Realism

Art Styles in 19th century Art Map

Part I - Art Styles in 19th century (Realism, Impressionism and Post-
Impressionism)
Part II - Art Styles in 19th century (Simbolism)
Part III - Art Styles in 19th century (Simbolism)
Part IV - Art Styles in 19th century (Simbolism, Art ou!eau)
Realism
Art Styles in 19th century - Art Map
"he #irth o$ Realism
As the Romantic movement waned, exponents of the visual arts sought to depict
the world in a more literal way. Focus shifted away from idealism to a more
realistic rendering of nature, social relationships, and the characteristics of the
individual, society, and the nation at large. This new realism assumed
various forms in the different countries where it took root.
Realism was a historical movement that had a profound influence on the literature and figurative arts
of Europe. The most systematic and coherent form evolved in France during the revolutions of 1830
and 1848. t reached its pea! during the "econd Empire #18$%&'0( and )egan to wane in the 18'0s.
n many different forms* and in varying measures of intensity. Realism spread throughout Europe*
from the Russia of +le,ander to the -ritain of .ueen /ictoria* from the 0ermany of 1illiam to the
taly of the Risorgimento* and from the 2aps)urg empire to "candinavia and countries )eyond Europe.
The year 18$$ was significant in the esta)lishment of Realism in Europe. t was the year in
which Gustave Couret #1813&''( e,hi)ited his wor! in 4aris in the 4avilion du Realisme* a )uilding
that he himself paid for. 2e e,hi)ited a)out forty paintings* including A Burial at Ornans and The
Painter's Studio* which had )een refused )y the 5ury of the E,position 6niverselle* who instead
hailed the wor! of more traditional masters such as !ngres. n the same vear as Couret7s
provocative de)ut* the painters of the -ar)i8on "chool showed their art for the first time in a pu)lic
e,hi)ition. n 18$$* the talian Realist painters* who later )ecame !nown as the 9acchiaioli* met up
regularly in the :affe 9ichelangelo in Florence. n the field of criticism* the novelist and critic Edmond
;uranty pu)lished a maga8ine* Le Realisme* which )ecame the principal organ of the movement
)etween 18$< and 18$'. n Le Realisme* pu)lished )y :hampfleury in 18$'* the same year that
Flau)ert7s Madame Bovary appeared* no single definition of reality was proposed and no attempt was
made to represent a fi,ed world* as in the daguerreotypes of the period. nstead* the world was seen
as fluctuating and mo)ile and composed of comple, elements and contradictions* =ualities that were
central to the Realist mode of e,pression.
Gustave Couret
The Painters Studio
18$4&$<
9usee d7>rsay* 4aris.
Despite the picture representing, in the words of the artist, "a real-life allegory",
the harsh realism in the treatment of the su!ect and figures was !udged unseemly and the wor" was
refused y the #alon of $%&&'
Delacroi(, on the other hand, thought it worthy of praise'
"%& #AR#I'( S)%((*
-etween 1830 and 18$0* the village of -ar)i8on & lying on the outs!irts of the Forest of Fontaine)leau*
5ust outside 4aris ? )ecame a meeting point for a group of artists that would ta!e its name. The
ma5or representatives of the -ar)i8on "chool were "arcisse #ia$ de la %ena #180'&'<(* Constant
Troyon #1810&<$(* &ules #upre #1811&83(* Theodore Rousseau #181%?<'(* and Charles'
Francois #auigny #181'&'8(. They did not confine themselves to their immediate surroundings )ut
roamed through the French provinces* from the +uvergne to the @ura and from the /endee to
Aormandy. The school constituted a lin! )etween Romanticism and Realism* paving the way for the
mpressionists. +)andoning the traditional 18th&century approach to landscape painting* the -ar)i8on
artists reverted to a simpler form ta!en from drawings and oil studies s!etched directly from nature.
