1852-1929 The popular French naturalist painter Pascal-Adolphe-Jean Dagnan-Bouveret is best known for his painstakingly detailed paintings of peasant scenes. Dagnan-Bouveret also created portraits and religious paintings. Pascal-Adolphe-Jean Dagnan was born in Paris on Jan. 7, 1852. His father moved to Brazil when he was 16, but he decided to stay in France with his mothers father. Later Dagnan-Bouveret added his grandfathers family name Bouveret to his own. Dagnan-Bouveret entered art school in Paris at age 17 and studied under the well-known academic painter Gerome. During this period Dagnan-Bouveret entered his paintings in several official competitions and placed highly in several. In 1878 Dagnan-Bouveret moved to the region known as the Franche-Comte, where he produced many landscapes and still life paintings. Dagnan-Bouveret won recognition in 1880 with his oil painting An Accident, which depicts a peasant boy with an injured hand visiting the doctor. Considered one of his finest paintings, it exemplifies Dagnan-Bouverets attempt to examine the psychology of his subjects through the use of well-rendered detail. Dagnan-Bouveret took advantage of new photographic technology to bring greater detail and heightened realism to his paintings. Dagnan-Bouveret used this technique especially in his paintings of peasants, such as Horses at the Watering Trough (1885). Dagnan-Bouveret was known to select people from his village, dress them in historical costumes, and then take photographs, which he then used with sketches as the basis of his paintings. By the 1890s his popularity as a portrait painter among wealthy patrons allowed him to explore more personal themes. Many of Dagnan-Bouverets later paintings, such as Supper at Emmaus (1896 C97), were religious in nature. Dagnan-Bouveret died in Quincey, Haute-Saone, France, on July 3, 1929.  Related Paintings of Pascal Adolphe Jean Dagnan-Bouveret :. | Portrait of a Family jg | Annunciation | Portrait of a young woman wearing a blue ribbon at her throat | don felipe prospero | Novella di Nastagio degli Onesti |
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Francois-Joseph Heim
1787-1865 French Francois-Joseph Heim Gallery He was born at Belfort. He early distinguished himself at the Ecole Centrale of Strassburg, and in 1803 entered the studio of Vincent at Paris. In 1807 he obtained the first prize, and in 1812 his picture of The Return of Jacob (Musee de Bordeaux) won for him a gold medal of the first class, which he again obtained in 1817, when he exhibited, together with other works, a St John-bought by Vivant Denon. In 1819 the Resurrection of Lazarus (Cathedral Autun), the Martyrdom of St Cyr (St Gervais), and two scenes from the life of Vespasian (ordered by the king) attracted attention. In 1823 the Re-erection of the Royal Tombs at St Denis, the Martyrdom of St Laurence (Nôtre Dame) and several full-length portraits increased the painter popularity; and in 1824, when he exhibited his great canvas, the Massacre of the Jews (Louvre), Heim was rewarded with the Legion of Honour. In 1827 appeared the King giving away Prizes at the Salon of 1824 (Louvre-engraved by Jazet) the picture by which Heim is best known and Saint Hyacinthe. Heim was now commissioned to decorate the Gallery Charles X (Louvre). Though ridiculed by the romantists, Heim succeeded Regnault at the Institute in 1834, shortly after which he commenced a series of drawings of the celebrities of his day, which are of much interest. His decorations of the Conference room of the Chamber of Deputies were completed in 1844; and in 1847 his works at the Salon Champ de Mai and Reading a Play at the Theatre Francais were the signal for violent criticisms. Yet something like a turn of opinion in his favour took place at the exhibition of 1851; his powers as draughtsman and the occasional merits of his composition were recognized, and toleration extended even to his colour. Heim was awarded the great gold medal, and in 1855-having sent to the Salon no less than sixteen portraits, amongst which may be cited those of Cuvier, Geoffroy de St Hilaire, and Madame Hersent he was made officer of the legion of honour. In 1859 he again exhibited a curious collection of portraits, sixty-four members of the Institute arranged in groups of four. Besides the paintings already mentioned, there is to be seen in Notre Dame de Lorette (Paris) a work executed on the spot; and the museum of Strassburg contains an excellent example of his easel pictures, the subject of which is a Shepherd Drinking from a Spring.
William Clarke Wontner
floruit 1879-circa 1922
George Morland
English genre, animal, and landscape painter, 1763-1804 was an English painter of animals and rustic scenes. Morland was born in London on 26 June 1763. His mother was a Frenchwoman, who possessed a small independent property of her own. His grandfather, George H. Morland, was a subject painter. Henry Robert Morland (c. 1719 ?C 1797), father of George, was also an artist and engraver, and picture restorer, at one time a rich man, but later in reduced circumstances. His pictures of Jaundry-maids, reproduced in mezzotint and representing ladies of some importance, were very popular in their time. At a very early age Morland produced sketches of remarkable promise, exhibiting some at the Royal Academy in 1773, when he was but ten years old, and continuing to exhibit at the Free Society of Artists in 1775 and 1776, and at the Society of Artists in 1777, and then sending again to the Royal Academy in 1778, 1779 and 1780. His very earliest work, however, was produced even before that tender age, as his father kept a drawing which the boy had executed when he was but four years old, representing a coach and horses and two footmen. He was a student at the Royal Academy in early youth, but only for a very short time. From the age of fourteen he was apprenticed to his father for seven years, and by means of his talent appears to have kept the family together. He had opportunities at this time of seeing some of the greatest artists of the day, and works by old masters, but even then a strange repugnance for educated society showed itself, and no persuasion