French Impressionist Painter, 1841-1919 French painter, printmaker and sculptor. He was one of the founders and leading exponents of IMPRESSIONISM from the late 1860s, producing some of the movement's most famous images of carefree leisure. He broke with his Impressionist colleagues to exhibit at the Salon from 1878, and from c. 1884 he adopted a more linear style indebted to the Old Masters. His critical reputation has suffered from the many minor works he produced during his later years.   Related Paintings of Pierre-Auguste Renoir :. | The Bathers | La famille d`artiste | Badende Frauen | Les pecheuses de moulesa Berneval | Lady Smiling |
Related Artists:
Master of Saint Giles
The Master of Saint Giles (French: Maître de Saint-Gilles) was a Franco-Flemish painter active, probably in Paris, about 1500, working in a delicate Late Gothic manner, with rendering of textures and light and faithful depictions of actual interiors that show his affinities with Netherlandish painting. It is not clear whether the Master of Saint Giles was a French painter who trained in the Low Countries (perhaps more likely), or a Netherlander who emigrated to France. His pseudonym was given him by Max Friedländer, who reconstructed part of the anonymous painter's oeuvre, starting from two panels devoted to Saint Giles (a Miracle and a Mass) in the National Gallery, London, that were part of the lefthand shutter of an altarpiece, and two further panels now in Washington from the same altarpiece. The hand of an assistant can be discerned in the Baptism of Clovis at the National Gallery of Art, Washington, who also have a panel with Episodes from the Life of a Bishop-Saint - perhaps Saint Leu, Saint Denis or Saint Remy. All four panels have, or had, single grisaille figures of saints (Saints Peter, Giles, Denis and an unidentified bishop-saint) in niches, imitating sculpture, on the reverse. The Washington pair, which were in poor condition, have been separated and are lost, although photographs exist. Undoubtedly there were further panels, whose subjects cannot be guessed, as the combination of scenes is original.
CODAZZI, Viviano
Italian Baroque Era Painter, 1604-1670 Italian painter. He arrived in Naples about 1634, having almost certainly trained in Rome. He was a specialist in the realistic architectural VEDUTA, and his interest in this theme may have been stimulated in Rome by the quadratura frescoes of Agostino Tassi and by the urban views of Claude Lorrain and Herman van Swanevelt.
BACKER, Jacob de
Flemish painter (b. 1555/60, Antwerpen, d. 1585/90, Antwerpen) Flemish painter and draughtsman. According to van Mander, as a young boy de Backer was abandoned by his father, also a painter, who had to flee Antwerp because of an impending court trial. Jacob then worked for several years in the studio of Antonio van Palermo (1503/13-before 1589) and later entered the workshop of Hendrick van Steenwijck. Van Mander further claimed that the strenuous labour that van Palermo had imposed on the young man had so wrecked his health that he died at the age of 30, in the arms of his former master's daughter. This, van Mander added, happened a long time ago, thus implying that de Backer died before van Steenwijck left Antwerp in 1586. This is confirmed by other evidence, including the age of van Palermo's daughter Lucretia, who was baptized in Antwerp on 25 July 1561. She lived until 1626 and at the time of her death still possessed six paintings by de Backer.