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 :. | Environs d'Ornans | Woman with White Stockings | Pierre-Joseph Proudhon | Deer | The Cliff at Etretat after the Storm (mk09) |
Related Artists:
vlaminck
Maurice de Vlaminck (4 April 1876 ?C 11 October 1958) was a French painter. Along with Andre Derain and Henri Matisse he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense color.
NUVOLONE, Panfilo
Italian painter, Lombard school (1581-1651) After studying with Giovanni Battista Trotti, he moved to Milan, where he is recorded in 1610. The influence of Trotti and of late Cremonese Mannerism is evident in his first known work, SS Nicholas and Costanza Adoring a Miraculous Image of the Virgin (1607; Can?nica d'Adda, S Giovanni Evangelista). In his paintings of scenes from the Life of Samson (1610-14; Milan, S Angelo, Cappella Sansoni) Nuvolone moved away from Trotti, exaggerating the size of the figures and defining form with an academic clarity reminiscent of the contemporary art of Camillo Procaccini. There followed, shortly after the work in S Angelo, frescoes of the Coronation of the Virgin and other scenes in the presbytery of S Maria della Passione in Milan, and, in 1614, a lunette of the Angel Announcing to Mary her Approaching Death for S Domenico, Cremona (Cremona, Mus. Civ. Ala Ponzone). In 1620 he painted the Coronation of the Virgin for the Swiss parish church in Milan (in situ). Still tied stylistically to the earlier work in S Maria della Passione, this demonstrates the difficulty Nuvolone experienced in breaking with the late Mannerism of Giovanni Paolo Lomazzo, Giuseppe Meda (d 1599) and Ambrogio Figino and in adapting to new trends in 17th-century Milanese painting. His Virgin and Child with Two Saints (1624; Milan, S Eustorgio), featuring stiff figures and inflated Mannerist drapery with its metallic folds, indicates continued contact with Procaccini. In the same year he was employed in the decoration of the Collegiata di Appiano Gentile, where he painted two scenes from the Life of St Stephen and a Virgin and Child with SS Anthony and Victor. He continued to produce a vast number of repetitive religious works, yet these are less interesting than his still-life paintings, generally of fruit stands with peaches and grapes presented symmetrically against dark backgrounds.
Willem Buytewech
1591-1624 Dutch Willem Buytewech Locations Dutch painter, draughtsman and etcher. Although he was born and died in Rotterdam, stylistically he belongs to the generation of young artists working in Haarlem at the beginning of the 17th century. He was nicknamed Geestige Willem (Dut.: inventive, or witty, Willem) by his contemporaries, and during his short career he made an important and highly personal contribution to the new approach to realism in Dutch art. He was one of the first to paint interiors with merry companies (see CONVERSATION PIECE) and is primarily known for his lively and spontaneous drawings and etchings on a wide range of subjects.