French Symbolist Painter, 1849-1906 French painter and lithographer. He is best known for his spiritual interpretations of maternity and family life. Characteristic are his Crucifixion and Maternity (both: Louvre). He also painted some large canvases for the Sorbonne and the Hôtel de Ville, Paris. Among his works are many notable portraits, including those of Verlaine, Daudet, and Edmond de Goncourt.   Related Paintings of Eugene Carriere :. | Alphonse Daudet and His Daughter (mk06) | Alphonse Daudet and his Daughter | Lady Leaning her Elbows on a Table | Portrait of Paul Gauguin | Intimacy(The Bog Sister) |
Related Artists:
Charles Howard Hodges
(1764, Portsmouth - July 24, Amsterdam), was a British painter active in the Netherlands during the French occupation of 18th and early 19th century. Charles Howard Hodges had visited Amsterdam in 1788; after a two-year stay in Dublin, he moved with his family to The Hague in 1792. In Amsterdam, he worked as an artist, specialized in the mezzotint technique and pastel. In 1797, he and his family moved to Amsterdam, where he lived with his teacher Johann Friedrich August Tischbein at the Prinsengracht Ne 205. There, he became a famous painter of portraits; he painted over 700 portraits of the rich and famous of that time. He was also an engraver, printer, art dealer and a member of the Amsterdam art club Felix Meritis. He is well-known for the fact that he painted all the leaders of the Netherlands during the Napoleonic Period, -a turbulent period in Dutch history, since the Netherlands went through 5 different political systems: stadtholder Willem V of the Republic of the United Netherlands, Grand Pensionary Rutger Jan Schimmelpenninck of the Batavian Republic, King Louis Bonaparte (King of Holland), Emperor Napoleon Bonaparte and king William I of the Netherlands. The only known portrait of Sebald Justinus Brugmans was made by him. A design for the honorary cross of the Order of the Union was rejected by Louis Bonaparte. Hodges advised the Dutch government in 1815 with the return of thousands of works of art, which were confiscated by the French in 1795 from several collections, including the Gallery of Prince William V (the first museum open to the public in the Netherlands), and the several collections of the previous stadtholders. Not all the stolen art was returned from Paris, and it is said that several pieces are still held in the Louvre up to this day. Most of the over 700 portraits by Hodges are made in the early 19th century, the earlier works in pastel, and later work in oil paint. Several of these portraits can be found in the Rijksmuseum in Amsterdam, in museums and castles and in royal and private collections. Charles Howard Hodges was father and teacher to James Newman Hodges, een lesser painter who worked in the Rijksmuseum when it was still located in the Trippenhuis in Amsterdam.
Theodore Gericault
French Romantic Painter, 1791-1824 was a profoundly influential French artist, painter and lithographer, known for The Raft of the Medusa and other paintings. Although he died young, he became one of the pioneers of the Romantic movement. Born in Rouen, France, Gericault was educated in the tradition of English sporting art by Carle Vernet and classical figure composition by Pierre-Narcisse Guerin, a rigorous classicist who disapproved of his student's impulsive temperament, but recognized his talent.[1] Gericault soon left the classroom, choosing to study at the Louvre instead, where he copied from paintings by Peter Paul Rubens, Titian, Diego Velezquez, and Rembrandt for about six years, from 1810 to 1815.
POTTER, Paulus
Dutch Baroque Era Painter, 1625-1654 Son of Pieter Potter. He was related through his mother, Aechtie Pouwels (d 1636), to the wealthy and powerful von Egmont and Semeyns families, who held important offices in Enkhuizen and at the court in The Hague. He worked in his father's studio in Amsterdam during the 1630s and, like him, painted history subjects that show the strong influence of Claes Moeyaert, with whom Paulus may also have studied. In the painting Abraham Returning from Canaan he adapted the landscape setting from an etching by Moses van Uyttenbroeck and the figures from works by Moeyaert from over ten years earlier. Significantly, however, he redistributed the numerous animals and figures that Moeyaert had aligned evenly across the frontal plane; Potter placed them to one side, permitting a view into the deep distance where other animals can be seen. Potter followed his father more than Moeyaert in searching for ways to integrate his figures with the landscape,