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 :. | Self-Portrait | Young girl with a wihte scarf | Portrait of Mademoiselle Hortense Valpincon | Leopold Levert | Diego Martelli |
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,
Huntington Daniel
American Hudson River School Painter. b.1816 d.1906 was born in New York City, New York, the son of Benjamin Huntington, Jr. and Faith Trumbull Huntington; his paternal grandfather was Benjamin Huntington, delegate at the Second Continental Congress and First U.S. Representative from Connecticut. In 1835 he studied with SFB Morse, and produced "A Bar-Room Politician" and "A Toper Asleep." Subsequently he painted some landscapes on the Hudson river, and in 1839 went to Rome. On his return to America he painted portraits and began the illustration of The Pilgrim's Progress, but his eyesight failed, and in 1844 he went back to Rome. Returning to New York around 1846, he devoted his time chiefly to portrait-painting, although he has painted many genre, religious and historical subjects. He was president of the National Academy from 1862 to 1870, and again in 1877-1890.
Carl Rottmann
German,1797-1850 was a German landscape painter and the most famous member of the Rottmann family of painters. Rottmann belonged to the circle of artists around the Ludwig I of Bavaria, who commissioned large landscape paintings exclusively from him. He is best known for mythical and heroising landscapes. The landscape painter Karl Lindemann-Frommel belonged to his school. Carl Anton Joseph Rottmann was born in Handschuhsheim (today a part of Heidelberg) on January 11, 1797. There he received his first drawing lessons from his father, Friedrich Rottmann, who taught drawing at the university in Heidelberg. In his first artistic period he painted atmospheric phenomena. In 1821 he moved to Munich, where his second period began, and in 1824 he married Friedericke, the daughter of his uncle, Friedrich Ludwig von Sckell, who served as an attendant at court. This connection cleared the way for an acquaintance with King Ludwig, who in 1826-27 sponsored his travels in Italy in order to widen his repertoire, which up to that point consisted solely of domestic, German, landscapes. Upon his return he received from King Ludwig I a commission for a monumental cycle of Italian landscapes in the arcade of the Munich Hofgarten. The cycle, completed in 1833 in fresco, gave visual expression to Ludwiges alliance with Italy, and raised the genre of landscape painting to the height of history painting, the preferred mode of the Kinges other great commissions for monumental painting.