French Impressionist Painter, 1840-1926 Claude Oscar Monet (14 November 1840 C 5 December 1926) was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term Impressionism is derived from the title of his painting. Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the ninth arrondissement of Paris . He was the second son of Claude-Adolphe and Louise-Justine Aubree Monet, both of them second-generation Parisians. On 20 May 1841, he was baptised into the local church parish, Notre-Dame-de-Lorette as Oscar-Claude. In 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the family grocery store business, but Claude Monet wanted to become an artist. His mother was a singer. On the first of April 1851, Monet entered the Le Havre secondary school of the arts. He first became known locally for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a former student of Jacques-Louis David. On the beaches of Normandy in about 1856/1857 he met fellow artist Eugene Boudin who became his mentor and taught him to use oil paints. Boudin taught Monet "en plein air" (outdoor) techniques for painting. On 28 January 1857 his mother died. He was 16 years old when he left school, and went to live with his widowed childless aunt, Marie-Jeanne Lecadre. After several difficult months following the death of Camille on 5 September 1879, a grief-stricken Monet (resolving never to be mired in poverty again) began in earnest to create some of his best paintings of the 19th century. During the early 1880s Monet painted several groups of landscapes and seascapes in what he considered to be campaigns to document the French countryside. His extensive campaigns evolved into his series' paintings. Camille Monet had become ill with tuberculosis in 1876. Pregnant with her second child she gave birth to Michel Monet in March 1878. In 1878 the Monets temporarily moved into the home of Ernest Hosched, (1837-1891), a wealthy department store owner and patron of the arts. Both families then shared a house in Vetheuil during the summer. After her husband (Ernest Hoschede) became bankrupt, and left in 1878 for Belgium, in September 1879, and while Monet continued to live in the house in Vetheuil; Alice Hosched helped Monet to raise his two sons, Jean and Michel, by taking them to Paris to live alongside her own six children. They were Blanche, Germaine, Suzanne, Marthe, Jean-Pierre, and Jacques. In the spring of 1880 Alice Hosched and all the children left Paris and rejoined Monet still living in the house in Vetheuil. In 1881 all of them moved to Poissy which Monet hated. From the doorway of the little train between Vernon and Gasny he discovered Giverny. In April 1883 they moved to Vernon, then to a house in Giverny, Eure, in Upper Normandy, where he planted a large garden where he painted for much of the rest of his life. Following the death of her estranged husband, Alice Hosched married Claude Monet in 1892.   Related Paintings of Claude Monet :. | Poppy Field | Czorsztyn Castle | La Pointe de la Heve at Low Tide | View of Vetheuil sur Seine | Weeping Willow |
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Willem Pieterszoon Buytewech
(1591/1592, Rotterdam - September 23, 1624, Rotterdam) was a Dutch painter, draughtsman and etcher of the Golden Age. He is often considered the "inventor" of Dutch genre painting. For his preference of irony, his contemporaries named him Gheestige Willem (Jolly or spiritual William). Buytewech was the son of Pieter Jacobsz, a cobbler and candlemaker. He learned his trade in Haarlem, where he became a member of the artists' guild (Haarlem Guild of St. Luke) in 1612, together with Hercules Segers and Esaias van de Velde.[1] Frans Hals, who was a member of this guild since 1610, had much influence on Buytenwech's work, as shown by the many drawings that the latter made after Hals's paintings. After his marriage on November 10, 1613 with Aeltje van Amerongen, of a patrician family, he returned to Rotterdam. There Hendrik Martenszoon Sorgh was one of his pupils. Buytewech was primarily a graphic artist, mostly of landscapes and genre pieces, but occasionally also of biblical and allegorical themes. Of his paintings only eight have survived to this date, all genre pieces, most depicting merry companies. Willem Buytewech's Merry CompanyHe died at the age of only 32 or 33 of unrecorded causes. His son Willem Willemsz Buytewech (1625-1670), born after his death, would become a painter as well.
