1814-1875 French Jean Francois Millet Galleries Millet was the first child of Jean-Louis-Nicolas and Aim??e-Henriette-Adelaide Henry Millet, members of the peasant community in the village of Gruchy, in Gr??ville-Hague (Normandy). Under the guidance of two village priests, Millet acquired a knowledge of Latin and modern authors, before being sent to Cherbourg in 1833 to study with a portrait painter named Paul Dumouchel. By 1835 he was studying full-time with Lucien-Th??ophile Langlois, a pupil of Baron Gros, in Cherbourg. A stipend provided by Langlois and others enabled Millet to move to Paris in 1837, where he studied at the Ecole des Beaux-Arts with Paul Delaroche. In 1839 his scholarship was terminated, and his first submission to the Salon was rejected. After his first painting, a portrait, was accepted at the Salon of 1840, Millet returned to Cherbourg to begin a career as a portrait painter. However, the following year he married Pauline-Virginie Ono, and they moved to Paris. After rejections at the Salon of 1843 and Pauline's death by consumption, Millet returned again to Cherbourg. In 1845 Millet moved to Le Havre with Catherine Lemaire, whom he would marry in a civil ceremony in 1853; they would have nine children, and remain together for the rest of Millet's life. In Le Havre he painted portraits and small genre pieces for several months, before moving back to Paris. It was in Paris in the middle 1840s that Millet befriended Constant Troyon, Narcisse Diaz, Charles Jacque, and Theodore Rousseau, artists who, like Millet, would become associated with the Barbizon school; Honor?? Daumier, whose figure draftsmanship would influence Millet's subsequent rendering of peasant subjects; and Alfred Sensier, a government bureaucrat who would become a lifelong supporter and eventually the artist's biographer. In 1847 his first Salon success came with the exhibition of a painting Oedipus Taken down from the Tree, and in 1848 his Winnower was bought by the government.  Related Paintings of Jean Francois Millet :. | Spring | Woman sewing by lamplight | Sheep | Dafuni and Keluoi | Woman Sewing by Lamplight |
Related Artists:
Clark, Kate Freeman
American, 1875-1922
Francis Holman
(1729-1784) was a British maritime painter, little recognised during his own lifetime, but whose paintings are now sought aftereHe is also notable as the teacher of Thomas Luny. He was born in Ramsgate and baptized on 14 November 1729 at St Laurence-in-Thanet, Ramsgate.[1] He was the eldest son and second of six children of Francis Holman (1696-1739), and his wife, Anne Long (1707-1757). His father was a master mariner, and his grandfather a Ramsgate cooper. His younger brother, Captain John Holman (1733-1816), maintained the family shipping business and remained close to Francis throughout his life. Young Francis would certainly have been immersed in the maritime world during his up-bringing; the legacy of this early knowledge is a wealth of detail and accuracy in his later work. The moonlight Battle of Cape St Vincent, 16 January 1780 by Francis Holman, painted 1780 A sixth-rate British man of war off Dover, by Francis Holman, 1777 A small shipyard on the Thames, by Francis Holman, between 1760 and 1784Francis Holman lived in at least five addresses in Wapping on the Thames in London. He married, firstly, Elizabeth, and they produced 3 sons; John (b. 1757), and two more sons, both named Francis, who died in infancy. Elizabeth's death is unrecorded, but on 7 May 1781 he married, secondly, Jane Maxted (c.1736-1790). He was apparently childless when he wrote his will in 1783.
w. von schadow
Friedrich Wilhelm Schadow (7 September 1789 - 19 March 1862) was a German Romantic painter. He was born in Berlin and was the second son of the sculptor Johann Gottfried Schadow. In 1806-1807 Friedrich served as a soldier. In 1810 he traveled with his elder brother Rudolph to Rome where he became one of the leaders among painters of the Nazarene movement. Following the example of Johann Friedrich Overbeck and others, he joined the Roman Catholic Church, and held that an artist must believe and live out the truths he essays to paint. The sequel showed that Schadow was qualified to shine more as a teacher and mentor than as a painter. As an author, he is best known for his lecture, Ueber den Einfluss des Christentums auf die bildende Kunst (About The Influence of Christianity On The Visual Arts) (Dusseldorf, 1843), and the biographical sketches, Der moderne Vasari (Berlin, 1854). In Rome, Schadow was given one of his first major commissions when the Prussian Consul-General, General Jakob Salomon Bartholdy, befriended the young painter, and asked him and three young compatriots (Cornelius, Overbeck and Veit) to decorate in fresco a room in his house on the Pincian Hill. The overall theme selected was the story of Joseph and his brethren, and two scenes, the Bloody Coat and Joseph in Prison, were conferred on Schadow. In 1819, Schadow was appointed professor in the prestigious Berlin Academy of the Arts, and his ability and thorough training gained many devoted disciples. It was during this period that Schadow developed his paintings for churches. In 1826, Professor Schadow was made director of the Dusseldorf Academy of the Arts, which he reoriented towards the production of Christian art, though he began a major dispute with one of its professors, Heinrich Christoph Kolbe, ending in the latter leaving the Academy in 1832. In 1837, Schadow selected, at request, those of his students best qualified to decorate the chapel of St Apollinaris on the Rhine with frescoes. When finished, they were acclaimed as the fullest and purest manifestation of the spiritual side of the D??sseldorf school. One of his famous students, Heinrich Mucke, carried on the liturgical art with emphasis both in painting and frescoes. The painting of the Wise and Foolish Virgins. considered one of his masterworks, was commissioned in 1842. Now in the Städel Museum, this large and important picture, while carefully considered and rendered, it however lacks power of some of his other works. Schadow's fame rests less on his own artistic creations than on the school he formed. In D??sseldorf a reaction set in against the spiritual and sacerdotal style he had established and, in 1859, the party of naturalism, after a severe struggle, drove Director Schadow from his chair. Friedrich Wilhelm Schadow died at Dusseldorf in 1862, and a monument was erected in the square which bears his name at a jubilee held to commemorate his directorate. The D??sseldorf School that Schadow directed became internationally renowned, attracting such American painters as George Caleb Bingham, Eastman Johnson, Worthington Whittredge, Richard Caton Woodville, William Stanley Haseltine, James M. Hart, and William Morris Hunt and producing the German emigre Emmanuel Leutze.