French Barbizon School Painter, 1817-1878 was one of the painters of the Barbizon school, and is considered an important precursor of Impressionism. Daubigny was born into a family of painters and was taught the art by his father Edmond François Daubigny and his uncle, miniaturist Pierre Daubigny. Initially Daubigny painted in a traditional style, but this changed after 1843 when he settled in Barbizon to work outside in nature. Even more important was his meeting with Camille Corot in 1852 in Optevoz (Is??re). On his famous boat Botin, which he had turned into a studio, he painted along the Seine and Oise, often in the region around Auvers. From 1852 onward he came under the influence of Gustave Courbet. In 1866 Daubigny visited England, eventually returning because of the Franco-Prussian war in 1870. In London he met Claude Monet, and together they left for the Netherlands. Back in Auvers, he met Paul Cezanne, another important impressionist.  Related Paintings of Charles-Francois Daubigny :. | Summer Morning on the Oise | Daybreak, Oise Ile de Vaux | The Water's Edge | Ferry at Glouton | Typical painting of Seine and Oise |
Related Artists:
DARET, Jacques
Netherlandish Northern Renaissance Painter, ca.1404-1470 was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil,
Alfred Jacob Miller
American Painter, 1810-1874 1810?C74, American artist, b. Baltimore, studied under Thomas Sully and in Europe. In 1837 he joined an expedition to the American West and was probably the first artist to depict the Rocky Mts. On that trip he produced his most important works, chiefly studies of Native American and frontier life, valuable for their documentary detail. These sketches and watercolors were entirely forgotten for nearly a century until they were rediscovered in a storeroom of the Peale Museum, Baltimore.
Maksymilian Gierymski
Gierymski (Warsaw 1846 - Reichenhall, Bavaria 1874) was a Polish painter, specializing mainly in watercolours. He was the older brother of painter Aleksander Gierymski. As a seventeen-years-old boy, he participated in the January Uprising. He was educated at the Warsaw Drawing School initially, but then received a government scholarship in 1867 and went to study at the Academy of Fine Arts in Munich. He became one of the leading painters of the Munich realistic school. Initially best known for this battle paintings, he also created many landscape paintings, especially of southern Poland, which he visited several times. Successful western Europe completely, he did not gain approval nor popularity in Poland of the 19th century, although he sent paintings to exhibitions in Warsaw regularly from 1968 on. He did however win awards at exhibitions in Munich (1869) and in Berlin (1872).