French Impressionist Painter, 1841-1927 French painter and lithographer. He grew up in Moulins, but at 16 he returned to Paris to find work. Despite the opposition of his working-class family, he prepared for an artistic career while he supported himself in municipal jobs. He started drawing classes and then enrolled in the Academie Suisse, where he met Cezanne and Camille Pissarro. Guillaumin began his career as an avant-garde artist by exhibiting with them at the Salon des Refus's in 1863.  Related Paintings of Armand guillaumin :. | View of Agay | Paysage de neige a Crozant | Landscape in Normandy | Self-Portrait (san36) | Still life Flowers |
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BELLE-CHOSE, Henri
Flemish Gothic Era Painter, active ca.1415-1440 South Netherlandish painter. He was one of the artists who came from the South Netherlands to work for the French royal family. On 23 May 1415 he succeeded Jean Malouel as court painter and Valet de Chambre to John the Fearless, Duke of Burgundy, in Dijon, and he may already have been connected with Malouel's workshop. On 5 November 1415 Bellechose was paid for painting four small wooden pillars with angels, which were placed around the high altar of Notre-Dame, Dijon. On 19 May 1416 the duke authorized the purchase of materials for Bellechose to complete two panels, one of the Martyrdom of St Denis and another showing the Death of the Virgin, for the Charterhouse of Champmol. Bellechose also carried out decorative work, including painting banners for the Duke's castle of Talant near Dijon in 1416 and coats of arms for the funeral of John the Fearless in 1419. On 5 April 1420 Bellechose was appointed court painter to Philip the Good, successor to John the Fearless. His first known commissions were again of a decorative nature, including work for the funerals of Margaret of Bavaria, wife of John the Fearless, in 1423 and of Catherine of Burgundy, daughter of an earlier Duke of Burgundy, Philip the Bold, in 1425 and for the marriage of Philip the Good's sister Agnes of Burgundy in 1424. During these years he had eight assistants and two apprentices; travelling artists, including some from German territory, also worked in his shop on a temporary basis. Around this time he married Alixant Lebon, daughter of a Dijon notary. On 21 November 1425 Philip the Good ordered an altarpiece of the Virgin venerated by John the Fearless and Philip the Good, accompanied by SS John the Evangelist and Claude, for the chapel of the castle at Saulx-le-Duc in Burgundy. Bellechose painted three statues for the new entrance gate to the palace in Dijon in 1426. In August 1429 he received an important commission for St Michel, Dijon, to make an altarpiece with Christ and the Twelve Apostles and an antependium showing the Annunciation. Exactly a year later his name appears for the last time in the ducal accounts.
Ljubov Popova
Russian Constructivist Painter and Designer, 1889-1924 Through a synthesis of styles Popova worked towards what she termed painterly architectonics. Exploring firstly Impressionism, by 1913, in Composition with Figures, she was experimenting with the particularly Russian development of Cubo-Futurism: a fusion of two equal influences from France and Italy. Portrait of a Philosopher (Artists's brother, Pavel Sergeyevich Popov), 1915From 1914-1915 her Moscow home became the meeting-place for artists and writers. In 1914-1916 Popova together with other avant-garde artists (Aleksandra Ekster, Nadezhda Udaltsova, Olga Rozanova) contributed to the two Jack of Diamonds exhibitions, then in Petrograd Tramway V and the 0.10, The Store in Moscow. In 1916 she joined the Supremus group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others who at this time worked in Verbovka Village Folk Centre. However there was a tension between those who like Malevich saw art as a spiritual quest and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the early aims of the Revolution working in poster, book design, fabric and theatre design, as well as teaching. Her painting The Violin of 1914 reveals the development from cubism towards the "painterly architectonics" of 1917- 1918. Before joining the Supremus group her paintings, the architectonic series defined her artistic trajectory, quite distinct from that of Malevich, Rozanova, Tatlin and Mondrian, in abstract form. The canvas surface is an energy field of overlapping and intersecting angular planes in a constant state of potential release. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. By 1918 colour is used as the iconic focus; the strong primary colour at the centre drawing the outer shapes together. In 1918 Popova married von Eding, and gave birth to a son, but von Eding died the following year of typhoid fever. She worked on Agitprop designs, and in 1919 she contributed to Tenth State Exhibition: Non Objective Creativity and Suprematism. She painted more advanced abstract works in 1919-21. In 1921 she exhibited in the 5 x 5 Exhibition. From 1921-24 Popova became active in Constructivist projects, sometimes in collaboration with the architect Alexander Vesnin. She was active in stage designs: Vsevolod Meyerhold's production of Fernand Crommeldynck's The Magnanamous Cuckold, 1922; and in teaching: Spatial Force Constructions were used as the basis of an art teaching theory. She designed typography of books, production art and textiles, and contributed designs for dresses to LEF. Popova died in Moscow. A large exhibition of her work opened in Moscow on 21 December 1924.
Joseph-Benoit Suvee
(3 January 1743 - 9 February 1807) was a Flemish painter strongly influenced by French neo-classicism. He was born in Bruges. Initially a pupil of Matthias de Visch, he came to France aged 19 and became a pupil of Jean-Jacques Bachelier. In 1771, he won the Prix de Rome. In Rome from 1772 to 1778, he prolonged the usual duration allowed to pensionaries of the French Academy in Rome. He was named an academician on his return to Paris and he opened an art school for young women at the Louvre. He emulated and competed with Jacques-Louis David, earning his enduring hatred. Named the French Academy in Rome's director in 1792, replacing François-Guillaume Menageot, he was imprisoned for a while in the Prison Saint-Lazare and only able to take up the post in 1801. After a brilliant career, and a six years' stay in Rome as the Academy's Director, he died there suddenly. His works include Achilles depositing the body of Hector at the feet of the body of Patroclus, (1769, Louvre), and Cornelia, mother of the Gracchi, (1795, Louvre).