French Realist/Impressionist Painter, 1832-1883 The roughly painted style and photographic lighting in these works was seen as specifically modern, and as a challenge to the Renaissance works Manet copied or used as source material. His work is considered 'early modern', partially because of the black outlining of figures, which draws attention to the surface of the picture plane and the material quality of paint. He became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cezanne, and Camille Pissarro, through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. The grand niece of the painter Jean-Honor?? Fragonard, Morisot's paintings first had been accepted in the Salon de Paris in 1864 and she continued to show in the salon for ten years. Manet became the friend and colleague of Berthe Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she had been introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugene. Self-portrait with palette, 1879Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas. Although his own work influenced and anticipated the Impressionist style, he resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzal??s was his only formal student. He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors, but he retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio. Manet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his Impromptu to Manet's wife. Throughout his life, although resisted by art critics, Manet could number as his champions Emile Zola, who supported him publicly in the press, Stephane Mallarme, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.  Related Paintings of Edouard Manet :. | Berthe Morisot au bouquet de violettes (mk40) | Boating | Le Modele de la serveuse des Folies Bergeres | Schenke | The Cafe Concert |
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Giovanni Tuccari
Giovanni Tuccari (1667-1743) was an Italian painter during the Baroque period, active in Sicily. Tuccari was born in Messina. He was the son and pupil of Antonio Tuccari, an obscure painter. He excelled as a battle painter. He died of the plague. He was responsible for the frescos in the Church of San Benedetto in Catania. Other examples of his work include four octagonal paintings in the sanctuary of the Church of S. Antonio, at Castiglione di Sicilia, and La Pinacoteca Zelantea gallery in Acireale.
Jean-Pierre Norblin de La Gourdaine
(in Polish, Jan Piotr Norblin; 15 July 1745 - 23 February 1830) was a French-born painter, draughtsman, engraver, drawing artist and caricaturist. From 1774 to 1804 he resided in the Polish-Lithuanian Commonwealth, where he obtained citizenship. He is considered one of the most important painters of the Polish Enlightenment. He achieved great success in Poland. Given many commissions from some of the most notable families of the Polish-Lithuanian Commonwealth, he stayed there for many years, not returning to Paris until the early 19th century. His style showed the influence of Antoine Watteau, and combined the Rococo tradition of charming fates galantes and fetes champetres with a panorama of daily life and current political events, captured with journalistic accuracy. He created a gallery of portraits of representatives of all social classes in the last years of the Polish-Lithuanian Commonwealth.
Washington Allston
1779-1843 Washington Allston Gallery Allston was born on a plantation on the Waccamaw River near Georgetown, South Carolina. His mother Rachel Moore had married Captain William Allston in 1775, though her husband died in 1781, shortly after the Battle of Cowpens. Moore remarried to Dr. Henry C. Flagg, the son of a wealthy shipping merchant from Newport, Rhode Island. Allston graduated from Harvard College in 1800 and moved to Charleston, South Carolina for a short time before sailing to England in May 1801. He was admitted to the Royal Academy in London in September, when painter Benjamin West was then the president. From 1803 to 1808 he visited the great museums of Paris and then for several years those of Italy, where he met Washington Irving in Rome, and Coleridge, his lifelong friend. In 1809 Allston married Ann Channing, sister of William Ellery Channing. Samuel F. B. Morse was one of Allston's art pupils and accompanied Allston to Europe in 1811. After traveling throughout western Europe, Allston finally settled in London, where he won fame and prizes for his pictures. Allston was also a published writer. In London in 1813, he published The Sylphs of the Seasons, with Other Poems, republished in Boston, Massachusetts later that year. His wife died in February 1815, leaving him saddened, lonely, and homesick for America. In 1818 he returned to the United States and lived in Cambridge, Massachusetts for 25 years. He was the uncle of the artists George Whiting Flagg and Jared Bradley Flagg, both of whom studied painting under him. In 1841 he published Monaldi, a romance illustrating Italian life, and in 1850, a volume of his Lectures on Art, and Poems. Allston died on July 9, 1843, at age 64. Allston is buried in Harvard Square, in "the Old Burying Ground" between the First Parish Church and Christ Church.