French Realist/Impressionist Painter and Sculptor, 1834-1917 French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues.  Related Paintings of Edgar Degas :. | Woman Combing Her Hair | Woman Combing her Hair_d | Dancer with a Bouquet of Flowers | Study for the youth with Arms upraised | The man in front of his factory |
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Basilius Besler
1561-1629,was a respected Nuremberg apothecary and botanist, best known for his monumental Hortus Eystettensis. He was curator of the garden of Johann Konrad von Gemmingen, prince bishop of Eichstätt in Bavaria. The bishop was an enthusiastic botanist who derived great pleasure from his garden, which was the only important European botanical garden outside Italy. The gardens surrounded the bishop's palace, Willibaldsburg, which was built on a hill overlooking the town. These gardens had been started in 1596 and designed by Besler's colleague, Joachim Camerarius, the Younger (1534-1598), a physician and botanist. Upon Camerarius' death in 1598, Besler had the remainder of Camerarius' plants moved to Eichstätt and carried on the work of planting and supervision. The bishop commissioned Besler to compile a codex of the plants growing in his garden, a task which Besler took sixteen years to complete, the bishop dying shortly before the work was published. Besler had the assistance of his brother and a group of skilled German draughtsmen and engravers, including Sebastian Schedel, an accomplished painter, and Wolfgang Kilian, a skilled engraver from Augsburg. Kilian and his team engraved the initial copper plates, but after the bishop??s death, the operations moved to N??rnberg and a new team of engravers, among whom were Johannes Leypold, Georg Gärtner, Levin and Friedrich van Hulsen, Peter Isselburg, Heinrich Ulrich, Dominicus Custos and Servatius Raeven. Camerarius' nephew, Ludwig Jungermann (1572-1653), was a botanist and wrote the lion's share of the descriptive text. The work was named Hortus Eystettensis (Garden at Eichstätt). The emphasis in botanicals of previous centuries had been on medicinal and culinary herbs, and these had usually been depicted in a crude manner. The images were often inadequate for identification, and had little claim to being aesthetic. The Hortus Eystettensis changed botanical art overnight. The plates were of garden flowers, herbs and vegetables, exotic plants such as castor-oil and arum lilies.
Jan Baptist Weenix
(Amsterdam, 1621- Vleuten 1660), a painter of the Dutch Golden Age. Despite his relatively brief career, he was a very productive and versatile painter. His favourite subjects were Italian landscapes with large figures among ruins, seaside views, and, later in life, large still life pictures of dead game or dogs. He was mainly responsible for introducing the Italian harbour scene into Dutch art, in mid-size paintings with a group of figures in the foreground. Weenix was the son of an architect and born near Amsterdam's harbour. He could not speak well, apparently from a medical condition, and because he very much liked to read books, his mother sent him to work for a bookseller, who was not able to deal with him. He drew whenever he could, according to Jan Weenix his son, who told the story to Arnold Houbraken. Weenix first studied under Jan Micker, then in Utrecht under Abraham Bloemaert, and later back in Amsterdam under Claes Cornelisz. Moeyaert. In 1643 Weenix travelled to Rome with Nicolaes Pieterszoon Berchem. He had left his home secretly, but his wife, the daughter of Gillis d'Hondecoeter, traced him to Rotterdam. Then he was allowed to stay away for four months. In Rome he became a member of the Bentvueghels and was much esteemed and worked for Pope Innocent X. He returned to Amsterdam after four years; his wife had refused to come to Rome. In 1649 he became master of the guild of St. Luke in Utrecht and also painted a portrait of Rene Descartes. When his brother-in-law Gijsbert d'Hondecoeter died, he trained his nephew Melchior d'Hondecoeter, together with his own son Jan Weenix. Weenix moved to a castle outside Utrecht, to concentrate on his work or for health reasons, where he probably died in poor circumstances, at an unknown date. He painted a few religious scenes, one of the rare pieces of this kind being the "Jacob and Esau" (Gemäldegalerie Alte Meister, Dresden). In the National Gallery, London, is a "Hunting Scene" by Weenix, and Glasgow has a characteristic painting of ruins. Weenix is represented at most of the important continental galleries, notably at Munich, Vienna, Berlin, Amsterdam, and St Petersburg.
Paul Emmert
Paul Emmert (1826-1867) , who is also known as Paul Emert, was an artist born near Berne, Switzerland in 1826. By 1845, he had become an established artist in New York. He joined the gold rush to California in 1849. The following year he exhibited in Brooklyn a panorama of the gold mining activities before making his second trip to California late in 1850. While in California, he operated the Bear Hotel in Sacramento and exhibited the panorama in San Francisco and other communities. In 1853 he moved to Hawaii where he resided until his death in 1867 in Honolulu.