1819-1883 French Son of Claude-Marie Dubufe. He was trained by his father and then by Paul Delaroche. He first appeared at the Salon in 1839 with the Annunciation, a Huntress and a portrait, winning a third class medal. He followed this in 1840 with an episode in the life of St Elisabeth of Hungary, which won him a second class medal; in 1844 he won a first class medal with Bathsheba and a genre scene set in the 15th century (all untraced).  Related Paintings of Louis-Edouard Dubufe :. | Portrait of Alof de Wignacourt v | The Lamentation of Christ with a Donor known as the Pieta of Villeneuve-les-Avignon (mk05) | Old Woman Reading a Bible dfg | Catskill Mountain | An American Queen er |
Related Artists:
Thomas Heaphy
English Painter, 1775-1835 He trained at John Boyne's drawing school in Gloucester Street, Bloomsbury, London, and exhibited portraits at the Royal Academy from 1797. Following the success of a portrait of the Russian ambassador, Count Woronzow, he was appointed portrait painter to the Princess of Wales. Thomas Lawrence observed Heaphy's success and bought some of his pictures but had little cause to envy Heaphy's style, which owed much to the vocabulary of civic portraiture popularized by Joshua Reynolds (e.g. Portrait of a Naval Officer; London, V&A). Heaphy's largest project, The Duke of Wellington in Consultation with his Officers Previous to a General Engagement (Newcastle upon Tyne, Laing A.G.), was begun in Spain in 1813 during the Peninsular War and was finished in 1816. The engraving, which was intended to ensure Heaphy's fortune, was not released until 1822, by which time interest in the war had waned. Heaphy failed to finish his Battle of Waterloo (1816; untraced), another panoramic multiple portrait. Heaphy's other speciality, paintings of ports, markets, tradespeople and labourers, brought him great popularity between 1807 and 1811.
John William Waterhouse
English Pre-Raphaelite Painter, 1849-1917 English painter. His father was a minor English painter working in Rome. Waterhouse entered the Royal Academy Schools in London in 1870. He exhibited at the Society of British Artists from 1872 and at the Royal Academy from 1874. From 1877 to the 1880s he regularly travelled abroad, particularly to Italy. In the early 1870s he had produced a few uncharacteristic Orientalist keepsake paintings, but most of his works in this period are scenes from ancient history or classical genre subjects, similar to the work of Lawrence Alma-Tadema (e.g. Consulting the Oracle, c. 1882; London, Tate). However, Waterhouse consistently painted on a larger scale than Alma-Tadema. His brushwork is bolder, his sunlight casts harsher shadows and his history paintings are more dramatic.
Richard Earlom
English Printmaker, 1743-1822,English printmaker. Taught by Giovanni Battista Cipriani, he worked in mezzotint, etching and occasionally stipple. His mezzotints of flowers and still-lifes, such as Roses for the Temple of Flora (1805) by Robert John Thornton (?1768-1837) or the Fruit Piece (see Wessely, no. 145) after Jan van Huysum, are also found printed in colours or coloured by hand. Earlom's most influential prints were a set of outline etchings combined with mezzotint of the volume, then belonging to the Dukes of Devonshire, of Claude's drawings of his own landscape paintings