French Painter, 1836-1902 French painter, printmaker and enamellist. He grew up in a port, an experience reflected in his later paintings set on board ship. He moved to Paris c. 1856 and became a pupil of Louis Lamothe and Hippolyte Flandrin. He made his Salon d?but in 1859 and continued to exhibit there successfully until he went to London in 1871. His early paintings exemplify Romantic obsessions with the Middle Ages, while works such as the Meeting of Faust and Marguerite (exh. Salon 1861; Paris. Mus. d'Orsay) and Marguerite at the Ramparts (1861; untraced, see Wentworth, 1984, pl. 8) show the influence of the Belgian painter Baron Henri Leys. In the mid-1860s Tissot abandoned these tendencies in favour of contemporary subjects, sometimes with a humorous intent, as in Two Sisters (exh. Salon 1864; Paris, Louvre) and Beating the Retreat in the Tuileries Gardens (exh. Salon 1868; priv. col., see Wentworth, 1984, pl. 45). The painting Young Ladies Looking at Japanese Objects (exh. Salon 1869; priv. col., see Wentworth, 1984, pl. 59) testifies to his interest in things Oriental, and Picnic (exh. Salon 1869; priv. col., see 1984 exh. cat., fig. 27), in which he delved into the period of the Directoire, is perhaps influenced by the Goncourt brothers. Tissot re-created the atmosphere of the 1790s by dressing his characters in historical costume.  Related Paintings of James Tissot :. | A Passing Storm (nn01) | Holyday (The Picnic) (nn01) | Hide and Seek | October | A Passing Storm |
Related Artists:
Manuel Cabral Y Aguado Bejarano
Spanish , 1827-1891
Cagnaccio di San Pietro
Italian, 1897-1946,born Natale Bentivoglio Scarpa, was an Italian magic realist painter. He had his artistic training at the Academy of Fine Art in Venice, where he studied under Ettore Tito. Cagnaccio's early paintings were in a Futurist idiom, but by the early 1920s he had adopted a very smoothly brushed, nearly photographic style. His work, which includes portraits, nudes, still lifes, scenes of popular life, and religious pictures, shows the influence of the German painters of the New Objectivity. One of his best-known paintings, After the Orgy (1928) shows three nude women asleep on a floor littered with wine bottles, playing cards and cigarettes.
NOVELLI, Pietro
Italian Baroque Era Painter, 1603-1647 Italian painter. He trained with his father, Pietro Antonio Novelli (1568-1625), a painter and mosaicist, then in 1618 in Palermo with Vito Carrera (1555-1623). He also studied perspective with the mathematician Carlo Maria Ventimiglia. Paolini (1980) suggested that in his early years Novelli may have contributed, with Domenico Fiasella and Nicolas Tournier, to a cycle of paintings in the oratory of S Stefano in Palermo and that he made a first journey to Rome between 1622 and 1625. His first dated work is from 1626: St Anthony Abbot (Palermo, S Antonio Abate). The development of his style owed much to Anthony van Dyck, who visited Sicily in 1624 and whose altarpiece, the Madonna of the Rosary (Palermo, oratory of S Maria del Rosario), was of fundamental importance to Novelli. Van Dyck's influence, which remained with Novelli throughout his career, is most apparent in the Death of the Just Man (Palermo, Gal. Reg. Sicilia), the Apparition of the Virgin to St Andrea Corsini (1630; Palermo, Chiesa del Carmine) and the Coronation of the Virgin