French, 1850-1924 was a French realist painter, sculptor, and printmaker who exhibited with the Impressionists. He was also active as an actor and writer. He was born in Paris, and showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Leon Gerôme at the Ecole des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time particularly peasants, workers, and rag-pickers seen in the suburbs of Paris in a realistic style.   Related Paintings of Jean-Francois Raffaelli :. | The Absinth Driken | Guests Attending the Wedding(Before 1898) | The Absinthe Drinders | Waiting Wedding Guest | At the caster's (1886), by Jean-Francois Raffaelli |
Related Artists:
Theodor Horschelt
(1829 -1871 ) - Watercolours
Boris Kustodiev
1878-1927 Russian Boris Kustodiev Galleries The Russian Revolution of 1905, which shook the foundations of society, evoked a vivid response in the artist's soul. He contributed to the satirical journals Zhupel (Bugbear) and Adskaya Pochta (Hell??s Mail). At that time, he first met the artists of Mir Iskusstva (World of Art), a group of innovative Russian artists. He joined their association in 1910 and subsequently took part in all their exhibitions. In 1905, Kustodiev first turned to book illustrating, a genre in which he worked throughout his entire life. He illustrated many works of classical Russian literature, including Nikolai Gogol's Dead Souls, The Carriage, and The Overcoat; Mikhail Lermontov's The Lay of Tsar Ivan Vasilyevich, His Young Oprichnik and the Stouthearted Merchant Kalashnikov; and Leo Tolstoy's How the Devil Stole the Peasants Hunk of Bread and The Candle. In 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness??tuberculosis of the spine??required urgent attention. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted The Merchant's Wife, which became the most famous of his paintings. The Merchant's Wife, (1918).In 1916, he became paraplegic. "Now my whole world is my room", he wrote. His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life. His Pancake Tuesday/Maslenitsa (1916) and Fontanka (1916) are all painted from his memories. He meticulously restores his own childhood in the busy city on the Volga banks. In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations. His covers for the journals The Red Cornfield and Red Panorama attracted attention because of their vividness and the sharpness of their subject matter. Kustodiev also worked in lithography, illustrating works by Nekrasov. His illustrations for Leskov's stories The Darner and Lady Macbeth of the Mtsensk District were landmarks in the history of Russian book designing, so well did they correspond to the literary images.
JOOS van Wassenhove
Dutch painter (active c.1460-80). South Netherlandish painter, active also in Italy. First documented in 1460, when he matriculated in the Antwerp painters' guild, he subsequently moved to Ghent, entering the painters' guild on 6 October 1464. In 1467 he painted 40 escutcheons with the papal arms for the cathedral of St Bavo, Ghent, his only documented commission in the Netherlands. He sponsored the entry of Hugo van der Goes to the Ghent guild on 5 May 1467 and of Sanders Bening on 19 January 1469, the last date on which Joos is recorded at Ghent. He is stated, in a document of 1475, to have departed for Rome some time previously, with an advance of money from Hugo van der Goes. It is not known if Joos reached Rome, but it is generally accepted that he worked at Urbino, where early sources mention a Netherlandish painter, Giusto da Guanto (Justus of Ghent), who was responsible for the altarpiece of the Communion of the Apostles (Urbino, Pal. Ducale) of 1473-4.