They too! a particular interest in the changes in nature from day to day and season to season*
recording them with free and su)tle )rushstro!es. +lthough they anticipated the mpressionists in
painting directly from nature* they still e,ecuted their finished wor!s in the studio. The -ar)i8on artists
were united in their opposition to academic conventions and in their shared interest in landscape art*
)ut each had his own personal interpretation and style. n Rousseau7s early&wor!s there lingered an
element of romanticism that manifested itself in a sense of mystery* transcendence* and mystical
contemplation. 2e immersed himself in nature and the solitude of the countryside in order to find
himself. For this artist* nature )ecame a refuge and a place of nostalgia. t compensated for the
frustrations of the social and political hopes of the @uly Revolution of 1830 and the revolution of
Fe)ruary 848 #Rousseau left 4aris forever in 1843(* as well as for his refusals )y the "alons of 183$
and 183'* and the disillusion engendered )y the growth of industrial society.
1hereas Rousseau tended to favour a more solid and static pictorial structure* contrasting the
hori8ontal elements of the ground with the verticals of the trees* #auigny showed sensitivity to
natural movement and variations in light. There is nothing theatrical a)out his wor! & the innumera)le
landscape views along the River >ise* which he often painted from his studio )oat. ;uring the 18<0s*
his painting )ecame freer* em)racing the vivacity of his s!etches* at a time when the )old innovations
of the -ar)i8on "chool were )eginning to )e cramped )y its own formulae.
-ar)i8on "chool
(Encyclopaedia Britannica)
mid&13th&century French school of painting* part of a larger European movement toward naturalism in
art* that made a significant contri)ution to the esta)lishment of Realism in French landscape painting.
nspired )y the Romantic movement7s search for solace innature* the -ar)i8on painters nevertheless
turned away from the melodramatic pictures=ueness of esta)lished Romantic landscape painters as
well as from the classical academic tradition* which used landscape merely as a )ac!drop for allegory
and historical narrative. The -ar)i8onartists painted landscape in realistic terms and for its own sa!e.
They )ased their art on the wor!s of 1'th&century French and ;utch and contemporary English
landscape painters* all of whom approached their su)5ect with sensitiveo)servation and a deep love of
nature.
The name of the school was ta!en from the village of -ar)i8on* on the edge of the great forest of
Fontaine)leau near 4aris* where the school7s leaders* ThBodore Rousseau and @ean&FranCois 9illet*
driven from 4aris )y poverty and lac! of success* settled in 184< and 1843* respectively. They
attracted a large following of landscape and animal painters* some going to live at -ar)i8on* others
visiting only infre=uentlyD those of the group who were to )ecome most nota)le were :harles&FranCois
;au)igny* Aarcisse&/irgile ;ia8 de Ea 4eFa* @ules ;uprB* :harles @ac=ue* and :onstant Troyon* all of
whom had had indifferent success in 4aris.
Each -ar)i8on painter had his own style and specific interests. Rousseau7s vision was melancholy*
concentrating on vast sweeps of landscape and looming trees. ;uprB7s close&range* detailed scenes
are suffused with fore)oding. ;au)igny favoured scenes of lush* verdant fields* and ;ia8 painted sun&
dappled forest interiors. Troyon and @ac=ue painted placid scenes that featured livestoc!. 9illet* the
onlyma5or painter of the group for whom pure landscape was unimportant* made monumental
paintings of peasants that cele)rate the no)ility of human life in sympathy with nature. +ll of these
artists* in spite of their Romantic inspiration* emphasi8ed the simple and ordinary rather than the
terrifying and monumental aspects of nature. 6nli!e their English contemporaries* they had little
interest in the surface effects of light and colour or in atmospheric variations. nstead* they
emphasi8ed permanent features* painting solid* detailed forms in a limited range of colours. They were
also concerned with mood* and they altered physical appearances to e,press what they saw as the
o)5ective GcharacterH of the landscape.
2aving suffered for some time from a total lac! of recognition* the -ar)i8on painters )egan to gain
popularity )y mid&century. 9ost won official recognition from the +cadBmie des -eau,&+rts and
started receiving large prices for their paintingsD their wor! was particularly popular at the end of the
century. "ome of the -ar)i8on painters were masters of composition and descriptionD others were less
competent. -ut their historical importance is undenia)le* for as a group they were instrumental in
esta)lishing pure* o)5ective landscape painting as a legitimate genre in France.
Aarcisse ;ia8 de la 4ena
)orn 1808* -ordeau,* Fr.
died Aov. 18* 18'<* 9enton
French painter and lithographer of the group of landscape painters !nown as the -ar)i8on school* who
is distinguished for his numerous Romantic depictions of the forest of Fontaine)leau and his landscape
fantasies with mythological figures.
