(21 May 1814 - 1 June 1892) was a French painter and poet. Janmot was born in Lyon of Catholic parents who were deeply religious. He was extremely moved by the death of his brother in 1823 and his sister's in 1829. He became student at the Royal College of Lyon where he met Frederic Ozanam and other followers of his philosophy professor, Abbe Noirot. In 1831 he was admitted to the École des Beaux-Arts de Lyon and a year later, he won the highest honor, the Golden Laurel. In 1833, he came to Paris to take painting lessons from Victor Orsel and Jean-Auguste-Dominique Ingres. With other Lyon painters, he entered the Society of St. Vincent de Paul. In 1835, he went to Rome with Claudius Lavergne, Jean-Baptiste Frenet and other students and met Hippolyte Flandrin. After his come back to Lyon in 1836, Janmot would attract the attention of critics of the Salon de Paris in conducting large-scale paintings with religious inspiration such as The Resurrection of the son of the widow of Nain (1839) or Christ in Gethsemane (1840). After 1845, he attracted the interest of Charles Baudelaire with his painting Flower of the Fields that allowed him to access to the Salon of 1846. Theophile Gautier was impressed by his Portrait of Lacordaire (1846). But the failure of his Poem of the Soul at the Universal Exhibition of 1855 disappointed him. In December of that year he married Leonie Saint-Paulet, from a noble family in Carpentras. In 1856, Janmot obtained a commission to paint a fresco (since destroyed) representing the Last Supper for the church of St. Polycarp. Other orders followed, including the decoration of the dome of the Church of St. Francis de Sales and for the town hall that had been renovated by his friend the architect T. Desjardins. He was then appointed professor at the École des Beaux-Arts.   Related Paintings of Louis Janmot :. | Divine generation | Poem of the Soul - Sunrays | Flower of the Fields | The Angel and the Mother | The nightmare |
Related Artists:
Paul Desire Trouillebert
1829-1900
Lungren, Fernand Harvey
American Painter, ca.1857-1932 American painter and illustrator. Of Swedish descent, the family moved to Toledo, OH, when Lungren was four years old. He showed an early talent for drawing but was intended by his father for a professional career and in 1874 entered the University of Michigan, Ann Arbor, to study mining engineering. He left in 1876, however, determined to become an artist. After a protracted dispute with his father, he was allowed briefly to attend the Pennsylvania Academy in Philadelphia, where he studied under Thomas Eakins and had Robert Frederick Blum, Alfred Laurens Brennan (1853-1921) and Joseph Pennell as fellow students. In the winter of 1877 he moved to New York, where he worked as an illustrator for Scribner's Monthly (renamed Century in 1881) during the period known as 'the Golden Age of American illustration'. His first illustration appeared in 1879 and he continued to contribute to the magazine until 1903. He was also an illustrator for the children's magazine St Nicholas from 1879 to 1904 and later for Harper's Bazaar, McClure's and The Outlook.
BARTOLOMEO VENETO
Italian Painter, ca.1470-1531 Italian painter. He worked in Venice, the Veneto and Lombardy in the early decades of the 16th century. Knowledge of him is based largely on the signatures, dates and inscriptions on his works. His early paintings are small devotional pictures; later he became a fashionable portraitist. His earliest dated painting, a Virgin and Child (1502; Venice, priv. col., see Berenson, i, pl. 537), is signed 'Bartolomeo half-Venetian and half-Cremonese'. The inscription probably refers to his parentage, but it also suggests the eclectic nature of his development. This painting is clearly dependent on similar works by Giovanni Bellini and his workshop, but in a slightly later Virgin and Child (1505; Bergamo, Gal. Accad. Cararra) the sharp modelling of the Virgin's headdress and the insistent linear accents in the landscape indicate Bartolomeo's early divergence from Giovanni's depiction of light and space. An inscription on his Virgin and Child of 1510 (Milan, Ercolani Col.) states that he was a pupil of Gentile Bellini, an assertion supported by the tightness and flatness of his early style. The influence of Giovanni is still apparent in the composition of the Circumcision (1506; Paris, Louvre), although the persistent stress on surface patterns and the linear treatment of drapery and outline is closer to Gentile. Bartolomeo's experience as a painter at the Este court in Ferrara (1505-8) probably encouraged the decorative emphasis of his style. In the half-length Portrait of a Man (c. 1510; Cambridge, Fitzwilliam) the flattened form of the fashionably dressed sitter is picked out against a deep red curtain so that the impression of material richness extends across the entire picture surface.