Claude Monet
French Impressionist Painter, 1840-1926
Claude Oscar Monet (14 November 1840 C 5 December 1926) was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term Impressionism is derived from the title of his painting.
Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the ninth arrondissement of Paris . He was the second son of Claude-Adolphe and Louise-Justine Aubree Monet, both of them second-generation Parisians. On 20 May 1841, he was baptised into the local church parish, Notre-Dame-de-Lorette as Oscar-Claude. In 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the family grocery store business, but Claude Monet wanted to become an artist. His mother was a singer.
On the first of April 1851, Monet entered the Le Havre secondary school of the arts. He first became known locally for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a former student of Jacques-Louis David. On the beaches of Normandy in about 1856/1857 he met fellow artist Eugene Boudin who became his mentor and taught him to use oil paints. Boudin taught Monet "en plein air" (outdoor) techniques for painting.
On 28 January 1857 his mother died. He was 16 years old when he left school, and went to live with his widowed childless aunt, Marie-Jeanne Lecadre.
After several difficult months following the death of Camille on 5 September 1879, a grief-stricken Monet (resolving never to be mired in poverty again) began in earnest to create some of his best paintings of the 19th century. During the early 1880s Monet painted several groups of landscapes and seascapes in what he considered to be campaigns to document the French countryside. His extensive campaigns evolved into his series' paintings.
Camille Monet had become ill with tuberculosis in 1876. Pregnant with her second child she gave birth to Michel Monet in March 1878. In 1878 the Monets temporarily moved into the home of Ernest Hosched, (1837-1891), a wealthy department store owner and patron of the arts. Both families then shared a house in Vetheuil during the summer. After her husband (Ernest Hoschede) became bankrupt, and left in 1878 for Belgium, in September 1879, and while Monet continued to live in the house in Vetheuil; Alice Hosched helped Monet to raise his two sons, Jean and Michel, by taking them to Paris to live alongside her own six children. They were Blanche, Germaine, Suzanne, Marthe, Jean-Pierre, and Jacques. In the spring of 1880 Alice Hosched and all the children left Paris and rejoined Monet still living in the house in Vetheuil. In 1881 all of them moved to Poissy which Monet hated. From the doorway of the little train between Vernon and Gasny he discovered Giverny. In April 1883 they moved to Vernon, then to a house in Giverny, Eure, in Upper Normandy, where he planted a large garden where he painted for much of the rest of his life. Following the death of her estranged husband, Alice Hosched married Claude Monet in 1892.
Related Paintings of Claude Monet :. | The Red Boats Argenteuil (mk09) | View of Amsterdam | Le Pont de l-Europe | Customhouse,Varengeville | Nympheas | Related Artists: Ralph BartonAmerican Artist, 1891-1931
American Artist, 1891-1931,1921 Vanity Fair caricature; use cursor to identify figuresBarton's first caricature was of Thomas Hart Benton; his last, of Charlie Chaplin. In between he knew everyone and drew everyone in the social and culture scene of New York. Some of his most famous works were group drawings, and perhaps the most noted was a stage curtain created for a 1922 revue, depicting an "audience" of 139 faces looking back at the real theater-goers. "The effect was electrifying, and the applause was great," said another caricaturist of the era, Aline Fruhauf. He also directed a short film, Camille, described by an IMDB contributor as a "home movie version" of the Dumas novel with a cast of his many actor, artist, and other celebrity friends.This movie was made available as a bonus in a 2003 release of Chaplin's A Woman of Paris. At the height of his popularity, Barton enjoyed not only the acquaintance of the famous, but a solid and impressive income. All of this concealed a terribly unhappy life. He was beset by manic-depressive disorder, and each of his four marriages ended in divorce. A self-portrait, painted around 1925 and modeled on an el Greco. Alfred Edward EmslieAlfred Edward Emslie (1848 London -1918) was an English genre and portrait painter, and photographer, living at The Studio, 34, Finchley Road, N. W.
He was the son of the engraver, John Emslie, and brother of John Phillipps Emslie, the figure painter. Married to miniature painter Rosalie M. Emslie, they had a daughter, Rosalie Emslie, who became a figure, portrait and landscape painter. Emslie turned increasingly to portraiture later in life. He had a great passion for the Orient, and spent three months exploring Japan. He was a elected an associate of the Royal Society of Painters in Water Colours in 1888 and a member of the Royal Society of Portrait Painters in 1892.
George RichmondEnglish Painter, 1809-1896
Painter, draughtsman and engraver. He was a precocious draughtsman. In 1824 he entered the Royal Academy, London, the same year as Edward Calvert, who was a part-time student of Joseph Severn. Richmond first exhibited at the Academy in 1825 and that year met William Blake in the Highgate house of John Linnell (ii). Like his lifelong friend Samuel Palmer, Richmond fell under Blake's spell, comparing him to the Prophet Isaiah and forming close friendships with Blake's other disciples, including Calvert. He visited Palmer at Shoreham, chiefly in the summer of 1827, and both he and Calvert became prominent members of Palmer's band of ANCIENTS, who frequented the Kent village in the late 1820s and early 1830s. The tempera panel Abel the Shepherd (1826; London, Tate) is typical of Richmond's early paintings, which reflect the pronounced influence of both Blake and Palmer. They are painted in an archaic style and include Christian and literary themes and high-minded if obscure genre subjects such as the Eve of Separation (1830; Oxford, Ashmolean). The human figure was central to these pictures as it was not for Palmer, who expressed sentiment through landscape motifs. Richmond was also active as a draughtsman and miniaturist during this period; his Christ-like head of Palmer, in watercolour and gouache on vellum (London, N.P.G.), dates from 1829.
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