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 :. | Pang plans scenery Schwarz | Morning, Winter Sunshine, Frost, the Pont-Neuf, the Seine, the Louvre, Soleil D'hiver | Loose multi-tile this Ahe rice Tash foot | Women in the spring of the fence | forest Laundry |
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FOSCHI, Pier Francesco
Italian painter, Florentine school (b. 1502, Firenze, d. 1567, Firenze) was an Italian painter active in Florence in a Mannerist style. He was pupil of Andrea del Sarto and assisted Pontormo with his frescoes at Careggi in 1536. He completed 3 altarpieces, commissioned in 1540C1545 for the church of Santo Spirito in Florence: an Immaculate Conception, Resurrection , and a Transfiguration. Foschi was also influenced by and Il Bronzino. One of his pupils was Alessandro Fei. Also called Pier Francesco di Jacopo Foschi or Toschi. He was the son of Pierfrancesco di Jacopo Sandro Foschi, known for his Madonna and Child with the Infant Saint John. (Utah Museum of Fine Arts). Foschi is best noted for his portraits painted between 1530 and 1540, including his Portrait of a Lady (Museo Thyssen-Bornemisza), Portrait of a Young Man Weaving a Wreath of Flowers (Utah Museum of Fine Arts), and his Portrait of a Man, (Uffizi Gallery). In his portraits he adhered to Mannerist style, utilizing a slight Contrapposto in the sitter with their head turned from the body. This pose gave the depiction a spontaneity and sense of movement for the innovative Mannerists, but was eventually so formulaic that it lost its intention of originality.
RECCO, Giuseppe
Italian Baroque Era Painter, 1634-1695 Son of Giacomo Recco. He was the most celebrated Neapolitan still-life painter of his day. He began in the tradition of his father and (probable) uncle Giovan Battista Recco, painting naturalistic arrangements of flowers, fish, game and kitchen scenes. There are many signed and dated works which chart the development of his style. The Bodeg?n with a Negro and Musical Instruments (1659; Madrid, Medibacoeli priv. col.), the Bodeg?n with Fish (1664; Paris, Moret priv. col.) and the Kitchen Interior (1675; Vienna, Ksthist. Mus.) are close to the art of Giovan Battista Recco. The fish and kitchen still-lifes are typically Neapolitan, yet Giuseppe's art is distinguished by the intensity with which he observes light and surface texture and by the clarity of the composition, based on a careful balance of horizontals and verticals. He moved toward a more Baroque and decorative style, and the unfinished Still-life with Fruit, Flowers and Birds (1672) and the Still-life with Fruit and Flowers
Caspar van Wittel
(born Caspar Adriaensz. van Wittel, later a.k.a. Gaspare Vanvitelli, Gasparo degli Occhiali) (1653 - September 13, 1736) was a Dutch Golden Age landscape painter. Van Wittel was born in Amersfoort. He learned painting first from Thomas Jansz van Veenendaal for 4 or 5 years and then from Matthias Withoos for 7 years, until Withoos left Amersfoort. In Amersfoort, he likely was exposed to Dutch landscape artists such as Jan van der Heyden and Gerrit Berckheyde. His first extant works were made in Hoorn in 1672, but he relocated to Rome with his family ca. 1675 and made his career there. Like his former teacher, he joined the Bentvueghels with the nickname "Piktoors" or "Toorts van Amersfoort"(torch of Amersfort). He married in Rome in 1697, and stayed most of his life in that city, though, between 1694 and 1710, he toured Italy and painted in places like Florence, Bologna, Ferrara, Venice, Milan, Piacenza and Naples. He is one of the principal painters of topographical views known as vedute. Gaspar van Wittel died in Rome. His son Luigi would become a famous architect and also carries the italianized family name of Vanvitelli. In Luigi's biography is written that his father was born in July 1656, but Van Wittel's grave in Rome states that he died at the age of 83 in 1736.