Italian, 1846-1884 Italian painter, pastellist and printmaker. Throughout his career he was committed to a plein-air aesthetic and was particularly interested in rendering varying light effects, a concern that brought him into contact with the Impressionists. He was also acquainted with the members of the Macchiaioli, for whom his work was influential. In addition to oils, he experimented with printmaking and made innovative use of pastels. Practising a restrained, and therefore 'acceptable', form of Impressionism,  Related Paintings of Giuseppe de nittis :. | Westminster (nn02) | La Patineuse | Breakfast in the Garden | The Place des Pyramides | breakfast in the garden |
Related Artists:
la patelliere

Alfred Jacob Miller
American Painter, 1810-1874 1810?C74, American artist, b. Baltimore, studied under Thomas Sully and in Europe. In 1837 he joined an expedition to the American West and was probably the first artist to depict the Rocky Mts. On that trip he produced his most important works, chiefly studies of Native American and frontier life, valuable for their documentary detail. These sketches and watercolors were entirely forgotten for nearly a century until they were rediscovered in a storeroom of the Peale Museum, Baltimore.
Jacob More
1740-93 Scottish painter, active in Italy. The son of an Edinburgh merchant, he was first apprenticed to a goldsmith and then, from 1766, to the Norie family of house-painters. In the 1760s he produced numerous sketches of the Scottish Lowlands (examples Edinburgh, N.G.), and in 1769 he designed and executed stage sets at the Theatre Royal, Edinburgh, for the first productions after the legalizing of the theatre in Scotland. More's Edinburgh period culminated in a series of oil paintings of the Falls of the River Clyde, three of which are in public collections: Corra Linn (Edinburgh, N.G.), Stonebyres Linn (London, Tate) and Bonnington Linn (Cambridge, Fitzwilliam). These paintings are regarded as the first serious artistic interpretations of the Scottish landscape, depictions by previous artists having been essentially topographical in character. More took a set of three of them to the Society of Artists Exhibition in London in 1771, at which he gained widespread recognition and the personal encouragement of Sir Joshua Reynolds.