+t 1$ ;ia8 )egan wor!ing as a ceramic painter for the "Ivresporcelain factory. 2e studied for a time
with the academic painter +le,andre :a)anel. "trongly influenced )y ;elacroi,and the Romantics and
attracted )y medieval and 9iddle Eastern art* he often in his early career painted e,otic su)5ects.
+)out 1840 ;ia8 )egan to paint landscapes in the forest of Fontaine)leau near the village of -ar)i8on.
These landscapes* which dominated his wor! for the rest of his career* characteristically have a
pervasive sense of the shadowy seclusion of the forestD e.g.* GForest "ceneH #18<'D "t. Eouis J9o.K +rt
9useum(. ;ense* vividly coloured foliage is )ro!en )y spots of light or patches of s!y shining through
the )ranches. ;uring the last 1$ years of his life ;ia8 seldom e,hi)ited pu)licly. 2e was helpful and
sympathetic to the mpressionists* especially Renoir* whom he met in 18<1 painting at -ar)i8on.
"arcisse #ia$ de la %ena
Landscape with a Pine-tree
18<4
:onstant Troyon
# "Ivres* %8 +ug 1810D d 4aris* %0 9arch 18<$(.
French painter. 2e was )rought up among the "Ivres ceramics wor!ers and received his first lessons
in drawing and painting from ;enis&;BsirB Riocreu, #1'31L18'%(* a porcelain painter who was one of
the founders of the 9usBe Aational de :Brami=ue. Troyon )egan his career as a painter at the "Ivres
factory while also studying landscape painting in his spare time. 2e )ecame a friend of :amille
Ro=ueplan* who introduced him to a num)er of young landscape painters?especially ThBodore
Rousseau* 4aul 2uet and @ules ;uprB?who were later to )ecome mem)ers and associates of the
-+R-M>A ":2>>E. +fter an unremar!a)le dB)ut at the "alon of 1833* where he e,hi)ited three
landscapes depicting the area around "Ivres #e.g. )iew of the *ar" at #aint-+loudD 4aris 6.* Aotre&
;ame(* he too! up his career in earnest and made several study trips to the French provinces.
Following the e,ample of contemporary collectors* he )egan to ta!e a great interest in 1'th&century
;utch painting* particularly the wor! of @aco) van Ruisdael* whose influence is seen in such early
paintings as ,he -oodcutters #1833D Ea Rochelle* 9us. -.&+.(. +t the "alon of 1841 he
e,hi)ited ,oias and the Angel #:ologne* 1allraf&Richart8 9us.(* a )i)lical landscape that attracted the
attention of ThBophile 0autier. The su)5ect was intended to satisfy the critics* )ut the painting served
as a prete,t for portraying a realistic and sincere representation of nature* even though its ordered
and classically inspired composition perfectly fitted the re=uirements of a genre* the origins of which
were the 1'th&century paintings of :laude and 4oussin and their followers.
@ules ;upre
)orn +pril $* 1811* Aantes* Fr.
died >ct. <* 1883* E7sle&+dam
French artist who was one of the leaders of the -ar)i8on group of landscape painters.
The son of a porcelain manufacturer* ;uprB started his career in his father7s wor!s* after which he
painted porcelain at his uncle7s china factory at "Ivres. 2e first e,hi)ited paintings in 1831 and in
1834 was awarded a second&class medal at the "alon. /isiting England in the same year* he learned*
from the landscapes of @ohn :onsta)le* how to e,press movement in nature. The districts of
"outhampton and 4lymouth* with their wide e,panses of water* s!y* and ground* provided his
su)5ects. Eate in life* he 5oined the artists7 colony at -ar)i8on on the edge of the forest of
Fontaine)leau* where his style evolved* gaining in )readth* or largeness of treatment* and e,hi)iting
greater simplicity in colour harmony.
4ierre&Etienne&Theodore Rousseau
)orn +pril 1$* 181%* 4aris* France
died ;ecem)er %%* 18<'* -ar)i8on
in full 4ierre&Ntienne&ThBodore Rousseau French painter who was a leader of the -ar)i8on school of
landscape lainters. 2is direct o)servation of nature made him an important figure in the development
oflandscape painting.
