French Impressionist Painter, 1841-1919 French painter, printmaker and sculptor. He was one of the founders and leading exponents of IMPRESSIONISM from the late 1860s, producing some of the movement's most famous images of carefree leisure. He broke with his Impressionist colleagues to exhibit at the Salon from 1878, and from c. 1884 he adopted a more linear style indebted to the Old Masters. His critical reputation has suffered from the many minor works he produced during his later years.   Related Paintings of Pierre-Auguste Renoir :. | Pink and Blue - The Cahen d'Anvers Girls | La Fin du Dejeuner | Cauliflower and pomegranates | Bouquet de tulipes | Portrait of Claude Monet, |
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Gabrie Metsu
Gabriël Metsu (January 1629 - buried 24 October 1667) was a Dutch painter of history paintings, genre works and portraits. Metsu was the son of the Flemish painter Jacques Metsu (c.1588-1629), who lived most of his days at Leiden, and Jacomijntje Garniers, his third wife, whom he married in 1625. Jacomijntje was the widow of a painter with three children of her own. Two months after Gabriël's birth, his father died. According to Jacobus Houbraken, Metsu was taught by Gerard Dou, though his early works do not lend colour to this assertion. He was influenced by painters of Leiden such as Jan Steen, and later by Frans van Mieris the Elder. Metsu was registered among the first members of the painters' corporation at Leiden; and the books of the guild also tell us that he remained a member in 1649. In Leiden, it was alleged that Metsu left a brothel at six in the morning and took a prostitute to the Academy. In 1650 he ceased to subscribe, and works bearing his name and the date of 1653 support the belief that he had moved. Metsu was trained in Utrecht by Jan Baptist Weenix and Nicolaus Knepfer. The alley on Prinsengracht In Amsterdam Metsu lived in an alley on Prinsengracht, where he kept chickens. He got into an argument with a neighbor and moved to a house on the canal side, where a daily vegetable market was held. In 1658 he married Isabella de Wolff, whose father was a potter and mother a painter. The Speed Art Museum has a portrait of the couple. Pieter de Grebber, a religious painter from Haarlem, was her uncle.
James Walter Robert Linton
water-colourist ,English. 1869-1947 Australian silversmith, jeweller, woodworker and painter of English birth. His father was the watercolourist Sir James Dromgole Linton (1840-1916). Having trained as a painter and architect in London, he travelled to Western Australia in 1896 and began practising metalwork after settling in Perth; he was appointed head of the art department of Perth Technical School in 1902. Following a trip to London in 1907, when he attended classes at the Sir John Cass Technical Institute under Harold Stabler, he concentrated on producing metalwork. Working in partnership with Arthur Cross, William Andrews and his own son Jamie Linton (1904-80), he produced ecclesiastical and domestic wares, presentation pieces and jewellery. His designs were influenced by British Arts and Crafts metalwork and were bold and simple, with decoration generally confined to hammered surfaces, twisted wire, hardstones and enamels.
John George Brown
1831-1913 John George Brown Galleries John George Brown (November 11, 1831 - February 8, 1913), American painter, was born in Durham, England, on 11 November 1831. He studied at Newcastle-on-Tyne, in the Edinburgh Academy, and after moving to New York City in 1853, he studied with Thomas Seir Cummings at the schools of the National Academy of Design, of which he became a member in 1863.New International Encyclopedia He was its vice-president, 1899-1904, and originated the idea of the removal of the Academy to a new site in 110th Street. In 1866 he became one of the charter members of the Water-Color Society, of which he was president from 1887 to 1904. He generally confined himself to representations of street child life, bootblacks, newsboys, etc.; his Passing Show (Paris, Salon, 1877) and Street Boys at Play (Paris Exhibition, 1900) are good examples of his popular talent. Brown's art is best characterized as British genre paintings adapted to American subjects. Essentially literary, it is executed with precise detail, but is poor in color, and more popular with the general public than with connoisseurs.