French Realist Painter , 1796-1875 French painter, draughtsman and printmaker. After a classical education at the Coll?ge 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's 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's 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  Related Paintings of Corot Camille :. | The Moulin of the Calette in Montmartre | Homero and the shepherds | The forum of the garden farnes | The bridge of Narni. | I remember of Mortefontaine |
Related Artists:
Robert Walter Weir
Jun 18.1803-May 1.1889, Painter and teacher. By his own account he was self-taught, with the exception of a few lessons from an unknown heraldic painter named Robert Cooke. However, after exhibiting a few works that were praised by the local press, he was sent to Italy by a group of New York and Philadelphia businessmen for further studies. There he trained with Florentine history painter Pietro Benvenuti. After three years in Europe (1824-7), he returned to New York, where he quickly became a mainstay of the artistic community. In 1831 he was elected to membership in the National Academy of Design in New York, and three years later he was made instructor of drawing at the US Military Academy in West Point, New York, a post he held for the next 42 years.
Giottino
1325-1370 Italian Giottino Gallery was an early Italian painter from Florence. His real name was Maso di Stefano or Tommaso di Stefano. Giottino's father was himself a celebrated painter; his naturalism earned him the appellation "Scimia della Natura" (Ape of Nature). He instructed his son, who applied himself with greater predilection to studying the works of the great Giotto. Since he formed his style on Giotto's works, Maso became known as Giottino. The frescoes in the chapel of San Silvestro in the Florentine Basilica of Santa Croce are attributed to Giottino; these represent the miracles of Pope St Sylvester as narrated in the "Golden Legend". A large number of other works have been attributed to Giottino including Apparition of the Virgin to St Bernard and a marble statue erected on the Florentine campanile.
Jan Miense Molenaer
Dutch Baroque Era Painter, ca.1610-1668 was a Dutch genre painter whose style was a precursor to Jan Steen's work during Dutch Golden Age painting. He shared a studio with his wife, Judith Leyster, also a genre painter, as well as a portraitist and painter of still-life. Both Molenaer and Leyster may have been pupils of the successful Dutch painter, Frans Hals. Molenaer achieved a style close to Hals early on in his career, but later developed a style like that of Dutch genre painter, Adriaen van Ostade. His genre works often depicted players of music, such as his The Music Makers (Museum of Fine Arts, Budapest), The Duet ((Seattle Art Museum), or Family Making Music (Frans Hals Museum). He also depicted Taverns and the activities of card games or games of the times such as La main chaude, or in Dutch, Handjeklap, which literally means clapping hands. Molenaer also cleverly depicted biblical stories in his own time and surroundings, such as representing a scene from Peter's Gospel set in a Dutch Tavern in, The Denying of Peter (Museum of Fine Arts, Budapest)