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 :. | young girls at the piano | Seating Girl, | Algerierin mit Kind | Bords de la Seine | Nach dem Bade |
Related Artists:
John Opie
English Painter, 1761-1807,English painter. He was born in a tin-mining district, where his father was a mine carpenter. He had a natural talent for drawing and was taken up by an itinerant doctor, John Wolcot (the poet Peter Pindar, 1738-1819), who was an amateur artist and had a number of well-connected friends. Wolcot taught Opie the rudiments of drawing and painting, providing engravings for him to copy and gaining him access to country-house collections. Opie's early portraits, such as Dolly Pentreath (1777; St Michael's Mount, Cornwall, Lord St Levan priv. col.), are the work of a competent provincial painter and owe much to his study of engravings after portraits by Rembrandt. His attempts at chiaroscuro and impasto in Rembrandt's manner gave his pictures a maturity that clearly startled contemporary audiences expecting to see works by an untutored artist. Thus in 1780, when a picture by him was exhibited in London at the Society of Artists with the description 'a Boy's Head, an Instance of Genius, not having ever seen a picture', Opie was hailed as 'the Cornish Wonder'. When he himself arrived in London, where he was promoted by Wolcot and his paintings were exhibited at the Royal Academy in 1781 and 1782, he was seen as a phenomenon, impressing even Joshua Reynolds, who is reputed to have remarked that Opie was 'like Caravaggio and Velasquez in one'.
Bernard Blommers
(30 January 1845 in The Hague - 12 December 1914 in The Hague) was a Dutch etcher and painter of the Hague School. He learned lithography early in his career, and then studied at the Hague Akademie under Johan Philip Koelman until 1868.His early paintings were mostly genre works depicting fishermen and their wives, heavily influenced by Jozef Israëls.The later works (from about 1890) are more loosely painted, although maritime and genre scenes remained the primary subject matter. His work was critically successful during his lifetime, being sought after by English, Scottish and American collectors.
Jan Matejko
Polish Painter, 1838-1893 He studied from 1852 to 1858 at the School of Fine Arts in Krakew and, during this time, started exhibiting historical paintings with the Society of Friends of the Fine Arts there (e.g. Sigismund I Bestowing Nobility on the Professors of the University of Krakew in 1535 (1858; Krakew, Jagiellonian U., Mus. F.A.). After studying in Munich (1859) under the history painter Hermann Anschetz (1802-80) and then briefly and less successfully in Vienna, Matejko returned to Krak?w, where he was based for the rest of his life. In 1860 Matejko issued an illustrated album, Ubiory w Polsce (later editions 1875 and 1901), a project reflecting his intense interest in historical records of all kinds and his desire to promote such interest among the Polish people in an effort to intensify their patriotic feelings. This role first became widely associated with Matejko with his painting of Stanczyk (1862; Warsaw, N. Mus.), the court jester to King Sigismund I (1437-1548), to whom Matejko gave his own features. The jester is presented as a symbol of the nation's conscience