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 :. | Alfred Sisley and His wife | Banana Plantation | Pont-Neuf | Mademoiselle Romaine Lacaux | Le Moulin de la Galette |
Related Artists:
Carl Johan Fahlcrantz
Swedish, 1774-1861, Swedish painter. He began his artistic training in Stockholm as a pupil of the theatre painters J. G. Brusell and E. Limnell (1764-1861). He also studied under the French landscape painter Louis Belanger (1736-1816). In 1805 he was awarded a scholarship to go to Italy, but he preferred to use it to travel within Sweden, as this corresponded more with his interest in painting his native landscape in a National Romantic style. Fahlcrantz settled permanently in Sweden, never travelling outside the Nordic countries. In 1819 he became a professor at the Royal Academy of Arts in Stockholm and in the 1820s Karl XIV commissioned a series of major works from him. Oscar I followed suit, as did numerous other buyers inside and outside Sweden. In this way, Fahlcrantz's paintings were distributed as far as Denmark, Bavaria, Russia and America.
Jean-Auguste-Dominique Ingres
1780-1867 French painter. He was the last grand champion of the French classical tradition of history painting. He was traditionally presented as the opposing force to Delacroix in the early 19th-century confrontation of Neo-classicism and Romanticism, but subsequent assessment has shown the degree to which Ingres, like Neo-classicism, is a manifestation of the Romantic spirit permeating the age. The chronology of Ingres's work is complicated by his obsessive perfectionism, which resulted in multiple versions of a subject and revisions of the original.
Quentin Matsys
Flemish Northern Renaissance Painter, ca.1465-1530,Flemish painter. After studying in Louvain, he moved to Antwerp by 1491, remaining in that city throughout his life. Influences of Italian art, especially of Leonardo da Vinci, may be seen in his work, particularly in the delicate modeling, the subtle nuances of tone, and in the adoption of Leonardo's grotesque head studies for such pictures as The Old Man (Jacquemart-Andre Mus., Paris) and Ugly Duchess (National Gall., London). Massys sought inspiration also in works of earlier Flemish artists, especially of Jan van Eyck. The combined Flemish and Italian influences aided Massys in evolving a calm and measured style, with solid figures and soft textures. He developed a type of portraiture in which the sitter was placed against an appropriate background, as in his painting of St. Erasmus surrounded by books and papers (National Gall., Rome). There are religious subjects and portraits by Massys in the museums of Munich, Brussels, Antwerp, Chicago, and Philadelphia. Quentin's son, Jan Massys, c.1509?C1575, painted satirical and later more elegant works under French influence. Judith (Mus. of Fine Arts, Boston) is characteristic. Another son, Cornelis Massys, d. after 1560, was a landscape painter and engraver.