French Neoclassical Painter, 1780-1867 was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..  Related Paintings of Jean-Auguste Dominique Ingres :. | Portrait of Zaerci | Louis-Fancois Bertin | Mary | Grande Odalisque | Mis liwi |
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Ozias Humphrey
(8 September 1742 - 9 March 1810) was a leading English painter of portrait miniatures, later oils and pastels, of the 18th century. He was elected to the Royal Academy in 1791, and in 1792 he was appointed Portrait Painter in Crayons to the King. Born and schooled in Honiton, Devon, Humphrey was attracted by the gallery of casts opened by the Duke of Richmond and came to London to study art at Shipley's school. He also studied art in Bath (under Samuel Collins, taking over his practice in 1762); in Bath, he lodged with Thomas Linley. As a young artist, his talent was encouraged by Thomas Gainsborough and Sir Joshua Reynolds, among others. His problems with his sight, which ultimately led to blindness.
Robert Henri
1865-1929 Robert Henri was born Robert Henry Cozad in Miami, Florida to Theresa Gatewood Cozad of Malden, Virginia and John Jackson Cozad, a gambler and real estate developer. Henri had a brother, Johnny, and was a distant cousin of the noted American painter Mary Cassatt. In 1871, Henri's father founded the town of Cozaddale, Ohio. In 1873, the family moved west to Nebraska, where they founded the town of Cozad. In October 1882, Henri's father became embroiled in a dispute with a rancher, Alfred Pearson, over the right to pasture cattle on land claimed by the family. When the dispute turned physical, Cozad shot Pearson fatally with a pistol. Cozad was eventually cleared of wrongdoing, but the mood of the town turned against him. He fled to Denver, Colorado, and the rest of the family followed shortly. In order to disassociate themselves from the scandal, family members changed their names. The father became known as Richard Henry Lee, and his sons posed as adopted children under the names Frank Southern and Robert Earl Henri (pronounced "hen rye"). In 1883, the family moved to New York City, then to Atlantic City, New Jersey, where the young artist completed his first paintings.
VAFFLARD, Pierre-Auguste
French painter b. 1777, Paris, d. 1837, Paris,French painter. A pupil of Jean-Baptiste Regnault, he exhibited regularly in the Salon between 1800 and 1831. He executed a number of unremarkable academic works on Classical subjects, for example Electra (1804; exh. Salon 1814) and Orestes Sleeping (1819; both Dijon, Mus. B.-A.). Vafflard gained more success with his Troubadour pictures, which he began to paint in the early 19th century, at the outset of this fashion. They are remarkable for their absence of colour, their theatrical quality and contrasted lighting effects. One of his earliest Troubadour scenes was Emma and Eginhard (exh. Salon 1804; Evreux, Mus. Evreux), based on an episode in the history of Charlemagne's court and painted at a time when the Holy Roman Empire was in fashion in official French circles. In this sentimental painting Vafflard demonstrated his historicizing intentions by emphasizing medieval costume and Gothic architecture and seeking to create an atmosphere similar to the romans de la chevalerie, so highly thought of in France at the end of the 18th century. In the same Salon he exhibited a strange and novel painting, Young Holding his Dead Daughter in his Arms (Angouleme, Mus. Mun.), taken from Edward Young's Night Thoughts (pubd in French in 1769-70).