German Impressionist Painter, 1847-1935 Max Liebermann (July 20 1847 ?C February 8 1935) was a German painter and printmaker in etching and lithography. The son of a Jewish businessman from Berlin, Liebermann first studied law and philosophy at the University of Berlin, but later studied painting and drawing in Weimar in 1869, in Paris in 1872, and in the Netherlands in 1876-77. During the Franco-Prussian War (1870?C71), Liebermann served as a medic with the Order of St. John near Metz. After living and working for some time in Munich, he finally returned to Berlin in 1884, where he remained for the rest of his life. He was married in 1884 to Martha Liebermann (1857-1943, see portrait by Anders Zorn). Together with Lovis Corinth and Max Slevogt, Liebermann became an exponent of German Impressionism. He used his own inherited wealth to assemble an impressive collection of French Impressionist works. He later chose scenes of the bourgeoisie, as well as aspects of his garden near Lake Wannsee, as motifs for his paintings. In Berlin, he became a famous painter of portraits; his work is especially close in spirit to Édouard Manet. "Boys Bathing" Neue PinakothekFrom 1899 to 1911 he led the premier avant-garde formation in Germany, the Berliner Secession. Beginning in 1920 he was president of the Prussian Academy of Arts. In 1933 he resigned when the academy decided to no longer exhibit works by Jewish artists. While watching the Nazis celebrate their victory by marching through the Brandenburg Gate, Liebermann was reported to have commented: "Ich kann gar nicht so viel fressen, wie ich kotzen möchte" ("I could not eat as much as I would like to vomit.") On 30 April 2006, the Max Liebermann Society opened a permanent museum in the Liebermann family's villa in Berlin-Wannsee. The artist's wife, Martha Liebermann, was forced to sell the building in 1940. In 1943 she committed suicide in the family home, Haus Liebermann, hours before police came to deport her to Theresienstadt concentration camp.  Related Paintings of Max Liebermann :. | Carl Duisberg | Max Liebermann Waisenhaus Amsterdam | At the swimming bath | Munich Beer Garden | Boys Bathing |
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Theodore Rousseau
1812-1867 French Theodore Rousseau Galleries Rousseau's pictures are always grave in character, with an air of exquisite melancholy which is powerfully attractive to the lover of landscapes. They are well finished when they profess to be completed pictures, but Rousseau spent so long a time in working up his subjects that his absolutely completed works are comparatively few. He left many canvases with parts of the picture realized in. detail and with the remainder somewhat vague; and also a good number of sketches and water-color drawings. His pen work in monochrome on paper is rare; it is particularly searching in quality. There are a number of fine pictures by him in the Louvre, and the Wallace collection. contains one of his most important Barbizon pictures. There is also an example in the Ionides collection at the Victoria and Albert Museum.
William Notman
(8 March 1826 - 25 November 1891) was a Canadian photographer and businessman. Notman was born in Paisley, Scotland in 1826, the same year in which photography was born in France. William Notman moved to Montreal in 1856. An amateur photographer, he quickly established a flourishing professional photography studio on Bleury Street. His first important commission was the documentation of the construction of the Victoria Bridge across the St. Lawrence River. The Bridge opened with great fanfare in 1860, attended by the Prince of Wales and Notman's camera. The gift to the Prince of a Maple Box containing Notman's photographs of the construction of the bridge and scenes of Canada East and Canada West so pleased Queen Victoria that, according to family tradition, she named him "Photographer to the Queen." Notman's reputation and business grew over the next three decades, the first Canadian photographer with an international reputation, and he operated his business as a partnership with other noted Canadian artists, initially John Arthur Fraser and then Henry Sandham, whom he also mentored. He established branches throughout Canada and the United States, including seasonal branches at Yale and Harvard universities, to cater to the student trade. Notman was also an active member of the Montreal artistic community, opening his studio for exhibitions by local painters; the studio also provided training for aspiring photographers and painters. Notman was highly regarded by his colleagues for his innovative photography, and held patents for some of the techniques he developed to recreate winter within the studio walls. He won medals at exhibitions in Montreal, London, Paris, and Australia. Photography during the mid 19th century was not the simple process it later became. The typical tourist generally did not carry a camera and much of the Notman studio's images were taken with the tourist's needs in mind. Visitors would look through Notman's Picture Books and chose views, to buy individually mounted or perhaps made up into an album, and have a portrait taken as well. Street scenes in the burgeoning cities of Canada, the magnificence of modern transportation by rail and steam, expansive landscapes and the natural wonders, all were in demand either as 8" x 10" prints, or in the popular stereographic form, and were duly recorded by the many staff photographers working for the Notman studio. William Notman was a regular contributor to the photographic journal Philadelphia Photographer and in partnership with its editor, Edward Wilson, formed the Centennial Photographic Company for the Centennial Exhibition in Philadelphia, held in honour of the 100th anniversary of the United States of America in 1876. He won the only gold medal to be awarded by the British judges and the portrait identification card required for entrance to the grounds was the ancestor of today's various photo-ID cards. When William Notman died in November 1891, quite suddenly after a short bout of pneumonia, management of the studio Wm Notman & Son was left to his son William McFarlane Notman, an experienced photographer in his own right, who with his brothers, had accompanied the itinerant settlement known as "End of Track" for the Canadian Pacific Railway and documented the construction of the railway towards the west. In 1935 William McFarlane Notman's younger brother Charles sold the studio to the Associated Screen News, and in 1957 the Notman Collection was purchased by McGill University, Montreal. The 200,000 negatives, 43 Index Books, 200 Picture Books and assorted memorabilia were transferred to the McCord Museum of Canadian History. With the addition of the McCord Museum's existing photographic holdings to the Notman Collection, the Notman Photographic Archives was born, with the Notman Collection serving as the kernel for an extensive Canadian photography department, covering Canada from Newfoundland to Victoria, the Great Lakes to the Arctic, from 1841 to 1935.
Walter Hunt
British 1861-1941