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 Portrait (Miss Lloyd) (nn01) | Hush | Portrait of Mlle.L.L(or Young Girl in Red Jacket) | The Return From the Boating Trip (nn01) | The Prodigal Son in Modern Life |
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Lucas van Leyden
1489-1533 Dutch Lucas van Leyden Galleries Lucas van Leyden (Leiden, 1494 ?C August 8, 1533 in Leiden), also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch engraver and painter, born and mainly active in Leiden, who was among the first Dutch exponents of genre painting and is generally regarded as one of the finest engravers in the history of art. He was the pupil of his father, from whose hand no works are known, and of Cornelis Engelbrechtsz, but both of these were painters whereas Lucas himself was principally an engraver. Where he learnt engraving is unknown, but he was highly skilled in that art at a very early age: the earliest known print by him (Mohammed and the Murdered Monk) dates from 1508, when he was perhaps only 14, yet reveals no trace of immaturity in inspiration or technique. Lot and his daughters (ca. 1509)In 1514 he entered the Painters' Guild at Leiden. He seems to have travelled a certain amount, and visits are recorded to Antwerp in 1521, the year of D??rer's Netherlandish journey, and to Middelburg in 1527, when he met Jan Mabuse. An unbroken series of dated engravings makes it possible to follow his career as a print-maker and to date many of his paintings, but no clear pattern of stylistic development emerges. D??rer was the single greatest influence on him, but Lucas was less intellectual in his approach, tending to concentrate on the anecdotal features of the subject and to take delight in caricatures and genre motifs. Carel van Mander characterizes Lucas as a pleasure-loving dilettante, who sometimes worked in bed, but he left a large oeuvre, in spite of his fairly early death, and must have been a prodigious worker. Lucas had a great reputation in his day (Vasari even rated him above D??rer) and is universally regarded as one of the greatest figures in the history of graphic art (he made etchings and woodcuts as well as engravings and was a prolific draughtsman). His status as a painter is less elevated, but he was undoubtedly one of the outstanding Netherlandish painters of his period. He was a pioneer of the Netherlandish genre tradition, as witness his Chess Players (Gemäldegalerie, Berlin) which actually represents a variant game called 'courier' - and his Card Players (National Gallery of Art, Washington), while his celebrated Last Judgement triptych (Lakenhal Museum, Leiden, 1526-27) shows the heights to which he could rise as a religious painter. It eloquently displays his vivid imaginative powers, his marvellous skill as a colourist and his deft and fluid brushwork.
Leopold Robert
(13 May 1794 - 20 March 1835), Swiss painter, was born at La Chaux-de-Fonds (Neuchâtel) in Switzerland, but left his native place with the engraver Girardet at the age of sixteen for Paris. He was on the eve of obtaining the grand prix for engraving when the events of 1815 blasted his hopes, for Neuchâtel was restored to Prussia, and Robert was struck off the list of competitors as a foreigner. Whilst continuing his studies under Girardet he had never ceased to frequent the studio of David, and he now determined to become a painter, and only returned to his native country when his master himself was exiled. At Neuchâtel he attracted the notice of Roullet de Mezerac, who enabled him by a timely loan to proceed to Rome. In depicting the customs and life of the people, of southern Italy especially, he showed peculiar feeling for the historical characteristics of their race. After executing many detached studies of Italian life Robert conceived the idea of painting four great works which should represent at one and the same time the four seasons in Italy and the four leading races of its people. In the "Return from the Fete of the Madonna dell'Arco" (Louvre) he depicted the Neapolitans and the spring. This picture, exhibited at the Salon of 1827, achieved undoubted success and was bought for the Luxembourg by Charles X; but the work which appeared in 1831 the "Summer Reapers arriving in the Pontine Marshes" (Louvre), which became the property of Louis Philippe established the artist's reputation. Florence and her autumn vineyards should now have furnished him with his third subject. He attempted to begin it, but, unable to conquer his passion for Princess Charlotte Napoleon (then mourning the violent death of her husband, Robert's devoted friend), he threw up his work and went to Venice, where he began and carried through the fourth of the series, the "Fishers of the Adriatic." This work was not equal to the "Reapers." Worn by the vicissitudes of painful feeling, and bitterly discouraged, Robert committed suicide before his easel on 20 March 1835, on the tenth anniversary of the melancholy suicide of a brother to whom he had been much attached.
Frederick Smallfield
British Painter and Etcher , (1829-1911)