(1831 - 1901) was a Polish painter and professor. Born in Warsaw, Gerson enrolled at the Warsaw Fine Arts Academy and graduated with honorable mention and a scholarship to St. Petersburg Academy of Arts where he studied historical painting under A. T. Markov. He graduated from St. Petersburg with a silver medal and returned to Warsaw. He left for Paris in 1850 and studied under Leon Cogniet. He travelled back to Warsaw in 1858, where he would live for the rest of his life. Gerson began to teach art in his own workshop in 1865. He trained many future Polish artists such as J??zef Chełmo??ski, Leon Wycz??łkowski, Władysław Podkowi??ski, and J??zef Pankiewicz. He was made a professor for the St. Petersburg Fine Arts Academy in 1878. Gerson also worked as an architect and art critic. He is known for his paintings of patriotism, country life, and mountain landscapes. Gerson died in Warsaw, aged 70.  Related Paintings of Wojciech Gerson :. | Granny's comming | Rest | Jezus i Maria Magdalena | Girl with a pigeon. | Sigismund the Old with Staczyk at the Wawel Castle |
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James hardy jnr.
1801-1879
Theodore Gericault
French Romantic Painter, 1791-1824 Born in Rouen, France, Gericault was educated in the tradition of English sporting art by Carle Vernet and classical figure composition by Pierre-Narcisse Gu??rin, a rigorous classicist who disapproved of his student impulsive temperament, but recognized his talent. The Charging Chasseur, 1812.Gericault soon left the classroom, choosing to study at the Louvre instead, where he copied from paintings by Peter Paul Rubens, Titian, Diego Vel??zquez, and Rembrandt for about six years, from 1810 to 1815. There he found a vitality which he preferred to the prevailing school of Neoclassicism.
POUSSIN, Nicolas
French Baroque Era Painter, 1594-1665 French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response,