Caribbean-born French Pointillist/Impressionist Painter, ca.1830-1903 .Painter and printmaker. He was the only painter to exhibit in all eight of the Impressionist exhibitions held between 1874 and 1886, and he is often regarded as the 'father' of the movement. He was by no means narrow in outlook, however, and throughout his life remained as radical in artistic matters as he was in politics. Thad?e Natanson wrote in 1948: 'Nothing of novelty or of excellence appeared that Pissarro had not been among the first, if not the very first, to discern and to defend.' The significance of Pissarro's work is in the balance maintained between tradition and the avant-garde. Octave Mirbeau commented: 'M. Camille Pissarro has shown himself to be a revolutionary by renewing the art of painting in a purely working sense;  Related Paintings of Camille Pissarro :. | The fall of the big walnut | Landscape with trees,two figures on a road and mountains in the background | Garden | Lu Xian floating snow road | Theater Square, the French rain |
Related Artists:
Ivan Argunov
Russian Rococo Era Painter , 1727/1729-1802 Russian painter and teacher. He came from a family of serfs, belonging to the Counts Sheremetev, that produced several painters and architects. In about 1746-7 he was a pupil of Georg Christoph Grooth (1716-49), who painted portraits of the Sheremetev family. With Grooth, Argunov worked on the decoration of the court church at Tsarskoye Selo (now Pushkin). A full-length icon of St John of Damascus (1749; Pushkin, Pal.-Mus.), in Rococo style, is distinguished by its secular, decorative character. The Dying Cleopatra (1750; Moscow, Tret'yakov Gal.) is typical of Rococo decorative painting of the mid-18th century, with its striking combination of light, soft tones. Argunov subsequently painted in a quite different style, mainly producing portraits, of which about 60 are known. Among the first of these are pendant portraits of Ivan Lobanov-Rostovsky and his wife (1750 and 1754; St Petersburg, Rus. Mus.), in which the sitters are idealized, as in ceremonial court portraits.
Henri De Braekeleer
Belgian Painter, 1840-1888 Belgian painter, was born at Antwerp. He was trained by his father, a genre painter, and his uncle, Baron Henri Leys, and devoted himself to scenes of everyday Antwerp life. The first pictures he exhibited, The Laundry (Van Cutsem collection, Brussels), and The Coppersmith's Workshop (Vleeshouwer collection, Antwerp), were shown. at the Antwerp exhibition in 1861. He received the gold medal at Brussels in 1872 for The Geographer and The Lesson (both in the Brussels gallery); the gold medal at Vienna in 1873 for The Painter's Studio and Grandmother's Birthday ; and the medal of honor at the Exposition Universelle at Amsterdam for The Pilot House. Among his more notable works are A Shoemaker (1862), A Tailor's Workroom (1863), A Gardener (1864, Antwerp gallery), Interior of a Church (1866), Interior, Flanders (1867), Woman Spinning (1869), Man Reading (1871), Theruedu Serment, Antwerp (1875), A Copperplate Printer, The Sailor's Return, The Man at the Window (Couteaux collection, Brussels), The Horn-blower (Couteaux collection), Man Retouching a Picture (Couteaux collection), The Potters (Marlier collection, Brussels), Staircase in the Hydraulic House at Antwerp (Marlier collection), and The Brewer's House at Antwerp (Marlier collection). The last, better known as A Man Sitting, is generally regarded as his masterpiece. As a lithographer and etcher, his work resembles that of Henri Leys.
Francesco Parmigianino
1503 ~ 1540,Italian painter, draughtsman and printmaker. Beginning a career that was to last only two decades, he moved from precocious success in the shadow of Correggio in Parma to be hailed in the Rome of Clement VII as Raphael reborn. There he executed few large-scale works but was introduced to printmaking. After the Sack of Rome in 1527, he returned to northern Italy, where in his final decade he created some of his most markedly Mannerist works. Equally gifted as a painter of small panels and large-scale frescoes both sacred and profane, he was also one of the most penetrating portrait painters of his age. Throughout his career he was a compulsive draughtsman, not only of preparatory studies for paintings and prints, but also of scenes from everyday life and of erotica.