(21 May 1814 - 1 June 1892) was a French painter and poet. Janmot was born in Lyon of Catholic parents who were deeply religious. He was extremely moved by the death of his brother in 1823 and his sister's in 1829. He became student at the Royal College of Lyon where he met Frederic Ozanam and other followers of his philosophy professor, Abbe Noirot. In 1831 he was admitted to the École des Beaux-Arts de Lyon and a year later, he won the highest honor, the Golden Laurel. In 1833, he came to Paris to take painting lessons from Victor Orsel and Jean-Auguste-Dominique Ingres. With other Lyon painters, he entered the Society of St. Vincent de Paul. In 1835, he went to Rome with Claudius Lavergne, Jean-Baptiste Frenet and other students and met Hippolyte Flandrin. After his come back to Lyon in 1836, Janmot would attract the attention of critics of the Salon de Paris in conducting large-scale paintings with religious inspiration such as The Resurrection of the son of the widow of Nain (1839) or Christ in Gethsemane (1840). After 1845, he attracted the interest of Charles Baudelaire with his painting Flower of the Fields that allowed him to access to the Salon of 1846. Theophile Gautier was impressed by his Portrait of Lacordaire (1846). But the failure of his Poem of the Soul at the Universal Exhibition of 1855 disappointed him. In December of that year he married Leonie Saint-Paulet, from a noble family in Carpentras. In 1856, Janmot obtained a commission to paint a fresco (since destroyed) representing the Last Supper for the church of St. Polycarp. Other orders followed, including the decoration of the dome of the Church of St. Francis de Sales and for the town hall that had been renovated by his friend the architect T. Desjardins. He was then appointed professor at the École des Beaux-Arts.   Related Paintings of Louis Janmot :. | Poem of the Soul One evening | The nightmare | The Angel and the Mother | The nightmare | Poem of the Soul On the mountain |
Related Artists:
Marees, Hans von
German Painter, 1837-1887 was a German painter. He mainly painted country scenes in a realistic style. Von Mar??es was born in Elberfeld, Germany. At age 16, he was sent to the Berlin Academy. In 1857, he moved to Munich. In 1869, he visited France, the Netherlands and Spain. He served in the Franco-Prussian War (1870?C71) and then lived in Berlin and Dresden for a while. In 1873, he decorated the library walls of the newly built Naples Zoological Institute in Italy.
BONE, Henry
British, 1755-1834,Cornish enamel painter, was born at Truro. He was much employed by London jewellers for small designs in enamel, before his merits as an artist were well known to the public. In 1800 the beauty of his pieces attracted the notice of the Royal Academy, of which he was then admitted as an associate; in 1811 he was made an academician. Up to 1831 he executed many beautiful miniature pieces of much larger size than had been attempted before in England; among these his eighty-five portraits of the time of Queen Elizabeth, of different sizes, from 5 by 4 to 13 by 8 in. are most admired. They were disposed of by public sale after his death. His Bacchus and Ariadne, after Titian, painted on a plate, brought the great price of 2200 guineas. He had 2 sons, who were also notable enamallists: Henry Pierce Bone & Robert Trewick Bone.
PALMA GIOVANE
Italian Mannerist Painter, ca.1548-1628 Son of Antonio Palma. A greater artist than his father, his vast oeuvre represents the impact of central Italian Mannerism but principally of Jacopo Tintoretto on Venetian painting in the generation after Titian, Tintoretto and Paolo Veronese. He died in his late seventies and was occasionally referred to as 'il vecchio', but since the 17th century he has been known as 'il giovane' to distinguish him from his great uncle. He was virtually self-taught, apart from a presumed acquaintance with his father's workshop. In 1567 he came to the attention of Guidobaldo II della Rovere, Duke of Urbino, who was to support him for four years. A possible knowledge of Federico Barocci's art at the court of Urbino left little trace on his surviving early works. The Duke sent him to Rome for study, where he spent a few months apprenticed to an unknown artist. There his sympathy was with Taddeo Zuccaro and Federico Zuccaro, who influenced the graphic style of the drawing of Matteo da Lecce (1568; New York, Pierpont Morgan Lib.), his first dated work. His Roman sojourn, which lasted until c. 1573-4, made a direct impact on some of his Venetian works and indirectly made him receptive to Tintoretto's style. A tendency in Rome in the 1560s to retreat from the most artificial and decorative aspects of Mannerism in favour of naturalism was also to affect Palma's attitude to style in his mature works