Lille 1809-Bievres (Essonne)1897 .was a French fresco painter, painter and portraitist. His father was passionate about art and painted himself. Sent to Paris with a pension for some years, Victor was recalled due to the poor state of his father's finances and his studies were cut short. He followed courses at the École de dessin in Lille and worked under the direction of his father and his father's painter friends such as Édouard Lienard, student of Jacques-Louis David. He returned to Paris from 1828 to 1829 to enter the École des Beaux-Arts and at first studied under the direction of François-Édouard Picot, then as a free student of Dominique Ingres. The Mottez family was highly religious and devoted to the House of Bourbon, and so the July Revolution in 1830 came as a catastrophe to them. Victor was again recalled to Lille by his father and married shortly afterwards. From there he made many trips, of which the longest and most notable was that to Italy and he came to consider its old masters as the absolute masters of painting. In Rome he met Ingres again - Ingres liked him very much and often gave him advice. His Christ in the Tomb (now in the glise Sainte-Catherine de Lille) and The Martyrdom of Saint Stephen (now in the glise Saint-Étienne de Lille) date to this era. Also on this trip to Italy he became hugely interested in fresco art - Mottez painted his wife Julie in this medium and, showing Ingres the end result, pulled it off the wall at Ingres' request (it was later given to the Louvre by Mottez's two children). Returning to France in 1838, he set up shop in Paris and exhibited at the Paris Salons, especially turning more and more towards the neglected genre of frescoes, notably religious ones. He also translated the Treatise by the 14th century Florentine painter Cennino Cennini and learned from his techniques. His most remarkable works are those for churches (at Église Saint-Germain-l'Auxerrois in the 1840s, and at the Saint-Severin in the 1850s), which were admired by Ingres and Delacroix. However, the clergy's hostility to them, the materials used, the saltpeter walls and their situation all meant that they were already deteriorated by the end of the 19th century and are now largely lost (except for Saint Martin cutting his cloak in two at St-Germain l'Auxerrois), though Mottez's cartoons for them survive. During the same years he frequented the Bertins' salon, alongside the main writers and artists of the time (a sketch of his for a portrait of Victor Hugo survives). He produced two frescoes for this salon, destroyed in 1854. After the 1848 Revolution Mottez set out for the United Kingdom, where he produced several portraits of British nobles and personalities and the exiled minister François Guizot, which were exhibited at the Royal Academy salons.   Related Paintings of Victor Mottez :. | Place du Theatre Francais in Paris | THe Coronation of the Virgin ,the trinity,the tirgin and child,the Crucifixion | The Garden of Earthly Delights | Building and Cloud | The Little Garden of Paradise |
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Nancy Fay
American , 1893-1930
RICCI, Sebastiano
Italian painter, Venetian school (b. 1659, Belluno, d. 1734, Venezia).Painter and draughtsman. He painted light and colourful religious, historical and mythological subjects with a fluid, painterly touch. His rediscovery of Paolo Veronese, whose settings and costumes he borrowed, was important to later Venetian painters. Sebastiano was an itinerant artist, celebrated throughout Europe.
Richard Caton Woodville
1856 - 1927 was an English artist and illustrator, who is best known for being one of the most prolific and effective painters of battle scenes in the late nineteenth, and early twentieth centuries. The son of American Richard Caton Woodville (The First), who was also a talented artist, Woodville studied at the Dusseldorf School under the great Prussian military artist Wilhelm Camphausen, and then Eduard von Gebhardt, before briefly studying in Russia and then Paris under Gerome. Woodville spent most of his career working for the Illustrated London News where he quickly developed a reputation as a talented reporter and writer, but was also published in Cornhill Magazine, Strand Magazine, and The Tatler. Richard Caton Woodville first experienced battle first-hand when he was sent by the Illustrated London News to report upon the Russo-Turkish War (1877 C 1878), and then again in the 1882 Anglo-Egyptian War where he made numerous sketches, and also obtained photographs of the trenches at Tel-e-Kebir for his friend and co-artist Alphonse-Marie-Adolphe de Neuville whom had been commissioned to paint a scene of the battle. In 1879 Woodville's Before Leuthen, Dec 3rd, 1757 was exhibited in the Royal Academy. It proved popular, and afterwards he began to regularly be exhibited in Burlington House, where 21 of his battle paintings were eventually shown. His most popular works there were ones that dealt with contemporary wars, such as the Second Anglo-Afghan War, Candahar [sic], and Maiwand, Saving the Guns (Walker Art Gallery), the Zulu War, and the First Boer War. His works from Egypt were exhibited at the Fine Art Society in 1883, where his painting The Moonlight Charge at Kassassin proved very popular. The following year he exhibited by Royal Command another painting he had done of the war in Egypt, entitled The Guards at Tel-e-Kebir (Royal Collection). He continued to paint scenes of battle, and few battles or wars that Great Britain fought during his life were not touched upon by him, including the Second Boer War, and World War I. Despite his precocious talent for capturing the dramatic moments of contemporary battles, Woodville also enjoyed recreating historical scenes in both oil, and watercolour. The Illustrated London News commissioned him to complete a commemorative special series recreating the most famous British Battles of history. He depicted The Charge of the Light Brigade (Royal Collection, Madrid) and The Charge of the 21st Lancers at Omdurman (Walker Art Gallery), Battle of Blenheim, Battle of Badajos and several Battle of Waterloo pictures. During World War I, Woodville was compelled to return to the depiction of current events, and three of his Great War works were displayed in the Royal Academy.