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 :. | Pink and Blue - The Cahen d'Anvers Girls | bal au Moulin de la Galette (mk09) | Gabrielle in Oriental Costume | Gril in the black | Parisian Women in Algerian Dress |
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Ivan Nikolaevich Kramskoi
(June 8 (O.S. May 27), 1837 ?C April 6 (O.S. March 24), 1887; was a Russian painter and art critic. He was an intellectual leader of the Russian democratic art movement in 1860-1880. Kramskoi came from a poor petty-bourgeois family. From 1857 to 1863 he studied at the St. Petersburg Academy of Arts; he reacted against academic art and was an initiator of the "revolt of fourteen" which ended with the expulsion from the Academy of a group of its graduates, who organized the Artel of Artists Influenced by the ideas of the Russian revolutionary democrats, Kramskoi asserted the high public duty of the artist, principles of realism, and the moral substance and nationality of art. He became one of the main founders and ideologists of the Company of Itinerant Art Exhibitions (or Peredvizhniki). In 1863-1868 he taught at the drawing school of a society for the promotion of applied arts. He created a gallery of portraits of important Russian writers, scientists, artists and public figures (Lev Nikolaevich Tolstoy, 1873, Ivan Shishkin, 1873, Pavel Mikhailovich Tretyakov, 1876, Mikhail Saltykov-Shchedrin, 1879, Sergei Botkin, 1880) in which expressive simplicity of composition and clarity of depiction emphasize profound psychological elements of character. Kramskoi's democratic ideals found their brightest expression in his portraits of peasants, which portrayed a wealth of character-details in representatives of the common people. In one of Kramskoi's most well known paintings, Christ in the Desert (1872, Tretyakov gallery), he continued Alexander Ivanov's humanistic tradition by treating a religious subject in moral Cphilosophical terms. He imbued his image of Christ with dramatic experiences in a deeply psychological and vital interpretation, evoking the idea of his heroic self-sacrifice. Aspiring to expand the ideological expressiveness of his images, Kramskoi created art that existed on the cusp of portraiture and genre-painting ("Nekrasov during the period of 'Last songs,'" 1877-C78; "Unknown Woman," 1883; "Inconsolable grief," 1884; all in Tretyakov gallery). These paintings disclose their subjects' complex and sincere emotions, their personalities and fates. The democratic orientation of Kramskoi's art, his acute critical judgments about it, and his persistent quest for objective public criteria for the evaluation of art exerted an essential influence on the development of democratic art and aesthetics in Russia in the last third of the nineteenth century.
Orest Kiprensky
1782-1836 Russian Orest Kiprensky Galleries Orest was born in the village of Koporye near Saint Petersburg on 24 March [O.S. 13 March] 1782. He was an illegitimate son of a landowner Alexey Dyakonov, hence his name, derived from Kypris, one of the Greek names for the goddess of love. He was raised in the family of Adam Shvalber, a serf. Although Kiprensky was born a serf, he was released from the serfdom upon his birth and later his father helped him to enter a boarding school at the Imperial Academy of Arts in Saint Petersburg in 1788 (when Orest was only six years old). He studied at the boarding school and the Academy itself until 1803. He lived at the Academy for three more years as a pensioner to fulfill requirements necessary to win the Major Gold medal. Winning the first prize for his work Prince Dmitri Donskoi after the Battle of Kulikovo (1805) enabled the young artist to go abroad to study art in Europe. A year before his graduation, in 1804, he painted the portrait of Adam Shvalber, his foster father (1804), which was a great success. The portrait so impressed his contemporaries, that later members of the Naples Academy of Arts took it for the painting by some Old Master - Rubens or van Dyck. Kiprensky had to ask the members of the Imperial Academy of Arts for letters supporting his authorship. Wikimedia Commons has media related to: Orest Kiprensky After that, Kiprensky lived in Moscow (1809), Tver 1811, Saint Petersburg 1812, in 1816-1822 he lived in Rome and Napoli. In Italy he met a local girl Anne Maria Falcucci (Mariucci), to whom he became attached. He bought her from her dissolute family and employed as his ward. On leaving Italy, he sent her to a Roman Catholic convent. In 1828, Kiprensky came back to Italy, as he got a letter from his friend Samuel Halberg, informing him that they had lost track of Mariucci. Kiprensky found Mariucci, who had been transferred to another convent. In 1836 he eventually married her. He had to convert into Roman Catholicism for this marriage to happen. He died by pneumonia in Rome later that year.
Peter Paul Rubens
Flemish Baroque Era Painter, 1577-1640 Peter Paul Rubens (June 28, 1577 ?C May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp which produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England. Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems. His fondness of painting full-figured women gave rise to the terms 'Rubensian' or 'Rubenesque' for plus-sized women. The term 'Rubensiaans' is also commonly used in Dutch to denote such women.