Berthe Morisot Galleries
Berthe Morisot (January 14, 1841 ?C March 2, 1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists. Undervalued for over a century, possibly because she was a woman, she is now considered among the first league of Impressionist painters.
In 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by academicians, the Salon was the official, annual exhibition of the Acad??mie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul C??zanne, Edgar Degas, Claude Monet, Morisot, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar.
She became the sister-in-law of her friend and colleague, Édouard Manet, when she married his brother, Eugene.
Related Paintings of Berthe Morisot :. | Mother and her son in the garden | i maurecourt | In the Dining Room | Summer day | Hanging Out the Laundry to Dry |
Related Artists:Stefan Luchian
Romanian Painter, 1868-1916
Romanian painter. He studied at the School of Fine Arts in Bucharest, graduating in 1889 and continuing his studies at the Akademie der Bildenden Kenste in Munich and in Paris at the Academie Julian, where he was a student of William-Adolphe Bouguereau. He rejected the rigidity of academic painting early in his career, however. The Last Autumn Race (1892; Bucharest, Mus. A.), one of the few paintings known from this period, clearly illustrates the influence of Manet and Impressionism on his early work. On his return to Romania in 1892 Luchian, unwilling to restrict his work to merely copying the French artists, struggled to create an original style. In 1900 he was left partially paralysed by a spinal disease, but he continued to work, and it is during the next years that he created his most accomplished works. His self-portraits (e.g. 1907; Bucharest, Mus. A.) are clear evidence of his determination to overcome this personal tragedy; far from inspiring pity, these paintings emphasize the depth and the strength of his inner life. It is in landscapes such as Willows at Chiajna (c. 1907; Cluj-Napoca, Mus. A.), however, that his commitment becomes even more apparent, with joyful rhythms created by means of broad brushstrokes and contrasts of bright colours next to delicate tones. Towards the end of his life Luchian became completely immobilized. During this time flowers were his favourite subject (e.g. Safta, the Flower Girl; Bucharest, N. Mus. A.; see also ROMANIA, fig. 9), and they became a metaphorical bridge between the artist and the outside world. The colours are still bright in these last paintings, and the loss of pastel tones makes the contrast more dramatic.BACKER, Jacob Adriaensz.
Dutch Baroque Era Painter, 1608-1651
Backer was born in Harlingen, but his family moved soon (in 1611) to Amsterdam. Between 1627 and 1633 he and Govert Flinck were pupils of Lambert Jacobsz in Leeuwarden. In 1633 he returned to Amsterdam, where he remained until his death.
His extreme quickness in painting portraits has been particularly noticed, and it is said by his Amsterdam colleague Joachim von Sandrart that he completely finished, in one day, the half length portrait of a lady in full dress, even so early, that she was able to return the same day to Haarlem. Besides being an important portrait painter - some 70 portraits can be attributed to him with certainty, among them the 1642 Company of Cornelis de Graeff voor de Nieuwe Doelen in Amsterdam, on the same wall as Rembrandt's Night Watch - Backer was an excellent painter of religious and mythological paintings. He was especially interested in pastoral subjects, themes from contemporary history, like the huge Crowning of Mirtillo from 1641 in the Brukenthal collection in Sibiu (250 x 250 cm.). In fact, Backer was a leading artist in Amsterdam until his premature death in 1651.Jean Greuze
French painter and draughtsman. He was named an associate member of the Acad?mie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Sim?on Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Fran?ois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850,