Edouard Vuillard Galleries
Jean-Edouard Vuillard, the son of a retired captain, spent his youth at Cuiseaux (Saone-et-Loire); in 1878 his family moved to Paris in modest circumstances. After his father\'s death, in 1884, Vuillard received a scholarship to continue his education. In the Lycee Condorcet Vuillard met Ker Xavier Roussel (also a future painter and Vuillard\'s future brother in law), Maurice Denis, musician Pierre Hermant, writer Pierre Veber and Lugne-Poe. On Roussel\'s advice he refused a military career and entered the Ecole des Beaux-Arts, where he met Pierre Bonnard.
In 1885, Vuillard left the Lycee Condorcet and joined his closest friend Roussel at the studio of painter Diogene Maillart. There, Roussel and Vuillard received the rudiments of artistic training. Related Paintings of Edouard Vuillard :. | Mrs. Black s window and lulu | Music | The artist's mother and sister | Detail of In a Room | Mrs. Vial |
Related Artists:Bonnard, Pierre
French painter and printmaker. He studied at the Academie Julian and the École des Beaux-Arts (1888 C 89). In the 1890s he became a leading member of the Nabis group and came under the influence of Art Nouveau and Japanese prints. With his friend Édouard Vuillard, he developed the intimate domestic interior scene, a genre known as Intimism, depicting fashionable Parisian life in the years before World War I. He also produced still lifes, self-portraits, seascapes, and large-scale decorative paintings. In 1910 he discovered the south of France and began a series of luminous landscapes of the Mediterranean region. He was fascinated by perspective, which he employed in paintings such as The Dining Room (1913). From the 1920s he specialized in landscapes, interiors, views of gardens, and bathing nudes. He produced illustrations for the celebrated journal Revue blanche and decorative pages for Paul Verlaine's book of poetry Parallelement (1900). Pierre-Henri de Valenciennes
(December 6, 1750 - February 16, 1819) was a French painter.
Valenciennes worked in Rome from 1778 to 1782, where he made a number of landscape studies directly from nature, sometimes painting the same set of trees or house at different times of day.He theorized on this idea in Advice to a Student on Painting, Particularly on Landscape (1800), developing a concept of a "landscape portrait" in which the artist paints a landscape directly while looking upon it, taking care to capture its particular details.Although he spoke of this as a type of painting mainly of interest to "amateurs", as distinguished from the higher art of the academies, he found it of great interest, and of his own works the surviving landscape portraits have been the most noted by later commentators. He in particular urged artists to capture the distinctive details of a scene's architecture, dress, agriculture, and so on, in order to give the landscape a sense of belonging to a specific place; in this he probably influenced other French artists active in Italy who took an anthropological approach to painting rural areas and customs, such as Hubert Robert, Pierre-Athanase Chauvin and Achille-Etna Michallon.Plamondon, Antoine Sebastien
Oil on canvas
National Gallery of Canada, Ottawa.