Scottish Painter, 1871-1935,Scottish painter. He studied at the Royal Scottish Academy schools from 1893 to 1894, and then at the Academie Julian and Acad?mie Colarossi in Paris, where he shared rooms with Robert Brough. The influence of the rustic realism of French painters and of the Glasgow Boys is clear in landscape drawings and paintings executed in Edinburgh from the mid-1890s. His still-life studies reveal the influence of the work of both Manet and Hals, which he saw in European galleries, with their combinations of thick impasto and fluid brushwork, dark background, strong lighting and meticulous handling of tones. Between 1900 and c. 1910, when he moved to Paris, he painted in Edinburgh, on sketching holidays in Scotland and in northern France with John Duncan Fergusson, and exhibited in Edinburgh, Glasgow and London.   Related Paintings of Samuel John Peploe :. | The Luxembourg Gardens | Park Scene | Green Sea,Iona | Kirkcudbright | Roses in a Blue and White Vase,Black Background |
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Thomas Uwins
English Painter, 1782-1857 English painter and illustrator. He was apprenticed to the line-engraver Benjamin Smith (d 1833) in 1797, but his greater interest in portrait painting led him to take life classes at the Royal Academy, London; he exhibited portraits there from 1799. Versatile and industrious, he painted miniature likenesses, taught drawing, designed and engraved illustrations for books in French, Portuguese and English, and wrote for and illustrated Rudolph Ackermann's Repository. His half-a-crown watercolours, known as 'pretty faces', were particularly popular, and he found employment as an assiduous copyist. In 1809 he was elected to the Society of Painters in Water-Colours and for the next nine years exhibited careful and colourful images of the countryside that provided views of the year's harvest. In 1817 Uwins travelled to France to record the Burgundian grape harvest, identifying the labour force more obviously as peasants than their English counterparts. In debt, he moved in 1820 to Edinburgh, where he illustrated books by Walter Scott and painted portraits. In 1824, his debt paid, he left for Italy, where he spent seven years; he sent highly valued copies of Italian works back to England (to Thomas Lawrence among others) and made studies of life in and around Rome and Naples, from which his later successes at the Royal Academy derived. An immodest Protestant, Uwins deplored but revelled in the 'polluted streams' of Catholic Italy, and provided London with oils renowned for their clarity and colour. A Neapolitan Saint Manufactory (exh. RA 1832; Leicester, Mus. & A.G.) shows monks haggling, women gazing and children playing amid carved and painted icons.
Giuseppe Bonito
Giuseppe Bonito (11 January 1707 - 9 May 1789) was a Neapolitan painter of the Rococo period. Giuseppe Bonito is known for genre depictions on canvas. Many of Gaspare Traversi's paintings had previously been attributed to Bonito. Bonito was born at Castellammare di Stabia, and, like Traversi, was a student at the large studio of Francesco Solimena. Bonito represented urban scenes with folklore details and figures of commedia dell'arte. Between the 1736 and 1742 Bonito it worked for the family Borboni in the royal palace of Portici. He also painted portraits including one of Maria Amalia di Sassonia, wife of the Charles VII, king of Naples.
Alexander Mann
Alexander Mann (January 22, 1853 - January 26, 1908) was a Scottish landscape and genre painter. He was a member of New English Art Club and Royal Institute of Oil Painters. Alexander Mann was born in Glasgow, Scotland on January 22, 1853. He died in London on January 26, 1908. The second son of James Mann, merchant and collector, he took drawing lessons from the age of ten with Robert Greenlees (1820-94) and then attended evening classes at the Glasgow School of Art, where Greenlees was headmaster. In 1877 he went to Paris and enrolled at the Academie Julian, and then studied under Mihely Munk? - sy and from 1881 to 1885 under Carolus-Duran. From 1883-93 Mann exhibited in London at the Royal Academy, Royal Institute of Oil Painters, Fine Art Society, New Gallery, Ridley Art Club, New English Art Club and Society of British Artists, a society that appointed James McNeill Whistler its President in 1886. At the same year he was invited to become the first Scottish member of the New English Art Club and was joined by several of his friends, notably John Lavery, Thomas Millie Dow of the Glasgow Boys and Norman Garstin. Influenced by the Hague school and by Jules Bastien-Lepage, his picture A Bead Stringer, Venice gained an honorable mention at the Salon in 1885. After a public controversy over this painting when it was exhibited at the Royal Glasgow Institute, Mann settled in England, at West Hagbourne, Berkshire, and later in the neighboring village of Blewbury, where he painted a series of views of the Downs and portraits of country people. Mann traveled extensively in Britain, paying several visits to the coast in Angus and Fife, and to Walberswick, Suffolk.