(15 October 1836 -- 8 August 1902) was a French painter. Tissot was born at Nantes. He studied at the École des Beaux-Arts in Paris under Ingres, Flandrin and Lamothe, and exhibited in the Paris Salon for the first time at the age of twenty-three. In 1861 he showed The Meeting of Faust and Marguerite, which was purchased by the state for the Luxembourg Gallery. His first characteristic period made him a painter of the charms of women. Demi-mondaine would be more accurate as a description of the series of studies which he called La Femme a Paris.   Related Paintings of James Jacques Joseph Tissot :. | Kathleen Newton In An Armchair | The Thames | Two Sisters | Hide and Seek | The Ball |
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Jose de Ribera
Spanish Painter and Print engraver , 1591-1652 Information concerning the life and personality of Jusepe de Ribera is sparse. He was born the son of a shoemaker in Jetiva, Valencia Province. He appears to have gone to the city of Valencia while still a boy, but nothing is known of his possible artistic training there. As an adolescent, he traveled to Italy and spent time in Lombardy. Next he was in Parma, from which, it is said, he was driven by the contentious jealousy of local artists. He located himself in Rome until an accumulation of debts forced him to flee. Finally he settled in Naples, where in 1616 he married Caterina Azzolino, the daughter of a painter, by whom he had seven children between the years 1627 and 1636. The Academy of St. Luke in Rome elected Ribera to membership in 1625, and 6 years later the Pope conferred upon him the Order of Christ. It is understandably speculated that Ribera revisited Rome for these events. Being sought after in Naples by the Church and the various Spanish viceroys who ruled there in the name of the Spanish monarchy, he dismissed the idea of returning to his homeland. He was quoted as saying that he was honored and well paid in Naples and that Spain was a cruel stepmother to its own children and a compassionate mother to foreigners. Nevertheless, he generally added his nationality when he signed his works. This practice inspired the Italians to nickname him "the Little Spaniard" (Lo Spagnoletto). The last decade of Ribera's life was one of personal struggle. He suffered from failing health, the taunts of other artists that his fame was "extinct," and difficulty in collecting payments due him. Nevertheless, he kept it from being a tragic defeat by continuing to paint until the very year of his death in Naples. Actually, he was the victim of the local politics and finances. Naples was in the throes of a severe economic depression for which the foreign rulers, the patrons of Ribera, were naturally blamed, and the desperate citizenry was rioting in the streets. It is significant that Ribera continued to receive commissions in such a time, even if there was a dearth of payments. Ribera was inventive in subject matter, ranging through visionary spectacles, biblical themes, genre, portraits, mythological subjects, and portraits of ascetics and penitents.
Dieric Bouts
1420-1475 Flemish Dieric Bouts Locations Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter." It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background. The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions. In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places. The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape. In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature.
Richard Paton
was a British marine painter. Paton spent his artistic career in London, where he is said to have been born, although no record of his birthplace or parentage is known. He is said to have grown up in poverty, and he is described as "self-taught". Some critics have discerned an influence of Samuel Scott's works, and also of Charles Brooking. Any such influence is hardly evident. According to an account by Harry Parker, in "The Mariner's Mirror", March 1912, p 85, while Paton was begging "on Tower Hill, he attracted the attention of Admiral Sir Charles Knowles (died 1777), who happened to be passing that way, and who, taking a fancy to the boy, offered to take him to sea". He was assistant to the shipes painter on Knowles' ship, gaining knowledge in both painting and seamanship. In 1742, he started working at the Excise Office. His first exhibition was in 1758 on the premises of the London-based Society of Artists, where he continued to exhibit up to 1770. The Royal Academy hosted his works between 1762 and 1780. Paton's specialities were marine and naval paintings. He painted naval actions of wars ongoing at the time of painting such as the Seven Years War of 1756-1763 and later The American Revolutionary War, as well as earlier events such as the battles of the War of the Quadruple Alliance which took place when he was a baby. The paintings include many dramatic effects such as battles at night, the shooting of cannons and the effect of bombardments. There are, however, also less militant themes such as ships becalmed. His "sublime depiction of the sky" was considered especially noteworthy. Prints of his works, made among others by Pierre-Charles Canot, made them widely known.