1725-1805 French Jean Baptiste Greuze Galleries French painter and draughtsman. He was named an associate member of the Academie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Simeon Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Francois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litteraire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850, when 18th-century painting returned to favour, by such critics as Th?ophile Thore, Arsene Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huiti?me siecle. By the end of the century Greuze's work, especially his many variations on the Head of a Girl, fetched record prices, and his Broken Pitcher (Paris, Louvre) was one of the most popular paintings in the Louvre. The advent of modernism in the early decades of the 20th century totally obliterated Greuze's reputation. It was only in the 1970s, with Brookner's monograph, Munhall's first comprehensive exhibition of the artist's work, increased sale prices, important museum acquisitions and fresh analyses of his art by young historians, that Greuze began to regain the important place that he merits in the history of French art of the 18th century.  Related Paintings of Jean Baptiste Greuze :. | Head of a Young Girl | Claude Henri Watelet. | l accordee de village | Young Woman in a White Hat | the guitar player |
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Almeida Junior
(8 May 1850 ?C 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira, the countrymen that are a kind of a symbol of the rural areas of the São Paulo state. While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiet?? River. Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters. He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting. He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.
Anna Ancher
Danish Painter, 1859-1935 was the only one of the Skagen Painters that was actually born in Skagen, Denmark. Anna Ancher was born and grew up in the northernmost area of Jutland, called Skagen (the Skaw). Her talent became obvious at an early age and she grew acquainted with pictorial art via the many artists who settled to paint in Skagen. Anna Ancher studied drawing for 3 years at the Vilhelm Kyhn College of Painting in Copenhagen. However, Anna Ancher developed her own style and was a pioneer in observing the interplay of different colours in natural light. She also studied drawing in Paris at the atelier of Pierre Puvis de Chavannes along with Marie Triepcke, who would marry Peder Severin Krøyer, another Skagen painter. In 1880 she married fellow painter Michael Ancher, whom she met in Skagen. They had one daughter, Helga Ancher. Despite pressure from society that married women should devote themselves to household duties, she continued painting after marriage. Anna Ancher is considered to be one of the great Danish pictorial artists by virtue of her abilities as a character painter and colourist[citation needed]. Anna Ancher's art found its expression in Nordic art's modern breakthrough towards a more truthful depiction of reality, e.g. in Blue Ane (1882) and The Girl in the Kitchen (1883-1886). Anna Ancher preferred to paint interiors and simple themes from the everyday lives of the Skagen people and fishermen,
Jean Pucelle
French Gothic Era Manuscript Illuminator, ca.1300-1355 was a Parisian Gothic-era manuscript illuminator, active between 1320 and 1350. His style is characterized by delicate figures rendered in grisaille, accented with touches of color. Pucelle's most famous work is the The Hours of Jeanne d'Evreux, c. 1324-1328.