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 :. | Detail of Roadman on Belli Road | Boy in Flowers | Fisching | Spanish Studio Scene | The Cafe Concert |
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Louise Rayner
Victorian Women Artists,English 1832 - 1924. He was a British watercolor artist. Her parents, Samuel Rayner and Anne Rayner (nee Manser) were both noted artists, the former Samuel having been accepted for exhibition at the Royal Academy when he was 15. Four of Louise's sisters - Ann ("Nancy"), Margaret, Rose and Frances - and her brother Richard were also artists. The family lived in Matlock Bath and Derby before moving to London in 1842. Louise studied painting from 15, with the guidance of her father and later with artist friends such as George Cattermole, Edmund Niemann, David Roberts and Frank Stone. Her first exhibited work was entitled The Interior of Haddon Chapel, shown at the Royal Academy in 1852, the first of a series of oils. From 1860, however, her medium was watercolour, which she exhibited for over 50 years via organisations including the Society of Lady Artists, Royal Academy, Royal Watercolour Society and the Royal Society of British Artists. She lived in Chester but travelled extensively, painting British scenes, during the summers in 1870s and 1880s. Her paintings are very detailed and highly picturesque populated street scenes capturing the "olde worlde" character of British towns and cities. Her paintings are very popular today as prints and on jigsaw puzzles. Around 1910 she moved with her sister to Tunbridge Wells, and later to St Leonards, where she died in 1924.
VERMEER VAN DELFT, Jan
Dutch Baroque Era Painter, 1632-1675
Salomon de Caus
b France, 1576; bur Paris, 28 Feb 1626,He was a Huguenot from the Dieppe region (Normandy). Between c. 1595 and 1598 he visited Italy, where he was strongly influenced by the gardens laid out c. 1570 by Bernardo Buontalenti at Pratolino, near Florence, and by their mechanical artifices. De Caus's work also reveals a knowledge of the gardens of the Villa d'Este in Tivoli. From c. 1598 to 1610 he was in Brussels, in the service of the Stadholder of the Netherlands, Albert, Archduke of Austria. There he was the engineer responsible for wells, fountains and the automatic works in the two grottoes (destr. 1768) in the garden of the Stadholder's residence. From 1610 he lived in England, moving in the artistic circle of Henry, Prince of Wales, to whom he taught drawing and for whom he built a picture gallery at Richmond. Together with Constantino de' Servi (1554-1622) he was engineer and supervisor of the waterworks at Richmond Palace. De Caus dedicated his first book, La Perspective (1612), to Prince Henry and included garden designs for the Prince in his second book, Les Raisons des forces movvantes (1615). He worked at several sites in England, including Somerset House in London, where he is thought to have erected a Parnassus, and at Greenwich Palace, Hatfield House and Gorhambury House (Herts) and Wilton House (Wilts). Nothing has survived of his work of this period.