Alma Tadema
Alma Tadema's Oil Paintings
Alma Tadema Museum
8 January 1836 – 25 June 1912. Most renowned painters.

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Pierre-Auguste Renoir
Lady Smiling

ID: 75890

Pierre-Auguste Renoir Lady Smiling
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Pierre-Auguste Renoir Lady Smiling


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Pierre-Auguste Renoir

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 :. | Bal du moulin de la Galette | Rapha Maitre 2 | Stilleben, Rosen vor Blauem Vorhang | The Moulin de La Galette | Gril in the black |
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Christian Albrecht Jensen
1792-1870 Danish Christian Albrecht Jensen Galleries 1792-1870 Danish Christian Albrecht Jensen Galleries was a Danish painter, born in Bredstedt, Nordfriesland. In 1818, he traveled to Rome, and met the sculptor Bertel Thorvaldsen. His work is representative of the Golden Age of Danish Painting.
KALF, Willem
Dutch Baroque Era Painter, ca.1622-1693
Henry Wallis
British 1830-1916 1916). English painter, writer and collector. He first studied at F. S. Cary academy and in 1848 entered the Royal Academy Schools, London. He is also thought to have trained in Paris at some time in the late 1840s or early 1850s, first in Charles Gleyre atelier and subsequently at the Ecole des Beaux-Arts. He specialized in portraits of literary figures and scenes from the lives of past writers, as in Dr Johnson at Cave, the Publisher (1854; untraced). His first great success was the Death of Chatterton (London, Tate), which he exhibited at the Royal Academy in 1856. The impoverished late 18th-century poet Thomas Chatterton, who while still in his teens had poisoned himself in despair, was a romantic hero for many young and struggling artists in Wallis day. He depicted the poet dead in his London garret, the floor strewn with torn fragments of manuscript and, tellingly, an empty phial near his hand. The painting was universally praised, not least by John Ruskin who described it as faultless and wonderful, advising visitors to examine it well, inch by inch. Although Wallis was only loosely connected with the Pre-Raphaelite movement, his method and style in Chatterton reveal the importance of that connection: the vibrant colours and careful build-up of symbolic detail are typical Pre-Raphaelite concerns. The success of Chatterton was such that, when exhibited in Manchester the following year, it was protected from the jostling crowds by a policeman. It was bought by another artist, Augustus






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