1824- 1879 William Morris Hunt Gallery Hunt's father's family were among Vermont's founders and largest landowners; his mother's a family of wealth and prominence in Connecticut. Hunt attended Harvard but withdrew in his junior year. Following the untimely death of his Congressman father from cholera, Hunt's mother Jane took him and his brothers to Switzerland, the South of France and to Rome, where Hunt studied with Couture in Paris and then came under the influence of Jean-François Millet, from whom he learned the principles of the Barbizon school. The Hunt family remained in Europe for a dozen years. Afterwards, leaving Paris, he painted and established art schools at Newport, Rhode Island, where he had relatives, Brattleboro, Vermont, Faial Island in the Azores, where he had family connections and finally at Boston, where he painted, taught art and became a popular portrait painter. The companionship of Millet had a lasting influence on Hunt's character and style, and his work grew in strength, in beauty and in seriousness. He was among the biggest proponents of the Barbizon school in America, and he more than any other turned the rising generation of American painters towards Paris. On his return in 1855 he painted some of his most handsome canvases, all reminiscent of his life in France and of Millet's influence. Such are The Belated Kid, Girl at the Fountain, Hurdy-Gurdy Boy, and others ?C but the public called for portraits, and it became the fashion to sit for Hunt; among his best paintings of this genre are those of William M. Evarts, Mrs Charles Francis Adams, the Rev. James Freeman Clarke, William H. Gardner, Chief Justice Shaw and Judge Horace Gray. Sadly, many of Hunt's paintings and sketches, together with five large Millets and other art treasures collected by him in Europe, were destroyed in the Great Boston Fire of 1872.  Related Paintings of William Morris Hunt :. | Portrait of Morris Hunt by his father | Charles Francis Adams | William Morris Hunt | Portrait of Charles Sumner | Jean Louis Rodolphe Agassiz |
Related Artists:
Koch, Joseph Anton
Austrian Painter, 1768-1839 Painter and writer. He was one of the most important landscape painters of the early 19th century. With his friend Johann Christian Reinhart he pioneered the 'heroic' landscape style by heightening the grandeur and structural clarity of classical Italianate landscapes in the tradition of Nicolas Poussin, Claude Lorrain and Gaspard Dughet. His work reflects a transitional period in European art. Largely under the influence of Asmus Carstens, Koch subscribed to many Neo-classical principles, but his work also has Romantic aspects. His interest in the natural sciences and Romantic philosophy betrayed an increasingly modern world-view, but he also embraced the medievalism of the Nazarenes.
John Neagle
1796-1860 John Neagle Gallery Neagle's training in art began with instruction from the drawing-master Pietro Ancora and an apprenticeship to Thomas Wilson, a well-connected painter of signs and coaches in Philadelphia. Wilson introduced him to the painters Bass Otis and Thomas Sully, and Neagle became a protege of the latter. In 1818 Neagle decided to concentrate exclusively on portraits, setting up shop as an independent master. Aside from brief sojourns in Lexington, Kentucky, and New Orleans, Louisiana, he spent his career in Philadelphia. In May 1826 he married Sully's stepdaughter Mary, and for a time the son-in-law and father-in-law dominated the field of portraiture in the city. Neagle served as Director of the Pennsylvania Academy of Fine Arts, and was also a founder and president (1835-43) of the Artist's Fund Society of Philadelphia.
Manuel da Costa Ataide
(1762 to 1830), was a Brazilian painter, sculptor, gilder and teacher. He was an important artist of the baroque school in Minas Gerais and had a major influence on painting in the region, with many students and followers. His method of composition, particularly in perspective works on church ceilings, continued to be used until the middle of the nineteenth century. Contemporary documents often refer to him as a teacher of painting. In 1818 Ataede tried without success to obtain official permission to found an art school in Mariana, his home town. He owned technical manuals and theoretical tracts such as Andrea Pozzo's "Perspectivae Pictorum Architectorum" from which he must have studied technique. His art is characterised by the use of bright colours, especially blue. He was a contemporary and colleague of Antonio Francisco Lisboa (Aleijadinho). In the period 1781 to 1818 he completed and gilded Aleijadinhoes images for the Sanctuary of Bom Jesus de Matosinhos in Congonhas.