1852-1896 Theodore Robinson (July 3, 1852 ?C April 2, 1896) was an American painter best known for his impressionist landscapes. He was one of the first American artists to take up impressionism in the late 1880s, visiting Giverny and developing a close friendship with Claude Monet. Several of his works are considered masterpieces of American Impressionism. In 1884 Robinson returned to France where he would live for the next eight years, visiting America only occasionally. Robinson gravitated to Giverny, which had become a center of French impressionist art under the influence of Claude Monet. La Debacle, 1892, collection: Scripps College, Claremont, CaliforniaHistorians are unclear when Robinson met Monet, but by 1888 their friendship was enough for Robinson to move in next door to the famous impressionist. Robinson's art shifted to a more traditional impressionistic manner during this time, likely due to Monet's influence. While a number of American artists had gathered at Giverny, none were as close to Monet as Robinson. Monet offered advice to Robinson, and he likewise solicited Robinson for opinions on Monet's own works in progress. At Giverny, Robinson painted what art historians regard as some of his finest works. These depicted the surrounding countryside in different weather, in the plein air tradition, sometimes with women shown in leisurely poses. An example of his mature work during this period is La Debacle (1892) in the collection of Scripps College, Claremont California.  Related Paintings of Theodore Robinson :. | Beacon Street, Boston | Layette | From the Hill,Giverny (nn02) | Beacon Street Boston | La Debacle |
Related Artists:
Fedor Alekseev
(c. 1753 ?C November 23, 1824) was an early Russian painter of landscape art. After training in the Saint Petersburg Imperial Academy of Arts, he spent three years in Venice studying the works of famous French and Italian landscape painters. Returning to Saint Petersburg to work, his popularity grew over time. In 1800, Emperor Paul of Russia commissioned a series of paintings of Moscow from him.
Rembrandt Harmensz Van Rijn
b. 1606 Leiden, The Netherlands, d. 1669 Amsterdam,Dutch painter, draughtsman and etcher. From 1632 onwards he signed his works with only the forename Rembrandt; in documents, however, he continued to sign Rembrandt van Rijn (occasionally van Rhyn), initially with the addition of the patronymic 'Harmensz.'. This was no doubt in imitation of the great Italians such as Leonardo, Michelangelo, Raphael and Titian, on whom he modelled himself, sometimes literally. He certainly equalled them in fame, and not only in his own country. His name still symbolizes a whole period of art history rightfully known as 'Holland's Golden Age'. In 1970-71 a great exhibition in Paris was devoted to it under the eloquent title Le Si?cle de Rembrandt. A century before, a popular work of cultural history by C. Busken Huet referred to the Netherlands as 'the land of Rembrandt'. His fame is partly due to his multi-faceted talent. Frans Hals was perhaps at times a greater virtuoso with the brush but remained 'only' a portrait painter. Vermeer may have excelled Rembrandt in the art of illusion but was less prolific. Rembrandt was not only a gifted painter but also an inspired graphic artist: he has probably never been surpassed as an etcher, and he often seems inimitable as a draughtsman. His subjects reflect his manifold talent and interests. He painted, drew and etched portraits, landscapes, figures and animals, but, above all, scenes of biblical and secular history and mythology.
Andrea Appiani
Italian Neoclassical Painter, 1754-1817 was an Italian neoclassical painter. He was born at Milan. He had been intended to follow his father's career in medicine but instead entered the private academy of the painter Carlo Maria Giudici (1723?C1804). He received instruction in drawing, copying mainly from sculpture and prints. He then joined the class of the fresco painter Antonio de' Giorgi, which was held at the Ambrosiana picture gallery in Milan. He also frequented the studio of Martin Knoller, where he deepened his knowledge of painting in oils; and he studied anatomy at the Ospedale Maggiore in Milan with the sculptor Gaetano Monti. His interest in aesthetic issues was stimulated by the classical poet Giuseppe Parini, whom he drew in two fine pencil portraits. In 1776 he entered the Accademia di Belle Arti di Brera to follow the painting courses of Giuliano Traballesi, from whom he received a mastery of the fresco technique. His best pieces are in the church of San Maria presso San Celso and the royal palace at Milan, almost rival those of his master. He was made pensioned artist to the Kingdom of Italy by Napoleon, but lost his allowance after the events of 1814 and fell into poverty. During his stint as court painter he rendered portraits of Napoleon and the chief personages of his regime.