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 :. | Lacroix Island | Garden | Fog Effect | Vue de Saint-Ouen-l'Aumone | Jeanne Holding a Fan |
Related Artists:
Albertus Del Orient Browere
American, 1814-1887
Jacob van Ruisdael
Dutch Baroque Era Painter, ca.1628-1682 Ruysdael's favorite subjects are simple woodland scenes, similar to those of Everdingen and Hobbema. He is especially noted as a painter of trees, and his rendering of foliage, particularly of oak leaf age, is characterized by the greatest spirit and precision. His views of distant cities, such as that of Haarlem in the possession of the marquess of Bute, and that of Katwijk in the Glasgow Corporation Galleries, clearly indicate the influence of Rembrandt. He frequently painted coast-scenes and sea-pieces, but it is in his rendering of lonely forest glades that we find him at his best. The subjects of certain of his mountain scenes seem to be taken from Norway, and have led to the supposition that he had traveled in that country. We have, however, no record of such a journey, and the works in question are probably merely adaptations from the landscapes of Van Everdingen, whose manner he copied at one period. Only a single architectural subject from his brush is known--an admirable interior of the New Church, Amsterdam. The prevailing hue of his landscapes is a full rich green, which, however, has darkened with time, while a clear grey tone is characteristic of his seapieces. The art of Ruysdael, while it shows little of the scientific knowledge of later landscapists, is sensitive and poetic in sentiment, and direct and skillful in technique. Figures are sparingly introduced into his compositions, and such as occur are believed to be from the pencils of Adriaen van de Velde, Philip Wouwerman, and Jan Lingelbach. Unlike the other great Dutch landscape painters, Ruysdael did not aim at a pictorial record of particular scenes, but he carefully thought out and arranged his compositions, introducing into them an infinite variety of subtle contrasts in the formation of the clouds, the plants and tree forms, and the play of light. He particularly excelled in the painting of cloudscapes which are spanned dome-like over the landscape, and determine the light and shade of the objects. Goethe lauded him as a poet among painters, and his work shows some of the sensibilities the Romantics would later celebrate.
Pieter de Grebber
1600-1653 Dutch Pieter de Grebber Gallery Grebber was the son of Frans Pietersz de Grebber (1573?C1643), a painter and embroiderer in Haarlem, and would have been taught painting by his father and by Hendrick Goltzius. He was descended from a Catholic and artistic family (2 of his brothers, and his sister Maria, the mother-in-law of Gabriel Metsu, were known as painters). He was friendly with the priest and musicologist Jan Albertszoon Ban, and had a poem set to music by the Haarlem composer Cornelis Padbru??. In 1618, father and son went to Antwerp and negotiated with Peter Paul Rubens over the sale of his painting "Daniel in the lions pit". It was then handed - via the English ambassador in the Republic, Sir Dudley Carleton - to king Charles I. Pieter got important commissions not only in Haarlem, but also from the stadholder Frederik Hendrik. As such, he worked with on the decoration of the Huis Honselaarsdijk in Naaldwijk and at the Paleis Noordeinde in Huis ten Bosch in the Hague. He painted altar pieces for churches in Flanders and hidden Catholic churches in the Republic. He may also have worked for Danish clients.