French Realist Illustrator, 1808-1879 was a French printmaker, caricaturist, painter, and sculptor, whose many works offer commentary on social and political life in France in the 19th century. A prolific draftsman who produced over 4000 lithographs, he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen, although posthumously the value of his painting has also been recognized. Daumier was born in Marseille to Jean-Baptiste Louis Daumier and C??cile Catherine Philippe. His father Jean-Baptiste was a glazier whose literary aspirations led him to move to Paris in 1814, seeking to be published as a poet. In 1816 the young Daumier and his mother followed Jean-Baptiste to Paris. Daumier showed in his youth an irresistible inclination towards the artistic profession, which his father vainly tried to check by placing him first with a huissier, for whom he was employed as an errand boy, and later, with a bookseller. In 1822 he became prot??g?? to Alexandre Lenoir, a friend of Daumier's father who was an artist and archaeologist. The following year Daumier entered the Acad??mie Suisse. He also worked for a lithographer and publisher named Belliard, and made his first attempts at lithography. Having mastered the techniques of lithography, Daumier began his artistic career by producing plates for music publishers, and illustrations for advertisements.   Related Paintings of Honore Daumier :. | Madchen und Kind | Wagen dritter Klasse | Crispin und Scapin | Der Kunstler vor Notre Dame | The Melodrama |
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Jan van Huijsum
also spelled Huijsum, (April 15, 1682, Amsterdam - February 8, 1749, Amsterdam) was a Dutch painter. He was the brother of Jacob van Huysum, the son of the flower painter Justus van Huysum, and the grandson of Jan van Huysum I, who is said to have been expeditious in decorating doorways, screens and vases. A picture by Justus is preserved in the gallery of Brunswick, representing "Orpheus and the Beasts in a wooded landscape", and here we have some explanation of his son's fondness for landscapes of a conventional and Arcadian kind; for Jan van Huysum, though skilled as a painter of still life, believed himself to possess the genius of a landscape painter. Half his pictures in public galleries are landscapes, views of imaginary lakes and harbours with impossible ruins and classic edifices, and woods of tall and motionless trees-the whole very glossy and smooth, and entirely lifeless. The earliest dated work of this kind is that of 1717, in the Louvre, a grove with maidens culling flowers near a tomb, ruins of a portico, and a distant palace on the shores of a lake bounded by mountains. Some of the finest of van Huysum's fruit and flower pieces have been in English private collections: those of 1723 in the earl of Ellesmere's gallery, others of 1730-1732 in the collections of Hope and Ashburton. One of the best examples is now in the National Gallery, London (1736-1737). No public museum has finer and more numerous specimens than the Louvre, which boasts of four landscapes and six panels with still life; then come Berlin and Amsterdam with four fruit and flower pieces; then St Petersburg, Munich, Hanover, Dresden, the Hague, Brunswick, Vienna, Carlsruhe, Boston and Copenhagen.
Carl Wagner
1796-1867
Albert Pinkham Ryder
1847-1917 Albert Pinkham Ryder Gallery Albert Pinkham Ryder (March 19, 1847 ?C March 28, 1917) was an American painter best known for his poetic and moody allegorical works and seascapes, as well as his eccentric personality. While his art shared an emphasis on subtle variations of color with tonalist works of the time, it was unique for accentuating form in a way that some art historians regard as modernist. After 1900, around the time of his father's death, Ryder's creativity fell dramatically. For the rest of his life he spent his artistic energy on occasionally re-working existing paintings, some of which lay scattered about his New York apartment. Visitors to Ryder's home were struck by his slovenly habits -- he never cleaned, and his floor was covered with trash, plates with old food, and a thick layer of dust, and he would have to clear space for visitors to stand or sit. He was shy and did not seek the company of others, but received company courteously and enjoyed telling stories or talking about his art. He gained a reputation as a loner, but he maintained social contacts, enjoyed writing letters, and continued to travel on occasion to visit friends. While Ryder's creativity fell after the turn of the century, his fame grew. Important collectors of American art sought Ryder paintings for their holdings and often lent choice examples for national art exhibitions, as Ryder himself had lost interest in actively exhibiting his work. In 1913, ten of his paintings were shown together in the historic Armory Show, an honor reflecting the admiration felt towards Ryder by modernist artists of the time. By 1915 Ryder's health deteriorated, and he died at the home of a friend who was caring for him. A memorial exhibition of his work was held in the Metropolitan Museum of Art in New York in 1918. While the works of many of Ryder's contemporaries were partly or mostly forgotten through much of the 20th century, Ryder's artistic reputation has remained largely intact owing to his unique and forward-looking style. Ryder was along with Thomas Hart Benton, David Siqueiros and Pablo Picasso an important influence on Jackson Pollock's paintings.