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 :. | Claude Monet Painting in His Garden at Argenteuil, | Child with a Whip | Girl With a Hoop, | Gabrielle with Jewels | Mosque |
Related Artists:
Sir John Lavery
Irish Painter, 1856-1941 Irish painter. The son of an unsuccessful publican, he was orphaned at the age of three and was brought up by relatives, initially in the north of Ireland and then in Ayrshire. He became an apprentice retoucher to a Glasgow photographer and attended the Haldane Academy, Glasgow, in the 1870s. After spending a winter term at Heatherley's School of Art, London, he moved in 1881 to Paris where he studied at the Acad?mie Julian. At this time he was influenced by Jules Bastien-Lepage and painted in a plein-air naturalist style
Sir Peter Lely
1618-1680 Dutch (Resident In UK) Sir Peter Lely Art Locations Sir Peter Lely (14 September 1618 - 30 November 1680) was a painter of Dutch origin. He was the most popular portrait artist in England from soon after he arrived in the country in the 1640s to his death. He also owned a major collection of art, especially drawings by other artists. Lely was born Pieter van der Faes to Dutch parents in Soest in Westphalia,[1] where his father was an officer serving in the armed forces of the Elector of Brandenburg. Lely studied painting in Haarlem, where he may have been apprenticed to Pieter de Grebber. He become a master of the Guild of Saint Luke in Haarlem in 1637. He is reputed to have adopted the surname "Lely" (also occasionally spelled Lilly) from a heraldic lily on the gable of the house where his father was born in The Hague. He arrived in London in around 1641. His early English paintings, mainly mythological or religious scenes, or portraits set in a pastoral landscape, show influences from Anthony van Dyck and the Dutch baroque. Lely's portraits were well received, and he succeeded Anthony van Dyck as the most fashionable portrait artist in England. He became a freeman of the Painter-Stainers' Company in 1647 and was portrait artist to Charles I, but his talent ensured that his career was uninterrupted by Charles's execution, and he served Oliver Cromwell, whom he painted "warts and all", and Richard Cromwell. In the years around 1650 the poet Sir Richard Lovelace wrote two poems about Lely ?? Peinture and "See what a clouded majesty...." Two ladies from the Lake family, 1650. Held by the Tate Gallery.[1]After the English Restoration in 1660, Lely was appointed as Charles II's Principal Painter in Ordinary in 1661, with a stipend of £200 per year, as Van Dyck had enjoyed in the previous Stuart reign. Lely became a naturalised British subject in 1662. Demand was high, and Lely and his school were prolific. After Lely painted a sitter's head, Lely's pupils would often complete the portrait in one of a series of numbered poses. As a result Lely is the first English painter who has left "an enormous mass of work." Among his most famous paintings are a series of 10 portraits of ladies from the Royal court, known as the "Windsor Beauties", formerly at Windsor Castle but now at Hampton Court Palace; a similar series for Althorp; a series of 12 of the admirals and captains who fought in the Second Anglo-Dutch War, known as the "Flagmen of Lowestoft", now mostly owned by the National Maritime Museum in Greenwich; and his Susannah and the Elders at Burghley House. His most famous non-portrait work is probably Nymphs by a fountain in Dulwich Picture Gallery. Lely played a significant role in introducing the mezzotint to Britain, as he realized its possibilities for publicising his portraits. He encouraged Dutch mezzotinters to come to Britain to copy his work, laying the foundations for the English mezzotint tradition. Lely was knighted in 1680. He died soon afterwards at his easel in Covent Garden, while painting a portrait of the Duchess of Somerset. He was buried at St Paul's Church, Covent Garden. He collected Old Masters during his life, with examples by Veronese, Titian, Claude Lorrain and Rubens, and a fabulous collection of drawings. His collection was broken up and sold after his death, raising the immense sum of £26,000. Some items in it which had been acquired by Lely from the Commonwealth dispersal of Charles I's art collections, such as the Lely Venus, were re-acquired by the royal collection.
Sebastiano Conca
Italian Baroque Era Painter , 1680-1764 was an Italian painter. He was born at Gaeta, then part of the Kingdom of Naples, and apprenticed in Naples under Francesco Solimena. In 1706, along with his brother Giovanni, who acted as his assistant, he settled at Rome, where for several years he worked in chalk only, to improve his drawing. He was patronized by the Cardinal Ottoboni, who introduced him to Clement XI, who commissioned a well-received Jeremiah painted for the church of St. John Lateran. Conca was knighted by the pope. He collaborated with Carlo Maratta in the Coronation of Santa Cecilia in the namesake's church of Santa Cecilia in Trastevere (1721-24). He was elected in 1718 to the Accademia di San Luca and its director in 1729-1731 and 1739-1741. His painting was strongly influenced by the Baroque painter Luca Giordano. Among Conca's pupils were Pompeo Battoni, Andrea Casali, Placido Campoli, Corrado Giaquinto, Gaetano Lapis, Salvatore Monosilio, Literio Paladini, Drancesco Preziao, Rosalba Maria Salvioni, Gasparo Serenari, and Agostino Masucci, He received widespread official acclaim and patronage. He worked for a time for the Savoy family in Turin on the Oratory of San Filippo and Santa Teresa, in the Venaria (1721-1725), for Basilica di Superga (1726), and Royal Palace (1733). He painted frescoes of Probatica, or Pool of Siloam, in the Ospedale di Santa Maria della Scala (hospital) of Siena. In Genoa, he painted large allegorical canvases of the Palazzo Lomellini-Doria (1738-1740). In 1739, he published a guide to painting: Ammonimenti (or Admonishments), which blended moralistic advice with technique. He returned to Naples in 1752, and enjoyed the royal patronage of Charles III.