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 :. | market | Leads to the loose multi tile this lucky Shao road | Pang plans scenery Schwarz | Road to Port-Marly Route de Port-Marly | The Harvest |
Related Artists:
Olga Boznanska
Krakow 1865-1940 Paris,Polish painter. She took drawing lessons at home from the age of nine and began regular studies in 1883 under the portrait painter Kazimierz Pochwalski (1855-1940). She continued her training in 1884-5 at the Adam Baraniecki School of Art, the only school in Krakew accessible to women at that time. She went to Munich for further study, working in the studio of Carl Kricheldorf (b 1863) in 1886-7, and in that of Wilhelm Derr (1857-1900) in 1888. In 1889 she participated in the Internationale Kunstausstellung in Munich and opened her own studio, which over the next decade became a meeting-place for students. In 1895 she ran a private school of painting founded by Professor Theodor Humml (1864-1939).
Charles conder
English-born Australian Painter, 1868-1909 English painter, active in Australia and France. He was sent to Australia in 1884 to learn surveying under his uncle W. J. Conder. After about two years in survey camps, he attended evening classes at the Royal Art Society, Sydney; in 1887 he worked as a lithographic draughtsman for the Illustrated Sydney News. Tom Roberts, then in Sydney on a visit from Melbourne, was among the open-air landscape painters that he knew at this time. He taught Conder some of the principles of Impressionism, such as truth to the momentary effect of light and to colour values, and the rejection of the academic ideal of high finish. The most important painting of Conder's Sydney years, the Departure of the 'SS Orient' from Circular Quay, 1888 (1888; Sydney, A.G. NSW), already showed a distinct personal style, combining humour with nostalgia and selective observation with decorative finesse of handling and design. In December 1888 Conder joined Roberts and Arthur Streeton in Melbourne. During the following summers they painted together at the outer suburbs of Mentone, Box Hill and Eaglemont
CORNEILLE DE LYON
Dutch-born French Northern Renaissance Painter, 1500-1575 Dutch painter, active in France. It is uncertain whether he was apprenticed in his native city of The Hague or in Antwerp, and nothing is known of him before 1533, when he was recorded in Lyon. It was possibly in the same year, while the French court was resident in Lyon, that Corneille was made painter to Queen Eleanor, the second wife of Francis I. In 1541 Corneille was painter to the Dauphin (later Henry II), and when the new king succeeded to the throne (1547) and made his state entry into Lyon in 1548, Corneille became Peintre du Roi. Corneille had obtained his naturalization papers in December 1547 and retained French nationality for the rest of his life. He married Marguerite Fradin, the daughter of a Lyon printer of some importance, and this allowed him to enter Lyon society. His studio was extremely prosperous until c. 1565, the year he is known to have visited Antwerp, but disappeared completely after his death despite the fact that he founded a dynasty of painters. His sons Corneille de La Haye II (b 1543) and Jacques de La Haye and his daughter Cl?mence de La Haye were all painters, and the family continued to be known for its artists until the 18th century. Corneille de Lyon was a Protestant, like all those in the circles in which he moved, and it may be that the decline of his fortunes in the 1560s