French 1844-1910 Henri Rousseau Locations He was born in Laval in the Loire Valley into the family of a plumber. He attended Laval High School as a day student and then as a boarder, after his father became a debtor and his parents had to leave the town upon the seizure of their house. He was mediocre in some subjects at the high school but won prizes for drawing and music. He worked for a lawyer and studied law, but "attempted a small perjury and sought refuge in the army," serving for four years, starting in 1863. With his father's death, Rousseau moved to Paris in 1868 to support his widowed mother as a government employee. In 1871, he was promoted to the toll collector's office in Paris as a tax collector. He started painting seriously in his early forties, and by age 49 he retired from his job to work on his art. His wife died in 1888 and he later remarried. Rousseau claimed he had "no teacher other than nature", although he admitted he had received "some advice" from two established Academic painters, Felix Auguste-Clement and Jean-Leon Gerome. Essentially he was self-taught and is considered to be a naive or primitive painter.  Related Paintings of Henri Rousseau :. | THe Pasture | View of the Footbridge of Passy | Landscape with a Dirigible | ormtjuserskan | View of Brittany |
Related Artists:
Auguste Bouvier
1825-1881
BARTOLOMEO, Fra
b. 1473, Firenze, d. 1517 b. 1473, Firenze, d. 1517 He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Porta ("Gate") San Pier Gattolini. Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli. In the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a direct visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence. The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on July 26, 1500. The following year he entered the convent of San Marco. He renounced painting for several years, not resuming until 1504 when he became the head of the monastery workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Bianco's family chapel in the Badia Fiorentina, finished in 1507. Soon thereafter, Raphael visited Florence and befriended the friar. Bartolomeo learned perspective from the younger artist, while Raphael added skills in coloring and handling of drapery, which was noticeable in the works he produced after their meeting. With Raphael, he remained on the friendliest terms, and when he departed from Rome, left in his hands two unfinished pictures which Raphael completed. At the beginning of 1508 Bartolomeo moved to Venice to paint a Holy Father, St. Mary Magdalene and St. Catherine of Siena for the Dominicans of San Pietro Martire in Murano, influenced somewhat by Venetian colorism. As the Dominicans did not pay the work, he took it back to Lucca, where it can be seen now. Also in Lucca, in the October 1509, he painted by Albertinelli an altarpiece with Madonna and Child with Saints for the local cathedral. On November 26, 1510 Pier Soderini commissioned him an altarpiece for the Sala del Consiglio of Florence, now in the Museum of San Marco. Two years later he finished another altarpiece for the cathedral of Besancon.
Thomas Anshutz
American Realist Painter, 1851-1912 was an American painter and teacher. He studied art in Paris at the Academie Julian, and at the Pennsylvania Academy of the Fine Arts under Thomas Eakins. His most famous painting, The Ironworkers' Noontime (1880), depicts several workers on their break in the yard of a foundry. Painted near Wheeling, West Virginia, it is conceived in a naturalistic style similar to that of Eakins, although Eakins never painted industrial subjects.