Albert Bierstadt
Albert Bierstadt's Oil Paintings
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Jan 8, 1830 - Feb 18, 1902. German-American painter.

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Anicet-Charles-Gabriel Lemonnier
In the Salon of Madame Geoffrin in 1755

ID: 44051

Anicet-Charles-Gabriel Lemonnier In the Salon of Madame Geoffrin in 1755
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Anicet-Charles-Gabriel Lemonnier In the Salon of Madame Geoffrin in 1755


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Anicet-Charles-Gabriel Lemonnier

French Painter, 1743-1824  Related Paintings of Anicet-Charles-Gabriel Lemonnier :. | Portrait of Frederik Rihel on Horseback | Young Woman with a Water Jug | Guidoriccio da Ffogliano (mk08) | Portrait of Octavie Sennegon, the artist's niece | Abstract |
Related Artists:
Metcalf, Willard Leroy
American Impressionist Painter, 1858-1925 American painter and illustrator. His formal education was limited, and at 17 he was apprenticed to the painter George Loring Brown of Boston. He was one of the first scholarship students admitted to the school of art sponsored by the Museum of Fine Arts, Boston, and took classes there in 1877 and 1878. After spending several years illustrating magazine articles on the Zuni Indians of New Mexico, he decided to study abroad and in 1883 left for Paris. There he studied at the Acad?mie Julian under Jules Lefebvre and Gustave Boulanger. During the five years he spent in France he became intimately acquainted with the countryside around the villages of Grez-sur-Loing and Giverny. He returned to America in 1888
CIMA da Conegliano
Italian Painter, ca.1459-1517 Italian painter. He belonged to the generation between Giovanni Bellini and Giorgione and was one of the leading painters of early Renaissance Venice. His major works, several of which are signed, are almost all church altarpieces, usually depicting the Virgin and Child enthroned with saints; he also produced a large number of smaller half-length Madonnas. His autograph paintings are executed with great sensitivity and consummate craftsmanship. Fundamental to his artistic formation was the style that Bellini had evolved by the 1470s and 1480s; other important influences were Antonello da Messina and Alvise Vivarini. Although Cima was always capable of modest innovation, his style did not undergo any radical alteration during a career of some 30 years, and his response to the growing taste for Giorgionesque works from the early 16th century remained superficial. He seems to have maintained a sizeable workshop,
Peter Isaacz







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