Bouguereau made more than seven hundred finished works. French painter. From 1838 to 1841 he took drawing lessons from Louis Sage, a pupil of Ingres, while attending the coll?ge at Pons. In 1841 the family moved to Bordeaux where in 1842 his father allowed him to attend the Ecole Municipale de Dessin et de Peinture part-time, under Jean-Paul Alaux. In 1844 he won the first prize for figure painting, which confirmed his desire to become a painter. As there were insufficient family funds to send him straight to Paris he painted portraits of the local gentry from 1845 to 1846 to earn money. In 1846 he enrolled at the Ecole des Beaux-Arts, Paris, in the studio of Francois-Edouard Picot. This was the beginning of the standard academic training of which he became so ardent a defender later in life. Such early works as Equality reveal the technical proficiency he had attained even while still training. In 1850 he was awarded one of the two Premier Grand Prix de Rome for Zenobia Discovered by Shepherds on the Bank of the River Araxes (1850; Paris, Ecole N. Sup. B.-A.). In December 1850 he left for Rome where he remained at the Villa Medici until 1854, working under Victor Schnetz and Jean Alaux (1786-1864). During this period he made an extensive study of Giotto's work at Assisi and Padua and was also impressed by the works of other Renaissance masters and by Classical art. On his return to France he exhibited the Triumph of the Martyr (1853; Luneville, Mus. Luneville; ) at the Salon of 1854. It depicted St Cecilia's body being carried to the catacombs, and its high finish, restrained colour and classical poses were to be constant features of his painting thereafter. All his works were executed in several stages involving an initial oil sketch followed by numerous pencil drawings taken from life. Though he generally restricted himself to classical, religious and genre subjects, he was commissioned by the state to paint Napoleon III Visiting the Flood Victims of Tarascon in 1856   Related Paintings of Adolphe William Bouguereau :. | Arion on a Seahorse (mk26) | Indiget Family (mk26) | Portrait of Leonie Bouguereau | Portrait of Madame la Comtesse de Cambaceres (mk26) | Le ravissement de Psyche (mk26) |
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BREKELENKAM, Quiringh van
Dutch painter (active c. 1647-1669 in Leiden) Dutch painter. He probably trained in Leiden, possibly under Gerrit Dou. In 1648, with several other painters, he founded the Guild of St Luke in Leiden. He married for the first time in 1648 and again in 1656, a year after his first wife's death. In 1649 his sister Aeltge married the painter Johannes Oudenrogge (1622-53), and the couple soon moved to Haarlem while the Brekelenkam family remained in Leiden. About 1656 Brekelenkam apparently acquired a licence to sell beer and brandy, perhaps because his income as a painter was insufficient to support his large family (six children from his first marriage and three from his second). He continued to be active as an artist and paid his guild dues fairly regularly. The last dues were paid in 1667, and his last dated painting, the Portrait of a Man Aged 33, is from 1669.
Jeremiah Theus
(April 5, 1716 - May 17, 1774) was a Swiss-born American painter, primarily of portraits. He was active mainly around Charleston, South Carolina, in which city he remained almost without competition for the bulk of his career. Theus was born in the city of Chur, in the Swiss canton of Graubenden, and was the eldest child of Simeon and Anna Walser Thees. He was nineteen when he immigrated with his family to the Province of South Carolina, whose General Assembly had provided land grants and transport funds to encourage European Protestants to settle in the colony. Simeon Thes was given 250 acres (1.0 km2) of land along the Edisto River in what was then Orangeburgh Township,
Atkinson Grimshaw
British 1836-1893 Atkinson Grimshaw Gallery Grimshaw's primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he put forth landscapes of accurate color and lighting, and vivid detail. He often painted landscapes that typified seasons or a type of weather; city and suburban street scenes and moonlit views of the docks in London, Leeds, Liverpool, and Glasgow also figured largely in his art. By applying his skill in lighting effects, and unusually careful attention to detail, he was often capable of intricately describing a scene, while strongly conveying its mood. His "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene." Dulce Domum (1855), on whose reverse Grimshaw wrote, "mostly painted under great difficulties," captures the music portrayed in the piano player, entices the eye to meander through the richly decorated room, and to consider the still and silent young lady who is meanwhile listening. Grimshaw painted more interior scenes, especially in the 1870s, when he worked until the influence of James Tissot and the Aesthetic Movement. On Hampstead Hill is considered one of Grimshaw's finest, exemplifying his skill with a variety of light sources, in capturing the mood of the passing of twilight into the onset of night. In his later career this use of twilight, and urban scenes under yellow light were highly popular, especially with his middle-class patrons. His later work included imagined scenes from the Greek and Roman empires, and he also painted literary subjects from Longfellow and Tennyson ?? pictures including Elaine and The Lady of Shalott. (Grimshaw named all of his children after characters in Tennyson's poems.) In the 1880s, Grimshaw maintained a London studio in Chelsea, not far from the comparable facility of James Abbott McNeill Whistler. After visiting Grimshaw, Whistler remarked that "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures."[9] Unlike Whistler's Impressionistic night scenes, however, Grimshaw worked in a realistic vein: "sharply focused, almost photographic," his pictures innovated in applying the tradition of rural moonlight images to the Victorian city, recording "the rain and mist, the puddles and smoky fog of late Victorian industrial England with great poetry." Some artists of Grimshaw's period, both famous and obscure, generated rich documentary records; Vincent Van Gogh and James Smetham are good examples. Others, like Edward Pritchett, left nothing. Grimshaw left behind him no letters, journals, or papers; scholars and critics have little material on which to base their understanding of his life and career. Grimshaw died 13 October 1893, and is buried in Woodhouse cemetery, Leeds. His reputation rested, and his legacy is probably based on, his townscapes. The second half of the twentieth century saw a major revival of interest in Grimshaw's work, with several important exhibits of his canon.