American Folk Artist, 1770-1849 She was a self-taught artist who, from about 1809 to 1826, devoted part of her time to producing a wide range of subjects in watercolour: landscape, genre, historical, biblical, allegorical and literary. Her distinctive style is solid and robust, with a strong sense of contrast and design. Problems in creating realistic form are apparent: faces are largely expressionless, and figures are stocky and two-dimensional. However, these difficulties are compensated for by fresh vigorous colour, bold pattern, artful composition and varied subject-matter. Pinney displayed the primitive artist's tendency to borrow and model from the best sources at hand: The Cotter's Saturday Night   Related Paintings of Eunice Pinney :. | Nu assis a la chemise | Pray. | Still Life - Vase with Irises | Our Lady and St Anne | hilda |
Related Artists:
Stephen Pearce
(London, 1819-904) was a portrait and equestrian painter. Forty-four portraits which he painted are in the National Portrait Gallery in London, which also contains two self-portraits.
DALMAU, Lluis
Spanish Early Renaissance Painter, active 1428-1461
Carlos de Haes
Spanish 1826-1898 Carlos de Haes Galleries Spanish painter of Belgian birth. In 1835 he moved with his parents to M?laga, where he studied under the court portrait painter and miniature painter Luis de la Cruz y R?os (1776-1853). In 1850 he returned to Belgium and studied with the landscape painter Joseph Quineaux (1822-95). During his studies there and on his travels in France, Germany and Holland, he became acquainted with contemporary Realist trends. He returned to Spain in 1855, becoming a naturalized Spaniard, and the following year he exhibited numerous landscapes at the Exposici?n Nacional, Madrid, to much acclaim. In 1857 he won the competition for the fourth chair of landscape painting at the Escuela de Bellas Artes in Madrid with View of the Royal Palace from the Casa de Campo (1857; Madrid, Real Acad. S Fernando), a work showing characteristics of the Barbizon and Fontainebleau landscape schools. In 1860 he was elected Acad?mico de m?rito at the Real Academia de S Fernando in Madrid. By 1861 he was officiating and drawing up the regulations for the landscape competitions for aspiring pensionnaires. Consequently plein-air works came to be required in place of the previous tradition of submitting historical landscapes executed in the studio, a practice that discouraged the study of nature. De Haes suggested that only final corrections should be made in the studio, an attitude that indicates his timid initiation and acceptance of Realist trends.