1836-1910 Winslow Homer Locations Winslow Homer (February 24, 1836 ?C September 29, 1910) was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art. Largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations.  Related Paintings of Winslow Homer :. | The woman on the beach | Dinner Horn | Sunlight Shadow | Petersburg, Virginia, before the war induced | Fresh Air |
Related Artists:
Peder Monsted
Danish, 1859 - 1941
VIVIEN, Joseph
French painter (b. 1657, Lyon, d. 1734, Bonn) French painter and pastellist, active in Germany. He trained in Paris in 1672 with the painter Fran?ois Bonnemers (1638-89), also attending the Acad?mie Royale, where his oil painting the Punishment of Adam and Eve (untraced) won a second prize in 1678. Only in 1698 was he received (re?u) at the Acad?mie, as a pastellist, on presentation of portraits of the sculptor Fran?ois Girardon and of the architect Robert de Cotte (both Paris, Louvre; see PASTEL, fig. 1). Having been commissioned to execute a pastel Self-portrait (Florence, Uffizi) by Maximilian II Emanuel, Elector of Bavaria, in 1699, the following year he was appointed the Elector's principal court painter (see WITTELSBACH). He henceforth divided his time between Paris, the Elector's courts at Brussels and Munich,
Henri-Horace Roland de La Porte
Paris 1724-1793 French painter. He was a pupil of Jean-Baptiste Oudry and was approved by the Academie Royale de Peinture et de Sculpture in 1761 as a 'painter of animals and fruit'. He presented his morceau de reception, the ambitious Vase of Lapis, Ornamented with Bronze and Placed near a Globe (Paris, Louvre), in 1763. This large painting is reminiscent of Oudry's work and depicts a collection of sumptuous objects against a simple cloth backdrop. Roland de la Porte's later works are much more intimate in scale and approach and depict simple rustic objects in a restrained yet realistic fashion in a manner akin to Chardin, for whose works his own have been mistaken. The Still-life with Bread and Fruit (Rotterdam, Boymans-van Beuningen) is bathed in a warm light; the composition is unusual in that the bread, plums and preserve pot are represented at the viewer's eye level, obscuring the top of the table. The Little Orange Tree (Karlsruhe, Staatl. Ksthalle) uses several devices similar to those used by Chardin: a light source comes from the upper left-hand side, throwing some of the surfaces into relief and highlighting them against the indistinct background; a single straw is brought into focus and seems to protrude out of the picture