French Pointillist Painter, 1859-1891 Georges-Pierre Seurat (2 December 1859 ?C 29 March 1891) was a French painter and draftsman. His large work Sunday Afternoon on the Island of La Grande Jatte, his most famous painting, altered the direction of modern art by initiating Neo-impressionism, and is one of the icons of 19th century painting Seurat took to heart the color theorists' notion of a scientific approach to painting. Seurat believed that a painter could use color to create harmony and emotion in art in the same way that a musician uses counterpoint and variation to create harmony in music. Seurat theorized that the scientific application of color was like any other natural law, and he was driven to prove this conjecture. He thought that the knowledge of perception and optical laws could be used to create a new language of art based on its own set of heuristics and he set out to show this language using lines, color intensity and color schema. Seurat called this language Chromoluminarism. His letter to Maurice Beaubourg in 1890 captures his feelings about the scientific approach to emotion and harmony. He says "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of color and of line, considered according to their dominance and under the influence of light, in gay, calm or sad combinations". Seurat's theories can be summarized as follows: The emotion of gaiety can be achieved by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm is achieved through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness is achieved by using dark and cold colors and by lines pointing downwards.  Related Paintings of Georges Seurat :. | The Youngster Wearing hat sat on the Lawn | The Post of Woman | Etude pour Moyenne Distance,gauche,avec Bateau a Voile | Houses at Le Raincy | ung kvinna som pudrar sig |
Related Artists:
tidemand
Tidemand kom vid 17 års ålder till Köpenhamns konstakademi, studerade där i fem år, tänkte sedan utbilda sig till historiemålare i Munchen, men valde i stället på en kamrats råd Dusseldorf till studieort och reste dit 1837. Han blev elev av Theodor Hildebrandt, men tog tidigare intryck av Carl Friedrich Lessings relativt realistiska historiemåleri. Hans första större målning behandlade ett svenskt ämne, Gustaf Vasa talar till dalkarlarna vid Mora (1841). Målningen inköptes av Rhens och Westfalens konstförening samt förskaffade Tidemand ett resestipendium från Norge och beställning på en altartavla till Vor Freisers kirke i Kristiania. Han reste sedan till Munchen och Italien, återvände till Norge på ett kort besök sommaren 1842, gjorde en studieresa i fjälltrakterna för att samla material till en påtänkt fosterländsk historiemålning, men kom nu till klarhet över sitt mål. Han ville, som han själv yttrat, skildra detta kraftiga naturfolks karaktär seder och vanor. Hans första tavla i detta syfte var Sagoberätterskan 1844, inköptes av drottning Josefina och förskaffade konstnären medlemskap av svenska konstakademien. Efter nya studieresor i Norge målade han Söndagskväll i Hardanger köptes av Oscar I, på slottet i Kristiania och Gudstjänst i en landskyrka. Han bosatte sig 1845 på allvar i Dusseldorf och vann snart ett namn genom de norska bondelivsbilderna. Samma år målade Tidemand i samarbete med Hans Fredrik Gude den romantiska Brudefärden i Hardanger. Revolutionsoroligheterna hade vid denna tid drivit de norske konstnärerna hem till Norge, och det såg ut, som skulle konsten nu bli rotfäst i hemlandet. Impulsen till en nationell konst gavs, men då lugn åter inträdde, återvände konstnärerna till utlandet. Under de närmaste åren målade Tidemand för det av Oscar I uppförda lilla lustslottet Oskarshal, som pryddes av uteslutande norska konstverk, serien Norskt bondeliv. Hans sista arbete var förstudier till en aldrig utförd historiemålning, Kristian IV grundlägger Kristiania, beställd av Oscar II. Tidemand skapade även tre altartavlor. I samarbete med Gude målade han Afton på Kröderen (1849), Ljustring (1850), Likfärd på Sognefjorden (1853), Fiskare i fara (1859), med Sophus Jacobsen Lappar på renjakt (1873) och med Morten M??ller Sinclairs landstigning i Romsdalen (1875). Han blev av sin samtid hyllad som Norges främsta representativa konstnär. Hans betydelse ligger i att han i sin konst gav uttryck åt det nationella uppvaknandet i sitt hemland. På samma gång föreställde han det norska folket för den stora allmänheten i utlandet. I Tyskland betraktades han som en av de främsta representanter i samtidens konst. Han fick många utmärkelser såväl i Tyskland som i Paris och i England, och hans arbeten såldes till höga pris. Sina mest omtyckta målningar upprepade han med tillhjälp av flera medhjälpare gång på gång, några i ända till 12 exemplar. Många av hans arbeten är återgivna i kopparstick och litografi. L. Dietrichson utgav Adolph Tidemand, hans liv og hans værker (2 delar, 1878-79).
Hyacinthe Rigaud
1659-1743 French Hyacinthe Rigaud Gallery He was born Jacint Rigau i Ros [1] -- though in many encyclopaedias is "re-christened" with the name of H??acint Francesc Honrat Mathias Pere Martyr Andreu Joan Rigau -- in Perpignan, which became French (Treaty of the Pyrenees) a short time after his birth (November 7, 1659). In 1682, he was awarded the Prix de Rome. He was the most important portrait painter in the reign of King Louis XIV. His instinct for impressive poses and grand presentations precisely suited the tastes of the royal personages, ambassadors, clerics, courtiers, and financiers who sat for him. Because Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions. Rigaud was a master of the Baroque style of art. Rigaud's best-known work is his 1701 painting of Louis XIV which today hangs in the Louvre in Paris, as well as the second copy also requested by Louis XIV which is now at Versailles. In 1709 he was made a noble by his hometown of Perpignan. In 1727 he was made a knight of the Order of Saint Michael. Hyacinthe Rigaud died in Paris, France on December 27, 1743.
Leonaert Bramer
(24 December 1596 - 10 February 1674 (buried)) was a Dutch painter, best known for probably being one of the teachers of Johannes Vermeer, although there is no similarity between their work. Bramer's dark and exotic style is unlike Vermeer's style. Bramer was primarily a genre and history painter, but also made some unique frescos, not very often found north of the Alps. Leonaert Bramer is one of the most intriguing personalities in seventeenth-century Dutch art. He was a talented and diligent draughtsman, evidently Roman Catholic and a lifelong bachelor. Bramer was born in Delft. In 1614, at the age of 18, he left on a long trip eventually reaching Rome in 1616, via Atrecht, Amiens, Paris, Aix (February 1616), Marseille, Genoa, and Livorno. In Rome he was one of the founders of the Bentvueghels group of Northern artists. He lived with Wouter Crabeth and got into a fight with Claude Lorraine. He dedicated a poem to Wybrand de Geest. Bramer remained on and off in Rome until October 1627, visiting Mantua and Venice, often for deliveries and to meet Domenico Fetti. In Italy Bramer was nicknamed Leonardo della Notte ("Leonardo of the night"). In 1648 he went to Rome for a second time. By 1628 he was back in Delft, where he joined the Guild of Saint Luke in 1629 and the schutterij. Among his many patrons were members of the House of Orange, but local burgomasters and schepen also bought his paintings in great numbers.[3] He was a many sided artist, designing for tapestry firms in Delft, painting murals and ceilings, some of which are illusionistic in style. He painted real frescos in the Civic Guard house, the nearby stadholder's palaces in Honselersdijk, Rijswijk, the Communal Land Housde and the Prinsenhof in Delft.[3] Due to the Dutch climate they no longer survive. He evidently knew the greatest of his Delft contemporaries, Johannes Vermeer, as he came to the latter's defence when his future mother-in-law was trying to prevent him from marrying her daughter.