French Realist/Impressionist Painter, 1832-1883 The roughly painted style and photographic lighting in these works was seen as specifically modern, and as a challenge to the Renaissance works Manet copied or used as source material. His work is considered 'early modern', partially because of the black outlining of figures, which draws attention to the surface of the picture plane and the material quality of paint. He became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cezanne, and Camille Pissarro, through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. The grand niece of the painter Jean-Honor?? Fragonard, Morisot's paintings first had been accepted in the Salon de Paris in 1864 and she continued to show in the salon for ten years. Manet became the friend and colleague of Berthe Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she had been introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugene. Self-portrait with palette, 1879Unlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas. Although his own work influenced and anticipated the Impressionist style, he resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzal??s was his only formal student. He was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors, but he retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio. Manet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his Impromptu to Manet's wife. Throughout his life, although resisted by art critics, Manet could number as his champions Emile Zola, who supported him publicly in the press, Stephane Mallarme, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.  Related Paintings of Edouard Manet :. | La serveuse de bocks | Mery Lauent au chapeau noir Pastel (mk40) | Music in the Tuileries Gardens | Plum Brandy | Portrat der Frau Manet auf blauem Sofa |
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hector berlioz
Period: Romantic (1820-1869) Country: France Born: December 11, 1803 in La Cocirc;te-St.-Andre, Isere, France Died: March 08, 1869 in Paris, France
Ambrosius Holbein
1494-1519 German Ambrosius Holbein Gallery Ambrosius Holbein (c. 1494 ?C c. 1519) was a German and Swiss artist in painting, drawing and printmaking. He was the elder brother, by about three years, of Hans Holbein the Younger and like his brother was born in Augsburg (which today is in Bavaria, but then was a free imperial city), a center of art, culture and trade at that time. His father Hans Holbein the Elder was a pioneer and leader in the transformation of German art from the Gothic to the Renaissance style. In his studio both his sons, Ambrosius and Hans, received their first painting lessons as well as the an introduction to the crafts of the goldsmith, jeweller and printmaker. Portrait of a Boy with Blond Hair, 1516, BaselIn 1515 Ambrosius lived in the Swiss town of Stein am Rhein, where he helped a Schaffhausen painter named Thomas Schmid with the murals in the main hall of the St George monastery. The next year saw Ambrosius, as well as his brother Hans, in Basel, where he initially worked as a journeyman in Hans Herbster??s studio. In 1517 he was enrolled in a register of the Basel painters' guild and in 1518 he was naturalized as a citizen there. The Portrait of a Boy with Blond Hair and its companion, the Portrait of a Boy with Brown Hair, are among Ambrosius?? best works of this period. Both are nowadays in the Basel Kunstmuseum. Ambrosius Holbein ranks among the most important of Basel??s illustrators and prominent „small formats?? artists.
Edward William Cooke
British Painter, 1811-1880 was an English painter and gardener. Cooke was born in London. His father George and uncle, William Bernard, were both well-known engravers and Cooke was raised in their wide artistic circle. He was a precocious draughtsman and a skilled engraver from an early age, displayed an equal preference for marine subjects and published his 'Shipping and Craft' C a series of accomplished engravings C when he was 18, in 1829. He benefited from the advice of many of his father's associates, notably Clarkson Stanfield (whose principal marine follower he became) and David Roberts. Cooke began painting in oils in 1833, took formal lessons from James Stark in 1834 and first exhibited at the Royal Academy and British Institution in 1835, by which time his style was essentially formed. He went on to travel and paint with great industry at home and abroad, indulging his love of the 17th-century Dutch marine artists with a visit to Holland in 1837. He returned regularly over the next 23 years, studying the effects of the coastal landscape and light, as well as the works of the country's Old Masters, resulting in highly successful paintings. These included 'Beaching a Pink at Scheveningen' (National Maritime Museum, London), which he exhibited in 1855 at the Royal Academy, of which he was an Associate from 1851. He went on to travel in Scandinavia, Spain, North Africa and, above all, to Venice.") Cooke was "particularly attracted by the Isle of Wight, and on his formative visit of 1835 he made a thorough study of its fishing boats and lobster pots; above all he delighted in the beaches strewn with rocks of various kinds, fishing tackle, breakwaters and small timber-propped jetties He also had serious natural history and geological interests, being a Fellow of the Linnean Society, Fellow of the Geological Society and Fellow of the Zoological Society,