Rousseau* the son of a tailor* )egan to paint at age 14. n the 18%0s he )egan to paint out&of&doors
directly from nature* a novel procedure at that time. +lthough his teachers were in the Aeoclassical
tradition* Rousseau )ased his style on e,tensive study of the 1'th&century ;utch landscape painters
and the wor! of such English contemporaries as Richard 4ar!es -onington and @ohn :onsta)le. 2is
early landscapes portray nature as a wild and undisciplined force and gained the admiration of many
of France7s leading Romantic painters and writers.
n 1831 Rousseau )egan to e,hi)it regularly at the French "alon. -ut in 183< his ;escent of the :attle
#c. 1834( was re5ected )y the 5ury* as were all his entries during the ne,t seven years. ;espite the
"alon7s censure* his reputation continued to grow.
Rousseau first visited the Fontaine)leau area in 1833 and* in the following decade* finally settled in
the village of -ar)i8on* where he wor!ed with a group of landscape painters* including @ean&FranCois
9illet* @ules ;uprB* Aarcisse&/irgile ;ia8 de Ea 4ena* and :harles&FranCois ;au)igny. Their artistic
goals were similar* and they )ecame !nown collectively as the -ar)i8on school. ;uring this period
Rousseau produced such tran=uil pastorals as 6nderthe -irches* Evening #184%L44(* reflecting the
influence of :onsta)le.
+fter the Revolution of 1848* the "alon )riefly rela,ed its standards* and Rousseau finally received
official recognitionas a ma5or figure in French landscape painting. 2is wor!s were well represented in
the 6niversal E,position of 18$$* and he )ecame president of the fine&arts 5ury for the 6niversal
E,position of 18<'. Rousseau7s paintings represent in part a reaction against the calmly ideali8ed
landscapes of Aeoclassicism. 2is small* highly te,tured )rushstro!es presaged those of the
mpressionists.
:harles&Frangois ;au)igny
)orn Fe)ruary 1$* 181'* 4aris* France
died Fe)ruary 13* 18'8* 4aris
French painter whose landscapes introduced into the naturalism of the mid&13th century an overriding
concern for the accurate analysis and depiction of natural light through the use of colour* greatly
influencing the mpressionist painters of the late 13th century.
n 183<* after a year&long study of the paintings of >ld 9asters in taly* ;au)igny returned to 4aris
and )egan to paint historical and religious wor!s. n 1838* the same year he enrolled in the class of
4aul ;elaroche at the Ncole des -eau,&+rts* he e,hi)ited at the official "alon for the first time.
n his youth he had illustrated )oo!s* )ut his true leanings were toward landscape painting as
practiced )y the -ar)i8on school* an informal association of painters who re)elled against the formulas
of traditional landscape painting in favour of wor!ing out&of&doors* directly from nature. Ei!e :amille
:orot* ;au)igny painted in the 9orvan district* and in 18$%* after the two had met* ;au)igny7s wor!
)egan to depend on a strict o)servation of tonal values fortified )y a concealed )ut indispensa)le
minimum of compositional structure. "uch wor!s* though calm and unspectacular* soon gained
success* one of them* "pring #18$'(* )eing )ought )y the emperor Aapoleon in 18$'. Eater in the
18$0s* ;au)igny7s style* though still restrained* )egan to e,press a more personal lyricism. 2e
increasingly employed graduated light reflections from surfaces to give effects of spaceD such methods
also were directed at conveying a momentary impression of the landscape.
+lthough associated with the -ar)i8on school* ;au)igny never lived among themD he is )est seen as a
lin! )etween the more classically organi8ed naturalism of :orot and the less&formal visual
receptiveness of his young friends :laude9onet and +lfred "isley.
