Berthe Morisot
Berthe Morisot's Oil Paintings
Berthe Morisot Museum
January 14, 1841 -- March 2, 1895, French impressionist.

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Berthe Morisot
Woamn is Making up
mk236 1877 Oil oncanvas 46x38cm
ID: 54633

Berthe Morisot Woamn is Making up
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Berthe Morisot Woamn is Making up


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Berthe Morisot

French 1841-1895 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 :. | Liegendes Madchen | Juliy and biddy | Artist-s sister | The Woman in front of the mirror | Cornfield |
Related Artists:
Johann Georg Meyer
Johann Georg Meyer (28 October 1813 Bremen, Germany - 4 December 1886 Berlin), commonly known as Meyer von Bremen, was a German painter who specialized in Biblical, peasant, and family scenes. In his 2lst year, he went to Desseldorf and began his studies at the Academy of Art there, which was led by Friedrich Wilhelm Schadow, the son of sculptor Johann Gottfried Schadow. In 1841, Meyer opened a studio of his own, but moved to Berlin as his fame increased (1853). While scenes from the Bible were first the subjects of his brush, he later turned his attention to incidents from popular life, especially among the Hessian peasantry, and finally to the portrayal of family life in its pathetic aspect. Such pictures as eThe Jubilee of a Hessian Pastore (1843), hristmas Eve,e eBlindman's Buff,e eThe Soldier's Return,e eThe Inundatione (1846), eThe Repentant Daughtere (1852, in the gallery at Bremen), are full of intense sympathy with the esimple annals of the poor.e After taking up his residence at Berlin, he chose especially scenes from child life, which he rendered with spirited humor. Among his pictures of this kind are eThe Fairy Tale,ehildren Playing Blindman's Buff,e eGrandfather and Grandchild,e and others. A third group of his pictures includes those of young women, as single figures or in groups, such as eThe Tryste and eThe Love Letter.e An example of his work, eThe Lettere (1873), is in the Metropolitan Museum of Art in New York City.
FROMENT, Nicolas
French Early Renaissance Painter, ca.1430-1485
George Scharf
1820-1895 British art critic, was born in London, the son of George Scharf, a Bavarian miniature painter who settled in England in 1816 and died in 1860. He studied in the schools of the Royal Academy. In 1840 he accompanied Sir Charles Fellows to Asia Minor, and in 1843 acted as draughtsman to a government expedition to the same country. After his return he devoted himself with great industry and success to the illustration of books relating to art and antiquity, of which the best known are Macaulay's Lays of Ancient Rome (1847); Milman's Horace, (1849); Kugler's Handbook of Italian Painting (1851); and Dr Smith's classical dictionaries. He also engaged largely in lecturing and teaching, and took part in the formation of the Greek, Roman and Pompeian courts at the Crystal Palace. He acted as art secretary to the great Manchester Art Treasures Exhibition of 1857, and in that year was appointed secretary and director to the newly founded National Portrait Gallery. The remainder of his life was given to the care of that institution. Scharf acquired an unrivalled knowledge of all matters relating to historic portraiture, and was the author of many learned essays on the subject. In 1885






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