French 1841-1895 Berthe Morisot Galleries Berthe Morisot (January 14, 1841 ?C March 2, 1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists. Undervalued for over a century, possibly because she was a woman, she is now considered among the first league of Impressionist painters. In 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by academicians, the Salon was the official, annual exhibition of the Acad??mie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul C??zanne, Edgar Degas, Claude Monet, Morisot, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar. She became the sister-in-law of her friend and colleague, Édouard Manet, when she married his brother, Eugene.   Related Paintings of Berthe Morisot :. | Manet and his daughter | The port of Lorient | The Bath | Le corsage rouge | The Mother and Sister of the Artist |
Related Artists:
Reinhold Begas
1831-1911 Berlin,was a German sculptor. Begas was born in Berlin to the painter Karl Begas. He received his early education (1846-1851) studying under Christian Daniel Rauch and Ludwig Wilhelm Wichmann. During a period of study in Italy, from 1856 to 1858, he was influenced by Arnold Bocklin and Franz Lenbach in the direction of a naturalistic style in sculpture. This tendency was marked in the group Borussia, executed for the facade of the exchange in Berlin, which first brought him into general notice. In 1861 Begas was appointed professor at the art school at Weimar, but retained the appointment only a few months. That he was chosen, after competition, to execute the statue of Schiller for the Gendarmenmarkt in Berlin, was a high tribute to the fame he had already acquired; and the result, one of the finest statues in the German metropolis, entirely justified his selection. Since the year 1870, Begas dominated the plastic art in the Kingdom of Prussia, but especially in Berlin. Among his chief works during this period are the colossal statue of Borussia for the Hall of Glory; the Neptune fountain in bronze on the Schlossplatz; the statue of Alexander von Humboldt, all in Berlin; the sarcophagus of Emperor Frederick III in the mausoleum of the Church of Peace at Potsdam
Marco Marziale
Italian Painter, active ca.1492-1507,Italian painter. He was first recorded in 1492 as one of several assistants to Giovanni Bellini in the Doge's Palace in Venice; in an inscription on his earliest known work, a damaged Virgin and Child with Saints and a Donor (1495; Zadar, St Mary, Treasury), he called himself a pupil of Gentile Bellini. Visual confirmation of his close association with both Bellini brothers is provided by the rather large number of his signed and dated works, many of which are closely based on compositional motifs by Giovanni, but which in their linearity and angularity more closely resemble the style of Gentile. The influence of German art, and of Derer in particular, has often been noted in the sharply focused and densely packed details, the harsh modelling and the expressive ugliness found in much of Marziale's work.
Elizabeth Siddal
British Pre-Raphaelite Artist , 1829-1862 was a British artists' model, poet and artist who was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood. Siddal was perhaps the most important model to sit for the Pre-Raphaelite Brotherhood. Their ideas about feminine beauty were profoundly influenced by her, or rather she personified those ideals. She was Dante Gabriel Rossetti's model par excellence; almost all of his early paintings of women are portraits of her. She was also painted by Walter Deverell, William Holman Hunt and John Everett Millais, and was the model for Millais' well known Ophelia (1852). Named Elizabeth Eleanor Siddall, after her mother, Lizzie was born on 25 July, 1829, at the family??s home at 7 Charles Street, Hatton Garden. She was born to Charles Siddall and Eleanor Evans, a family of English and Welsh descent. At the time of Lizzie??s birth, her parents were not poverty stricken. Her father had his own cutlery-making business. Around 1831, the Siddall family moved to the borough of Southwark, in south London, a less salubrious area than Hatton Garden. It was in Southwark that the rest of Lizzie??s siblings were born: Lydia, to whom Lizzie was particularly close, Mary, Clara, James and Henry. Although there is no record of her having attended school, Lizzie was able to read and write, presumably having been taught by her parents. She developed a love of poetry at a young age, after discovering a poem by Tennyson on a scrap of newspaper that had been used to wrap a pat of butter. This discovery was one of Lizzie??s inspirations to start writing her own poetry. Model for the Pre-Raphaelites Siddal, whose name was originally spelt 'Siddall' (it was Rossetti who dropped the second 'l') was first noticed by Deverell in 1849, while she was working as a milliner in Cranbourne Alley, London. She was the daughter of Charles Crooke Siddall, a cutler who claimed that his family descended from nobility, and his wife Elizabeth Eleanor Evans Siddall. Neither she nor her family had any artistic aspirations or interests. She was employed as a model by Deverell and through him was introduced to the Pre-Raphaelites. The twenty-year-old with her tall thin frame and copper hair was the first of the Pre-Raphaelite stunners. William Michael Rossetti, her brother-in-law, described her as "a most beautiful creature with an air between dignity and sweetness with something that exceeded modest self-respect and partook of disdainful reserve; tall, finely-formed with a lofty neck and regular yet somewhat uncommon features, greenish-blue unsparkling eyes, large perfect eyelids, brilliant complexion and a lavish heavy wealth of coppery golden hair.