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 :. | Bust of Lucian Pissarro | snow house | Kitchen Garden at L-Hermitage | The Fence La barriere | Egyptian Raney |
Related Artists:
Agostino Tassi
(1578--1644) was an Italian painter, mostly of landscapes and seascapes. Because he aspired to nobility he modified the details of his early life. Though he was born in Perugia he claimed to have been born in Rome. His family name was Buonamici, but Agostino adopted the surname Tassi to give substance to his story that he was adopted by the Marchese Tassi. He was actually the son of a furrier named Domenico.
Giulio Romano
Italian 1492-1546 Giulio Romano was born in Rome. In his native city, as a young assistant in Raphael's studio, he worked on the frescos in the Vatican loggias to designs by Raphael and in Raphael's Stanze in the Vatican painted a group of figures in the Fire in the Borgo (L'incendio di Borgo) fresco. He also collaborated on the decoration of the ceiling of the Villa Farnesina. After the death of Raphael in 1520, he helped complete the Vatican frescoes of the life of Constantine as well as Raphael's Coronation of the Virgin and the Transfiguration in the Vatican. In Rome, Giulio decorated the Villa Madama for Cardinal Giuliano de' Medici, afterwards Clement VII. The crowded Giulio Romano frescoes lack the stately and serene simplicity of his master. In the Palazzo Te, MantuaAfter the Sack of Rome in 1527 and the death of Leo X, artistic patronage in Rome slackened. Vasari tells how Baldassare Castiglione was delegated by Federico Gonzaga to procure Giulio to execute paintings and architectural and engineering projects for the duchy of Mantua. His masterpiece of architecture and fresco painting in that city is the suburban Palazzo Te, with its famous illusionistic frescos (c. 1525?C1535). He also helped rebuild the ducal palace in Mantua, reconstructed the cathedral, and designed the nearby Church of San Benedetto. Sections of Mantua that had been flood-prone were refurbished under Giulio's direction, and the duke's patronage and friendship never faltered: Giulio's annual income amounted to more than 1000 ducats. His studio became a popular school of art.
Herbert William Weekes
Herbert William Weekes (fl. 1864 - 1904) was a well-known British genre and animal painter of the Victorian Neoclassical period who specialized in portraying animals in humorous, human-like situations. Weekes was born ca. 1842 in Pimlico, London, England to a prominent artistic family: the youngest of five children, his father, Henry Weekes, Sr. (1807 - 1877), was a sculptor and Royal Academician; his brother, Henry, Jr. (fl. 1850 - 1884), was also a genre painter known for his animal studies; and his brother, Frederick (1833 - 1920), was an artist and expert on medieval costume and design. Weekes appears to have used his middle name, William, for all but formal purposes. He lived and worked for most of his life in London, at 21 Oppidans Road, Primrose Hill. In 1865, he married Caroline Anne Henshaw (born ca. 1844), of Hammersmith. "Suspicion (ca. 1900)", oil-on-canvas "Fowl Talk", oil-on-canvas Weekes' signatureKnown as an animal and genre painter of the Victorian Neoclassical style, Weekes' work was popular, and helped expand 19th century animal painting from its traditional role of simply recording beasts into a way of reflecting human life. He frequently personified animals and placed them in situations particular to humans. His work shows a sensitive understanding of his subject matter, and part of his success in capturing the peaceful country atmosphere depicted in so many of his paintings lay in his affection for it. He was greatly influenced by one of the foremost animal painters of the nineteenth century, Sir Edwin Henry Landseer. Weekes contributed illustrations for The Illustrated London News in 1883, and exhibited extensively in various London and provincial galleries. His works were well received - although not by everyone: a contemporary wit described his paintings as eWeekes' Weak Squeakse.