Related Paintings of unknow artist :. | Sexy body, female nudes, classical nudes 68 | Still life floral, all kinds of reality flowers oil painting 252 | Meine Katzenlieblinge | Still life floral, all kinds of reality flowers oil painting 107 | Plum map |
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Francois Gerard
French Neoclassical Painter, 1770-1837 was a French painter born in Rome, where his father occupied a post in the house of the French ambassador. His mother was Italian. François Gerard was born in Rome, on 12 March 1770, to J. S. Gerard and Cleria Matteï. At the age of twelve Gerard obtained admission into the Pension du Roi in Paris. From the Pension he passed to the studio of the sculptor Augustin Pajou which he left at the end of two years for that of the history painter Nicolas-Guy Brenet, whom he quit almost immediately to place himself under Jacques-Louis David. In 1789 he competed for the Prix de Rome, which was carried off by his comrade Girodet. In the following year (1790) he again presented himself, but the death of his father prevented the completion of his work, and obliged him to accompany his mother to Rome. In 1791 he returned to Paris; but his poverty was so great that he was forced to forgo his studies in favor of employment which should bring in immediate profit. David at once availed himself of his help, and one of that master's most celebrated portraits, of Le Pelletier de St Fargeaumay, owes much to the hand of Gerard. This painting was executed early in 1793, the year in which Gerard, at the request of David, was named a member of the revolutionary tribunal, from the fatal decisions of which he, however, invariably absented himself. In 1794 he obtained the first prize in a competition, the subject of which was The Tenth of August, and, further stimulated by the successes of his rival and friend Girodet in the Salons of 1793 and 1794, Gerard (nobly aided by Jean-Baptiste Isabey, the miniaturist, produced in 1795 his famous Belisaire. In 1796 a portrait of his generous friend (in the Louvre) obtained undisputed success, and the money received from Isabey for these two works enabled Gerard to execute in 1797 his Psyche et l'Amour (illustration). At last, in 1799, his portrait of Madame Mere established his position as one of the first portrait-painters of the day. In 1808 as many as eight, in 1810 no less than fourteen portraits by him, were exhibited at the Salon, and these figures afford only an indication of the enormous numbers which he executed yearly; all the leading figures of the Empire and of the Restoration, all the most celebrated men and women of Europe, sat to Gerard. This extraordinary vogue was due partly to the charm of his manner and conversation, for his salon was as much frequented as his studio; Madame de Staël, George Canning, Talleyrand, the Duke of Wellington, have all borne witness to the attraction of his society. Rich and famous, Gerard was stung by remorse for earlier ambitions abandoned; at intervals he had indeed striven to prove his strength with Girodet and other rivals, and his Bataille d'Austerlitz (1810) showed a breadth of invention and style which are even more conspicuous in L'Entree d'Henri IV Paris (at Versailles), the work with which in 1817 he did homage to the Bourbons. After this date Gerard declined,
Ignacio Zuloaga
Spanish Painter, 1870-1945 was a Spanish Basque painter, born in Eibar, in the Basque country, near the monastery of Loyola. He was the son of metalworker and damascener Placido Zuloaga and grandson of the organizer and director of the royal armoury in Madrid. In his youth, he drew and worked in his father's workshop. He was educated by the Jesuits in France. His father wanted him to be an architect, and with this objective in mind, he was sent to Rome, where he immediately followed the strong impulse that led him to painting. After only six months' work he completed his first picture, which was exhibited at the Paris Salon of 1890. Continuing his studies in Paris, where he lived for five years, he was strongly influenced by Paul Gauguin and Henri de Toulouse-Lautrec. Only upon returning to his native land did he find his true style, which is based on the national Spanish tradition embodied in the work of Diego Velazquez, Francisco de Zurbaran, El Greco, and Francisco Goya. Bleeding Christ; or Blood Christ (El cristo de la Sangre) (1911)His own country was slow in acknowledging the young artist whose strong, decorative and rugged style stood in opposition to the styles of well-known modern Spanish artists such as Fortuny, Madrazo,
Harold Gilman
British 1878-1919 Harold Gilman Gallery Developing an interest in art during a childhood convalescence period, he began his artistic training after a non-collegiate year at Oxford University (again cut short by ill health) and time working as a tutor to an English family living in Odessa. Studying at the Hastings School of Art (1896) and then the Slade School of Fine Art (1897?C1901), he then spent over a year studying the Spanish masters (Velazquez as well as Whistler were major early influences) and meeting and marrying the American painter Grace Cornelia Canedy. Moving back to London, where they settled (apart from an abortive trip to visit her family in Chicago, in which Gilman ducked pressure to join the Canedy family business), they had two daughters (one in London, one in Chicago). Meeting Walter Sickert in 1907, Gilman became a founder member of both the Fitzroy Street Group (in 1907) and the Camden Town Group (in 1911). In the meantime he joined the Allied Artists' Association, moved to Letchworth, and began to show influence from work of Vuillard as well as Sickert. He soon outpaced Sickert's understanding of post-Impressionism and moved out from under his shadow, however, using ever stronger colour and identifying with Charles Ginner as a 'Neo-Realist' (exhibiting with Ginner under that label in 1914). Canal Bridge, Flekkefjord, c. 1913Gilman visited Scandinavia in 1912 and 1913, and may have travelled with the artist William Ratcliffe, who had relations there. Gilman made studies of the environment, and painted Canal Bridge, Flekkefjord, an accurate depiction, whose subject is likely to have been inspired by Vincent van Gogh's depiction of a similar bridge in Provence. Gilman had rejected Van Gogh's work when he first encountered it, but later became a strong admirer and, according to Wyndham Lewis, keeping postcards of Van Gogh's work on his wall and sometimes hanging one of his own works next to them, if he was especially satisfied with it. At that time he also joined Robert Bevan's short-lived Cumberland Market Group with Ginner and John Nash. Remarrying in 1917, in 1918 he was commissioned to travel to Nova Scotia by the Canadian War Records.