French Impressionist Painter, 1841-1919 Pierre-Auguste Renoir (February 25, 1841?CDecember 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau". Renoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings. His initial paintings show the influence of the colorism of Eugene Delacroix and the luminosity of Camille Corot. He also admired the realism of Gustave Courbet and Edouard Manet, and his early work resembles theirs in his use of black as a color. As well, Renoir admired Edgar Degas' sense of movement. Another painter Renoir greatly admired was the 18th century master François Boucher. A fine example of Renoir's early work, and evidence of the influence of Courbet's realism, is Diana, 1867. Ostensibly a mythological subject, the painting is a naturalistic studio work, the figure carefully observed, solidly modeled, and superimposed upon a contrived landscape. If the work is still a 'student' piece, already Renoir's heightened personal response to female sensuality is present. The model was Lise Tr??hot, then the artist's mistress and inspiration for a number of paintings. In the late 1860s, through the practice of painting light and water en plein air (in the open air), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them. Several pairs of paintings exist in which Renoir and Monet, working side-by-side, depicted the same scenes (La Grenouill??re, 1869). One of the best known Impressionist works is Renoir's 1876 Dance at Le Moulin de la Galette (Le Bal au Moulin de la Galette). The painting depicts an open-air scene, crowded with people, at a popular dance garden on the Butte Montmartre, close to where he lived. On the Terrace, oil on canvas, 1881, Art Institute of ChicagoThe works of his early maturity were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid 1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women, such as The Bathers, which was created during 1884-87. It was a trip to Italy in 1881, when he saw works by Raphael and other Renaissance masters, that convinced him that he was on the wrong path, and for the next several years he painted in a more severe style, in an attempt to return to classicism. This is sometimes called his "Ingres period", as he concentrated on his drawing and emphasized the outlines of figures. After 1890, however, he changed direction again, returning to the use of thinly brushed color which dissolved outlines as in his earlier work. From this period onward he concentrated especially on monumental nudes and domestic scenes, fine examples of which are Girls at the Piano, 1892, and Grandes Baigneuses, 1918-19. The latter painting is the most typical and successful of Renoir's late, abundantly fleshed nudes. A prolific artist, he made several thousand paintings. The warm sensuality of Renoir's style made his paintings some of the most well-known and frequently-reproduced works in the history of art..  Related Paintings of Pierre Renoir :. | Ambrois Vollard Dressed as a Toreador | Seated Young Girl(Helene Bellon) | The Pone des Arts and the Institut de Frane | Two Young Girls at the Piano | After the Bath(Little Bather) |
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BREGNO, Andrea
Italian Early Renaissance Sculptor and Architect, 1418-1503 Andrea Bregno was invited to move from Venice to Rome when the Venetian Paul II was elected Pope. During the pontificate of the Della Rovere Pope Sixtus IV he received many commissions and headed a large workshop, producing many wall tombs of cardinals and other figures of the papal curia with varying degrees of personal responsibility. He was famous among his contemporaries, and was compared to the Greek sculptor Polykleitos in the epitaph of his tomb in Santa Maria sopra Minerva. Raphael's father, Giovanni Santi, mentioned Bregno in the 1480s, in his biography of Federico da Montefeltro, duke of Urbino. Bregno often worked with Mino da Fiesole in Rome, and his refined Lombard manner was rendered more classical by the contact and by the example of Roman sculptures that were increasingly coming to light, of which Andrea Bregno was an early collector: a certain "Prospettivo Milanese", writing in 1499-1500 refers to a torso in the collection of a "Maestro Andrea" that seems to have been the Belvedere Torso. He moved in humanist circles and was an esteemed friend of the humanist in Sixtus' circle, Bartolomeo Platina, the librarian of the Vatican Library. Bregno played a significant role in the standardization of an authentically classicizing style of epigraphy, in the inscriptions that accompany his tombs. In the Sistine Chapel he collaborated with Mino da Fiesole and Giovanni Dalmata to produce the little cantoria or choristers' gallery set into the wall, with its own coffered ceiling and carved marble balusters, and the marble screen.
William Allen Wall
1801-1885
georg engelhardt schroder
Georg Engelhard Schröder, född den 31 maj 1684 i Stockholm, gift 1727 med Anna Brigitta Spöring, död den 17 maj 1750; konstnär, porträtt- och historiemålare. Georg Engelhard Schröders far, Veit Engelhard, hade omkring år 1670 kommit från N??rnberg och bosatt sig i Stockholm där Georg Engelhard föddes 1684. Han blev tidigt elev hos konstnären och målaren David von Krafft (1655-1724) men lämnade honom 1703 för utlandsstudier. Under 21 år for Georg Engelhard runt i Europa. Han vistades först en tid i Nordtyskland, innan färden gick vidare till Italien. I Venezia förblev han under fem år och kopierade gamla mästare, sysslade med vedutamåleri och hade kontakt med pastellmålarinnan Rosalba Carriera (1675-1757). I Roma tog han intryck av barockmålarna Carlo Dolci (1616-1686), Carlo Maratta (1625-1713), Francesko Trevisani (1656-1746) m.fl. och tillägnade sig det raska men ytliga framställningssätt, som tillhörde den tidens italienska konst. I Paris samlade han impulser hos den franske målaren Noel Nicolas Coypel (1690-1734). Reminiscenser av den italienska och franska konsten kan man påträffa flerstädes i hans kompositioner. I London stannade han i sju år och tog starka intryck av Godfrey Knellers (1646-1723) och Dahls porträttkonst. När Daniel von Krafft avled 1724 kallades Georg Engelhard Schröder hem till Sverige och efterträdde i december sin gamle läromästare som kunglig hovkonterfejare. Som sådan uppbar han lön. Konung Fredrik I satte stort värde på sin konterfejare, och lät honom måla otaliga porträtt av sig och sin drottning Ulrika Eleonora. År 1745 utnämndes han till hovintendent. Georg Engelhard anlitades mycket och samlade ihop en betydande förmögenhet. På 1740-talet nåddes Sverige av den nya franska smaken, i främsta rummet via konstnären Gustaf Lundberg (1695-1786), varvid Georg Engelhard kom att skjutas åt sidan. Han representerade i Sveriges 1700-talsmåleri sista skedet i det italienska inflytandet. Långt ifrån den förnämste, var dock Georg Engelhard en av sin tids mest uppburne målare. Han arbetade inom ett vitt fält: utförde kyrktavlor, allegorier, historiska motiv och porträtt. Hans arbeten har ej sällan någonting vacklande och obestämt, vilket i förening med mycken ojämnhet i utförandet gör många av dem mindre tilltalande för konstkännaren. Han har dock efterlämnat verk, som vittnar om, att han, när han allvarligt uppbjöd sin förmåga, var mäktig till både varm och djup uppfattning samt hade stor skicklighet i färgbehandling och i framställningens enskildheter.