Caribbean-born French Pointillist/Impressionist Painter, ca.1830-1903 .Painter and printmaker. He was the only painter to exhibit in all eight of the Impressionist exhibitions held between 1874 and 1886, and he is often regarded as the 'father' of the movement. He was by no means narrow in outlook, however, and throughout his life remained as radical in artistic matters as he was in politics. Thad?e Natanson wrote in 1948: 'Nothing of novelty or of excellence appeared that Pissarro had not been among the first, if not the very first, to discern and to defend.' The significance of Pissarro's work is in the balance maintained between tradition and the avant-garde. Octave Mirbeau commented: 'M. Camille Pissarro has shown himself to be a revolutionary by renewing the art of painting in a purely working sense;  Related Paintings of Camille Pissarro :. | Leads to the loose multi tile this lucky Shao road | Francis Square Theater | Pang Schwarz road map | Harvest | Place du Theatre Francais in Paris |
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Giovanni Antonio Fumiani
(1645-1710) was an Italian painter of the Baroque period. Born in Venice in 1645, he trained in Bologna under Domenico degli Ambrogi, a specialist in quadratura, but by 1668 he was back in Venice, where he painted a Virgin and Saints in San Benedetto. He was influenced by Ludovico Carracci and Alessandro Tiarini, and soon also became interested in the work of Paolo Veronese, so that he started to use elaborate architectural settings and brighter colours. He painted a Virgin Appearing to Pius V (1674; Vicenza, S Lorenzo), whose monumentality foreshadows Tiepolo, whereas mosaics in San Marco, created in 1677 from Fumianies cartoons, are closer to the idiosyncratic art of Pietro della Vecchia. He contributed to the decoration of San Rocco (1675, 1676, 1678), where he painted a large canvas of the Charity of St Roch on the ceiling of the nave, In his smaller paintings, however, such as the modelli (Florence, Uffizi) painted for the Ferdinand de Medici, Grand Prince of Tuscany, for whom he worked for a long time, with Niccole Cassana acting as intermediary, Fumiani revealed a lively decorative sense and a taste for animated, sensual subjects that produced works of great quality. His last work is the large lunette depicting Frederick III visiting St Zacharyes Convent in the Company of the Doge (Venice, San Zaccaria). The decoration of San Pantalon with scenes from the Life of St Pantaleon (1680-1704) utilized canvases to cover a large ceiling (25x50 m), an ambitious undertaking, both in its scale and in the unity of the magniloquent images, that parallels Andrea Pozzoes decoration at the church of Sant'Ignazio in Rome. Fumiani was responsible for painting what is claimed to the largest painting on canvas in the world and covers the whole of the ceiling of the church Chiesa di San Pantaleone Martire, known as San Pantalon, in Venice. The painting depicts The Martyrdom and Apotheosis of St Pantalon, which he painted from 1680 until 1704. He putatively died from a fall from a scaffold, although some sources date his death to six years after he stopped work on the canvas
Nicolas de Largilliee
Largilliere's father, a merchant, took him to Antwerp at the age of three. As a boy, he spent nearly two years in London. Sometime after his return to Antwerp, a failed attempt at business led him to the studio of Goubeau. However, Largilliere left at the age of eighteen and went to England, where he was befriended and employed by Peter Lely for four years at Windsor, Berkshire. Painting careerEarly careerHis painting caught the attention of Charles II, who wished to retain Largilliere in his service, but the controversy aroused by the Rye House Plot against Roman Catholics alarmed Largilliere. Largilliere left for Paris, where he was well-received by the public as a painter. Upon ascending to the throne in 1685, James II requested Largilliere to return to England. James II offered Largilliere the office of keeper of the royal collections, but he declined due to being uneasy about Rye House Plot. However, during a short stay in London, he painted portraits of the king, the queen Mary of Modena, and the prince of Wales James Francis Edward Stuart. The portrait of the Prince of Wales could not have been painted during Largilliere's stay in London because the prince was not born until 1688. The three portraits painted by Largilliere of the prince in his youth must have been executed in Paris, where he returned sometime before March 1686. The portrait of King James II was painted in 1686. King James is portrayed in golden armor with a white cravat and is positioned in front of a watercolour-like background set in a round frame.
Ange Tissier
1814-1876