Edouard Vuillard
Edouard Vuillard's Oil Paintings
Edouard Vuillard Museum
November 11, 1868-June 21, 1940. French painter.

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Hirst, Claude Raguet
Don Quixote

ID: 39155

Hirst, Claude Raguet Don Quixote
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Hirst, Claude Raguet Don Quixote


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Hirst, Claude Raguet

American Painter, 1855-1942  Related Paintings of Hirst, Claude Raguet :. | Roses in a Glass Pitcher with Decorative Metal Plate | Old Volumes | Seascape | Paul and Viginia | Still Life with Pipe and Tobacco |
Related Artists:
James-Goodwyn Clonney
British/American, 1812-1867, American painter. He was one of the first generation of American genre painters. His earliest datable work includes two lithographs of urban views and images of birds and animals published in New York between 1830 and 1835. He studied at the National Academy of Design, New York, and exhibited there periodically between 1834 and 1852. The first genre painting he exhibited at the National Academy was Militia Training (1841; Philadelphia, PA Acad. F.A.), although another example, In the Woodshed (1838; Boston, MA, Mus. F.A.), predates it. He also exhibited at the Pennsylvania Academy of Fine Arts (1845 and 1847) and at the Apollo Association and American Art-Union (1841-50).
MASTER of the Life of the Virgin
German Northern Renaissance Painter, active 1460-1480
Thomas Jones
Thomas Jones (26 September 1742 - 29 April 1803) was a British landscape painter. He was a pupil of Richard Wilson and was best known in his lifetime as a painter of Welsh and Italian landscapes in the style of his master. However, Jones's reputation grew in the 20th century when more unconventional works by him, ones not been intended for public consumption, came to light. Most notable among these is a series of views of Naples which he painted from 1782 to 1783. By breaking with the conventions of classical landscape painting in favour of direct observation, they look forward to the work of Camille Corot and the Barbizon School in the 19th century. His autobiography, Memoirs of Thomas Jones of Penkerrig, went unpublished until 1951 but is now recognised as a major work of commentary on the 18th-century art world.






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