Canadian-born American Impressionist Painter, 1858-1924 American painter, printmaker, illustrator and designer of Canadian birth. He moved with his family to Boston in 1868 and was working as a commercial artist by 1886, lettering showcards, but his early attempts at watercolour foretold little of the talent that emerged after he travelled to Paris in January 1891. He studied for three years at the Atelier Colarossi under Gustave Courtois (1853-1923), and later at the Acad?mie Julian under Benjamin Constant, Joseph Blanc and Jean-Paul Laurens.  Related Paintings of Maurice Prendergast :. | Santa Maria Formosa Venice | Venetian Canal Scene | Children at Play | From Darkness | Ponte della Paglia in Venice (mk09 |
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Dirck van Delen
1604-1671 Dutch Dirck van Delen Location Dutch painter. When he married in 1625 he was a citizen of Middelburg, but he settled in nearby Arnemuiden, where he became master of the toll-house. From 1628 until his death he was almost continually a member of the town council, mostly as burgomaster. He was widowed three times and had at least one son, though no children survived him. The inventory of his estate testifies that he was well-to-do.
MAGNASCO, Alessandro
Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,
Merson, Luc-Olivier
French Painter, 1846-1920 French painter and illustrator. He was the son of the painter and art critic Charles-Olivier Merson (1822-1902) and trained initially at the Ecole de Dessin in Paris under Gustave Adolphe Chassevent (1818-1901) and then at the Ecole des Beaux-Arts under Isidore-Alexandre-Augustin Pils. He made his d?but at the Salon in 1867 and won the Grand Prix de Rome in 1869 with the melodramatic work, the Soldier of Marathon (1869; Paris, Ecole N. Sup. B.-A.). As a prizewinner he then spent five years in Italy, where he was impressed and influenced by the works of the Italian Primitives, as is apparent in such works as St Edmund, King and Martyr (1871; Troyes, Mus. B.-A. & Arch?ol.), with its muted colours and rigid composition. In the Salon of 1875 he exhibited Sacrifice for the Country, St Michael, which had been commissioned as a design for a Gobelins tapestry for the Salle des Ev?ques in the Panth?on, Paris. Soon afterwards he was chosen to decorate the Galerie de St Louis in the Palais de Justice, Paris, with scenes from the life of Louis IX. This resulted in two large works, Louis Opening the Doors of the Gaols on his Accession and Louis Condemning Sire Enguerrand de Coucy (both 1877). He also used historical, often religious, subjects for his smaller-scale works, as in St Francis of Assisi Preaching to the Fish (1880; Nantes, Mus. B.-A.).