Aarcisse ;ia8 de la 4ena
# -ordeau,* %1 +ug 180'D d 9enton* 18 Aov 18'<(.
French painter. +fter the death of his "panish parents he was ta!en in )y a pastor living in -ellevue
#nr 4aris(. n 18%$ he started wor! as an apprentice colourist in +rsIne 0illetOs porcelain factory*
where he )ecame friendly with 0illetOs nephew @ules ;uprB and made the ac=uaintance of +uguste
Raffet* Eouis :a)at and :onstant Troyon. +t this time he e,ecuted his first oil paintings of flowers*
still&lifes and landscapes. +round 18%' ;ia8 is thought to have ta!en lessons from the Eille artist
FranCois "ouchon #1'8'L18$'(D perhaps more importantly* he copied wor!s )y 4ierre&4aul 4rudOhon
and :orreggio in the Eouvre* 4aris* and used their figures and su)5ects in such later paintings
as )enus and Adonis and the #leeping .ymph #)oth 4aris* 9us. dO>rsay(. 2e soon )ecame the friend
of 2onorB ;aumier* ThBodore Rousseau and 4aul 2uet. ;ia8Os pictures e,hi)ited at the "alon from
1831 to 1844 derive from numerous sources* including mythology* as in)enus Disarming +upid #e,h.
"alon 183'D 4aris* 9us. dO>rsay(* and literature* as in #u!ect ,a"en from Lewis/s 0,he Mon"/ #e,h.
"alon 1834D possi)ly the picture in the 9usBe Fa)re* 9ontpellier* entitled +laude 1rollo and
2smerelda(. 2is other themes include a fantastical >rientalism inspired )y his admiration for
+le,andre&0a)riel ;ecamps and EugIne ;elacroi,* as in 2astern +hildren#:incinnati* >2* Taft 9us.(
and such genre scenes as 3n a ,ur"ish 4arden #-oston* 9+* 9us. F.+.(D these are all the more
theatrical in that ;ia8 never travelled in the East. Aevertheless* they display his s!ill as a colourist and
his a)ility to render light.
Theodore Rousseau
# Eorient* -rittany* %3 9arch 184'D d "t Eeonards&on&"ea* "usse,* %3 +pril 13%<(.
English painter and etcher of French )irth. 2e was )orn and educated in France and settled in England
in 18'8* when he =uic!ly esta)lished a reputation. Eargely self&taught* his few e,tant early paintings
show an eclectic style that com)ines the techni=ues of the >ld 9asters* which he studied in detail*
with the su)5ect&matter of modern ur)an life. n 188$ he was introduced to @ames 9cAeill 1histler* his
neigh)our in :helsea* Eondon* and in conse=uence a lifelong friendship was formed. +s Roussel was a
mem)er of 1histlerOs Eondon circle his wor! in watercolour and oil was influenced )y the latter in style
and choice of su)5ect&matter. 2is oft&=uoted remar! that he was a Ppupil of 1histlerO is* however*
)elied )y his fre=uently distinct style* as seen in such paintings as the Reading 4irl #188<L'D Eondon*
Tate(. n 1888 1histler introduced him to the techni=ues of etching and drypoint* resulting in such
etchings as the #ign of the 0-hite 5orse/, *arson/s 4reen #c'1833L4(. For the remainder of his life he
relentlessly pursued the medium* even* li!e 1histler* designing his own special frames. +lways
fascinated )y the theoretical and practical nature of colour science* he constantly e,perimented and
was an early pioneer of the techni=ue of colour etching in England* producing such wor!s as Dawn. +n
e,hi)itor with the Royal "ociety of -ritish +rtists under 1histlerOs presidency* he also fre=uently
e,hi)ited with the Aew English +rt :lu) and with the nternational "ociety of "culptors* 4ainters and
0ravers* and he was a founder&mem)er of the +llied +rtistsO +ssociation in 1308.
:harles&Francois ;au)igny
# 4aris* 1$ Fe) 181'D d 4aris* 13 Fe) 18'8(.
4ainter and printma!er. 2e studied under his father Edmond&FranCois ;au)igny and in 1831L% also
trained with @ac=ues&Raymond -rascassat. +t an early age he copied wor!s )y Ruisdael and 4oussin in
the Eouvre* while also pursuing an apprenticeship as an engraver. +t this time he drew and painted
mainly at "aint&:loud and :lamart* near 4aris* and in the Forest of Fontaine)leau #1834L$(. n 183$
he visited several talian cities and towns* including Rome* Frascati* Tivoli* Florence* 4isa and 0enoa.
2e returned to 4aris in 183< and wor!ed for FranCois&9arius 0ranet in the painting restoration
department of the Eouvre. n 1840 he spent several months drawing from life in 4aul ;elarocheOs
studio* although his early wor!s were much more heavily influenced )y 1'th&century ;utch painters*
whom he copied in the Eouvre* than )y ;elarocheOs wor!.

