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 :. | Odalisque | young girls at the piano | Rowers at Chatou | Girl With a Hoop, | La Premiere Sortie (The First Outing) (mk09) |
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Louis-Marin Bonnet
French, 1736 - 1793 French engraver and publisher. He came from a family of artisans and owed his training in engraving to his brother-in-law, the engraver Louis Legrand (1723-1808). Through Legrand, Bonnet became the pupil of Jean-Charles Francois in 1756, a year before the latter discovered the CRAYON MANNER technique of engraving, designed to reproduce the effect of a coloured-chalk drawing. Around the end of 1757 Bonnet used the new technique to engrave a Cupid after Francois Eisen. Gilles Demarteau, a rival of Jean-Charles Francois
VOS, Marten de
Flemish painter (b. 1532, Antwerpen, d. 1603, Antwerpen). Flemish painter and draughtsman. Together with the brothers Ambrosius Francken I and Frans Francken I, he ranks among the most important painters of altarpieces in Antwerp during the 1590s. Due, in part, to the Counter-Reformation, there was a renewed demand for altarpieces to replace those lost during iconoclastic riots in 1566 or the reformist movement of 1581. De Vos produced works for, among others, the Old Crossbowmen, the Brabant Coiners, the Antonites, the wine merchants and the Guild of St Luke. The importance of these works would seem to suggest that, after the deaths of Pieter Bruegel I in 1569 and Frans Floris in 1570, de Vos was considered, with some justification, the most important figure painter in Antwerp before Rubens. He was also a prolific draughtsman, especially during the first half of the 1580s, when the Calvinists were in power in Antwerp. During this period he provided numerous designs for print publishers, such as Peeter Baltens, Frans van Beusecom, the widow of Hieronymus Cock, Adriaen Collaert, Phillip Galle, Willem van Haecht, Eduard van Hoeswinkel, Gerard de Jode, Hans van Luyck and Johannes Baptista Vrints. This increased activity is probably indicative of the economic recession and a dwindling market for paintings (especially of religious themes). A total of some 1600 prints were produced after designs by de Vos, an output three times that of Maarten van Heemskerck. De Vos's drawings have been praised (see Mielke) for their lively,
Daniel Chodowiecki
(16 October 1726 - 7 February 1801) was a Polish - German painter and printmaker with Huguenot ancestry, who is most famous as an etcher. He spent most of his life in Berlin, and became the director of the Berlin Academy of Art. He was born in the city of Danzig in Poland, and in a letter in typical Berlin humor wrote, that he moved to Berlin, Germany, which shows for sure, that he is a 'genuine Pole'.[citation needed] He kept close to the Huguenot scene, due to his ancestry. A distant ancestor Bartholom us Chodowiecki had lived in the 16th century in Greater Poland . Gottfried Chodowiecki, Daniel's father, was a tradesmen in Danzig and his mother, Henriette Ayrer born in Switzerland, was a Huguenot. Daniel's grandfather Christian had been a tradesmen in the city as well. When his father died, both Daniel (aged 16) and his younger brother Gottfried Chodowiecki went to live with their uncle in Berlin, who offered to educate them, and where Daniel received an artistic training with the painter Haid in Augsburg. His brother also became a painter. Soon Daniel was able to earn a living by painting. He was admitted to the Berlin Academy in 1764 and became vice-director under Rhode in 1788. He had found his true calling and became the most famous German graphic artist of his time. His works include several thousand etchings, usually rather small, and many drawings and paintings. He illustrated nearly all of the great classics. His prints represent in great detail the life of the middle classes during the Zopfstil period, a time between Rococo and Classicism. In 1797 Chodowiecki was appointed director of the Academy of Arts in Berlin, where he died on 7 February 1801. The bulk of his work was in illustrating scientific books by Basedow, Buffon, Lavater, Pestalozzi and others. He also painted many portraits of Polish gentry and was interested in Huguenot and Polish history as well, making some paintings on the topic. He was in tune with the developing spirit of the age, and many works reflect the cult of sensibility, and then the revolutionary and German nationalist feelings of the end of the century.