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 :. | Portrait of Mere Paul | Water Lilies | Rouen Cathedral, Facade | Haystacks,Night Effect | Sunrise |
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Hans Baldung Grien
German 1485-1545 Hans Baldung Grien Galleries The earliest pictures assigned to him by some are altar-pieces with the monogram H. B. interlaced, and the date of 1496, in the monastery chapel of Lichtenthal near Baden-Baden. Another early work is a portrait of the emperor Maximilian, drawn in 1501 on a leaf of a sketch-book now in the print-room at Karlsruhe. "The Martyrdom of St Sebastian and the Epiphany" (Berlin Museum), fruits of his labour in 1507, were painted for the market-church of Halle in Saxony. Baldung's prints, though D??reresque, are very individual in style, and often in subject. They show little direct Italian influence. His paintings are less important than his prints. He worked mainly in woodcut, although he made six engravings, one very fine. He joined in the fashion for chiaroscuro woodcuts, adding a tone block to a woodcut of 1510.[1] Most of his hundreds of woodcuts were commissioned for books, as was usual at the time; his "single-leaf" woodcuts (ie prints not for book illustration) are fewer than 100, though no two catalogues agree as to the exact number. He was extremely interested in witches and made many images of them in different media, including several very beautiful drawings finished with bodycolour, which are more erotic than his treatments in other techniques. Witch and Dragon. Drawing with bodycolour (b/w repro)Without absolute correctness as a draughtsman, his conception of human form is often very unpleasant, whilst a questionable taste is shown in ornament equally profuse and baroque. Nothing is more remarkable in his pictures than the pug-like shape of the faces, unless we except the coarseness of the extremities. No trace is apparent of any feeling for atmosphere or light and shade. Though Gr??n has been commonly called the Correggio of the north, his compositions are a curious medley of glaring and heterogeneous colours, in which pure black is contrasted with pale yellow, dirty grey, impure red and glowing green. Flesh is a mere glaze under which the features are indicated by lines. (1911) His works are mainly interesting because of the wild and fantastic strength which some of them display. His Eve, the Serpent and Death (National Museum of Canada) shows his strengths well. We may pass lightly over the "Epiphany" of 1507, the "Crucifixion" of 1512, or the "Stoning of Stephen" of 1522, in the Berlin Museum. There is some force in the "Dance of Death" of 1517, in the museum of Basel, or the Madonna of 1530, in the Liechtenstein Gallery at Vienna. Gr??n's best effort is the altarpiece of Freiburg, where the Coronation of the Virgin, and the Twelve Apostles, the Annunciation, Visitation, Nativity and Flight into Egypt, and the Crucifixion, with portraits of donors, are executed with some of that fanciful power which Martin Schongauer bequeathed to the Swabian school. As a portrait painter he is well known. He drew the likeness of Charles V, as well as that of Maximilian; and his bust of Margrave Philip in the Munich Gallery tells us that he was connected with the reigning family of Baden, as early as 1514. At a later period he had sittings from Margrave Christopher of Baden, Ottilia his wife, and all their children, and the picture containing these portraits is still in the grand-ducal gallery at Karlsruhe. Like D??rer and Cranach, Gr??n became a hearty supporter of the Reformation. He was present at the diet of Augsburg in 1518, and one of his woodcuts represents Luther under the protection of the Holy Ghost, which hovers over him in the shape of a dove.
Johann Nepomuk Rauch
(1804 Vienna - 1847 Rome) was a very significant Austrian Biedermeier painter of the 1st half of the 19th century.
ZIMMERMANN Dominikus
German sculptor, Bavarian school (b. 1685, Wessobrunn, d. 1766, Wies) German sculptor, Bavarian school (b. 1685, Wessobrunn, d. 1766, Wies)Architect, stuccoist and painter, brother of Johann Baptist Zimmermann. For the first two decades of his creative life, from about 1705, he worked mainly as a builder of altars and as a marbler. His most important commission came from the Benedictine abbey of Fischingen (Thurgau), for which he made six artificial marble altars with scagliola inlays (1708-9). Similar altars, mainly in Swabia, are attributed to him or known to be his work; their construction shows the influence of Johann Jakob Herkommer, with whose work Dominikus became familiar while living in Fessen (1708-16). Between 1709 and 1713 he worked with Johann Baptist Zimmermann at the Buxheim Charterhouse, producing artificial marble altars and stuccowork that is characterized by the botanical accuracy of the plant motifs.