Belgian Symbolist Painter, 1845-1921 Belgian painter, decorative artist and draughtsman. A gardener's son, he was brought up in a quiet suburb of Brussels, bordering the Parc Royal. He studied under the decorative artist Charles Albert (1821-89) and then, between 1860 and 1867, took a course in decorative design at the Brussels Acad?mie. In 1864 he joined the studio of Jean-Fran?ois Portaels to learn the techniques of modelling, painting from life and history painting. Having won the Belgian Prix de Rome in 1870, he travelled to Italy, where he was inspired by the work of Mantegna. His early work treated the working lives of the Belgian poor in a social realist manner influenced by Charles de Groux  Related Paintings of Mellery, Xavier :. | With a Babe in the Woods | Landscape with a Fisherman-s Tent | Emperor charlemagne | Jean Louis Rodolphe Agassiz | The Crucifixion (mk01) |
Related Artists:
Hermann David Solomon Corrodi
Italian, 1844 - 1905
John Crome
English Romantic Painter, 1768-1821 was an artist in the Romantic era. Born in the English city of Norwich, John Crome is also known as Old Crome to distinguish him from his son, John Berney Crome, who was also a well-known artist. The son of a weaver, he was apprenticed to a coach painter or sign painter. It is said that he acquired his skills by copying Gainsboroughs and Hobbemas owned by Thomas Harvey of Old Catton, his patron from 1790. The two main influences on his style are considered Dutch 17th century painting and Wilson. Crome went on to become the founder of the Norwich school of painters, of which John Sell Cotman is another famous member. He worked both in watercolour and oil. His oil paintings alone number in excess of 300. Many can be seen at major galleries around the world, including the Tate Gallery and the Royal Academy, but he is also well represented in Norwich itself. He also produced etchings and taught art. One of his pupils was James Stark. Crome's Broad and nearby Crome's Farm.
Phillips, Ammi
American Folk Artist, 1788-1865 American painter. Apparently self-taught, he began his prolific and successful career as a portrait painter c. 1811. During his lifetime, he moved several times across the borders of New York, western Connecticut and Massachusetts in search of commissions. Like many of the itinerant artists of the 19th century, he struggled to achieve pictorial solutions and a distinctive style, yet he developed so dramatically that historians originally classified his paintings as the work of two different artists: 'The Border Limner' and 'The Kent Limner'. The earliest works, from his 'Border' period (c. 1812-19), are marked by simple forms, shaded outlines and soft, pastel colours. They include ambitious full-length portraits as well as three-quarter and bust-length examples (Dr Russell Dorr, c. 1814-15; Williamsburg, VA, Rockefeller Flk A. Col.). In the 1820s he experimented with techniques and formats, developing an attention to detail and naturalism that suggests the influence of Albany portrait painter Ezra Ames. By the 1830s, the decade of his 'Kent' portraits, his compositions present his sitters as large, stylized shapes that nearly fill the canvas, while his use of rich, saturated colours creates striking contrasts of light and dark. Typically in this decade, his female sitters are shown leaning forward while male sitters sit upright with one hand draped over a chairback. Among his most appealing and successful works are portraits of children from this period. Blond Boy with Primer,