1796-1875 Corot Locations French painter, draughtsman and printmaker. After a classical education at the College de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers, his career as a whole shows his attachment to the principles of historic landscape painting which they professed.  Related Paintings of Jean Baptiste Camille Corot :. | Honfleur (mk11) | Avignon (mk11) | La liseuse (mk11) | WOman in Blue | The Bride (mk05) |
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San Sebastiano,Po 1851-1895 Chivasso
Tadeusz Ajdukiewicz
1852 in Wieliczka ?C January 9, 1916 in Krak??w) was a Polish painter. From 1868 to 1873, he followed Władysław Luszczkiewicz classes in the Fine art school of Krakow. Later, he was in Vienna and Munich and in J??zef Brandt's atelier. In 1877, he travelled to Paris and Near East. In 1882, he lived in Vienna, where he worked for the aristocracy. In 1883, he went to London, where he made Prince of Wales' portrait. In 1884, to Constantinople, he was sultan Abdhulhamid II's guest. And he woked later in Sofia, Saint Petersburg and Bucharest. He joined the Polish Legions in 1914, during World War I, and he died in one of the battles of this war. He's first cousin was Zygmunt Ajdukiewicz.
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1845-1932 English painter. During the early 1860s Goodwin studied with Arthur Hughes and Ford Madox Brown, who predicted that his pupil would become 'one of the greatest landscape painters of the age'. Hughes and Brown impressed on Goodwin the Pre-Raphaelite principles of high finish, vivid colour and working directly from nature that inform his early landscape style,