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 :. | There are rock scenery | View through a Window,Eragny | Pang plans scenery Schwarz | Pang plans go way oise | The Road to Versailles |
Related Artists:
William Strang
British Painter, 1859-1921,Scottish painter and printmaker. Following a brief apprenticeship with a shipbuilding firm in Clydesdale, he entered the Slade School of Art (1876) where he adhered to the uncompromising realism advocated by his teacher Alphonse Legros. After completing his studies at the Slade (1880), Strang became Legros's assistant in the printmaking class for a year. For the next 20 years he worked primarily as an etcher. His etchings include landscapes in the tradition of Rembrandt, pastoral themes indebted to Giorgione and macabre genre subjects, marked by a sense of tension and suspended animation. He also etched 150 portraits of leading artistic and literary figures. The commitment to realism and psychological intensity that characterizes the best of Strang's etched work is also evident in the paintings that dominated the latter half of his career. The influence of the Belgian and French Symbolists' work and Strang's growing confidence in the handling of colour combined in his mature style with a linear clarity and schematic colouring that is best seen in such works as Bank Holiday (1912; London, Tate). His oil portraits, for example Vita Sackville-West as Lady In a Red Hat (1918; Glasgow, A.G. & Mus.), are strikingly potent images of their time. An important collection of Strang's graphic work is in the Art Gallery and Museum in Glasgow.
Guido da Siena
Italian Byzantine Style Painter, 13th Century He may have made significant advances in the techniques of painting, much as Cimabue much later accomplished. However, there is some debate about this. Guido is primarily known for a painting which is now split into several pieces. The church of S. Domenico in Siena contains a large painting of the Virgin and Child Enthroned with six angels above. The Benedictine convent of the same city has a triangular pinnacle representing the Saviour in benediction, with two angels. This was once a portion of the same composition, which was originally a triptych. The principal section of this picture has a rhymed Latin inscription, giving the painter's name as Guido de Senis, with the date 1221. However, this may not be genuine, and the date may really read as 1281. There is nothing particular to distinguish this painting from other work of the same period except that the heads of the Virgin and Child are much superior ?C in natural character and graceful dignity ?C to anything painted before Cimabue. As a result, there is some dispute as to whether these heads are really the work of a man who painted in 1221, long before Cimabue. Crowe and Cavalcaselle have proposed that the heads were repainted in the 14th century, perhaps by Ugolino da Siena. If Crowe and Cavalcaselle are right, Cimabue maintains his claim to the advancement of the art. Beyond this, little is known of Guido da Siena. A picture in the Academy of Siena is attributed to him (a half-figure of the Virgin and Child, with two angels), which dates (probably) between 1250 and 1300.
Joseph Ducreux
1735-1802 French French painter, pastellist and engraver. He lived in Paris from 1760 and from 1762 kept a list of his works. Among the portraits he completed in his early years were those in pastel of the well-known connoisseurs Pierre-Jean Mariette, the Comte de Caylus and Ange-Laurent de la Live de July (all untraced), which apparently were copies after Maurice-Quentin de La Tour. Ducreux has traditionally been seen as de La Tour favourite pupil, while Jean-Baptiste Greuze is supposed to have initiated him into oil painting. From his age, it can be assumed that by the time Ducreux reached Paris he had already acquired a grounding in his art.