Dutch Impressionist Painter, 1819-1891
was a Dutch painter and printmaker regarded as a forerunner of Impressionism who influenced Claude Monet. Jongkind was born in the town of Lattrop in the Overijssel province of the Netherlands near the border with Germany. Trained at the art academy in The Hague, in 1846 he moved to the Montmartre quarter of Paris, France where he studied under Eugene Isabey and Francois-Edouard Picot. Two years later, the Paris Salon accepted his work for its exhibition, and he received acclaim from critic Charles Baudelaire and later on from Emile Zola. Jongkind was to experience little success, however, and he suffered bouts of depression complicated by alcoholism. Jongkind returned to live in Rotterdam in 1855, and remained there until 1860. Back in Paris, in 1861 he rented a studio on the rue de Chevreuse in Montparnasse where some of his paintings began to show glimpses of the Impressionist style to come. In 1862 he befriended the young Claude Monet who later referred to Jongkind as the "master." The following year Jongkind exhibited at the first Salon des Refus's. Despite several successes, in another of his down periods the Impressionist group did not accept his work for their first exhibition in 1874. Related Paintings of Johan Barthold Jongkind :. | The Port of Rotterdam | Overschie in the Moonlight | Rue Notre-Dame, Paris | Quai a Honfleur | Houses along a Canal near Crooswijk | Related Artists:
Giovanni Battista PaggiItalian Baroque Era Painter, 1554-1627
Italian painter and theorist. As the son of a newly inscribed nobleman, he received a Renaissance gentleman's education, but as an artist he was it seems self-taught, despite the encouragement of Luca Cambiaso. The gentleman who then set up as a painter was obliged to give his work to patrons, sometimes expecting future remuneration; but when one patron reneged on payment in 1581, Paggi mortally wounded him and was banished from Genoa. He was given protection by Francesco I de' Medici, Grand Duke of Tuscany, and settled in Florence. A fresco of St Catherine Converting Two Criminals (1582), painted for Niccol? Gaddi's family chapel at S Maria Novella and thoroughly Florentine in manner, established Paggi's reputation at the Medici court. He painted ephemeral decorations, portraits (all untraced) and altarpieces for many Florentine churches and for the cathedrals of San Gimignano (c. 1590), Pistoia (1591-3) and Lucca (1597-8), having his studio in a house owned by Federico Zuccaro.
John PettieBritish Painter, 1839-1893
He was brought up in Edinburgh and East Lothian, and in 1855 he entered the schools of the Trustees' Academy, Edinburgh, sponsored by the history painter James Drummond (1816-77). He studied under Robert Scott Lauder, and among his fellow students were WILLIAM QUILLER ORCHARDSON, Thomas Graham (1840-1906), George Paul Chalmers (1833-78), John Burr (1831-93) and John MacWhirter, several of whom later became part of Pettie's circle of Scottish artist friends in London. Pettie first exhibited at the Royal Scottish Academy in 1858 with In Trabois House (untraced), a scene from Sir Walter Scott's The Fortunes of Nigel, and he began sending work to the Royal Academy in 1860. From 1858 he provided illustrations for the periodical Good Words, and, encouraged by the reviews received for his early Royal Academy exhibits, such as The Armourers (exh. RA 1860) and What D'Ye Lack' (exh. RA 1861), when Good Words transferred its headquarters, Pettie moved to London in 1862. He shared a studio in Fitzroy Square with Orchardson and Graham from 1863 until his marriage to Elizabeth Ann Bossom on 25 August 1865. He subsequently lived at various addresses, gravitating towards the wealthy artistic colony in St John's Wood, where in 1882, at 2 Fitzjohn's Avenue, he built a neo-Georgian house and studio, The Lothians (destr.). This reflected not only the professional circle in which Pettie moved but also the rapid financial success that he achieved in London. From the mid-1860s his most important patron was John Newton Mappin, founder of the Mappin Art Gallery,
Philippe RousseauParis 1816 - Acquigny 1887.
French Painter.
French Painter. French painter. He may have received his artistic training in the studios of Gros and Jean-Victor Bertin, since he credited them as his masters when he exhibited at the Salon. He began exhibiting in 1834 with a View of Normandy (untraced) and for the next six Salons he exhibited landscapes. In 1844 he began to show still-lifes. In 1845 he was awarded a third-class medal, and in 1847 his still-lifes were admired by Th?ophile Thor?, who was one of the earliest critics to recognize Rousseau's debt to Chardin. This influence became the subject for his 1867 Salon entry, Chardin and his Models (untraced, see McCoubrey, no. 15). The work is far grander and more cluttered in its conception than most still-lifes by Chardin and alludes to the master by faithfully reproducing some of his favourite objects within a traditional table-top format rather than by an analysis of his compositional devices.