French Impressionist Painter, 1841-1919
French painter, printmaker and sculptor. He was one of the founders and leading exponents of IMPRESSIONISM from the late 1860s, producing some of the movement's most famous images of carefree leisure. He broke with his Impressionist colleagues to exhibit at the Salon from 1878, and from c. 1884 he adopted a more linear style indebted to the Old Masters.
His critical reputation has suffered from the many minor works he produced during his later years. Related Paintings of Pierre-Auguste Renoir :. | naken flicka i solsken | Gabrielle with Jewels | Femme d'Alger (mk32) | Oarsmen at Charou | Stilleben mit Anemonen |
Related Artists:BERRUGUETE, Pedro
Spanish Early Renaissance Painter, ca.1450-1504
Pedro Berruguete (c. 1450 ?C 1504) was a Spanish painter, his art is regarded as a transitional style between gothic and renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino. He came back Spain 1482 and painted in several cities as Sevilla, Toledo and Ávila. He was father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.Joseph Denis Odevaere
1778-1830,Flemish painter. He attended evening classes at the Bruges Academie in 1794-5 and then went to Paris, where he entered the studio of the Bruges artist Joseph-Benoet Suvee. In 1801 he began training under Jacques-Louis David and in 1804 won the Prix de Rome for his Death of Phocion (Paris, Ecole N. Sup. B.-A.), in which he faithfully adhered to the principles of David's teaching. Before going to Italy he spent a year in Bruges carrying out portrait commissions, including the Marquis de Chauvelin (1805; Bruges, Groeningemus.). During his time in Rome (1805-12) he copied antique and Renaissance works, taking a particular interest in Raphael, who features in his wash drawing the Master of Urbino Introduced by Bramante to Julius II (1807; Bruges, Groeningemus.), a study for a lost painting. Around 1811 he was among the artists chosen to decorate the Palazzo del Quirinale for Napoleon's visit, although he never executed more than a sketch, Tanaquil Predicting the Future Greatness of Servius Tullius (c. 1811-12; Dijon, Mus. Magnin). Odevaere successfully exhibited in Paris in 1812 and then moved to Ghent, showing works at the Salon there two years later. After the union of the Low Countries in 1815 he became official painter to William I. As a result of this post he executed several works illustrating the history of the Dutch royal family, including the Prince of Orange Wounded at Waterloo (1817) and the Battle of Nieuwpoort (1820; both Brussels, Pal. Nation, on dep. Brussels, Pal. Justice). In 1815 he was commissioned to recover works of art taken from the Low Countries by the French. David's arrival in Brussels in 1816 coincided with the beginning of Odevaere's most ambitious composition, the Departure of the Athenians for Salamis (1816-25; Brussels, Mus. A. Anc.), inspired as much by Jean-Auguste-Dominique Ingres as by David, although the latter frequently advised Odevaere on the painting. From 1825 to 1829 he worked on a series of paintings conveying his support of the philhellenic committees created during the Greek War of Independence.Georges Lemmen
Georges Lemmen Gallery
Belgian painter and decorative artist. He showed a precocious talent, first exhibiting in 1875. His only formal study was at a local school of drawing. Between 1884 and 1886 he showed at the Essor group in Brussels paintings that were based on D?rer and Holbein and closely related to those of Lemmen's contemporary, Khnopff. When Lemmen became a member of Les XX in 1888 his style developed quickly, influenced principally by French Neo-Impressionism and the English Arts and Crafts Movement. Lemmen adopted the pointillist technique following Seurat's first showing with Les XX in 1887. His best pointillist canvases include The Carousel (1890-91; Toulon, Mme Thevenin-Lemmen priv. col., see Belgian Art, 1880-1914, exh. cat., New York, Brooklyn Mus., 1980, p. 118, fig. 47) as well as portraits of Julie (1891; Chicago, IL, A. Inst.) and Mme Lemmen (1894-5; Paris, Mus. d'Orsay).