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 :. | Bath | The apple trees on the lawn | Mali in Hong Kong on the Seine | Loose multi-tile this Ahe rice Tash foot | Road Vehe s peaceful road |
Related Artists:
Henri-Horace Roland de La Porte
Paris 1724-1793 French painter. He was a pupil of Jean-Baptiste Oudry and was approved by the Academie Royale de Peinture et de Sculpture in 1761 as a 'painter of animals and fruit'. He presented his morceau de reception, the ambitious Vase of Lapis, Ornamented with Bronze and Placed near a Globe (Paris, Louvre), in 1763. This large painting is reminiscent of Oudry's work and depicts a collection of sumptuous objects against a simple cloth backdrop. Roland de la Porte's later works are much more intimate in scale and approach and depict simple rustic objects in a restrained yet realistic fashion in a manner akin to Chardin, for whose works his own have been mistaken. The Still-life with Bread and Fruit (Rotterdam, Boymans-van Beuningen) is bathed in a warm light; the composition is unusual in that the bread, plums and preserve pot are represented at the viewer's eye level, obscuring the top of the table. The Little Orange Tree (Karlsruhe, Staatl. Ksthalle) uses several devices similar to those used by Chardin: a light source comes from the upper left-hand side, throwing some of the surfaces into relief and highlighting them against the indistinct background; a single straw is brought into focus and seems to protrude out of the picture
Jacopo Robusti Tintoretto
1518-1594 Italian Tintoretto Galleries The real name of Tintoretto was Jacopo Robusti, but he is better known by his nickname, meaning the "little dyer, " his father having been a silk dyer. The artist was born in Venice and lived there all his life. Even though his painting is distinguished by great daring, he seems to have led a rather retired life, concerned only with his work and the well-being of his family. His daughter Marietta and his sons Domenico and Marco also became painters, and Domenico eventually took over the direction of Tintoretto's large workshop, turning out reliable but un-inspired pictures in the manner of his father. Some of them are, on occasion, mistaken for works of the elder Tintoretto. Tintoretto appears to have studied with Bonifazio Veronese or Paris Bordone, but his true master, as of all the great Venetian painters in his succession, was Titian. Tintoretto's work by no means merely reflects the manner of Titian. Instead he builds on Titian's art and brings into play an imagination so fiery and quick that he creates an effect of restlessness which is quite opposed to the staid and majestic certainty of Titian's statements. If Tintoretto's pictures at first sight often astonish by their melodrama, they almost inevitably reveal, at closer observation, a focal point celebrating the wonders of silence and peace. The sensation of this ultimate gentleness, after the first riotous impact, is particularly touching and in essence not different from what we find (although brought about by very different means) in the pictures of Titian and Paolo Veronese. Tintoretto was primarily a figure painter and delighted in showing his figures in daring foreshortening and expansive poses. His master in this aspect of his art was Michelangelo. Tintoretto is supposed to have inscribed on the wall of his studio the motto: "The drawing of Michelangelo and the color of Titian." Unlike Michelangelo, however, Tintoretto worked and drew very quickly, using only lights and shadows in the modeling of his forms, so that his figures look as if they had gained their plasticity by a kind of magic. In the rendering of large compositions he is reported to have used as models small figures which he made of wax and placed or hung in boxes so cleverly illuminated that the conditions of light and shade in the picture he was painting would be the same as those in the room in which it was to be hung.
John Leslie Breck
1860-1899