1868-1941 French Emile Bernard Galleries (b Lille, 28 April 1868; d Paris, 15 April 1941). French painter and writer. He was the son of a cloth merchant. Relations with his parents were never harmonious, and in 1884, against his fathers wishes, he enrolled as a student at the Atelier Cormon in Paris. There he became a close friend of Louis Anquetin and Toulouse-Lautrec. In suburban views of Asnires, where his parents lived, Bernard experimented with Impressionist and then Pointillist colour theory, in direct opposition to his masters academic teaching; an argument with Fernand Cormon led to his expulsion from the studio in 1886. He made a walking tour of Normandy and Brittany that year, drawn to Gothic architecture and the simplicity of the carved Breton calvaries. In Concarneau he struck up a friendship with Claude-Emile Schuffenecker and met Gauguin briefly in Pont-Aven. During the winter Bernard met van Gogh and frequented the shop of the colour merchant Julien-Franois Tanguy, where he gained access to the little-known work of Cezanne.  Related Paintings of Emile Bernard :. | A Seated Oriental Beauty | breton women in meadow | La rue Rose a Pont Aven | Earthenware Pot and Apples | Les Marchands du Caire (mk32) |
Related Artists:
kristina forsten

James Seymour
British Painter , ca.1702-1752 English painter and draughtsman. The son of James Seymour (d 1739), a dealer in pictures and precious metals, Seymour was among the first English painters to specialize exclusively in sporting subject-matter. Though he possibly received some informal drawing instruction from the topographer Francis Place, Seymour was essentially a self-taught artist whose education was based on the study of pictures that passed through his father's hands; one of his earliest known works is a sketch of a horse's head after van Dyck (sold London, Christie's, 16 June 1970). His early 'genius to drawing of horses' was, according to George Vertue, compromised by 'modish extravagances' through living 'gay high and loosely' and because he 'never studied enough to paint or colour well'. Elsewhere, however, it was recorded that by 1739 he was 'reckoned the finest draughtsman in his way [of horses, hounds etc.] in the whole world' (Universal Spectator, 1739), and he was certainly preferred to his chief rival, John Wootton, by many sporting patrons. Among his employers was William Jolliffe MP, of Ammerdown. Though many of his paintings are either derivative of Wootton or simply inept, or both, others are characterized by a self-conscious stylistic naivety in which meticulous attention to detail and eerily static compositions combine to create curiously memorable images of some apparent sophistication.
Hans Eworth
Flemish Northern Renaissance Painter, active 1540-1573 Flemish painter, active in England. Jan Euworts was listed in 1540 as a freeman of the Guild of St Luke in Antwerp, but by 1545 he had moved to England, where until 1571 his name, spelt in a wide variety of ways (e.g. Eeworts, Eottes, Euertz, Evance, Eworts, Ewotes, Ewout, Ewoutsz., Eywooddes, Hawarde, Heward, Huett etc), appeared in numerous naturalization, tax and parish documents. About 35 paintings are generally attributed to him, consisting primarily of dated portraits of the English gentry and nobility. The majority are signed with the monogram HE, which led to their being attributed to the Flemish painter Lucas de Heere during the 18th and 19th centuries. Cust reattributed the paintings to Eworth on the basis of an inventory (1590) of the collection of John, 1st Baron Lumley, in which three monogrammed portraits were listed as being by Haunce Eworth