Albert Bierstadt
Albert Bierstadt's Oil Paintings
Albert Bierstadt Museum
Jan 8, 1830 - Feb 18, 1902. German-American painter.

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Claude Monet
Rising Tide at Pourville

ID: 72736

Claude Monet Rising Tide at Pourville
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Claude Monet Rising Tide at Pourville


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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 :. | Regatta bei Argenteuil | Water-Lilies | Hunting Trophy | The Artist's Garden at Giverny | Still Life with Pheasant |
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Samuel FB Morse
1791-1872,American painter and inventor. The son of a Calvinist minister, he began amateur sketching while a student at Yale College, New Haven, CT. After graduating in 1810, he returned to Charlestown, MA, to paint family portraits. In Boston in the same year he met Washington Allston, recently returned from Italy, under whose tutelage he executed his first history painting, the Landing of the Pilgrims at Plymouth (c. 1810-11; Boston, MA, Pub. Lib.). He joined Allston on his trip to London in 1811, enrolled in the Royal Academy Schools and also studied privately with Allston and Benjamin West. Morse Dying Hercules (1812-13; New Haven, CT, Yale U. A.G.), based on the pose and musculature of the Laokoon (Rome, Vatican, Mus. Pio-Clementino) and the theory evident in Allston Dead Man Restored to Life by Touching the Bones of the Prophet Elisha (1811-14; Philadelphia, PA Acad. F.A.), was critically acclaimed when exhibited at the Royal Academy and is indicative of Morse academic interests. After two trips in 1813 and 1814 to Bristol, where he painted a number of portraits and small subject pieces, Morse ended his period in England with another mythological history painting, the Judgement of Jupiter (1814-15; New Haven, CT, Yale U. A.G.).
Justus van Egmont
Justus van Egmont (Leiden, 22 September 1601 - Antwerp, 8 January 1674) was a Dutch Golden Age painter and designer of tapestry. Justus van Egmont moved to Antwerp at age 14 with his family where he became apprenticed to the painter Caspar van den Hoecke (ca. 1585 - ca 1648). In 1618, three years later, he undertook a Grand Tour to Italy in the manner of other artists of his day. This was considered a necessary rite of passage for artists after Karel van Mander published his Schilderboeck in 1604.
Johannes Cornelisz Verspronck
(between 1600 and 1603, Haarlem - buried June 30, 1662, Haarlem) was a gifted Dutch Golden Age portraitist. He was the son of the painter Cornelis Engelsz from Gouda, who taught him to paint portraits. In 1632 he became a member of the Haarlem Guild of St. Luke and started a successful career as a portraitist of mostly Catholic sitters in Haarlem. He may have been a Frans Hals pupil, and was strongly influenced by him, especially in his natural expressions and relaxed poses. He is best known for his exactness in painting details such as jewelry and lace, which made him quite popular with female sitters. Most notably, he won a lucrative commission in 1642 for a group portrait of the regentesses of the St. Elisabeth Gasthuis, at the time the wealthiest charity institution in Haarlem. This was won at the expense of Frans Hals himself, who had painted the regents of the St. Elisabeth Gasthuis in 1641 and fully expected to win the commission for the women.






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