Edouard Vuillard
Edouard Vuillard's Oil Paintings
Edouard Vuillard Museum
November 11, 1868-June 21, 1940. French painter.

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Moran, Thomas
Lower falls of the yellowstone

ID: 50973

Moran, Thomas Lower falls of the yellowstone
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Moran, Thomas Lower falls of the yellowstone


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Moran, Thomas

American Hudson River School Painter, 1837-1926 American painter and printmaker of English birth. His brothers Edward (1829-1901), John ( 1831-1902) and Peter (1841-1914) were also active as artists. His family emigrated from England and in 1844 settled in Philadelphia where Moran began his career as an illustrator. He was guided by his brother Edward, an associate of the marine painter James Hamilton, whose successful career afforded an example for Moran. Between the ages of 16 and 19 Moran was apprenticed to the Philadelphia wood-engraving firm Scattergood & Telfer; he then began to paint more seriously in watercolour and expanded his work as an illustrator. In the 1860s he produced lithographs of the landscapes around the Great Lakes. While in London in 1862 (the first of many trips to England), he was introduced to the work of J. M. W. Turner, which remained a vital influence on him throughout his career. Moran owned a set of the Liber studiorum and was particularly impressed by Turner's colour and sublime conception of landscape. With his wife, Mary Nimmo Moran (1842-99), an etcher and landscape painter, he participated in the Etching Revival, scraping fresh and romantic landscapes and reproductive etchings  Related Paintings of Moran, Thomas :. | Chicago World's Fair | Pass at Glencoe, Scotland | The Grand Canal | A Pastoral Landscape | Untitled lithograph |
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Thomas Waterman Wood
1823-1903 It may be that his reputation as an artist will rest upon his figure pictures, although his very numerous portrait paintings involved much of the effort of his life and are most certainly characterized but simple and strong composition, great technical execution and a masterful use of colors. It may also follow that he will yet achieve his most memorable honors from the interpretations which he has made of great paintings, but from the stand point of those whose minds and hearts are won by considerations of local history the highest interest will be assigned to works in which Wood included characters from his native place. As examples of his work in this direction the following may be mentioned: The Yankee Pedlar had for its model a tin peddler known as "Snapping Tucker", a resident of Calais, Vermont. When this work was sold for a large sum, Tucker promptly claimed his share upon the grounds of his intrinsic worth and natural capacity as a poser. The Village Post Office was taken from the interior of the old Ainsworth store in Williamstown, Vermont, but the figures were mostly taken from Montpelier people. Wood's uncle Zenas was the postmaster and the group around the store, Boyden, Whittier and Bullock, were old-time residents. Their clerk was Horace Scribner, long esteemed as a generous country musician and as the organist of Christ Church. This painting was bought by Mr. Charles Stewart Smith, ex-president of the New York Chamber of Commerce. The scene for the The Quack Doctor was located in front of the old arch which once spanned the head of State Street leading to East State. The old brick building, the home of Montpelier Book Bindery, still stands. This picture was bought by Mr. George I. Seneg for $2,000 and after his death was included in the sale of his entire collection. Another successful painting was The Country Doctor. The artist found the proper model for this work with the aid of the Secretary of State, Dr. George Nichols, in the person of an actual country doctor, then representing the town of Jamaica in the legislature. This doctor bore upon his face the impress of his beneficent labors for more than 40 years in a back country town. Wood himself told the writer, in speaking of this painting, that many a person had said to him, "That doctor is the exact image of my father, who was also a country doctor." This saying he regarded not so much as proof that he had achieved a concrete likeness but as an evidence of having successfully handed down the particular class idea of the old-fashioned country physician, as truly different in type from the city practitioner as was the country lawyer of former days from his brother in the city. In 1891, Wood exhibited at the Academy a picture entitled A Cogitation, for which one of his Montpelier friends, Mr. George Ripley, posed. The composition is extremely simple, a farmer in his barn, leaning upon his pitchfork, his countenance thoughtful. This picture was bought by Mr. Harper and published as a full-page engraving in Harper's Weekly during the Greeley campaign over the title "Is Greeley a Fool or a Knave?". The humorous side of this incident consists in the fact that Mr. Ripley was the model was an ardent supporter of Mr. Greeley in that campaign, while the artist himself, so far as we know, never dabbled in politics. These few examples sufficiently illustrate the influence which the place of his birth had upon Wood. He was not only a Vermonter but a great painter of Vermont ideas, conditions and character. Nor