British 1697-1764 William Hogarth Galleries Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride" and this shows the stupidity of people in following the crowd in buying stock in The South Sea Company, which spent more time issuing stock than anything else. The people are scattered around the picture with a real sense of disorder, which represented the confusion. The progress of the well dressed people towards the ride in the middle shows how foolish some people could be, which is not entirely their own fault. Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington's prot??g??, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly, and are among his best book illustrations. In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera. One of his masterpieces of this period is the depiction of an amateur performance of John Dryden's The Indian Emperor, or The Conquest of Mexico (1732?C1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square. Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some modern authorities, however, no longer attribute this to Hogarth).  Related Paintings of William Hogarth :. | christ at the pool of bethesda | Prodigal son in prison | Wen was the Bishop of Sterling | Moses vor der Tochter des Pharao's | Der Lebensweg eines Wustlings |
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Francois Desportes
1661-1743 Francois Desportes Locations French painter. He is best known for his hunting scenes and paintings of animals. Desportes, who began as a portrait painter, was among the first to paint landscapes from nature; for that practice he was held to be eccentric. His works are in the tradition of careful realism of Flemish still-life paintings. The Louvre and the Wallace Collection, London, have examples of his work.
Claude Monet
French Impressionist Painter, 1840-1926 Claude Oscar Monet (14 November 1840 C 5 December 1926) was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term Impressionism is derived from the title of his painting. Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the ninth arrondissement of Paris . He was the second son of Claude-Adolphe and Louise-Justine Aubree Monet, both of them second-generation Parisians. On 20 May 1841, he was baptised into the local church parish, Notre-Dame-de-Lorette as Oscar-Claude. In 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the family grocery store business, but Claude Monet wanted to become an artist. His mother was a singer. On the first of April 1851, Monet entered the Le Havre secondary school of the arts. He first became known locally for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a former student of Jacques-Louis David. On the beaches of Normandy in about 1856/1857 he met fellow artist Eugene Boudin who became his mentor and taught him to use oil paints. Boudin taught Monet "en plein air" (outdoor) techniques for painting. On 28 January 1857 his mother died. He was 16 years old when he left school, and went to live with his widowed childless aunt, Marie-Jeanne Lecadre. After several difficult months following the death of Camille on 5 September 1879, a grief-stricken Monet (resolving never to be mired in poverty again) began in earnest to create some of his best paintings of the 19th century. During the early 1880s Monet painted several groups of landscapes and seascapes in what he considered to be campaigns to document the French countryside. His extensive campaigns evolved into his series' paintings. Camille Monet had become ill with tuberculosis in 1876. Pregnant with her second child she gave birth to Michel Monet in March 1878. In 1878 the Monets temporarily moved into the home of Ernest Hosched, (1837-1891), a wealthy department store owner and patron of the arts. Both families then shared a house in Vetheuil during the summer. After her husband (Ernest Hoschede) became bankrupt, and left in 1878 for Belgium, in September 1879, and while Monet continued to live in the house in Vetheuil; Alice Hosched helped Monet to raise his two sons, Jean and Michel, by taking them to Paris to live alongside her own six children. They were Blanche, Germaine, Suzanne, Marthe, Jean-Pierre, and Jacques. In the spring of 1880 Alice Hosched and all the children left Paris and rejoined Monet still living in the house in Vetheuil. In 1881 all of them moved to Poissy which Monet hated. From the doorway of the little train between Vernon and Gasny he discovered Giverny. In April 1883 they moved to Vernon, then to a house in Giverny, Eure, in Upper Normandy, where he planted a large garden where he painted for much of the rest of his life. Following the death of her estranged husband, Alice Hosched married Claude Monet in 1892.
Pradilla, Francisco
Spanish, 1848-1921 Spanish painter and museum official. He first studied in Saragossa with the stage designer Mariano Pescador (d 1886), and in 1866 moved to Madrid where he began to work with the stage designers and decorators Ferri and Busato. He entered the Escuela Superior de Pintura, Escultura y Grabado and also attended the Academia de Acuarelistas. In 1873 Pradilla and his fellow student Casto Plasencia (1846-90) won history painting scholarships to study at the newly founded Academia Espaola de Bellas Artes in Rome. In 1874 he sent from Rome a copy of Raphael's Dispute over the Holy Sacrament, a work Pradilla completed in collaboration with Alejandro Ferrant (b 1844), another Spanish scholarship holder. During Pradilla's second and third years abroad he travelled through France, visiting the Paris Exposition Universelle of 1875, and Italy, where he was particularly impressed by Venice and the works of Veronese, Titian and Jacopo Tintoretto. Pradilla won a major prize in 1878 at the Exposicien Nacional de Bellas Artes in Madrid; as a result of this success he received the commission for another large picture on a historical theme, the Surrender of Granada (1882; in situ) for the Palacio del Senado (now Pal. de las Cortes) in Madrid. This work shows Pradilla's concern to paint from life in his treatment of the landscape of Granada. He produced other paintings on related subjects, including Mad Queen Joanna Imprisoned at Tordesillas (priv. col., see Pardo Canalis, pl. xviii) and the Sigh of the Moor (Madrid, Rodriguez Bauze priv. col., Pardo Canalis, pl. xvii). Pradilla also painted lively scenes of local life and colour. The years of his stay in Rome, where he was director of the Academia Espa?ola between 1881 and 1883,