Caribbean-born French Pointillist/Impressionist Painter, ca.1830-1903 .Painter and printmaker. He was the only painter to exhibit in all eight of the Impressionist exhibitions held between 1874 and 1886, and he is often regarded as the 'father' of the movement. He was by no means narrow in outlook, however, and throughout his life remained as radical in artistic matters as he was in politics. Thad?e Natanson wrote in 1948: 'Nothing of novelty or of excellence appeared that Pissarro had not been among the first, if not the very first, to discern and to defend.' The significance of Pissarro's work is in the balance maintained between tradition and the avant-garde. Octave Mirbeau commented: 'M. Camille Pissarro has shown himself to be a revolutionary by renewing the art of painting in a purely working sense;  Related Paintings of Camille Pissarro :. | Schwarz slopes Metaponto | Vegetable Garden at the Hermitage near Pontoise | Farmland landscape | Winter Landscape | Pang plans scenery Schwarz |
Related Artists:
Wilhelm Marstrand
(24 December 1810 - 25 March 1873), painter and illustrator, was born in Copenhagen, Denmark to Nicolai Jacob Marstrand, instrument maker and inventor, and Petra Othilia Smith. Marstrand is one of the most renowned artists belonging to the Golden Age of Danish Painting. Marstrand studied at Copenhagen's Metropolitan School (Metropolitanskolen), but had little interest in books, and left around 16 years of age. Christoffer Wilhelm Eckersberg, painter and professor at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in Copenhagen, was a close friend of Wilhelm's father, and it was to all appearance Eckersberg who recommended an artistic career for young Wilhelm. Wilhelm had already shown artistic talent, tackling difficult subjects such as group scenes with many figures and complicated composition. At 16 years of age Marstrand thus began his studies at the Academy under Eckersberg, attending the school from 1826 to 1833. Although his interests had a firm hold in genre themes - depiction of the daily life he observed around him in Copenhagen's streets, especially middle class society - he would soon reach for the pinnacle of Academic acceptability: the history painting. History painting displayed what was grand - classical themes from mythology and history, rather than daily life. The traditions, and the taste of traditional art critics, strongly favored it. It was therefore something to strive for, in spite of Marstrand's equal skill at depicting more modest themes, and of the enjoyment he had in portraying the crowds, the diversions of the city, and the humor and story behind the hustle and bustle. Marstrand's creative production would, through many paintings and illustrations made not only during the 1830s but throughout his life, never abandon this inclination toward displaying the simple life of his times. At the same time Christian Waagepetersen, wine merchant to the Danish court and supporter of the arts, also became an important patron for Marstrand during this early period. His painting "A musical evening party" (Et musikalsk aftenselskab) (1834), depicts such an occasion at the home of Waagepetersen, and was an important transition painting for Marstrand. Despite an unmistakably growing recognition, Marstrand never received the Academy's gold medal. This medal was coveted not only for its great prestige, but also because it came with a travel stipend for furthering the laureate's artistic training. Marstrand's attempts at winning the medal were unsuccessful both in 1833 with his neoclassical "Flight to Egypt" (Flugten til Ægypten) and in 1835 with "Odysseus and Nausikaa". This was a disappointment, as he had won both available silver medals in 1833.
Joannes Fijt
(15 March 1611 - 11 September 1661) was a Flemish Baroque animal painter and etcher. Fyt was born in Antwerp, where he was baptized on 15 June 1611, he was registered in 1621 as apprentice to Hans van den Berghe, who was a restorer of old pictures rather than a painter of new ones. Fyt then trained with Frans Snyders between about 1629-31, during which time, at the age of twenty, he entered the guild of St Luke as a master. From then until his death in 1661, he produced a vast number of paintings in which the bold facility of Frans Snyders is united to the powerful effects of Rembrandt, and harmonies of gorgeous tone are not less conspicuous than freedom of touch and a true semblance of nature. He left Antwerp for Paris in 1633, travelling on to Italy the following year, where he worked in Venice and probably visited Rome (as he later joined the Guild of Romanists back in Antwerp). By 1641 he was back in Antwerp, where he married in 1654. Hunting trophiesFyt excelled in the rendering of animal life in its most varied forms. He may have been less correct in outline, less bold in action than Snyders, but he was much more skilful and more true in the reproduction of the coat of deer, dogs, greyhounds, hares and monkeys, whilst in realizing the plumage of peacocks, woodcocks, ducks, hawks, and cocks and hens, he had no equal, nor was any artist even of the Dutch school more effective in relieving his compositions with accessories of tinted cloth, porcelain ware, vases and fruit. He was not clever at figures, and he sometimes trusted for these to the co-operation of Cornelius Schut or Thomas Willeboirts Bosschaert, whilst his architectural backgrounds were sometimes executed by Quellyn. Silenus amongst Fruit and Flowers, in the Harrach collection at Vienna, Diana and her Nymphs with the Produce of the Chase, in the Belvedere at Vienna, and Dead Game and Fruit in front of a Triumphal Arch, belonging to Baron von Rothschild at Vienna, are specimens of the co-operation respectively of Schut, Willeborts and Quellyn. They are also Fyt's masterpieces. The earliest dated work of the master is a cat grabbing at a piece of dead poultry near a hare and birds, belonging to Baron Cetto at Munich, and executed in 1644. The latest is a Dead Snipe with Ducks, of 1660, sold with the Jäger collection at Cologne in 1871. Great power is shown in the bear and boar hunts at Munich and Ravensworth castle. A Hunted Roedeer with Dogs in the Water, in the Berlin Museum, has some of the life and more of the roughness of Snyders, but lacks variety of tint and finish. A splendid specimen is the Page and Parrot near a table covered with game, guarded by a dog staring at a monkey, in the Wallace collection. With the needle and the brush Fyt was equally clever. He etched 16 plates, and those representing dogs are of their kind unique.
Nathan Webb
1767-1853