Belgian, 1872-1899 was a Belgian artist whose most important works are associated with Fauvism. He first studied art in Brussels at the Acad??mie des Beaux-Arts between 1889 and 1890, and entered Paris's Ecole des Beaux-Arts in 1892. Evenepoel entered the atelier of Gustave Moreau in 1893, which put him in contact with Henri Matisse and Georges Rouault. The artist debuted a portrait of his cousin (Louise in Mourning) at the 1894 Salon des Artistes Français. He showed four portraits at the Salon du Champ-de-Mars in 1895 and continued to exhibit there until his death. His first solo exhibition came at the Brussels Cercle Artistique (December 1897 C January 1898). Family and friends were the artist's preferred subjects; his full-length portraits, often against a neutral background, show the influence of Edouard Manet and James Abbott McNeill Whistler. His Parisian scenes were influenced by Henri de Toulouse-Lautrec and Jean-Louis Forain.   Related Paintings of Henri Evenepoel :. | Sunday Stroll in the Bois de Boulogne | Sunday Promenade at Saint-Cloud (nn02) | The Spaniard in Paris | Fair at Les Invalides | Henriette au grand chapeau |
Related Artists:
F.Rivoire
Fr.1842-1919
Bonaventura Peeters
(Antwerp, 23 July 1614 - Hoboken (Antwerp), 25 July 1652) was a Flemish Baroque painter who specialized in seascapes and shipwrecks, known as Zeekens (small seascapes). Peeters, brother of the seascape painters Jan Peeters I, Gillis Peeters, and Catharina Peeters, learned to paint from his father, who became a master in Antwerp's guild of St. Luke in 1607 - 1608, and his earlier works are related to the tonal phase of Dutch landscape painting. Later paintings, however, reflect the stronger colors of Italianate classicism. This shift follows the general changes in artistic style at the time. Like his brother Jan, dramatic shipwrecks with dark billowy clouds, form a significant part of his oeuvre, as do serene ports and "portraits" of ships.Also, while many of Peeters's paintings reflect actual locations, and he may have even travelled along the coast of Scandinavia, his many views of far-away Mediterranean and Middle Eastern ports reflect a growing taste for the exotic and are probably inspired from fantasy and from prints. This tradition developed simultaneously in Flemish painting and in Dutch Golden Age painting, with many artists, including Peeters, working in both Antwerp and in the Dutch Republic.
Abraham Wuchters
Abraham Wuchters (1608 - 23 May 1682) was a Dutch-Danish painter and engraver. He was born in Antwerp but had most of his career in Denmark where he, along with Karel van Mander III, was the preferred painter of the Danish King, nobility and Bourgeoisie during his day, together they represent the main influence from the Dutch Golden Age on Danish Baroque art. Wuchters was born in Antwerp in 1608. He arrived in Denmark in 1638 and was, the following year, employed as sketching master at Sorø Academy. Around the same time, he was summoned to Copenhagen where he painted several portraits of King Christian IV. In 1645 he returned to Copenhagen Castle to portray the King's children, including lrik Christian Gyldenløve (c. 1645, Danish National Gallery) and Duke Frederik (III) (c. 1645, Amalienborg Palace). In two periods, between 1658 and 1662, he worked at the Royal Swedish Court in Stockholm where he portrayed Queen Consort Christina (1660, Uppsala University and 1661, Stockholm Castle), Charles X Gustav and Hedvig Eleonora. Back in Denmark, Wuchters was engaged by Frederick III, who had instituted Denmark as an absolute monarchy in 1660, with responsibility for the maintenance of his paintings. n 1671 the new king, Christian V, appointed him as official Painter to the Danish Coirt and in 1873 he was also made official Engraver to the Danish Court. It was, therefore, he alone who decided how the face of the absolutist King was to be represented.