1796-1875 Corot Locations French painter, draughtsman and printmaker. After a classical education at the College de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers, his career as a whole shows his attachment to the principles of historic landscape painting which they professed.  Related Paintings of Jean Baptiste Camille Corot :. | Olevano Romano (mk11) | Madame Legois | The Letter_3 | Vue de Saint-Lo (mk11) | La route de Sin-le-Noble (mk11) |
Related Artists:
Edward Burne-Jones
British Pre-Raphaelite Painter, 1833-1898 English painter and decorative artist. He was the leading figure in the second phase of the Pre-Raphaelite movement. His paintings of subjects from medieval legend and Classical mythology and his designs for stained glass, tapestry and many other media played an important part in the Aesthetic Movement and the history of international Symbolism.
Christian Rohlfs
German Painter, 1849-1938 German painter and printmaker. He studied painting at the Kunstschule in Weimar (1870). Prolonged illness forced him to interrupt his studies, which he resumed in 1874 under Ferdinand Schauss (1832-1916) and Alexandre Struys (1852-1941). Through visits to Paris in the 1870s, he came into contact with the art of the Barbizon school, painting en plein-air on his return to Weimar. Under the influence of Struys he painted figurative works, such as Roman Builders (1879; Menster, Westfel. Landesmus.), and nudes in the tradition of academically enlightened Realism. In 1881 Rohlfs worked in a studio under Max Thedy (1858-1924). From c. 1883 he painted mainly landscapes with the approval of Ludwig von Gleichen-Russwurm (1836-1901), who was studying with Theodor Hagen (1842-1919), and was influenced in an indirect way by Albert Brendel (1827-95), who had taught at Weimar from 1875. He often chose formats that were unusually large for landscape paintings in this period, presenting landscape in a similar way to history painting. Atmosphere and light played an important role even in these early pictures, for example Sawmill at Ehringsdorf on the Ilm (930x780 mm, 1883; Weimar, Schlossmus.). From 1884 he worked as an independent painter. After 1885 colour became increasingly important for its own sake; light and shade were suggested purely by colour, which was applied in impasto spots and brushstrokes to create chiaroscuro values that determined the form, for example Wild Garden near Weimar (1888; Weimar, Schlossmus.). By the end of the 1880s he had developed an independent style parallel to Impressionist painting. When he saw works by Monet exhibited in Weimar in 1897, these corroborated his own efforts.
Jan Sanders van Hemessen
1500-1566 Dutch Jan Sanders Van Hemessen Gallery was a Flemish Northern Renaissance painter. He was born in Hemiksem, then called Hemessen or Heymissen. Following studies in Italy, in 1524 he settled in Antwerp. A mannerist, his images focused on human failings such as greed and vanity. Like his daughter, Catarina van Hemessen, he also painted portraits.