French Realist/Impressionist Painter and Sculptor, 1834-1917 French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues.  Related Paintings of Edgar Degas :. | Family Portrait(or the Bellelli Family) | The masseuse | Dance behind the curtain | Femmes Dans Son Bain | Bathers on the Grass |
Related Artists:
Rembrandt Peale
1778-1860 Rembrandt Peale Galleries Rembrandt Peale (February 22, 1778 ?C October 3, 1860) was a 19th century American artist that received critical acclaim for his portraits of presidents George Washington and Thomas Jefferson. Although modern art critics would consider Peale??s artwork as French neoclassical, its dark and stylized characteristics are similar to 15th and 16th century paintings. Rembrandt Peale was born the third of six surviving children (eleven had died) to his mother, Rachel Brewer, and father, Charles Willson Peale in Bucks County, Pennsylvania, on February 22, 1778. The father, Charles, also a notable artist, taught each child to paint scenery and portraiture, and Rembrandt was no exception. Charles tutored Rembrandt about the importance of having a strong mind from learning arts and sciences. At the age of eight, Rembrandt discovered drawing, and at thirteen, painted his first known self-portrait. Later on in his life, Rembrandt Peale "often showed this painting to young beginners, to encourage them to go from 'bad' to better..." like his steady progressions to become a successful portraitist. A year after his mother??s death and remarriage of his father, Rembrandt Peale left the school of the arts, thereby applying his time to completing his first ever self-portrait at the age of 13. The canvas illustrates early mastery of a young aspiring artist, seeming very mature. The clothes, however give the notion that Peale over-exaggerated what a 13 year old would look like. This style demonstrates early forms of neoclassicism by the looks of Peale's angel-like hair, the way it waves and curls in such a fashion so as to depict an angel from a general Renaissance artist's works of art. In July of 1787, Charles Willson Peale introduced his son Rembrandt to George Washington, where the young aspirant artist watched his father paint the remarkable figure of the country. In 1795, at the age of 17, Rembrandt painted an aging Washington, though the painter had depicted the politician as far more aged than the original facial characteristics. It did, nevertheless attain praise and Rembrandt had begun his debut. At the age of 20, Rembrandt married 22-year-old Eleanor May Short (1776-1836) at St. Joseph's Catholic Church in Philadelphia. During their marriage, Rembrandt and Eleanor had nine children: Rosalba, Eleanor, Sarah Miriam, Michael Angelo, and Emma Clara among them. In 1822, Peale moved to New York City where he embarked on an attempt to paint what he hoped would become the "standard likeness" of Washington. He studied portraits by other artists including John Trumbull, Gilbert Stuart and his own father, as well as his own 1795 picture which had never truly satisfied him. His resulting work Patriae Pater, completed in 1824, depicts Washington through an oval window, and is considered by many to be second only to Gilbert Stuart's iconic Athenaeum painting of the first president. Peale subsequently attempted to capitalize on the success of what quickly became known as his "Porthole" picture. Patriae Pater was purchased by Congress in 1832 and still hangs in the U.S. Capitol. Later on, Peale made over 70 detailed replicas of the same "father of our country", the first President of the United States. Peale continued to paint other noted portraits, such as those of the third president Thomas Jefferson while he was in office (1805), and later on a portrait of Chief Justice John Marshall.
christopher r.w.nevinson
christopher r.w.nevinson(1889 to 1946)English painter. Son of H. W. Nevinson, the war correspondent and author, he studied painting at St John's Wood, London, in 1908, although his formative years as a student were spent at the Slade School of Art (1909-12) in London. He was influenced by Impressionism and Post-Impressionism, as well as Sandro Botticelli, as seen from an early Self-portrait (1911; London, Tate). The Futurist Exhibition of March 1912, held at the Sackville Gallery, London, proved decisive for his development. He met Gino Severini and returned with him to Paris where he encountered Umberto Boccioni, Ardengo Soffici, Guillaume Apollinaire and Amedeo Modigliani. He continued his studies at the Acad?mie Julian and the Cercle Russe in Paris, announcing his affiliation with Futurism by exhibiting a painting called Rising City (1912; lost) in the Friday Club exhibition of January 1913. Its title was a homage to Boccioni's painting, City Rises (1910; New York, MOMA), which had been shown at the Futurist Exhibition.
