1819-1877 French Gustave Courbet Locations was a French painter whose powerful pictures of peasants and scenes of everyday life established him as the leading figure of the realist movement of the mid-19th century. Gustave Courbet was born at Ornans on June 10, 1819. He appears to have inherited his vigorous temperament from his father, a landowner and prominent personality in the Franche-Comte region. At the age of 18 Gustave went to the College Royal at Besancon. There he openly expressed his dissatisfaction with the traditional classical subjects he was obliged to study, going so far as to lead a revolt among the students. In 1838 he was enrolled as an externe and could simultaneously attend the classes of Charles Flajoulot, director of the ecole des Beaux-Arts. At the college in Besançon, Courbet became fast friends with Max Buchon, whose Essais Poetiques (1839) he illustrated with four lithographs. In 1840 Courbet went to Paris to study law, but he decided to become a painter and spent much time copying in the Louvre. In 1844 his Self-Portrait with Black Dog was exhibited at the Salon. The following year he submitted five pictures; only one, Le Guitarrero, was accepted. After a complete rejection in 1847, the Liberal Jury of 1848 accepted all 10 of his entries, and the critic Champfleury, who was to become Courbet first staunch apologist, highly praised the Walpurgis Night.  Related Paintings of Gustave Courbet :. | View of snow | The Young Ladies of the Banks of the Seine | The Weir at the Mill | Die Beute | Lady |
Related Artists:
Henry Clarence Whaite
British artist, 1828-1912
Sultan Muhammad
Persian Painter, active ca.1505-1550 Persian illustrator. He was apparently a native of Tabriz and spent most of his life there. Contemporary sources suggest that he was at the height of his creative powers in the 1520s and 1530s when he was one of the leading painters in the employ of the Safavid shah Tahmasp. Sultan-Muhammad's documented paintings include contributions to a monumental copy (dispersed, ex-Houghton priv. col.) of Firdawsi's Shahnama ('Book of kings') made for Tahmasp between c. 1524 and c. 1529 and paintings from a copy (divided, New York, Met. and Cambridge, MA, Sackler Mus.) of Hafiz's Divan (collected poems), probably executed between 1531 and 1533. Sultan-Muhammad's paintings for these manuscripts demonstrate how the tradition of western Iranian painting as practised in Tabriz, Shiraz and other centres during the 15th century continued to be significant at the Safavid court .
James McDougal Hart
(May 10, 1828 - October 24, 1901), was a Scottish-born American landscape and cattle painter of the Hudson River School. His older brother, William Hart, was also a Hudson River School artist, and the two painted similar subjects. Hart was born in Kilmarnock, Scotland, and was taken to America with his family in early youth. In Albany, New York he trained with a sign and carriage maker possibly the same employer that had taken on his brother in his early career. Unlike his brother, however, James returned to Europe for serious artistic training. He studied in Munich, and was a pupil of Friedrich Wilhelm Schirmer in Dusseldorf. Hart returned to America in 1853. He exhibited his first work at the National Academy of Design in 1848, became an associate in 1857 and a full member in 1859. James Hart was particularly devoted to the National Academy, exhibiting there over a period of more than forty years, and serving as vice president late in his life from 1895 to 1899. Like his brother, James also exhibited at the Brooklyn Art Association (he lived for a time in Brooklyn) and at major exhibitions around the country. Along with most of the major landscape artists of the time, Hart based his operations in New York City and adopted the style of the Hudson River School. While James Hart and his brother William often painted similar landscape subjects, James may have been more inclined to paint exceptionally large works. An example is The Old Homestead (1862), 42 x 68 inches, in the collection of the High Museum of Art in Atlanta, Georgia. James may have been exposed to large paintings while studying in D??sseldorf, a center of realist art pedagogy that also shaped the practices of Albert Bierstadt and Worthington Whittredge. William Hart, who did not seek academic European training, seems to have been more comfortable painting small and mid-sized works. Like his brother William, James excelled at painting cattle. Kevin J. Avery writes, "the bovine subjects that once distinguished [his works] now seem the embodiment of Hart's artistic complacency." In contrast with the complacency of some of his cattle scenes, his major landscape paintings are considered important works of the Hudson River School.