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 :. | The table Louis | The woman | Dress the models | women in the garden | Breakfast |
Related Artists:Aniello Falcone
(1600-1665) was an Italian Baroque painter, active in Naples and noted for his painted depictions of battle scenes.
Born in Naples the son of a tradesman, he showed his artistic tendency at an early age. He first received some instruction from a relative, and then became one of the most prominent pupils apprenticed under Jose de Ribera. Salvatore Rosa, in turn, is said to have apprenticed under Aniello.
The Anchorite, ca. 1650 Wikimedia Commons has media related to: Aniello Falcone
Besides battle pictures, large and small, taken from biblical as well as secular history, he painted various religious subjects, which, however, count for little in his general reputation. He became, as a battle painter, almost as celebrated as Giacomo Borgognone, and was named L' Oracolo delle Battaglie. His works have animation, variety, truth to nature, and careful color.
Falcone was bold, generous, accustomed to arms, and an excellent fencer. In the insurrection of 1647, led by Masaniello, he resolved to be bloodily avenged for the death, at the hands of two Spaniards, of a nephew and of a pupil in the school of art which he had established in Naples. Salvator Rosa, Carlo Coppola, among others, and he formed an armed band named the Compagnia della Morte, or Company of Death. (See Salvator Rosa.) They battled in the streets by day; at night they were painters again, and handled the brush with impetuous zeal.
Rule restored, they decamped. Falcone and Rosa made off to Rome; here Borgognone noticed the works of Falcone, and became his friend, and a French gentleman induced him to go to France, where Louis XIV became one of his patrons. Ultimately Jean-Baptiste Colbert obtained permission for the painter to return to Naples, and there he died in 1665.Hans Olaf Heyerdahl
Norwegian painter. He was born into an enlightened but conservative family, his father being an engineer, occasional architect and writer of Nordic saga poetry, and he spent his childhood and youth in the rapidly expanding town of Drammen, 40 km from the capital Christiania. In 1873 he was admitted to the Kongelige Tegneskole in Christiania, where he studied under Peder C. Thurmann, a landscape artist trained in Desseldorf. For more advanced training, Heyerdahl was obliged to go abroad, and in 1874 he enrolled at the Munich Akademie. He was encouraged by Professor Ludwig von Lefftz (1845-1910) to give up landscape in favour of history painting and portraits (e.g. the artists Christian Skredsvig, 1876, and Eilif Peterssen, 1877; both Oslo, N.G.). In 1877, under the guidance of Professor Wilhelm Lindenschmit (1829-95), Heyerdahl finished his most inventive and brilliant composition, the Expulsion from the Garden (Oslo, N.G.). Using over life-size figures, set in a barren tempestuous landscape, Heyerdahl skilfully contrasted the youthful rage of Adam with the resigned despair of Eve. This sombre work won him a third prize medal at the Exposition Universelle in Paris in 1878.Johann anton ramboux
German, 1790 - 1866
German painter, draughtsman and museum curator. He was taught drawing by Jean-Henri Gilson (1741-1809), before he went to Paris for further training in the studio of Jacques-Louis David. In 1812 he returned to Trier, painting portraits until 1815, when he spent a year at the Akademie der Bildenden K?nste in Munich. In 1816 he went to Rome, where he was part of the Nazarene circle without becoming a member of the Lukasbr?der. Close association with these artists, notably Peter Cornelius, Carl Philipp Fohr and Julius Schnorr von Carolsfeld, had a more lasting influence on Ramboux's artistic development than his earlier studies with David