@ean&-aptiste&:amille :orot

# 4aris* 1' @uly 1'3<D d 4aris* %% Fe) 18'$(. French painter* draughtsman and printma!er.
+fter a classical education at the :ollIge de Rouen* where he did not distinguish himself* and an
unsuccessful apprenticeship with two drapers* :orot was allowed to devote himself to painting at the
age of %<. 2e was given some money that had )een intended for his sister* who had died in 18%1* and
this* together with what we must assume was his familyOs continued generosity* freed him from
financial worries and from having to sell his paintings to earn a living. :orot chose to follow a modified
academic course of training. 2e did not enrol in the Ecole des -eau,&+rts )ut studied instead with
+chille Etna 9ichallon and* after 9ichallonOs death in 18%%* with @ean&/ictor -ertin. -oth had )een
pupils of 4ierre&2enri /alenciennes* and* although in later years :orot denied that he had learnt
anything of value from his teachers* his career as a whole shows his attachment to the principles of
historic landscape painting which they professed.
@ean&Francois 9illet
)orn >ct. 4* 1814* 0ruchy* near 0rBville* Fr.
died @an. %0* 18'$* -ar)i8on
French painter renowned for his peasant su)5ects.
9illet spent his youth wor!ing on the land* )ut )y the age of 13 he was studying art in :her)ourg. n
183' he arrived in 4aris and eventually enrolled in the studio of 4aul ;elaroche* where he seems to
have remained until 1833.
+fter the re5ection of one of his entries for the "alon of 1840* 9illet returned to :her)ourg* where he
remained during mostof 1841* painting portraits. 2e achieved his first success in 1844 with GThe
9il!maidH and a large pastel* GThe Riding Eesson*H that has a sensual character typical of a large part
of his production during the 1840s.
The peasant su)5ects* which from the early 18$0s were to )e 9illet7s principal concern* made their
first important appearance at the "alon of 1848 with GThe 1innower*H later destroyed )y fire. n 1843*
after a period of great hardship* 9illet left 4aris to settle in -ar)i8on* a small hamlet in the forest of
Fontaine)leau. 2e continued to e,hi)it paintings of peasants* and* as a result* periodically faced the
charge of )eing a socialist. Eetters of the period defending 9illet7s position underline the
fundamentally classical nature of his approach to painting.
-y the mid&18<0s* 9illet7s wor! was )eginning to )e in demandD official recognition came in 18<8*
after nine ma5or paintings had )een shown at the e,position of 18<'. mportant collections of 9illet7s
pictures are to )e found in the 9useum of Fine +rts* -oston* and in the Eouvre.
@ules -reton
# :ourriIres* 4as&de&:alais* 1 9ay 18%'D d 4aris* $ @uly 130<(.
French painter and writer. +fter the death of his mother he was )rought up in the village of :ourriIres
)y his father* grandmother and uncle. The last instilled in him respect for tradition and a commitment
to the philosophical ideas of the 18th century. -retonOs father* as supervisor of the lands of the ;uc de
;uras* encouraged him to develop a deep !nowledge of and affection for his native region and its
heritage* which remained central to his art.
2onore ;aumier
# 9arseille* %< Fe) 1808D d /almondois* 10 Fe) 18'3(.
French graphic artist* painter and sculptor.
"on of a 9arseille gla8ier* frame&ma!er and occasional picture restorer* ;aumier 5oined his father in
4aris in 181<. 2e )ecame a )ailiffOs errand )oy and was then employed )y a )oo!seller* )ut his real
enthusiasm was reserved for drawing and politics. 2e studied drawing with +le,andre Eenoir and at
the +cadBmie "uisse and then wor!ed as assistant to the lithographer -Bliard. 2aving mastered the
techni=ues of lithography* he pu)lished his first plate in the satirical wee!ly La #ilhouette in 18%3.

