the period of 1465-153 Persian illustrator. The most famous master of Persian painting, he is important both for the paintings he executed and for the wider influence of the style associated with his name. Evidently orphaned at a young age, Bihzad is said to have been raised and trained by MIRAK, a painter and calligrapher employed in Herat by Husayn Bayqara.  Related Paintings of Bihzad :. | A dervish begs to be admitted in the mosque | Building the Great Mosque of Samarkand | Portrait of jami leaning on a staff,with another scholar of Sultan Husayn-s court | Timur enthroned | Details from Caliph al Ma mun in his bath |
Related Artists:
Andreas Achenbach
(September 29, 1815 - April 1, 1910) was a German landscape painter. Born at Kassel, he began his art education in 1827 in Desseldorf under Friedrich Wilhelm Schadow at the Desseldorf Academy of Painting. He studied at St Petersburg and travelled in Italy, Holland and Scandinavia.In his early work he followed the pseudo-idealism of the German romantic school, but on removing to Munich in 1835, the stronger influence of Louis Gurlitt turned his talent into new channels, and he became the founder of the German realistic school. Although his landscapes evince too much of his aim at picture-making and lack personal temperament, he is a master of technique, and is historically important as a reformer. The Chambers Biographical Dictionary says of him that "he was regarded as the father of 19th century German landscape painting." A number of his finest works are to be found at the Berlin National Gallery, the New Pinakothek in Munich, and the galleries at Dresden, Darmstadt, Cologne, Desseldorf, Leipzig and Hamburg. He died in Desseldorf. His brother, Oswald Achenbach (1827-1905), was also a painter.
Paul-Camille Guigou
1834-1871 French Paul Camille Guigou Gallery French painter. Born into a family of landowners, he became a notary's clerk at Apt in 1851 and then in 1854 at Marseille. He learnt to paint with Camp, a teacher at the school in Apt, and then at Marseille with Emile Loubon (1809-63), director of the local Ecole des Beaux-Arts, who urged him (according to Guigou's biographers) to paint directly from nature. Guigou settled in Marseille in 1854, where he participated regularly in the annual Salon of the Societe Artistique des Bouches-du-Rhene. Guigou painted almost exclusively Proven?al landscapes, which were influenced by the works of the Barbizon painters, who exhibited in Marseille, and by the brownish tones and picturesque figures of Loubon's paintings. The Road to Gineste (1859) and The Washerwoman (1860; both Paris, Mus. d'Orsay) reflect the independent tradition of Proveneal painting during the Second Empire, which was characterized by warm colouring and precise lighting used to separate and distinguish forms. His knowledge of the works of Gustave Courbet, acquired during a visit to Paris in 1859, doubtless increased his liking for broad technique and sincere vision, articulated in a strong and ordered construction of space: for example, The Gorges of the Luberon (c. 1861; Amiens, Mus. Picardie).
Louis Hayet
French, 1864-1940.French painter and writer. He was largely self-taught and initially earned his living as an itinerant painter-decorator. In 1881 he met Lucien and Camille Pissarro while painting landscapes near Pontoise and through them met Paul Signac in 1885 and Seurat in 1886. After a years military service at Versailles, Hayet moved to Paris in the autumn of 1887. There he began to apply to his paintings Eug?ne Chevreuls theories of colour contrast with which he had become familiar by 1881. A gifted watercolour painter, he also experimented with the ancient technique of wax encaustic, painting on a prepared cotton that allowed light to filter through. The paint surface of works such as The Grange (Beauchamp, France, priv. col., see 1983 Pontoise exh. cat., no. 1) retains a vivid tonal freshness, while the subject of crowds of peasants gathered before the Paris agricultural market reveals a debt to Pissarro. During the second half of the 1880s he became obsessed with the notion of passage