Berthe Morisot Galleries
Berthe Morisot (January 14, 1841 ?C March 2, 1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists. Undervalued for over a century, possibly because she was a woman, she is now considered among the first league of Impressionist painters.
In 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by academicians, the Salon was the official, annual exhibition of the Acad??mie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul C??zanne, Edgar Degas, Claude Monet, Morisot, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar.
She became the sister-in-law of her friend and colleague, Édouard Manet, when she married his brother, Eugene.
Related Paintings of Berthe Morisot :. | Detail of two girls | Cornfield | Detail of The woman and children are in the park | On the Balcony | Summer day |
Related Artists:Federico de Madrazo y Kuntz
Federico de Madrazo y Kuntz Gallery
Born in Rome, he was the son of the painter Madrazo y Agudo (1781-1859), and received his first instruction from his father. While still attending the classes at the Royal Academy of San Fernando, he painted his first picture, The Resurrection of Christ (1829), which was purchased by Queen Christina. Not long afterwards he painted Achilles in his Tent, and subsequently presented to the Academy The Continence of Scipio, which secured him admission as a member "for merit".
While decorating the palace of Vista Alegre he took up portraiture. In 1852 he went to Paris, where he studied under Franz Winterhalter, and painted portraits of Baron Taylor and Ingres. In 1837 he was commissioned to produce a picture for the gallery at Versailles, and painted "Godfrey de Bouillon proclaimed King of Jerusalem". The artist then went to Rome, where he worked at various subjects, sacred and profane. Then he painted Maria Christina in the Dress of a Nun by the Bedside of Ferdinand III (1843), Queen Isabella, The Duchess of Medina-Coeli, and The Countess de Vilches (1845-1847), besides a number of portraits of the Spanish aristocracy, some of which were sent to the exhibition of 1855.
He received the Legion of Honour in 1846. He was made a corresponding member of the Paris Academy of Fine Arts on 10 December 1853, and in 1873, on the death of Schnorr, the painter, he was chosen foreign member. After his father's death he succeeded him as director of the Museo del Prado and president of the Academy of San Fernando. He originated in Spain the production of art reviews and journals, such as El Artiste, El Renacimiento, and El Semanario pintoresco. He died at Madrid in 1894.
Anthony Van Dyck
Anthony Van Dyck Locations
Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck studies in oil of characterful heads were included in Rubens estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses, where they were appreciated as much for their own sake as for the identities and families of the sitters.Anna Althea Hills