0ustave :our)et
# >rnans* Franche&:omtB* 10 @une 1813D d Ea Tour&de&4eil8* nr /evey* "wit8erland* 31 ;ec 18''(.
French painter and writer. :our)etOs glory is )ased essentially on his wor!s of the late 1840s and early
18$0s depicting peasants and la)ourers* which were motivated )y strong political views and formed a
paradigm of Realism. From the mid&18$0s into the 18<0s he applied the same style and spirit to less
overtly political su)5ects* concentrating on landscapes and hunting and still&life su)5ects. "ocial
commitment* including a violent anticlericalism* re&emerged in various wor!s of the 18<0s and
continued until his )rief imprisonment after the :ommune of 18'1. From 18'3 he lived in e,ile in
"wit8erland where he employed mediocre artists* )ut also reali8ed a couple of outstanding pictures
with an e,tremely fresh and free handling. The image :our)et presented of himself in his paintings
and writings has persisted* ma!ing him an artist who is assessed as much )y his personality as )y his
wor!. This feature and also his hostility to the academic system* state patronage and the notion of
aesthetic ideals have made him highly influential in the development of modernism.
Federico de 9adra8o y Qunt8
# Rome* 3 Fe) 181$D d 9adrid* 10 @une 1834(.
"on of @osB de 9adra8o y +gudo. n 1818 the family returned from Rome to 9adrid* where Federico
studied painting under his father and the other leading "panish Aeo&classical painters @uan +ntonio de
Ri)era and @osB +paricio. FedericoOs +ontinence of #cipio #1831D 9adrid* Real +cad. " Fernando 9us.(
gained him the status of academician. t shows the French Aeo&classical traditions instilled in him at
the 9adrid +cademia )y his professors* all pupils of @ac=ues&Eouis ;avid and @ean&+uguste&;omini=ue
ngres. Federico won immediate popularity in court circles with his sympathetic rendering of Ferdinand
/ in the 6ing/s 3llness #183%D 9adrid* 4atrm. A.(* and that same year #183%( he was named 4intor
"upernumerario de :Rmara.
+nselm Feuer)ach
# "peyer* 1% "ept 18%3D d /enice* 4 @an 1880(.
0erman painter and draughtsman. 2e received his first art lessons from the anatomical draughtsman
at the 6niversity of Frei)urg where his father* @oseph +nselm Feuer)ach* lectured in :lassical philology
and archaeology. n 184$ he enrolled at the ;Ssseldorf +!ademie where he studied under 1ilhelm
"chadow. Though adept at academic drawing* he was urged )y "chadow to simplify his rather
unresolved and crowded compositional s!etches and concentrate on a few figures. n 1848 he moved
to 9unich where he made copies after >ld 9aster paintings in the +lte 4ina!othe!* )eing especially
impressed )y the wor! of Ru)ens. Though eventually studying at the 9unich +!ademie* he saw the
landscape painter :arl Rahl as his real mentor. 1or!s such as Landscape with a 5ermit Returning
5ome #1848L3D Qarlsruhe* "taatl. Qsthalle( com)ine the rich mood of the 9unich landscape tradition
with su)5ect&matter more typical of the ;Ssseldorf school.
0eorge :ale) -ingham
# +ugusta :ounty* /+* %0 9arch 1811D d Qansas :ity* 9>* ' @uly 18'3(.
+merican painter. Raised in rural Fran!lin :ounty* 9>* -ingham e,perienced from an early age the
scenes on the ma5or western rivers* the 9issouri and the 9ississippi* that inspired his development as
a ma5or genre painter. ;uring his apprenticeship to a ca)inetma!er* he met the itinerant portrait
painter :hester 2arding* who turned -inghamOs attention to art. Teaching himself to draw and
compose from art instruction )oo!s and engravings* the only resources availa)le in the frontier
territories* -ingham )egan painting portraits as early as 1834. The style of these wor!s is provincial
)ut nota)le for its sharpness* clear light and competent handling of paint.
