French Realist/Impressionist Painter and Sculptor, 1834-1917 French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues.  Related Paintings of Edgar Degas :. | Self Portrait_h | La Boutique de Mode | Dancer at the Photographer's | Quatre Danseuses | the dance class |
Related Artists:
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.
Dmitry Levitzky
1735-1822) was a Russian-Ukrainian portrait painter. Dmitry was born in Kiev, Ukraine, in a family of clergyman and engraver Grigory Levitzky. His father was his first art teacher. Later be became a pupil of Aleksey Antropov who came to Kiev to paint the Cathedral of St. Andrew. In 1770, Levitzky became famous as a portrait painter after the exhibition of six of his portraits in the Imperial Academy of Arts in St. Petersburg. For the portrait of Alexander Kokorinov, Director and First Rector of the Academy of Arts in St. Petersburg (1769) he was elected an academician and appointed the Professor of the portrait painting class at the Academy of Arts.
Gillis van Coninxloo
(1544 ?C 1607) was a Dutch painter of forest landscapes, the most famous member of a large family of artists. He travelled through France, and lived in Germany for several years to avoid religious persecution. He was born at Antwerp and studied under Pieter Coecke van Aelst, Lenaert Kroes and Gillis Mostaert. He practiced his art in France, but in 1587, on account of religious persecution, emigrated to Frankenthal and passed his later life in Amsterdam, where he died in 1607. Coninxloo ranks as one of the most important Dutch landscape painters of the transition from the sixteenth to the seventeenth century. He exercised a strong influence on Jan Brueghel the Elder, Schoubroeck, Savery, and other Flemish and Dutch landscape painters of the transition period. Coninxloo is considered the founder of a new approach to the painting of forests; while earlier forest landscapes had used woods as backdrops for human activity, van Coninxloo made them a subject, submerging tiny human figures in elaborate compositions of trees in hugely exaggerated scale. During his stay at Frankenthal from 1588 to 1595, he influenced several better known Dutch landscape-painters collectively referred to as the Frankenthal School. Karel van Mander wrote about him and his father Jan den Hollander in his Schilder-boeck. He wrote that his teacher Pieter Coeke van Aelst was his cousin, and that his landscapes were among the best of all Dutch landscape artists.