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 :. | L'enfant au chapeau haut de forme (mk11) | Vue de Riva (mk11) | Le Mont Soracte (mk11) | Reverie | Idylle antique (Cache-cache) (mk11) |
Related Artists:
Bonifacio de Pitati
painted Sacra Conversazione in 1515
Willem Wissing
Willem Wissing, also known as William Wissing (1656 - 10 September 1687), was a Dutch portrait artist. He was born in either Amsterdam or The Hague, and studied at The Hague under Willem Doudijns (1630 - 97) and Arnoldus van Ravestyn (1615 - 90). In 1676, he moved to England, where he studied with and assisted Peter Lely. After Lely's death in 1680, Wissing emerged as his most important pupil. Godfrey Kneller was the only contemporary portrait artist in England to rival Wissing. Wissinges royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark and James Scott, 1st Duke of Monmouth.
Phillips, Thomas
English, 1770-1845 From a respectable but impoverished family, he left school aged 13 to be apprenticed to Francis Eginton of Birmingham, a glass painter and early pioneer in reproduction by a 'photographic method'. The chiaroscuro effects of this process were a lasting influence on Phillips's style. In 1790 he moved to London to study at the Royal Academy and simultaneously assisted in Benjamin West's studio. He exhibited at the Royal Academy from 1794 to 1844 and was elected ARA in 1804, RA in 1808 and Professor of Painting in succession to Henry Fuseli from 1825 to 1832.