French 1839-1899 Alfred Sisley Galleries Alfred Sisley (October 30, 1839 ?C January 29, 1899) was an English Impressionist landscape painter who was born and spent most of his life in France. Sisley is recognized as perhaps the most consistent of the Impressionists, never deviating into figure painting or finding that the movement did not fulfill his artistic needs. Sisley was born in Paris to affluent English parents; William Sisley was in the silk business, and his mother Felicia Sell was a cultivated music connoisseur. At the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris. Beginning in 1862 he studied at the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Fr??d??ric Bazille, Claude Monet, and Pierre-Auguste Renoir. Together they would paint landscapes en plein air (in the open air) in order to realistically capture the transient effects of sunlight. This approach, innovative at the time, resulted in paintings more colorful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Unlike some of his fellow students who suffered financial hardships, Sisley received an allowance from his father??until 1870, after which time he became increasingly poor. Sisley's student works are lost. His earliest known work, Lane near a Small Town is believed to have been painted around 1864. His first landscape paintings are sombre, coloured with dark browns, greens, and pale blues. They were often executed at Marly and Saint-Cloud.  Related Paintings of Alfred Sisley :. | Flussufer | Saint-Mammes am Morgen | Brucke im Bau | Painting of Alfred Sisley in the Orsay Museum | The Bridge of Moret (mk09) |
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CELESTI, Andrea
Italian painter, Venetian school b. 1637, Venezia, d. 1712, Venezia,Italian painter. He trained first with Matteo Ponzoni, then with Sebastiano Mazzoni; Mazzoni encouraged the development of a Baroque style, but Celesti was also attracted by the naturalism of the tenebrists. The first known works by Celesti are mature in style, and he had already achieved considerable fame in Venice when the Doge Alvise Contarini honoured him with the title of Cavaliere in 1681. The complexity of his sources is evident in two canvases, Moses Destroying the Golden Calf and Moses Chastising the Hebrew People for their Idolatry, both painted c. 1681 for the Palazzo Ducale, Venice, and signed Cavaliere; they are influenced by Luca Giordano and by the narrative techniques of Jacopo Tintoretto. The most distinguished works of Celesti's early period are two large lunettes that show three scenes: Benedict III Visiting St Zacharias, A Doge Presented with the Body of a Saint, and the Virtues Surrounding a Doge Holding the Model of St Zacharias (c. 1684; Venice, S Zaccaria). These luxuriant compositions represent a remarkable leap in quality from the paintings of the Palazzo Ducale, with lighter colours and a more flickering touch. A little later Celesti left Venice for Brescia, perhaps by way of Rovigo; exactly when he arrived is not known, but he established himself and his studio there for several years. Panfilo Nuvolone and Francesco Paglia (1636-1713) had encouraged the development of a more exuberant Baroque style in Brescia, and in response Celesti created more decorative, lyrical works, such as his ecstatic St Rose of Lima (Brescia, S Clemente) with its brilliant display of glorious light. Most of Celesti's paintings done in and around Brescia were religious canvases, but he also painted portraits, such as the two entitled Condottiero (Ljubljana, Slov. Acad. Sci. & A.) and the portrait of Conte Alberto di Baone (Dublin, N.G.), executed in a dazzling array of colours. In 1688 Celesti was active at Toscolano on Lake Garda, where he painted canvases of scenes from the Life of St Peter (Toscolano Cathedral) and in 1689 decorated the salone of the Palazzo Delay (now Palazzo Mafizzoli) with Old Testament scenes. In 1696 he was at Treviso, where he executed a Last Judgement for the cathedral (untraced) and in 1697, 1698 and 1699 pictures for the abbey of S Floriano at Linz, where his Paradise, for the high altar, remains in situ. By 1700 Celesti was back in Venice, where he set up his studio; Venetian artists of this period, led by Giovanni Coli and Filippo Gherardi, were reviving the style of Veronese, and Celesti, following this trend, produced late works that employed more dazzling effects of colour and light. These works include the frescoed decoration of the Villa Rinaldi Barbini at Casella d'Asolo, where Celesti created a series of exotic and theatrical mythological and biblical scenes, distinguished by their luminosity and by their light and airy touch. His last works were three dramatic night scenes: the Birth of the Virgin, the Assumption of the Virgin and the Martyrdom of St Lawrence (1706-11; Verolanuova Cathedral). Celesti was much admired by Charles-Nicholas Cochin (i) and by Jean-Honor? Fragonard, and his colour influenced the Rococo art of the early 18th century in Venice and in Austria.
Frank Weston Benson
(March 24, 1862 - November 15, 1951) was an American Impressionist artist, and a member of the Ten American Painters. Benson was born in Salem, Massachusetts. In 1879, he began study at the School of the Museum of Fine Arts, Boston under Otto Grundmann, and later at the Acad??mie Julian in Paris. Upon return to America, he would become an instructor at the School of the Museum of Fine Arts, Boston. Some of his best known paintings (Eleanor, Museum of Fine Arts, Boston; Summer, Rhode Island School of Design Museum) depict his daughters outdoors at Benson's summer home on the island of North Haven, Maine. He also produced numerous paintings and etchings of wildfowl. Born into a successful merchant family, Benson lived in Salem for most of his life. At the Boston Museum school he befriended Edmund Charles Tarbell and Robert Reid, at the same time teaching drawing classes in Salem and painting landscapes during the summer. In 1883 he began his studies in Paris, and in the summer of 1884 painted at Concarneau, along with Willard Metcalf and Edward Simmons. His early paintings were conventional landscapes.
Charles Robert Leslie
1794 - 1859 was born in London on 19 October 1794. His parents were American, and when he was five years of age he returned with them to their native country. They settled in Philadelphia, where their son was educated and afterwards apprenticed to a bookseller. He was, however, mainly interested in painting and the drama, and when George Frederick Cooke visited the city he executed a portrait of the actor from recollection of him on the stage, which was considered a work of such promise that a fund was raised to enable the young artist to study in Europe. He left for London in 1811, bearing introductions which procured for him the friendship of West, Beechey, Allston, Coleridge and Washington Irving, and was admitted as a student of the Royal Academy, where he carried off two silver medals. At first, influenced by West and Fuseli, he essayed high art, and his earliest important subject depicted Saul and the Witch of Endor; but he soon discovered his true aptitude and became a painter of cabinet-pictures, dealing, not like those of David Wilkie, with the contemporary life that surrounded him, but with scenes from the great masters of fiction, from Shakespeare and Cervantes, Addison and Moli??re, Swift, Sterne, Fielding and Smollett. Of individual paintings we may specify Sir Roger de Coverley going to Church (1819); May-day in the Time of Queen Elizabeth (1821); Sancho Panza and the Duchess (1824); Uncle Toby and the Widow Wadman (1831); La Malade Imaginaire, act iii. sc. 6 (1843); and the Dukes Chaplain Enraged leaving the Table, from Don Quixote (1849). Many of his more important subjects exist in varying replicas. He possessed a sympathetic imagination, which enabled him to enter freely into the spirit of the author whom he illustrated, a delicate perception for female beauty, an unfailing eye for character and its outward manifestation in face and figure, and a genial and sunny sense of humour, guided by an instinctive refinement which prevented it from overstepping the bounds of good taste. In 1821 Leslie was elected A.R.A., and five years later full academician. In 1833 he left for America to become teacher of drawing in the military academy at West Point, but the post proved an irksome one, and in some six months he returned to England.