German Painter, 1858-1925 German painter and writer. He grew up on his family's farm and tannery. As a child he showed interest in art, taking informal lessons in drawing from a local carpenter and caricaturing his primary school teachers. Corinth's father sent him to secondary school in the nearby city of K?nigsberg (now Kaliningrad), where he lived with his widowed aunt. A superstitious woman fond of story-telling, she possessed what Corinth later described as a coarse temperament and an unrestrained, 'demonic' humour. These qualities and his aunt's bohemian acquaintances, including fortune-tellers and soothsayers, fascinated the young Corinth, accustomed to his more reserved parents.   Related Paintings of Lovis Corinth :. | Grobmutter und Enkelin | Tulpen, Flieder und Kalla | Walchensee Landscape | Chrysanthemen und Rosen im Krug | Walchenseelandschaft mit Larche |
Related Artists:
Henry J. Morgan
painted HMS 'Excellent' and HMS 'Illustrious' by Henry J. Morgan in 1860s
Narcisse Virgilio Diaz
August 25, 1807-November 18, 1876) was a French painter of the Barbizon school. Diaz was born in Bordeaux to Spanish parents. At the age of ten, Diaz became an orphan, and misfortune dogged his early years. His foot was bitten by a reptile in Meudon wood, near Sevres, where he had been taken to live with some friends of his mother. The bite was poorly dressed, and ultimately he lost his leg. However, as it turned out, the wooden stump that replaced his leg became famous. At fifteen he entered the studios at Sevres, first working in the decoration of porcelain occupied him and later turning to painting. Turkish and Oriental scenes attracted him, and he took to painting Eastern figures dressed in richly coloured garments; many of these paintings remain extant. He also spent much time at Barbizon. At Fontainebleau Diaz found Rousseau painting his wonderful forest pictures, and was determined to paint in the same way if possible. However, Rousseau was then in poor health, embittered against the world, and consequently was difficult to approach. On one occasion, Diaz followed him surreptitiously to the forest, wooden leg not hindering, and he dodged round after the painter, trying to observe his method of work. After a time Diaz found a way to become friendly with Rousseau, and revealed his eagerness to understand the latter's techniques. Rousseau was touched with the passionate words of admiration, and finally taught Diaz all he knew. Diaz exhibited many pictures at the Paris Salon, and was decorated in 1851. During the Franco-German War he went to Brussels. After 1871, his works became fashionable and rose gradually in the estimation of collectors, and he worked constantly and successfully. Diaz's finest pictures are his forest scenes and storms, and it is on these that his fame rests. There are several examples of his work in the Louvre, and three small figure pictures in the Wallace Collection, Hertford House.
Baron Pierre-Narcisse Guerin
(13 May 1774 - 6 July 1833) was a French painter. Guerin was born in Paris. A pupil of Jean-Baptiste Regnault, he carried off one of the three grands prix offered in 1796, in consequence of the competition not having taken place since 1793. In 1799, his painting Marcus Sextus (Louvre) was exhibited at the Salon and excited wild enthusiasm. Part of this was due to the subject - a victim of Sulla's proscription returning to Rome to find his wife dead and his house in mourning - in which an allusion was found to the turmoil of the French Revolution. Guerin on this occasion was publicly crowned by the president of the Institute, and went to Rome to study under Joseph-Benoît Suvee. In 1800, unable to remain in Rome on account of his health, he went to Naples, where he painted the Grave of Amyntas. In 1802 Guerin produced Phaedra and Hippolytus (Louvre); in 1810, after his return to Paris, he again achieved a great success with Andromache and Pyrrhus (Louvre); and in the same year also exhibited Cephalus and Aurora (Louvre) and Bonaparte and the Rebels of Cairo (Versailles). These paintings suited the popular taste of the First Empire, being highly melodramatic and pompously dignified. The Restoration brought to Guerin fresh honours; he had received from the first consul in 1803 the cross of the Legion of Honour, and in 1815 Louis XVIII named to the Academie des Beaux-Arts. His style changed to accord with popular taste. In Aeneas Relating to Dido the Disasters of Troy (Louvre), Guerin adopted a more sensuous, picturesque style. Guerin was commissioned to paint for the Madeleine a scene from the history of St Louis, but his health prevented him from accomplishing what he had begun, and in 1822 he accepted the post of director of the French Academy in Rome, which in 1816 he had refused. On returning to Paris in 1828, Guerin, who had previously been made chevalier of the order of St. Michel, was ennobled. He now attempted to complete Pyrrhus and Priam, a work which he had begun at Rome, but in vain; his health had finally broken down, and in the hope of improvement he returned to Italy with Horace Vernet. Shortly after his arrival at Rome Baron Guerin died, on the 6th of July 1833, and was buried in the church of La Trinite de Monti by the side of Claude Lorrain.