Anna Schumann. He studied between 1855 and 1858 at the Prague Academy of Arts with Eduard von Engerth. His studies included parapsychology (somnambulism, hypnotism, spiritism), Darwinism, Asiatic philosophy, the ideas of Schopenhauer, and various mystical traditions. The spiritual-mystical movement was emphasized by the writings of Carl du Prel, and the Munich painter Albert Keller was also an influence. His first large canvas was painted in 1858 while he was a student at the Prague Academy. He continued his studies at the Viennese Academy of Art with Karl von Blaas, Karl Mayer, Christian Ruben and Carl Wurzinger. From 1863 to 1867 he studied at the Munich Academy with Karl Theodor von Piloty, and also Hans Makart and Franz Defregger. His first critical success was in 1867 with the painting "Martyr at the Cross": that painting transformed the "Ungl?-ksmalerei" (dark palette) of Piloty into a religious-mystical symbolism using a psychological rendering of its subject. He continued to use the dark palette of the Piloty school well into the 1870s, later moving toward a more muted palette, using fewer,clearer colors. From 1869, Gabriel von Max had his studio in Munich; in the summer, he was in the Ammerland at Starnberger Lake. From 1879-1883, Gabriel Max was a professor of Historical Painting at the Munich Academy; he also became a Fellow of The Theosophical Society. In 1900 he was ennobled and became a Ritter. He died in Munich in 1915. His interest in anthropological studies also showed in his work. He owned a large scientific collection of prehistoric ethnological and anthropological finds: the collection now resides in the Stadtischen Reiss Museum in Mannheim. At his residence in Starnberger Lake, Gabriel Max surrounded himself with a family of monkeys, which he painted often, sometimes portraying them as human. Max, along with his colleagues, often used photographs to guide painting. The great number of monkey photographs in his archive testify to their use as direct translation into his paintings. In 1908, his painting "The Lion's Bride" became celebrated, and was depicted in motion pictures as an hommage in the Gloria Swanson film, Male and Female, (1919), directed by Cecil B. de Mille. Gabriel von Max was a significant artist to emerge from the Piloty School, because he abandoned the themes of the Grunderzeitliche (genre and history), in order to develop an allegorical-mystical pictorial language, which became typical of Secessionist Art. Characteristic of the ethereal style of Gabriel Max is "The Last Token" (in the Metropolitan Museum), and "Light" (in the Odessa Museum of Western and Eastern Art, Ukraine).
Amaldus Clarin Nielsen
(23 May 1838 - 10 December 1932) was a Norwegian painter. He was born in Halse as a son of shipmaster and merchant Niels Clemetsen Nielsen (1795 - 1845) and his wife Andrea Marie Møller (1802 - 1866). He grew up in Mandal in Vest-Agder county, Norway. He lived most of his childhood and adolescence without a father. He received some tuition from a traveling drawing teacher and traveled to Copenhagen to study in 1854