Australian Naturalist Painter, 1865-1915 Australian painter and teacher. From 1878 to 1886 he trained at the National Gallery of Victoria Art Schools, Melbourne, and in 1887 left to study in Europe. In Paris he attended the Academie Julian and was taught by Jean-Leon Gereme at the Ecole des Beaux-Arts and by the American artist T. Alexander Harrison (1853-1930). He was involved with the plein-air artists at Etaples, Pas-de-Calais, and in Brittany and also visited Giverny, where from 1883 Monet was living. By 1890 he had moved to England, to the artists' colony at St Ives, Cornwall. In 1892 he returned to Melbourne where he chiefly painted portraits and landscapes. He was a member of the Victorian Artists' Society, exhibiting with them between 1892 and 1900. In 1893 he established the lively Melbourne Art School with Tudor St George Tucker (1862-1906). There an academic training coupled with a modified Impressionist technique was taught, as can be seen in Fox's painting the Art Students . In 1901 he left for London, having been commissioned by the Trustees of the National Gallery of Victoria to paint the Landing of Captain Cook at Botany Bay. After his marriage in 1905 to the artist Ethel Carrick, he and his wife settled in Paris and remained there until 1913.  Related Paintings of E.Phillips Fox :. | Landing of Captain Cook at Botany Bay | Studio,Charterisville | A Love Story | Landing of Captain Cook at Botany Bay | Mother and child |
Related Artists:
BECCAFUMI, Domenico
Italian Mannerist Painter, ca.1486-1551 Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist.[1] In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school. There are medieval eccentricities, sometimes phantasmagoric, superfluous emotional detail and a misty non-linear, often jagged quality to his drawings, with primal tonality to his coloration that separates him from the classic Roman masters.
Galland Pierre Victor
Geneve 1822-Paris 1892 He studied metalwork with his father Jacques Galland, an accomplished goldsmith, until age 16. He then entered the studio of Henri Labrouste to study architecture. After two years of training, Labrouste encouraged him to pursue his interest in decorative painting under the direction of Michel-Martin Drolling. In 1843 the decorative painter Pierre-Luc-Charles Ciceri (1782-1868) hired Galland to assist with the painting of figures, flowers, garlands and fruit. He worked again with Labrouste, in 1848, on the decoration of the national festival, the F?te de la Concorde.
William Hoare
William Hoare of Bath RA (c. 1707 - 12 December 1792) was an English painter and printmaker, co-founder of the Royal Academy noted for his pastels. Born near Eye, Suffolk, Hoare received a gentlemanes education in Faringdon. He showed a marked aptitude for drawing and was sent to London to study under Giuseppe Grisoni, who had left Florence for London in 1715. When Grisoni returned to Italy in 1728, Hoare went with him, travelling to Rome and continuing his studies under the direction of Francesco Imperiali. He remained in Rome for nine years, returning to London in 1737/8. Failing to establish himself in London, Hoare settled in Bath, an expanding spa town popular with the wealthier classes. He obtained numerous commissions, the most important being for official portraits of social leaders of the day (including George Frideric Handel) and political men. There are several versions of most of these, suggesting that he had a studio, and they were further publicised by the production of mezzotints by leading engravers of the day. Hoare himself was a delicate etcher and published a number of private plates, mostly of family and friends, including Miss Hoare (probably Mary), Christopher Anstey and the 3rd Duke of Beaufort. His pastels were influenced by Rosalba Carriera.