French Impressionist Painter, 1841-1919 Pierre-Auguste Renoir (February 25, 1841?CDecember 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau". Renoir's paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings. His initial paintings show the influence of the colorism of Eugene Delacroix and the luminosity of Camille Corot. He also admired the realism of Gustave Courbet and Edouard Manet, and his early work resembles theirs in his use of black as a color. As well, Renoir admired Edgar Degas' sense of movement. Another painter Renoir greatly admired was the 18th century master François Boucher. A fine example of Renoir's early work, and evidence of the influence of Courbet's realism, is Diana, 1867. Ostensibly a mythological subject, the painting is a naturalistic studio work, the figure carefully observed, solidly modeled, and superimposed upon a contrived landscape. If the work is still a 'student' piece, already Renoir's heightened personal response to female sensuality is present. The model was Lise Tr??hot, then the artist's mistress and inspiration for a number of paintings. In the late 1860s, through the practice of painting light and water en plein air (in the open air), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them. Several pairs of paintings exist in which Renoir and Monet, working side-by-side, depicted the same scenes (La Grenouill??re, 1869). One of the best known Impressionist works is Renoir's 1876 Dance at Le Moulin de la Galette (Le Bal au Moulin de la Galette). The painting depicts an open-air scene, crowded with people, at a popular dance garden on the Butte Montmartre, close to where he lived. On the Terrace, oil on canvas, 1881, Art Institute of ChicagoThe works of his early maturity were typically Impressionist snapshots of real life, full of sparkling colour and light. By the mid 1880s, however, he had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women, such as The Bathers, which was created during 1884-87. It was a trip to Italy in 1881, when he saw works by Raphael and other Renaissance masters, that convinced him that he was on the wrong path, and for the next several years he painted in a more severe style, in an attempt to return to classicism. This is sometimes called his "Ingres period", as he concentrated on his drawing and emphasized the outlines of figures. After 1890, however, he changed direction again, returning to the use of thinly brushed color which dissolved outlines as in his earlier work. From this period onward he concentrated especially on monumental nudes and domestic scenes, fine examples of which are Girls at the Piano, 1892, and Grandes Baigneuses, 1918-19. The latter painting is the most typical and successful of Renoir's late, abundantly fleshed nudes. A prolific artist, he made several thousand paintings. The warm sensuality of Renoir's style made his paintings some of the most well-known and frequently-reproduced works in the history of art..  Related Paintings of Pierre Renoir :. | Madame Alphonse Daudet | Claude and Renee | Woman with a Parasol and Small Child on a Sunlit Hillside | Young Girls at the Seaside | Jeanne Samary |
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BARBARI, Jacopo de
Italian Early Renaissance Painter, ca.1440-1515 Italian painter and printmaker. He was the first Italian Renaissance artist of note who travelled to the courts of Germany and the Netherlands. His earliest known works appear to date from the late 1490s, suggesting that he was born c. 1460-70. The birthdate of c. 1440 traditionally assigned to him reflects the misinterpretation of a document of 1512 in which his patron, Margaret of Austria, Regent of the Netherlands, awarded him a stipend because of his 'weakness and old age'. In fact, at this date a man could be described as 'old' while in his fifties or even younger.
Cornelis de Wael
Cornelis de Wael (1592-1667) was a Flemish painter of the Baroque period, active mainly in Italy, specifically Genoa. He was born in Antwerp, the son of a painter, and died in Rome.
Mary Beale
English Baroque Era Painter, 1633-1699 was an English portrait painter. She became one of the most important portrait painters of 17th century England, and has been described as the first professional female English painter. Beale was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector. Her mother, Dorothy, died when she was 10. She married Charles Beale, a cloth merchant from London, in 1652, at the age of 18. Her father and her husband were both amateur painters, her father being a member of the Painter-Stainers' Company, and she was acquainted with local local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. She became a semi-professional portrait painter in the 1650s and 1660s, working from her home, first in Covent Garden and later in Fleet Street. The family moved to a farmhouse in Allbrook, Hampshire in 1665 due to financial difficulties, her husband having lost his position as a clerk of patents, and also due to the Great Plague in London. For the next five years, a 17th-century two storey timber-framed building was her family home and studio. She returned to London in 1670, where she established a studio in Pall Mall, with her husband working as her assistant, mixing her paints and keeping her accounts. She became successful, and her circle of friends included Thomas Flatman, poet Samuel Woodford, Archbishop of Canterbury John Tillotson, and Bishops Edward Stillingfleet and Gilbert Burnet. She became reacquainted with Peter Lely, now Court Artist to Charles II. Her later work is heavily influenced by Lely, being mainly small portraits or copies of Lely's work. Her work became unfashionable after his death in 1680.