1868-1941 French Emile Bernard Galleries (b Lille, 28 April 1868; d Paris, 15 April 1941). French painter and writer. He was the son of a cloth merchant. Relations with his parents were never harmonious, and in 1884, against his fathers wishes, he enrolled as a student at the Atelier Cormon in Paris. There he became a close friend of Louis Anquetin and Toulouse-Lautrec. In suburban views of Asnires, where his parents lived, Bernard experimented with Impressionist and then Pointillist colour theory, in direct opposition to his masters academic teaching; an argument with Fernand Cormon led to his expulsion from the studio in 1886. He made a walking tour of Normandy and Brittany that year, drawn to Gothic architecture and the simplicity of the carved Breton calvaries. In Concarneau he struck up a friendship with Claude-Emile Schuffenecker and met Gauguin briefly in Pont-Aven. During the winter Bernard met van Gogh and frequented the shop of the colour merchant Julien-Franois Tanguy, where he gained access to the little-known work of Cezanne.  Related Paintings of Emile Bernard :. | The Harvest(Breton Landscape) | After Coffee | Portrait of Piere Tanguy | the buckwheat harvest | Buckwheat Harvesters at Pont-Aven |
Related Artists:
Alfred Bastien
(16 September 1873e7 June 1955) was a Belgian artist, academic and soldier. He attended the Academie Royale des Beaux-Arts in Ghent, where he studied with Jean Delvin. He then enrolled in the Academie Royale des Beaux-Arts in Brussels, where he studied with Jean-François Portaels. He won the Prix Godecharle there in 1897. He traveled to Paris, where he enrolled in the Ecole des Beaux-Arts in Paris. He was in Paris when hostilities broke out in what would become the First World War.
Charles Rollo Peters
born in San Francisco in 1862 ,dead 1928
BARTOLOMEO VENETO
Italian Painter, ca.1470-1531 Italian painter. He worked in Venice, the Veneto and Lombardy in the early decades of the 16th century. Knowledge of him is based largely on the signatures, dates and inscriptions on his works. His early paintings are small devotional pictures; later he became a fashionable portraitist. His earliest dated painting, a Virgin and Child (1502; Venice, priv. col., see Berenson, i, pl. 537), is signed 'Bartolomeo half-Venetian and half-Cremonese'. The inscription probably refers to his parentage, but it also suggests the eclectic nature of his development. This painting is clearly dependent on similar works by Giovanni Bellini and his workshop, but in a slightly later Virgin and Child (1505; Bergamo, Gal. Accad. Cararra) the sharp modelling of the Virgin's headdress and the insistent linear accents in the landscape indicate Bartolomeo's early divergence from Giovanni's depiction of light and space. An inscription on his Virgin and Child of 1510 (Milan, Ercolani Col.) states that he was a pupil of Gentile Bellini, an assertion supported by the tightness and flatness of his early style. The influence of Giovanni is still apparent in the composition of the Circumcision (1506; Paris, Louvre), although the persistent stress on surface patterns and the linear treatment of drapery and outline is closer to Gentile. Bartolomeo's experience as a painter at the Este court in Ferrara (1505-8) probably encouraged the decorative emphasis of his style. In the half-length Portrait of a Man (c. 1510; Cambridge, Fitzwilliam) the flattened form of the fashionably dressed sitter is picked out against a deep red curtain so that the impression of material richness extends across the entire picture surface.