Hans Makart
(May 28, 1840 - October 3, 1884) was a 19th century Austrian academic history painter, designer, and decorator; most well known for his influence on Gustav Klimt and other Austrian artists, but in his own era considered an important artist himself and was a celebrity figure in the high culture of Vienna, attended with almost cult-like adulation. Makart was the son of a chamberlain at the Mirabell Palace, born in the former residence of the prince-archbishops of Salzburg. Initially, he received his training in painting at the Vienna Academy between 1850 and 1851 from Johann Fischbach. While in the Academy, German art was under the rule of a classicism, which was entirely intellectual and academice clear and precise drawing, sculpturesque modelling, and pictorial erudition were esteemed above all. Makart, who was a poor draughtsman, but who had a passionate and sensual love of color, was impatient to escape the routine of art school drawing. For his fortune, he was found by his instructors to be devoid of all talent and forced to leave the Vienna Academy. He went to Munich, and after two years of independent study attracted the attention of Karl Theodor von Piloty, under whose guidance, between 1861 and 1865 he developed his painting style. During these years, Makart also travelled to London, Paris and Rome to further his studies. The first picture he painted under Piloty, Lavoisier in Prison, though it was considered timid and conventional, attracted attention by its sense of color. In his next work, The Knight and the Water Nymphs, he first displayed the decorative qualities to which he afterwards sacrificed everything else in his work. His fame became established in the next year, with two works, Modern Amoretti and The Plague in Florence. His painting Romeo and Juliet was soon after bought by the Austrian emperor for the Vienna Museum, and Makart was invited to come to Vienna by the aristocracy. The prince Von Hohenlohe provided Makart with an old foundry at the Gusshausstraße 25 to use as a studio. He gradually turned it into an impressive place full of sculptures, flowers, musical instruments, requisites and jewellery that he used to create classical settings for his portraits, mainly of women. Eventually his studio looked like a salon and became a social meeting point in Vienna. Cosima Wagner described it as a "wonder of decorative beauty, a sublime lumber-room". His luxurious studio served as a model for a great many upper middle-class living rooms. The opulent, semi-public spaces of the Makart atelier were the scene of a recurring rendezvous between the artist and his public. The artist became the mediator between different levels of society: he created a socially ambiguous sphere in which nobility and bourgeoisie could encounter one another in mutual veneration of the master, and aestheticized the burgeoning self-awareness of the bourgeoisie by means of historical models drawn from the world of the aristocracy. In this way, an artist like Makart lived out the image that high society had created of him. Makart is considered by many as being the first art star, referred to by contemporaries an "artist prince" (Malerferst) in the tradition of Rubens. Makart became the acknowledged leader of the artistic life of the Vienna, which in the 1870s passed through a period of feverish activity, the chief results of which are the sumptuously decorated public buildings of the Ringstraße. He not only practised painting, but was also an interior designer, costume designer, furniture designer, and decorator, and his work decorated most of the public spaces of the era. His work engendered the term "Makartstil", or "Makart style", which completely characterized the era. In 1879, Makart had designed a pageant organised to celebrate the Silver Wedding Anniversary of the Imperial couple, emperor Franz Josef and his wife Elisabeth of Bavaria he designed, single-handed, the costumes, scenic setting, and triumphal cars. This became known as the "Makart-parade", and had given the people of Vienna the chance to dress up in historical costumes and be transported back into the past for a few hours. At the head of the parade was a float for artists, led by Makart on a white horse. His festivals became an institution in Vienna which lasted up until the 1960s. In the same year as the first parade he became a Professor at the Vienna Academy. Makart's painting The Entry of Charles V into Antwerp caused some controversy, because Charles V was depicted arriving in a procession surrounded by nude virgins; the offense was the mistaken idea that the nudes had no place in the modern scene. In the United States, the painting fell under the proscription of Anthony Comstock, which secured Makart's fame there. The American public desired at once to see what Comstock was persecuting, so they could tell whether he was acting correctly or in error. Salzburg's Makart Square, or Makartplatz, was named after the painter.
CODDE, Pieter
Dutch Baroque Era Painter, 1599-1678 Dutch painter and poet. Frans Hals was once thought to have been his teacher, but there is no evidence for this. It is possible that Codde studied with a portrait painter, perhaps Barent van Someren (1572/3-1632) or Cornelis van der Voort (1576-1624), since most of his earliest works, from the period 1623-7, seem to be portraits. His earliest known dated work is the Portrait of a Young Man (1626; Oxford, Ashmolean), which precedes by a year his earliest dated genre piece, the Dancing Lesson (1627; Paris, Louvre). He was particularly productive in the 1620s and 1630s, painting mainly interior genre scenes. After the mid-1640s only portraits and a few history paintings, such as the Adoration of the Shepherds