French Realist/Impressionist Painter and Sculptor, 1834-1917
French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues. Related Paintings of Edgar Degas :. | Wash and dress | Mme Theodre Gobillard | Marine | LAbsinthe | Young Woman Lying on a Chaise longue |
Related Artists:Adolphe Bouguereau
French painter. From 1838 to 1841 he took drawing lessons from Louis Sage, a pupil of Ingres, while attending the coll?ge at Pons. In 1841 the family moved to Bordeaux where in 1842 his father allowed him to attend the Ecole Municipale de Dessin et de Peinture part-time, under Jean-Paul Alaux. In 1844 he won the first prize for figure painting, which confirmed his desire to become a painter. As there were insufficient family funds to send him straight to Paris he painted portraits of the local gentry from 1845 to 1846 to earn money. In 1846 he enrolled at the Ecole des Beaux-Arts, Paris, in the studio of Fran?ois-Edouard Picot. This was the beginning of the standard academic training of which he became so ardent a defender later in life. Such early works as Equality (1848; priv. col., see 1984-5 exh. cat., p. 141) reveal the technical proficiency he had attained even while still training. In 1850 he was awarded one of the two Premier Grand Prix de Rome for Zenobia Discovered by Shepherds on the Bank of the River Araxes (1850; Paris, Ecole N. Sup. B.-A.). In December 1850 he left for Rome where he remained at the Villa Medici until 1854, working under Victor Schnetz and Jean Alaux (1786-1864). During this period he made an extensive study of Giotto's work at Assisi and Padua and was also impressed by the works of other Renaissance masters and by Classical art. On his return to France he exhibited the Triumph of the Martyr (1853; Lun?ville, Mus. Lun?ville; see fig. 1) at the Salon of 1854. It depicted St Cecilia's body being carried to the catacombs, and its high finish, restrained colour and classical poses were to be constant features of his painting thereafter. All his works were executed in several stages involving an initial oil sketch followed by numerous pencil drawings taken from life. Olga Boznanska
Krakow 1865-1940 Paris,Polish painter. She took drawing lessons at home from the age of nine and began regular studies in 1883 under the portrait painter Kazimierz Pochwalski (1855-1940). She continued her training in 1884-5 at the Adam Baraniecki School of Art, the only school in Krakew accessible to women at that time. She went to Munich for further study, working in the studio of Carl Kricheldorf (b 1863) in 1886-7, and in that of Wilhelm Derr (1857-1900) in 1888. In 1889 she participated in the Internationale Kunstausstellung in Munich and opened her own studio, which over the next decade became a meeting-place for students. In 1895 she ran a private school of painting founded by Professor Theodor Humml (1864-1939). Juriaen van Streeck
(1632 - 1687) was a Dutch Golden Age painter of still lifes.
According to Houbraken, he was good at all sorts of still life subjects, including helmets, books, letters, musical instruments, and skulls or dead animals to indicate the transcience of life.
He was a follower of Willem Kalf and influenced Barend van der Meer.Houbraken also wrote an entry for his son Hendrick van Streeck, who became a student of Emanuel de Witte and painted church interiors.