Fran8 von Een)ach
# "chro)enhausen* 13 ;ec 183<D d 9unich* < 9ay 1304(.
0erman painter. The son of a master )uilder* he trained for his fatherOs profession at the QTnigliche
Eandwirtschafts& und 0ewer)eschule in Eandshut* also wor!ing from 18$1 in the sculpture studio of
+nselm "ic!inger #180'L'3( in 9unich. 2is elder )rother* Qarl +ugust Een)ach #18%8L4'(* had already
)ecome involved with painting* and it was through him that Fran8 Een)ach met @ohann -aptist 2ofner
#183%L1313(* an artist who had studied at the +!ademie der -ildenden QSnste in 9unich. They went
on s!etching e,peditions together* and 2ofner introduced him to plein-air painting. +fter spending two
semesters at the 4olytechnische "chule in +ugs)urg #18$%L3(* and some months in the studio of
+l)ert 0rUfle #180'L83(* a portrait painter in 9unich* Een)ach entered the +!ademie in 9unich in
18$4. n 18$' he attended the classes of Qarl Theodor 4iloty #later von 4iloty(* who was renowned for
his history paintings. Een)ach produced his first important painting* the Angel Appearing to 5agar in
the Desert #18$8D destr.(* while in this class* followed )y *easants ,rying to ,a"e #helter from a
,hunderstorm in a +hapel #18$8D destr.D oil s!etch* "chweinfurt* "amml. "chUfer(. The sale of this
picture* together with a scholarship* ena)led him to accompany 4iloty on a 5ourney to Rome with
Ferdinand von 4iloty #18%8L3$(* Theodor "chS8 #1830L1300( and :arl E)ert #18%1L8$(. n taly he
made many oil and pencil s!etches that inspired the Arch of ,itus #18<0D -udapest* 9us. F.+.( and
the #hepherd Boy #18<0D 9unich* "chac!&0al.(* )oth of which were finished after his return to
0ermany.
0iovanni -oldini
# Ferrara* 31 ;ec 184%D d 4aris* 11 @an 1331(.
talian painter and printma!er. 2e received his earliest training from his father* the painter +ntonio
-oldini #1'33L18'%(. From 18$8 he may have attended courses given )y 0irolamo ;omenichini
#1813L31( and 0iovanni 4agliarini #V1803L'8( at the :ivico +teneo di 4ala88o dei ;iamanti* where he
assiduously copied >ld 9asters. +t 18 he was already !nown in Ferrara as an accomplished portrait
painter. n 18<% he went to Florence* where he sporadically attended the "cuola del Audo at the
+ccademia di -elle +rti. 2e fre=uented the :affI 9ichelangiolo* a meeting&place of progressive artists*
where he came into contact with the 9+::2+>E group of artists.
Thomas Ea!ins
# 4hiladelphia* 4+* %$ @uly 1844D d 4hiladelphia* %$ @une 131<(.
+merican painter* sculptor and photographer. 2e was a portrait painter who chose most of his sitters
and represented them in powerful )ut often unflattering physical and psychological terms. +lthough
unsuccessful throughout much of his career* since the 1330s he has )een regarded as one of the
greatest +merican painters of his era.
lya Repin

# :huguyev* Qhar!iv province* 6!raine* $ +ug 1844D d Quo!!ala* Finland* %3 "ept 1330(.
Russian painter and draughtsman of 6!rainian )irth. 2e is especially cele)rated for his treatment of
historical themes and contemporary socio&political issues* and for his many portraits* and is !nown as
the foremost e,ponent of the Russian Realist style that developed in the late 13th century.
/asily "uri!ov
# Qrasnoyars!* %4 @an 1848D d 9oscow* 13 9arch 131<(.
Russian painter. 2e is principally noted for his treatment of episodes from the 1'th century and the
medieval period of Russian history. These wor!s are remar!a)le for their thoroughly researched and
detailed rendering of settings and costume and the drama of their presentation. "uri!ov was also an
accomplished portrait painter and incorporated a large num)er of portrait studies into his history
paintings.
1inslow 2omer
# -oston* 9+* %4 Fe) 183<D d 4routOs Aec!* 9E* %3 "ept 1310(.
+merican painter* illustrator and etcher. 2e was one of the two most admired +merican late 13th&
century artists #the other )eing Thomas Ea!ins( and is considered to )e the greatest pictorial poet of
outdoor life in the 6"+ and its greatest watercolourist. Aominally a landscape painter* in a sense
carrying on 2udson River school attitudes* 2omer was an artist of power and individuality whose
images are metaphors for the relationship of 9an and Aature. + careful o)server of visual reality* he
was at the same time alive to the purely physical properties of pigment and colour* of line and form*
and of the patterns they create. 2is wor! is characteri8ed )y )old* fluid )rushwor!* strong
draughtsmanship and composition* and particularly )y a lac! of sentimentality.