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 :. | dancer wearing shoes | Musicians in the orchestra | Self-Portrait | Young Spartans | woman witb a gren iutu |
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Bartolomeo Manfredi
(baptised 25 August 1582 - 12 December 1622) was an Italian painter, a leading member of the Caravaggisti (followers of Michelangelo Merisi da Caravaggio) of the early 17th century. Manfredi was born in Ostiano, near Cremona. He may have been a pupil of Caravaggio in Romeat his famous libel trial in 1603 Caravaggio mentioned that a certain Bartolomeo, accused of distributing scurrilous poems attacking Caravaggio's detested rival Baglione, had been a servant of his. Certainly the Bartolomeo Manfredi known to art history was a close follower of Caravaggio's innovatory style, with its enhanced chiaroscuro and insistence on naturalism, with a gift for story-telling through expression and body-language. Caravaggio in his brief careerehe rocketed to fame in 1600, was exiled from Rome in 1606, and was dead by 1610 had a profound effect on the younger generation of artists, particularly in Rome and Naples. And of these Caravaggisti (followers of Caravaggio), Manfredi seems in turn to have been the most influential in transmitting the master's legacy to the next generation, particularly with painters from France and the Netherlands who came to Italy. Unfortunately no documented, signed works by Manfredi survive, and several of the forty or so works now attributed to him were formerly believed to be by Caravaggio. The steady disentangling of Caravaggio from Manfredi has made clear that it was Manfredi, rather than his master, who was primarily responsible for popularising low-life genre painting among the second generation of Caravaggisti. Manfredi was a successful artist, able to keep his own servant before he was thirty years old, "a man of distinguished appearance and fine behaviour" according to the biographer Giulio Mancini, although seldom sociable. He built his career around easel paintings for private clients, and never pursued the public commissions upon which wider reputations were built, but his works were widely collected in the 17th century and he was considered Caravaggio's equal or even superior. His Mars Chastising Cupid offers a tantalising hint at a lost Caravaggio: the master promised a painting on this theme to Mancini, but another of Caravaggio's patrons, Cardinal Francesco Maria Del Monte, had taken it, and Mancini therefore commissioned Manfredi to paint another for him, which Mancini considered Manfredi's best work. Manfredi died in Rome in 1622. Gerard Seghers (or Segers; 1589-1651) was one of his pupils
Charles Hazelwood Shannon
English painter, printmaker and collector , 1863-1937 English artist, was born at Sleaford in Lincolnshire, the son of the Rev. Frederic Shannon. He attended the City and Guilds of London Art School (then known as South London School of Technical Art, formerly Lambeth School of Art), and was subsequently considerably influenced by his lifetime partner Charles Ricketts[2] and by the example of the great Venetians. In his early work he was addicted to a heavy low tone, which he abandoned subsequently for dearer and more transparent colour. He achieved great success with his portraits and his Giorgionesque figure compositions, which are marked by a classic sense of style, and with his etchings and lithographic designs. The Dublin Municipal Gallery owns his circular composition "The Bunch of Grapes" and "The Lady with the Green Fan" (portrait of Mrs Hacon). His "Study in Grey" is at the Munich Gallery, a "Portrait of Mr Staats Forbes" at Bremen, and a "Souvenir of Van Dyck" at Melbourne. One of his most remarkable pictures is "The Toilet of Venus" in the collection of Lord Northcliffe. Several of his portrait works are on display in the National Portrait Gallery in London. Complete sets of his lithographs and etchings have been acquired by the British Museum and the Berlin and Dresden print rooms. He was awarded a first-class gold medal at Munich in 1895 and a first-class silver medal in Paris in 1900.
Pieter Codde
1599-1678 Dutch Pieter Codde Locations ), was a Dutch painter of genre works and portraits, also known to be a poet. He is said to have studied with Frans Hals, but it is more likely that his training was with a portrait painter, Barent van Someren (1572 ?C 1632) or possibly with Cornelis van der Voort (1576 ?C 1624). His earliest work is known to be a piece from 1626, Portrait of a Young Man, now in the Ashmolean. Most of his best remembered works were executed in Amsterdam and were small-scale paintings. They were distinctive in their silvery-gray tonalities, and many were musically themed, such as his first known genre work, Dancing Lesson (Louvre) from 1627, Musical Company of 1639, The Lute Player (Philadelphia Museum of Art) and, Concert, a piece now in the Uffizi Gallery. The other piece by Codde in the Uffizi is a genre work, Conversation. Codde also painted historical religious works, such as his Adoration of the Shepherds, from 1645, in the Rijksmuseum of Amsterdam. Though it is unknown whether he studied with Frans Hals, his style is undoubtedly similar in some respects. He was commissioned in 1637 to complete an unfinished work of Hals, Officers of the Company of the Amsterdam Crossbow Civic Guard Under Captain Reynier Reael and Lieutenant Cornelis Michielsz Blaeuw. While the choice of Codde to complete this work by Hals was not an obvious selection at the time, Codde work in the portrait matched the original so well that it is uncertain who painted what, although the Rijksmuseum, which now houses the work, states that Codde??s style is recognizable smoother.