French 1594-1665 Nicolas Poussin Galleries The finest collection of Poussin's paintings, in addition to his drawings, is located in the Louvre in Paris. Besides the pictures in the National Gallery and at Dulwich, England possesses several of his most considerable works: The Triumph of Pan is at Basildon House, near to Pangbourne, (Berkshire), and his great allegorical painting of the Arts at Knowsley. The later version of Tancred and Erminia is at the Barber Institute in Birmingham. At Rome, in the Colonna and Valentini Palaces, are notable works by him, and one of the private apartments of Prince Doria is decorated by a great series of landscapes in distemper. Throughout his life he stood aloof from the popular movement of his native school. French art in his day was purely decorative, but in Poussin we find a survival of the impulses of the Renaissance coupled with conscious reference to classic work as the standard of excellence. In general we see his paintings at a great disadvantage: for the color, even of the best preserved, has changed in parts, so that the harmony is disturbed; and the noble construction of his designs can be better seen in engravings than in the original. Among the many who have reproduced his works, Audran, Claudine Stella, Picart and Pesne are the most successful.  Related Paintings of Nicolas Poussin :. | Autumn | St Cecilia (mk08) | Heilige Familie auf der Treppe | St Cecilia | Paysage par temps calme |
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Carl Ebert
Carl Ebert (German, 1821 - 1885)
SODOMA, Il
Italian High Renaissance Painter, 1477-1549 Sienese painter, whose real name was Giovanni Antonio Bazzi. Born in Vercelli, Piedmont, he went to Rome c.1508. Commissioned by Pope Julius II, he painted frescoes in the Camera della Segnatura in the Vatican. Raphael's frescoes afterward replaced most of his work there. For Agostino Chigi in the Farnesina Villa, Sodoma painted two frescoes, The Marriage of Alexander and Alexander in the Tent of Darius. In Siena and its vicinity he produced many works, executed in a saccharine style.
Dennis Miller Bunker
1861-1890 Dennis Miller Bunker Gallery The paintings of Bunker's early maturity in New York (ca. 1880-82) were often marine subjects, featuring a series of beached boats, painted on Long Island. In these he followed the standard academic practice of first painting loose, preparatory sketches (Beached, ca. 1881-2) prior to more conventionally finished exhibition pieces. The early portraits (Portrait of Walter Griffin, 1881, Portland Museum of Art) also evidence rigorous craftsmanship. While studying in Paris, Bunker's summer excursions to the countryside resulted in another series, this time of scenes of Larmor, a town in Brittany. The focus of these compositions, be it church spire (Brittany Town Morning, Larmor, 1884, Terra Foundation for American Art), cemetery cross, or a lone tree (Tree, 1884-5, private collection), was invariably that of a richly painted, dark graphic shape against a bright sky. Nevertheless, the pictures are characterized by soft atmospheric effects and tonal subtlety. No less subtle are the landscapes Bunker painted after returning to America; paintings done in South Woodstock, Connecticut (Pines Beyond the Fence, 1886, private collection) still favor dramatic value contrasts, with subjects carefully painted against a light sky, but the palette has grown lighter, the color more saturated. By 1887 Bunker completed his Portrait of Anne Page, a painting requiring much labor, but one of his most poignant works. In its restrained use of color, delicate modeling of form, and aesthetic elegance it is reminiscent of the works of Thayer and James McNeill Whistler. There soon followed the Boston commissions, portraits mostly of male sitters--still somber in tone, they are painted in a more confident manner, suggesting the influence of Sargent (Portrait of George Augustus Gardner, 1888, Museum of Fine Arts, Boston). Portrait Sketch of Eleanor Hardy Bunker, 1890. Private collection.That Bunker spent the summer of 1888 painting with Sargent is verified by personal correspondence, as well as through several pieces by the latter artist (Dennis Miller Bunker Painting at Calcot, 1888, Terra Foundation for American Art), but no paintings of the English sojourn by Bunker have survived; possibly he destroyed them in dissatisfaction. However, once back in Boston the experience came to fruition, for over the next two years Bunker produced a series of canvases which evidenced that he was one of the first American artists to fully understand and successfully practice impressionism. In the Greenhouse, ca. 1888, Chrysanthemums, 1888 (Isabella Stewart Gardner Museum), The Pool, Medfield, 1889 (Museum of Fine Arts, Boston), and Meadow Lands, 1890 (Museum of Fine Arts, Boston) all feature a rich palette, vertiginous compositions, and his unique "fish hook" shaped brush strokes. At the same time, Bunker's last figure pieces remained faithful to his academic training. Jessica, 1890 (Museum of Fine Arts, Boston), The Mirror, 1890 (Terra Foundation for American Art), and Eleanor Hardy Bunker, 1890 (Metropolitan Museum of Art) are characterized by a restricted color range and heightened elegance.