1819-1877 French Gustave Courbet Locations was a French painter whose powerful pictures of peasants and scenes of everyday life established him as the leading figure of the realist movement of the mid-19th century. Gustave Courbet was born at Ornans on June 10, 1819. He appears to have inherited his vigorous temperament from his father, a landowner and prominent personality in the Franche-Comte region. At the age of 18 Gustave went to the College Royal at Besancon. There he openly expressed his dissatisfaction with the traditional classical subjects he was obliged to study, going so far as to lead a revolt among the students. In 1838 he was enrolled as an externe and could simultaneously attend the classes of Charles Flajoulot, director of the ecole des Beaux-Arts. At the college in Besançon, Courbet became fast friends with Max Buchon, whose Essais Poetiques (1839) he illustrated with four lithographs. In 1840 Courbet went to Paris to study law, but he decided to become a painter and spent much time copying in the Louvre. In 1844 his Self-Portrait with Black Dog was exhibited at the Salon. The following year he submitted five pictures; only one, Le Guitarrero, was accepted. After a complete rejection in 1847, the Liberal Jury of 1848 accepted all 10 of his entries, and the critic Champfleury, who was to become Courbet first staunch apologist, highly praised the Walpurgis Night.  Related Paintings of Gustave Courbet :. | Siesta | Panoramic View of the Alps | Gustave Courbet | View of snow | with Apples |
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Paul Raud
(22 October 1865 in Kirikukela, Viru-Jaagupi Parish C 22 November 1930 in Tallinn) was an Estonian painter. The twin brother of painter Kristjan Raud, he studied in Desseldorf beginning in 1886, becoming influenced by the work of Eduard Gebhardt. After his return to Estonia, he painted mainly portrait commissions for some time, before traveling with his brother and Amandus Adamson to the islands of Muhu and Pakri in 1896. His works of this period are reminiscent of those of Max Liebermann. In 1899 he returned to work in Germany, taking on some of the stylistic trappings of Impressionism; this, coupled with time spent working with Ilya Repin, influenced his later style. Later in his career, most especially during and after World War I, he began to teach, from 1915 working as a drawing instructor at the Tallinn Institute of Commerce and from 1923 at the State School of Industrial Art in Tallinn.
eisabeth Vige-Lebrun
(Marie Élisabeth Louise; 16 April 1755 - 30 March 1842) was a French painter, and is recognized as the most famous female painter of the 18th century. Her style is generally considered Rococo and shows interest in the subject of neoclassical painting. Vigee Le Brun cannot be considered a pure Neoclassist, however, in that she creates mostly portraits in Neoclassical dress rather than the History painting. In her choice of color and style while serving as the portrait painter to Marie Antoinette, Vigee
ANDREA DA MURANO
Italian painter, Venetian school (known 1462-1502) Italian painter. He is first recorded working as a gilder at S Zaccaria, Venice, in 1463-5. He was one of a number of artists from the island of Murano. Among these he is closest to Bartolomeo Vivarini, whose pupil he may have been. The two collaborated in 1468 on a narrative canvas (destr.) for the Scuola di S Marco, Venice, which probably depicted scenes from the Life of Abraham. The rather harsh sculptural quality of his forms owes much to the influence of Mantegna and Donatello in Padua, and his work has often been associated (and sometimes confused) with that of Andrea del Castagno. He did not, however, ignore the more recent developments of Giovanni Bellini. His triptych depicting SS Vincent Ferrer, Roch, Sebastian and Peter Martyr, with a lunette of the Madonna of Mercy and Four Saints (Venice, Accad.), probably painted in the late 1470s, shows a real concern with light and colour. By the mid-1480s Andrea had settled in Castelfranco on the mainland, chiefly painting altarpieces in the (by then well established) Venetian sacra conversazione form. The altarpiece (1484-1502) in the parish church at Trebaseleghe, nr Padua, is a variation on the form, with Christ embracing the plague saints Sebastian and Roch above and other saints and musicians below, all showing the high degree of expression characteristic of his works. It is one of his finest paintings and also perhaps the most expensive Venetian altarpiece of its day. The altarpiece depicting the Virgin Enthroned with SS Peter, Nicholas of Bari, John the Baptist and Paul (1502; Mussolente, Santuario della Madonna dell' Acqua) is typical of Andrea's work and shows both the strengths and limitations of his art: firm draughtsmanship and expressive qualities combined with a rather conservative composition and somewhat ungainly figures.