French Impressionist Painter, 1841-1919 French painter, printmaker and sculptor. He was one of the founders and leading exponents of IMPRESSIONISM from the late 1860s, producing some of the movement's most famous images of carefree leisure. He broke with his Impressionist colleagues to exhibit at the Salon from 1878, and from c. 1884 he adopted a more linear style indebted to the Old Masters. His critical reputation has suffered from the many minor works he produced during his later years.   Related Paintings of Pierre-Auguste Renoir :. | Portrat des Georges Riviere | Weiblicher Akt | Young Girl Bathing | The Swing | Mujer con una sombrilla en un jarden |
Related Artists:
Emil janssen
1807-45
Il Pordenone
(c. 1484 - 1539), was an Italian painter of the Venetian school, active during the Renaissance. Vasari, his main biographer, identifies him as Giovanni Antonio Licinio. He was commonly named il Pordenone from having been born in 1483 at Corticelli, a small village near Pordenone in Friuli. He ultimately dropped the name of Licinio, having quarrelled with his brothers, one of whom had wounded him in the hand; he then called himself Regillo, or De Regillo. Others say he once took up his maternal name of Cuticelli[1] His signature runs Antonius Portunaensis, or De Portunaonis. He was knighted as a cavaliere by Charles V. As a painter, Pordenone was a scholar of Pellegrino da San Daniele, but a leading influence of his style was Giorgione; the popular story that he was a fellow-pupil with Titian under Giovanni Bellini is false. It was claimed that Pordenone's first commission was given him by a grocer in his home town, to try his boast that he could paint a picture as the priest commenced High Mass, and complete it by the time Mass was over; he completed the picture in the required time.[2] The district about Pordenone had been somewhat fertile in capable painters; but Pordenone is the best known, a vigorous chiaroscurist and flesh painter. The 1911 Britannica states that "so far as mere flesh-painting is concerned he was barely inferior to Titian in breadth, pulpiness and tone". The two were rivals for a time, and Licinio would sometimes affect to wear arms while he was painting. He excelled in portraits; he was equally at home in fresco and in oil-color. He executed many works in Pordenone and elsewhere in Friuli, Cremona, and Venice; at one time he settled in Piacenza, where one of his most celebrated church pictures, St. Catherine disputing with the Doctors in Alexandria is located; the figure of St. Paul in connection with this picture is his own portrait.
Telemaco signorini
Italian Painter, 1835-1901 was an Italian artist who belonged to the group known as the Macchiaioli. He was born in the Santa Croce quarter of Florence, and showed an early inclination toward the study of literature, but with the encouragement of his father, Giovanni Signorini, a court painter for the Grand Duke of Tuscany, he decided instead to study painting. In 1852 he enrolled at the Florentine Academy, and by 1854 he was painting landscapes en plein air. The following year he exhibited for the first time, showing paintings inspired by the works of Walter Scott and Machiavelli at the Florentine Promotrice. In 1855, he began frequenting the Caffe Michelangiolo in Florence, where he met Giovanni Fattori, Silvestro Lega, and several other Tuscan artists who would soon be dubbed the Macchiaioli. The Macchiaioli, dissatisfied with the antiquated conventions taught by the Italian academies of art, started painting outdoors in order to capture natural light, shade, and color. They were forerunners of the Impressionists who, beginning in the 1860s, would pursue similar aims in France. Signorini was a volunteer in the Second Italian War of Independence in 1859, and afterwards painted military scenes which he exhibited in 1860 and 1861. He made his first trip outside Italy in 1861 when he visited Paris, to which he would often return in the decades that followed. There he met Degas and a group of expatriate Italian artists in his orbit, including Giovanni Boldini, Giuseppe De Nittis, and Federico Zandomeneghi; unlike them, however, Signorini remained rooted in Italy. He became not only one of the leading painters of the Macchiaioli, but also their leading polemicist. Art historian Giuliano Matteucci has written: "If we acknowledge Fattori and Lega as the major creative figures of the macchiaioli, then Signorini must surely be recognized as their 'deus ex machina'",