Sandro Botticelli
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c. 1445 – May 17, 1510. Italian painter.

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Camille Pissarro
Landscape at Chaponval (mk09)

ID: 21458

Camille Pissarro Landscape at Chaponval (mk09)
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Camille Pissarro Landscape at Chaponval (mk09)


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Camille Pissarro

Caribbean-born French Pointillist/Impressionist Painter, ca.1830-1903 .Painter and printmaker. He was the only painter to exhibit in all eight of the Impressionist exhibitions held between 1874 and 1886, and he is often regarded as the 'father' of the movement. He was by no means narrow in outlook, however, and throughout his life remained as radical in artistic matters as he was in politics. Thad?e Natanson wrote in 1948: 'Nothing of novelty or of excellence appeared that Pissarro had not been among the first, if not the very first, to discern and to defend.' The significance of Pissarro's work is in the balance maintained between tradition and the avant-garde. Octave Mirbeau commented: 'M. Camille Pissarro has shown himself to be a revolutionary by renewing the art of painting in a purely working sense;  Related Paintings of Camille Pissarro :. | Place de la Republique,Rouen | Pond at Ennery | woman selling pork | Woman emptying a wheelbarrow | River landscape with boat Paysage fluviale avec bateau pres de Pontoise |
Related Artists:
Berninghaus, Oscar Edmund
American Painter, 1874-1952
Edward Wadsworth
British 1889-1949 Edward Wadsworth Gallery 1949). English painter. He was raised in a northern industrial environment that was to appear with great forcefulness in his Vorticist work. He studied engineering in Munich from 1906 to 1907 and, like many other Vorticists (see VORTICISM), Wadsworth interest in the machine showed itself at an early age. He also studied art at the Knirr School in Munich in his spare time, before attending Bradford School of Art; he then studied through a scholarship at the Slade School of Art (1908-12) in London. Early paintings like Harrogate Corporation Brickworks (1908; untraced) show a growing interest in industrial subjects. Under the impact of the Post-Impressionists, he turned for a while to portraiture, beach scenes and still-lifes. His work was included in the final month of the Second Post-Impressionist Exhibition held at the Grafton Galleries in 1912, and in the summer of the same year he joined the Omega Workshops, although his alliance with Roger Fry was short-lived. Wadsworth new friendship with Wyndham Lewis led to an abrupt departure from Omega in October, when several of his works were included in Frank Rutter Post-Impressionist and Futurist exhibitions at the Doro Gallery in London. His painting L Omnibus (c. 1913; untraced; see 1974 exh. cat., no. 12) announced his involvement with motorized themes that clearly derived from Futurism.
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.






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