Barthelemy Menn
(20 May 1815 - 10 October 1893) was a Swiss painter and draughtsman who introduced the principles of plein-air painting and the paysage intime into Swiss art. Menn was born in Geneva as the youngest son of four to Not (Rhaeto-Romance language form for Louis) Menn, a confectioner from Scuol in the canton of Grisons, and Charlotte-Madeleine-Marguerite Bodmer, the daughter of a wealthy farmer from Coinsins in the Canton de Vaud. Already at the age of twelve, Menn took drawing lessons from the little known Jean Duboi (1789-1849), and later, he entered the drawing school of the Geneva Arts Society. The repeated claim that he was also a pupil of the famous enameller Abraham Constantin (1785-1855) appears to be erroneous. In 1831, Menn was second in the annual drawing competition of the Geneva Art Society. The following year, he entered the studio of the Swiss history painter Jean-Leonard Lugardon (1801-1884), who was a pupil of Baron Gros(1771-1835) and acquainted with Jean-Auguste-Dominique Ingres (1780-1867). There, Menn was educated in figure drawing and composition before heading for Paris, where, in fall 1833, he entered the studio of Ingres. He was, therefore, no beginner when meeting the master, but needed some polishing and refinement in his art. In a letter to his friend Jules Hebert, Menn reported on the new situation: eEverybody, even the eldest in the studio tremble before Mr. Ingres. One fears him a lot in such a way that his corrections have a great impact. He is of an extreme sensibility,e while the education in Ingrese studio has been described by Theophile Silvestre, as follows: 'The students spend half of their time studying nature and half studying the masters among which they are especially attached to Phidias, the bas-reliefs of the Parthenon, classical sculpture in general.e This explains why among Menn's early works there are many copies after the Parthenon frieze that was accessible in Paris in a set of plaster casts at the Ecole des Beaux-Arts since 1816. (Fig. 2). Menn also copied several works by Raffael, Titian (Fig. 3), Veronese and Rubens in the Louvre, and works by Ingres. When the latter decided to give up his studio to take the post as director of the French Academy in the Villa Medici in Rome, Menn returned to his grandparents in Coinsins before following his master in fall 1834. His journey led him first via Milan to Venice, where he met briefly his compatriot Louis-Leopold Robert (1798-1835), and where he would copy works by Titian and Tintoretto. He then travelled via Padua and Bologna to Florence, where he met old classmates from Ingrese studio, and arrived finally in Rome in spring 1835. There, Menn copied works by Raphael and Michelangelo, but he also started to produce extraordinary fresh small landscape paintings in the open air. In summer 1836, he visited the Campagna, Capri and Naples, where too he drew and painted landscapes directly from nature, and copied classical antiquities from Pompeii as well as Giovanni Bellini's Transfiguration in the Museo Borbonico. When back in Rome, he produced history - and genre paintings, of which in 1837, he sent 'Solomon presented to Wisdom by his Parents' (Salomon presente e la sagesse par son pere et sa mere; Fig.N) to the annual Salon in Geneva. Menn returned via Florence, Siena and Viterbo to Paris in late 1838, where he exhibited at the Salon from 1839 to 1843, and where he became the drawing master of Maurice Dudevant, the son of George Sand. In her circle, he became acquainted with Eugene Delacroix (1798-1863) who wanted to employ him as an assistant while working on the decoration of the cupola of the library in the Palais du Luxembourg. At the same time, Menn got to know the painters of the Barbizon School, and especially Charles Daubigny (1817-1878). Most importantly, however, Menn became friends with Camille Corot (1796-1875), who, from 1842 onwards, visited Switzerland frequently. It was also in Paris that he became acquainted with members of the Genevan Bovy family who followed the utopian socialist ideas of Charles Fourier.