did foreign travel nor city residence nor any influence of professional connections ever tend to diminish the deep and abiding interest in his early home. The subjects of his works, his selection of characters, his yearly pilgrimage to Vermont, all demonstrate his filial loyalty and he gave to this sentiment of his heart its final expression in the establishment, as a gift to Montpelier, of its Gallery of Art. But, apart from this, the homes, offices and institutions of Montpelier and without are filled with the affectionate and great evidences of his work. The Vermont Historical Society possesses several excellent examples of his portraiture, all of great historic value and preserved in the Cedar Creek Reception Room at the Vermont State House: Samuel Prentiss (1881), United States Senator; Mrs. Samuel Prentiss (1895) and Dr. Edward Lamb (1895), gifts to the Society by the family of Mr. Prentiss. In 1896, the Society unveiled a life-size portrait of the distinguished publicist, the Hon. E. P. Walton, the gift of his wife and sister. Wood's personal donations include portraits of the Rev. William A. Lord, D.D. (1874), minister of Bethany Congregational Church of this city, Daniel Pierce Thompson (1880), novelist and author of "The Green Mountain Boys", and Justin S. Morrill, United States Senator, father of tariff legislation, promoter of agricultural colleges and chief up builder of the Library of Congress. One of the noblest paintings now existing in the state is the artist's beautiful translation of Bartolom?? Esteban Murillo's "La Madonna del Rosario". This work, submitting the original with infinite tenderness and feeling, was painted in 1896 in the Dulwich Gallery and was consecrated by Bishop de Goesbriand for the service of Saint Augustine's Church on July 26, 1897. The essential force of this sacred painting is its actual power to impress the beholder with a profound sense of the sacredness of motherhood and the worth and lasting values of purity and religious faith. In accepting this donation from Wood the Reverend Bishop said: "You have made a great Murillo of the seventeenth century our contemporary," an expression not only true of itself but one which defines the special value of the truly great copies of great paintings.
Paul Baudry
French Academic Painter, 1828-1886. Specializes in Portraits Specializes in Portraits.was a French painter. He studied under Michel Martin Drolling and carried off the Prix de Rome in 1850 by his picture of Zenobia found on the banks of the Araxes. His talent from the first revealed itself as strictly academical, full of elegance and grace, but somewhat lacking originality. In the course of his residence in Italy Baudry derived strong inspiration from Italian art with the mannerism of Correggio, as was very evident in the two works he exhibited in the Salon of 1857, which were purchased for the Luxembourg: The Martyrdom of a Vestal Virgin and The Child. His Leda, St John the Baptist, and a Portrait of Beul, exhibited at the same time, took a first prize that year. Throughout this early period Baudry commonly selected mythological or fanciful subjects, one of the most noteworthy being The Pearl and the Wave (1862). Once only did he attempt an historical picture, Charlotte Corday after the murder of Marat (1861); and returned by preference to the former class of subjects or to painting portraits of illustrious men of his day: Guizot, Charles Garnier, Edmond About. The works that crowned Baudrys reputation were his mural decorations, which show much imagination and a high artistic gift for color, as may be seen. in the frescoes in the Paris Court of Cassation. at the château of Chantilly, and some private residences the Hôtel Fould and Hôtel Paivabut, above all, in the decorations of the foyer of the Opera Garnier. These, more than thirty paintings in all, and among them compositions figurative of dancing and music, occupied the painter for ten years. Baudry was a member of the Institut de France, succeeding Jean-Victor Schnetz. Two of his colleagues,
Jean Francois de troy
French Neoclassical Painter, 1679-1752 was a French Rococo painter and tapestry designer. He was one of a family of painters, being the son of the portrait painter François de Troy (1645-1730), under whom he first studied, and at whose expense he went to Italy 1699-1706, staying in Rome, but also visiting many north Italian cities. Jean François de Troy was born on January 27, 1679 in Paris. The successful career of Jean François de Troy was based initially on large historical and allegorical compositions, such as Time Unveiling Truth (1733) in the National Gallery, London, but he is now most highly regarded for his smaller and more spirited scenes of elegant social life. They are among the best of those that rode on the wave of Watteau's success indeed The Alarm, or the Gouvernante Fidele (Victoria and Albert Museum, London, 1723) was attributed to Watteau in the 19th century. A versatile artist, he made tableaux de modes famous, painting histories and mythologies in a colourful and fluent manner which owed something to both Veronese and Peter Paul Rubens. He undertook commissions for Versailles and Fontainebleau between 1724 and 1737, and designed two sets of tapestries for the Gobelins, each of seven subjects, the Histoire d'Esther (1737-40) and the Histoire de Jason (1743-6).






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