French Painter, 1836-1902 French painter, printmaker and enamellist. He grew up in a port, an experience reflected in his later paintings set on board ship. He moved to Paris c. 1856 and became a pupil of Louis Lamothe and Hippolyte Flandrin. He made his Salon d?but in 1859 and continued to exhibit there successfully until he went to London in 1871. His early paintings exemplify Romantic obsessions with the Middle Ages, while works such as the Meeting of Faust and Marguerite (exh. Salon 1861; Paris. Mus. d'Orsay) and Marguerite at the Ramparts (1861; untraced, see Wentworth, 1984, pl. 8) show the influence of the Belgian painter Baron Henri Leys. In the mid-1860s Tissot abandoned these tendencies in favour of contemporary subjects, sometimes with a humorous intent, as in Two Sisters (exh. Salon 1864; Paris, Louvre) and Beating the Retreat in the Tuileries Gardens (exh. Salon 1868; priv. col., see Wentworth, 1984, pl. 45). The painting Young Ladies Looking at Japanese Objects (exh. Salon 1869; priv. col., see Wentworth, 1984, pl. 59) testifies to his interest in things Oriental, and Picnic (exh. Salon 1869; priv. col., see 1984 exh. cat., fig. 27), in which he delved into the period of the Directoire, is perhaps influenced by the Goncourt brothers. Tissot re-created the atmosphere of the 1790s by dressing his characters in historical costume.  Related Paintings of James Tissot :. | L'Escalier (The Staircase) ((nn01) | A Little Nimrod | July (Specimen of A Portrait) (nn01) | On the Thames, a Heron | The Bridesmaid, |
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thomas malton
Thomas Malton (1748 - 7 March 1804), the younger, was an English painter of topographical and architectural views, and an engraver. J M W Turner and Thomas Girtin were amongst his pupils. He is designated the younger to differentiate him from his father Thomas Malton the elder. Malton was born in London, the son of Thomas Malton the elder, a notable architectural draughtsman and writer on geometry. He was with his father during the latter's residence in Dublin, Ireland, and then passed three years in the office of James Gandon the architect, in London. In 1774 Malton received a premium from the Society of Arts. He entered the Royal Academy and in 1782 gained a gold medal for his design for a theatre. In 1773 he sent the Academy a view of Covent Garden, and was afterwards a constant exhibitor, chiefly of views of London streets and buildings, drawn in Indian ink and tinted. In these there is little attempt at pictorial effect, but their extreme accuracy in the architectural details renders them of great interest and value as topographical records. They are enlivened with groups of figures, in which Malton is said to have been assisted by Francis Wheatley. After leaving Ireland, Malton appears to have always lived in London - with the exception of a brief stay at Bath in 1780. From 1783 to 1789 he resided in Conduit Street (London), and at an evening drawing class which he held there, received as pupils Thomas Girtin and young J M W Turner, whose father brought him to be taught perspective. Turner paid tribute to him in later life by saying My real master was Tom Malton. In 1791 Malton removed to Great Titchfield Street, and finally, in 1796, to Long Acre. He made a few of the drawings for Watts's Seats of the Nobility and Gentry published in 1779, and executed some large aquatints of buildings in both London and Bath, being one of the first to avail himself of the newly introduced art of aquatinta for the purpose of multiplying copies of his views. He also painted some scenes for Covent Garden Theatre. In 1792 Malton published the work by which he is now best known, A Picturesque Tour through the Cities of London and Westminster, illustrated with a hundred aquatint plates. Between 1798 -1800 he produced Views from Cambridge, and at the time of his death was engaged upon a similar series of views of Oxford, some of which appeared in parts in 1802, and were reissued with others in 1810. Malton died in Long Acre, London on 7 March 1804, leaving a widow and six children. His portrait, painted by Gilbert Stuart, was engraved by William Barney in 1806. A portrait of his son Charles, when a child, drawn by Sir Thomas Lawrence, was engraved by F C Lewis. Malton's brother James Malton was also a notable artist, draughtsman and engraver.
William Pitt
fl.1853-1890
Paul Signac
1863-1935 French Paul Signac Galleries Paul Victor Jules Signac was born in Paris on November 11, 1863. He followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter. He sailed around the coasts of Europe, painting the landscapes he encountered. He also painted scenes of cities in France in his later years. In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colours and became Seurat's faithful supporter. Under his influence he abandoned the short brushstrokes of impressionism to experiment with scientifically juxtaposed small dots of pure colour, intended to combine and blend not on the canvas but in the viewer's eye, the defining feature of pointillism. Many of Signac's paintings are of the French coast. He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends. In March 1889, he visited Vincent van Gogh at Arles. The next year he made a short trip to Italy, seeing Genoa, Florence, and Naples. The Port of Saint-Tropez, oil on canvas, 1901Signac loved sailing and began to travel in 1892, sailing a small boat to almost all the ports of France, to Holland, and around the Mediterranean as far as Constantinople, basing his boat at St. Tropez, which he "discovered". From his various ports of call, Signac brought back vibrant, colourful watercolors, sketched rapidly from nature. From these sketches, he painted large studio canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny, variegated dots previously used by Seurat. Signac himself experimented with various media. As well as oil paintings and watercolours he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots. The neo-impressionists influenced the next generation: Signac inspired Henri Matisse and Andr?? Derain in particular, thus playing a decisive role in the evolution of Fauvism. As president of the Societe des Artistes Ind??pendants from 1908 until his death, Signac encouraged younger artists (he was the first to buy a painting by Matisse) by exhibiting the controversial works of the Fauves and the Cubists.