Alma Tadema
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8 January 1836 – 25 June 1912. Most renowned painters.

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James Tissot
London Visitors

ID: 83054

James Tissot London Visitors
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James Tissot London Visitors


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James Tissot

French Painter, 1836-1902 French painter, printmaker and enamellist. He grew up in a port, an experience reflected in his later paintings set on board ship. He moved to Paris c. 1856 and became a pupil of Louis Lamothe and Hippolyte Flandrin. He made his Salon d?but in 1859 and continued to exhibit there successfully until he went to London in 1871. His early paintings exemplify Romantic obsessions with the Middle Ages, while works such as the Meeting of Faust and Marguerite (exh. Salon 1861; Paris. Mus. d'Orsay) and Marguerite at the Ramparts (1861; untraced, see Wentworth, 1984, pl. 8) show the influence of the Belgian painter Baron Henri Leys. In the mid-1860s Tissot abandoned these tendencies in favour of contemporary subjects, sometimes with a humorous intent, as in Two Sisters (exh. Salon 1864; Paris, Louvre) and Beating the Retreat in the Tuileries Gardens (exh. Salon 1868; priv. col., see Wentworth, 1984, pl. 45). The painting Young Ladies Looking at Japanese Objects (exh. Salon 1869; priv. col., see Wentworth, 1984, pl. 59) testifies to his interest in things Oriental, and Picnic (exh. Salon 1869; priv. col., see 1984 exh. cat., fig. 27), in which he delved into the period of the Directoire, is perhaps influenced by the Goncourt brothers. Tissot re-created the atmosphere of the 1790s by dressing his characters in historical costume.  Related Paintings of James Tissot :. | Pape a Jerusalem | Le Printemps (Spring) | the reception | The Last Evening | London Visitors |
Related Artists:
Bierstadt Albert
German-born American Hudson River School Painter, 1830-1902 was a German-American painter best known for his large landscapes of the American West. In obtaining the subject matter for these works, Bierstadt joined several journeys of the Westward Expansion. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the 19th century. Bierstadt was part of the Hudson River School, not an institution but rather an informal group of like-minded painters. The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the D??sseldorf School in D'sseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting. Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career. Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day.
Alphonse-Marie-Adolphe de Neuville
(31 May 1835 - 18 May 1885) was a French Academic painter who studied under Eugene Delacroix. His dramatic and intensely patriotic subjects illustrated episodes from the Franco-Prussian War, the Crimean War, the Zulu War and portraits of soldiers. Some of his works have been collected by the Hermitage Museum in St. Petersburg and by the Metropolitan Museum in New York. The Last Cartridges, 1873 The Defence of Rorke's Drift, oil on canvas painting by Alphonse-Marie-Adolphe de Neuville, 1880, Art Gallery of New South Wales. This incident occurred on 22 January 1879, in the Anglo-Zulu War. La bataille de VillersexelHe was born to wealthy parents at Saint-Omer, Pas-de-Calais. From school he went to college, where he took his degree of bachelier -lettres. In spite of the opposition of his family he entered the naval school at Lorient, and it was there, in 1856, that his artistic instincts first declared themselves. After being discouraged by several painters of repute, he was admitted to work in François-Edouard Picot's studio. He did not remain there long, and he was painting by himself when he produced his first picture, The Fifth Battalion of Chasseurs at the Gervais Battery (Malakoff). In 1860 Neuville painted an Episode of the taking of Naples by Garibaldi for the Artists' Club in the rue de Provence, and sent to the Paris Salon in 1861 The Guard Chasseurs in the Trenches of the Mamelon Vert. He participated in illustrating the Hetzel editions of Twenty Thousand Leagues Under the Sea. He also illustrated Le Tour du monde and Guizot's History of France. At the same time he painted a number of remarkable pictures: The Attack in the Streets of Magenta by Zouaves and the Light Horse (1864), A Zouave Sentinel (1865), The Battle of San Lorenzo (1867), and Dismounted Cavalry crossing the Tchernaia (1869). In these he showed peculiar insight into military life, but his full power was not reached until after the Franco-Prussian War. He then aimed at depicting in his works the episodes of that war, and began by representing the Bivouac before Le Bourget (1872). His fame spread rapidly, and was increased by The Last Cartridges (1873), memorializing an episode involving the Blue Division of the French marines, in which it is easy to discern the vast difference between the conventional treatment of military subjects, as practised by Horace Vernet, and that of a man who had lived the life that he painted. In 1874 the Fight on a Railroad was not less successful, and was followed by the Attack on a House at Villersexel (1875) and the Railway Bridge at Styring (1877). In 1878 the painter exhibited (not at the Great Exhibition) Le Bourget, the Surprise at Daybreak, The Intercepted Despatch-bearer, and a considerable number of drawings. He also exhibited in London some episodes of the Zulu War. Fifty thousand people paid to see his impression of The Defence of Rorke's Drift (1880), which the infant Art Gallery of New South Wales in Sydney paid a large sum to acquire. In 1881 he was made an officer of the Legion d'honneur for The Cemetery of Saint-Privat and The Despatch-bearer and the "Huns in the Battle of Chalon." During these years Neuville was at work with Édouard Detaille on an important though less artistic work, The Panorama of Rezonville. Neuville died in Paris on May 18, 1885. At the sale of his works the state purchased for the Palais du Luxembourg the Bourget and the Attack on a Barricaded House, with a water-color The Parley, and a drawing of a Turco in Fighting Trim.
CAMPEN, Jacob van
Dutch Baroque Era Painter, 1595-1657 Chief exponent of Classicism in The Netherlands. He studied architecture in Italy and was influenced by the work of Scamozzi and Palladio. With his Coymans House on the Keizersgracht, Amsterdam (1624), he introduced the Palladian style to The Netherlands. His most refined work is the Mauritshuis in The Hague (1633?C5), which has a Palladian plan, elevations featuring a Giant Order of Ionic pilasters set on a plain base, a pedimented central section given little emphasis, and a hipped roof. Much grander is the Town Hall (now Royal Palace), Amsterdam (1648?C55): it has two internal courtyards separated by a huge central hall, façades with two superimposed Giant Orders of pilasters, and a large projecting pedimented central section over which is a domed lantern. His Nieuwe Kerk (New Church), Haarlem (1645?C9), is based on the quincunx plan (essentially a Greek cross within a square), with square Ionic crossing-piers and a groin-vault over the crossing. He was responsible for the Accijnshuis, Amsterdam (1638), the Noordeinde Palace, The Hague (1640), and, with others, the decorations of Post's Huis-den-Bosch, Maarssen, near Utrecht (c.1628).






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