impression artist Russian, 1844?C1930  Related Paintings of Ilia Efimovich Repin :. | Si Pasuo Weiqi portrait | May 7, 1901 a State Council meeting | In the field of small road | Looks up the Polo assorted person to make the custom | Ya Treasury ZIKA her portrait |
Related Artists:
Horatio Walker
(May 12, 1858 - September 27, 1938) was a respected and commercially successful Canadian painter. He worked in oils and watercolors, often depicting scenes of rural life in Canada. He was highly influenced by the French Barbizon school of painting. Horatio Walker was born in 1858 to parents Thomas and Jeanne Maurice Walker. Thomas Walker emigrated in 1856 from Yorkshire, England, to Listowel, Ontario, with his wife of French and English heritage. Having some wealth, Thomas purchased land for lumber in Midwestern Ontario and Horatio was raised in relative comfort. His interest in art may originate from his father who crafted small figures as a hobby, and both his father and the local school teacher encouraged drawing as a pastime. In 1870, on Walkeres 12th birthday, his father brought him to Quebec City, Quebec, for the first time. His father made occasional business trips to the city as part of his timber business. During this sojourn, they visited the Île d'Orleans, in search of pine timber. Walker made subsequent visits to Quebec City during the following years. His formal schooling ended at the Listowel Public School in 1872; he never went on to pursue formal academic training in art. At the age of 15, Walker moved to Toronto, Ontario to apprentice with the photographic firm Notman and Fraser. It was a fortunate opportunity, as several successful artists worked also there; Walker learned watercolour from Robert Gagnon, miniature portrait painting from John Fraser, and painting from Lucius OeBrien and Henri Perre.
Alonso Sanchez Coello
Alonso Sachez Coello (1531/32 -August 8, 1588) was a portrait painter of the Spanish Renaissance and one of the pioneers of the great tradition of Spanish portrait painting. Alonso Sachez Coello was born in Benifairode les Valls, near Valencia, and spent his childhood there, until the death of his father when he was around ten years old. He was educated in Portugal at his grandfather's home. Coello's years in Portugal and his family name of Portuguese origin led to a long-standing belief that he was in fact Portuguese. His grandfather (after whom he was named) was in the service of King John III of Portugal who sent the young painter to study with Anthonis Mor (also known as Antonio Moro) in Flanders around 1550. He was under the service of Antoine de Granville, bishop of Arras, learning from Mor. While studying in Flanders, Coello also spent time copying some of Titian's works.
John Frederick Peto
1854-1907 John Frederick Peto Gallery John Frederick Peto (May 21, 1854 ?C November 23, 1907) was an American trompe l'oeil ("fool the eye") painter who was long forgotten until his paintings were rediscovered along with those of fellow trompe l'oeil artist William Harnett. Although Peto and the slightly older Harnett knew each other and painted similar subjects, their careers followed different paths. Peto was born in Philadelphia, Pennsylvania, and studied at the Pennsylvania Academy of the Fine Arts at the same time as Harnett.[1] Until he was in his mid-thirties, he submitted paintings regularly to the annual exhibitions at the Philadelphia Academy. In 1889, he moved to the resort town of Island Heights, New Jersey, where he worked in obscurity for the rest of his life. He and his wife took in seasonal boarders, he found work playing cornet at the town's camp revival meetings, and he supplemented his income by selling his paintings to tourists.[2] He never had a gallery exhibition in his lifetime.[3] Harnett, on the other hand, achieved success and had considerable influence on other artists painting in the trompe l'oeil genre, but even his paintings were given the snub by critics as mere novelty and trickery. Both artists were masters of trompe l'oeil, a genre of still life that aims to deceive the viewer into mistaking painted objects for reality. Exploiting the fallibility of human perception, the trompe l'oeil painter depicts objects in accordance with a set of rules unique to the genre. For example, Peto and Harnett both represented the objects in their paintings at their actual size, and the objects rarely were cut off by the edge of the painting, as this would allow a visual cue to the viewer that the depiction was not real. But the main technical device was to arrange the subject matter in a shallow space, using the shadow of the objects to suggest depth without the eye seeing actual depth. Thus the term trompe l'oeil??"fool the eye." Both artists enthrall the viewer with a disturbing but pleasant sense of confusion. Letter Rack by PetoPeto's paintings, generally considered less technically skilled than Harnett's,[4] are more abstract, use more unusual color, and often have a stronger emotional resonance. Peto's mature works have an opaque and powdery texture which is often compared to Chardin.[5] The subject matter of Peto's paintings consisted of the most ordinary of things: pistols, horseshoes, bits of paper, keys, books, and the like. He frequently painted old time "letter racks," which were a kind of board that used ribbons tacked into a square that held notes, letters, pencils, and photographs. Many of Peto's paintings reinterpret themes Harnett had painted earlier,[6] but Peto's compositions are less formal and his objects are typically rustier, more worn, less expensive looking.[7] Other artists who practiced trompe l'oeil in the late nineteenth century include John Haberle and Jefferson David Chalfant. Otis Kaye followed several decades later. A pioneering study of Peto and Harnett is Alfred Frankenstein's After the Hunt, William Harnett and Other American Still Life Painters 1870-1900. Frankenstein's book itself is a fantastic tale of solving the mystery of why these artists were forgotten for much of the twentieth century.