French Impressionist Painter, 1848-1894 Gustave Caillebotte was born on August 19, 1848 to an upper-class Parisian family. His father, Martial Caillebotte (1799-1874), was the inheritor of the family textile industry and was also a judge at the Seine Tribunal de Commerce. Caillebotte father had been twice widowed before marrying Caillebotte mother, C??leste Daufresne (1819-1878), who had two more sons after Gustave, Rene (1851-1876) and Martial (1853-1910).  Related Paintings of Gustave Caillebotte :. | Le Pont de L-Europe | Voiliers au Mouillage sur la Seine | Rainy day in Paris | The Figure of Country | In a Cafe |
Related Artists:
J.F. Hockert

Lovis Corinth
German Painter, 1858-1925 German painter and writer. He grew up on his family's farm and tannery. As a child he showed interest in art, taking informal lessons in drawing from a local carpenter and caricaturing his primary school teachers. Corinth's father sent him to secondary school in the nearby city of K?nigsberg (now Kaliningrad), where he lived with his widowed aunt. A superstitious woman fond of story-telling, she possessed what Corinth later described as a coarse temperament and an unrestrained, 'demonic' humour. These qualities and his aunt's bohemian acquaintances, including fortune-tellers and soothsayers, fascinated the young Corinth, accustomed to his more reserved parents.
Pieter Jansz. Saenredam
(June 9 1597 - buried May 31 1665) was a painter of the Dutch Golden Age, known for his distinctive paintings of whitewashed church interiors. Saenredam was born in Assendelft, the son of the Northern Mannerist printmaker and draughtsman Jan Pietersz Saenredam (1565-1607), a follower of Goltzius whose sensuous naked goddesses are in great contrast with the work of his son. In 1612 he moved to Haarlem, where he became a pupil of Frans de Grebber and lived for the rest of his life. In 1614 he became a member of the Haarlem Guild of St. Luke. He died in Haarlem. A contemporary of the painter-architects Jacob van Campen, Salomon de Bray, and Pieter Post, he is noted for his surprisingly modern paintings of church interiors, the great bulk of his production. Saenredam achieved this modern look by using very even light, subtlely modulated, and by removing detailed depiction of textures, in meticulously measured and drawn sketches. He would make these sketches in pencil, pen, and chalk, then and add in watercolor to help give the sketch texture and color. The sketches are detailed, conveying the interior atmosphere through the clever use of light and graduated shadows. Saenredam often deliberately omitted people and church furniture from work, thus focusing more attention on buildings and their architectural forms. Only after having made precise measurements, and precise sketches and drawings of the churches, he would take them to his studio where he started to create his paintings, often after a delay of many years. His emphasis on even light and geometry is brought out by comparing his works with those of the rather younger Emanuel de Witte, who included people, contrasts of light and such clutter of church furniture as remained in Calvinist churches, all usually ignored by Saenredam. Unlike de Witte's, Saenredam's views are usually roughly aligned with a main axis of the church.