Albert Bierstadt
Albert Bierstadt's Oil Paintings
Albert Bierstadt Museum
Jan 8, 1830 - Feb 18, 1902. German-American painter.

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Jean Auguste Dominique Ingres
The Source

ID: 59439

Jean Auguste Dominique Ingres The Source
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Jean Auguste Dominique Ingres The Source


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Jean Auguste Dominique Ingres

J. A. D. Ingres (1780-1867) was born in Montauban on August 29, 1780, the son of an unsuccessful sculptor and painter. French painter. He was the last grand champion of the French classical tradition of history painting. He was traditionally presented as the opposing force to Delacroix in the early 19th-century confrontation of Neo-classicism and Romanticism, but subsequent assessment has shown the degree to which Ingres, like Neo-classicism, is a manifestation of the Romantic spirit permeating the age. The chronology of Ingres's work is complicated by his obsessive perfectionism, which resulted in multiple versions of a subject and revisions of the original. For this reason, all works cited in this article are identified by catalogue.   Related Paintings of Jean Auguste Dominique Ingres :. | The Source (mk04) | Portrait of Marie Marcoz,later Vicomtesse de Senonnes (mk04) | Napoleon on his Imperial throne | The Execution of Lady Jane Grey (mk04) | The Source |
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Walter I Cox
1866-1930 English

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Claude Lorrain
French 1600-1682 Claude Lorrain Galleries In Rome, not until the mid-17th century were landscapes deemed fit for serious painting. Northern Europeans, such as the Germans Elsheimer and Brill, had made such views pre-eminent in some of their paintings (as well as Da Vinci in his private drawings or Baldassarre Peruzzi in his decorative frescoes of vedute); but not until Annibale Carracci and his pupil Domenichino do we see landscape become the focus of a canvas by a major Italian artist. Even with the latter two, as with Lorrain, the stated themes of the paintings were mythic or religious. Landscape as a subject was distinctly unclassical and secular. The former quality was not consonant with Renaissance art, which boasted its rivalry with the work of the ancients. The second quality had less public patronage in Counter-Reformation Rome, which prized subjects worthy of "high painting," typically religious or mythic scenes. Pure landscape, like pure still-life or genre painting, reflected an aesthetic viewpoint regarded as lacking in moral seriousness. Rome, the theological and philosophical center of 17th century Italian art, was not quite ready for such a break with tradition. In this matter of the importance of landscape, Lorrain was prescient. Living in a pre-Romantic era, he did not depict those uninhabited panoramas that were to be esteemed in later centuries, such as with Salvatore Rosa. He painted a pastoral world of fields and valleys not distant from castles and towns. If the ocean horizon is represented, it is from the setting of a busy port. Perhaps to feed the public need for paintings with noble themes, his pictures include demigods, heroes and saints, even though his abundant drawings and sketchbooks prove that he was more interested in scenography. Lorrain was described as kind to his pupils and hard-working; keenly observant, but an unlettered man until his death. The painter Joachim von Sandrart is an authority for Claude's life (Academia Artis Pictoriae, 1683); Baldinucci, who obtained information from some of Claude's immediate survivors, relates various incidents to a different effect (Notizie dei professoni del disegno). John Constable described Claude Lorrain as "the most perfect landscape painter the world ever saw", and declared that in Claude??s landscape "all is lovely ?C all amiable ?C all is amenity and repose; the calm sunshine of the heart"
Paul-Camille Guigou
1834-1871 French Paul Camille Guigou Gallery French painter. Born into a family of landowners, he became a notary's clerk at Apt in 1851 and then in 1854 at Marseille. He learnt to paint with Camp, a teacher at the school in Apt, and then at Marseille with Emile Loubon (1809-63), director of the local Ecole des Beaux-Arts, who urged him (according to Guigou's biographers) to paint directly from nature. Guigou settled in Marseille in 1854, where he participated regularly in the annual Salon of the Societe Artistique des Bouches-du-Rhene. Guigou painted almost exclusively Proven?al landscapes, which were influenced by the works of the Barbizon painters, who exhibited in Marseille, and by the brownish tones and picturesque figures of Loubon's paintings. The Road to Gineste (1859) and The Washerwoman (1860; both Paris, Mus. d'Orsay) reflect the independent tradition of Proveneal painting during the Second Empire, which was characterized by warm colouring and precise lighting used to separate and distinguish forms. His knowledge of the works of Gustave Courbet, acquired during a visit to Paris in 1859, doubtless increased his liking for broad technique and sincere vision, articulated in a strong and ordered construction of space: for example, The Gorges of the Luberon (c. 1861; Amiens, Mus. Picardie).






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