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

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Camille Pissarro
Detail of Pick Apples

ID: 48740

Camille Pissarro Detail of Pick  Apples
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Camille Pissarro Detail of Pick  Apples


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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 :. | Argenteuil | Norwood, | Red roof | The Artist's Daughter | Morning snow |
Related Artists:
Joseph Denis Odevaere
1778-1830,Flemish painter. He attended evening classes at the Bruges Academie in 1794-5 and then went to Paris, where he entered the studio of the Bruges artist Joseph-Benoet Suvee. In 1801 he began training under Jacques-Louis David and in 1804 won the Prix de Rome for his Death of Phocion (Paris, Ecole N. Sup. B.-A.), in which he faithfully adhered to the principles of David's teaching. Before going to Italy he spent a year in Bruges carrying out portrait commissions, including the Marquis de Chauvelin (1805; Bruges, Groeningemus.). During his time in Rome (1805-12) he copied antique and Renaissance works, taking a particular interest in Raphael, who features in his wash drawing the Master of Urbino Introduced by Bramante to Julius II (1807; Bruges, Groeningemus.), a study for a lost painting. Around 1811 he was among the artists chosen to decorate the Palazzo del Quirinale for Napoleon's visit, although he never executed more than a sketch, Tanaquil Predicting the Future Greatness of Servius Tullius (c. 1811-12; Dijon, Mus. Magnin). Odevaere successfully exhibited in Paris in 1812 and then moved to Ghent, showing works at the Salon there two years later. After the union of the Low Countries in 1815 he became official painter to William I. As a result of this post he executed several works illustrating the history of the Dutch royal family, including the Prince of Orange Wounded at Waterloo (1817) and the Battle of Nieuwpoort (1820; both Brussels, Pal. Nation, on dep. Brussels, Pal. Justice). In 1815 he was commissioned to recover works of art taken from the Low Countries by the French. David's arrival in Brussels in 1816 coincided with the beginning of Odevaere's most ambitious composition, the Departure of the Athenians for Salamis (1816-25; Brussels, Mus. A. Anc.), inspired as much by Jean-Auguste-Dominique Ingres as by David, although the latter frequently advised Odevaere on the painting. From 1825 to 1829 he worked on a series of paintings conveying his support of the philhellenic committees created during the Greek War of Independence.
John F.Francis
American Painter, 1808-1886 American painter. Beginning as an itinerant portrait painter in rural Pennsylvania, he produced works including flattering, colourful portraits of his sisters in the style of Thomas Sully, often incorporating small still-life details. He abandoned portraiture after 1850 to concentrate exclusively on still-life subjects in the tradition of the PEALE family.
LA FOSSE, Charles de
French Baroque Era Painter, 1636-1716 French painter and draughtsman. He was the most important decorative painter in France in the generation after Charles Le Brun and in this capacity contributed to many of the major official and private building projects from the 1670s to the 1710s, including the D?me des Invalides in Paris and the chapel at the ch?teau of Versailles. His colourist's temperament, his early study of the Venetian painters of the 16th century and his interest in the work of Peter Paul Rubens contributed to the triumph of the party that championed colour over line and put him in the vanguard of the new tendency in French painting in the later 17th century. His work, with its rich and changing colours, combines the strength of the 17th century






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