French Romantic Painter, 1798-1863 For 40 years Eugene Delacroix was one of the most prominent and controversial painters in France. Although the intense emotional expressiveness of his work placed the artist squarely in the midst of the general romantic outpouring of European art, he always remained an individual phenomenon and did not create a school. As a personality and as a painter, he was admired by the impressionists, postimpressionists, and symbolists who came after him. Born on April 28, 1798, at Charenton-Saint-Maurice, the son of an important public official, Delacroix grew up in comfortable upper-middle-class circumstances in spite of the troubled times. He received a good classical education at the Lycee Imperial. He entered the studio of Pierre Narcisse Guerin in 1815, where he met Theodore Gericaul  Related Paintings of Eugene Delacroix :. | The Women of Algiers | Milton diktiert seinen Tochtern das | Woman of Algiers in their Apartment | The Massacre on Chios | Christ on the Cross |
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Douglas Volk
1856-1935 Douglas Volk (1856 - 1935) was an American portrait painter and the son of noted sculptor Leonard Volk. He was named after his mother's cousin (Abraham Lincoln's political rival) Stephen A. Douglas.
Louis-Jean-Francois Lagrenee
French Neoclassical Painter, 1725-1805
CARDUCHO, Vicente
(b. 1576, Florence, d. 1638, Madrid Painter and theorist, brother of Bartolom Carducho. He became a prolific painter for both the church and the court in Castile, adapting a late 16th-century Italianate style, introduced into Spain in the 1580s, to Spanish themes and settings. After his death this style was superseded in monastic programmes by Zurbarn's pietistic simplicity and in altarpieces and devotional painting by the elegant compositions of van Dyck and Rubens, while Velezquez was unrivalled as a portrait painter. Of more enduring influence than Vicente's paintings, however, was his Dielogos de la pintura (Madrid, 1633), an erudite defence of painting as a noble pursuit and of the artist as a learned humanist. While painters in Spain struggled until the 18th century to attain freedom from artisanship, the Dielogos featured significantly in 17th-century efforts to achieve that goal,