Irish 1878-1931 Sir William Orpen Location Irish painter. He attended the Metropolitan School of Art, Dublin (1891-7), and the Slade School of Art, London (1897-9), there winning the composition prize of 1899 with The Play Scene from Hamlet (Houghton Hall, Norfolk). He became a friend of Augustus John and joined the New English Art Club. From very early years he had been an impassioned student of the Old Masters, and he went to Paris with John in 1899 to see Leonardo da Vinci Mona Lisa (Paris, Louvre). In the following years his perception of their works   Related Paintings of Sir William Orpen :. | Marshal Foch,OM | A Woman in Grey | Young Ireland Grace Gifford | The Man from the West:Sean Keating | The Poet |
Related Artists:
Marianne Loir
French Painter, ca.1715-1769
Maxime Maufra
was a French landscape and marine painter, etcher and lithographer. Maufra first began painting at 18. He was encouraged to do so by two artists from Nantes: the brothers Leduc. However, he didnet fully embrace his painting career right away. Being a businessman, he only painted on his spare time from 1884 to 1890. During this time, Maufra discovered the work of the Impressionists and was able to display his works at the Paris Salon of 1886. In 1890, Maufra decided to give up commerce and to become a full-time painter. He left Nantes for Brittany, where he was able to meet Paul Gauguin and Paul Serusier. Maufra had his first solo exhibition in Paris in 1894, at Le Barc de Toutteville. Returning from Brittany, Maufra was the first painter to take up residence in The Bateau-Lavoir, a famous Parisian residence for artists. In his paintings, Maufra sometimes quoted the pointillisit technique of Pissarro or Sisley, and also took from the strong colors and powerful drawing of the Pont Aven school. However, Maufra stayed an independent artist his all life through, and dedicated his art to recording the beauty of nature.
Agnolo Gaddi
Italian Early Renaissance Painter, ca.1345-1396 Son of Taddeo Gaddi. Through both his brother Giovanni and his father, Agnolo was heir to the Giottesque tradition and to a successful family enterprise, which he directed with enormous success up to the turn of the 15th century. He is first mentioned as a painter in 1369, when he assisted his brother Giovanni and Giovanni da Milano in decorations for Urban V (reg 1362-70) in the Vatican. Although he probably did not assume full responsibility for the workshop until his brother Giovanni death, he must have begun accepting his own commissions as early as the 1370s. The nature of his early work and whether it included an altarpiece dated 1375 (Parma, G.N., 435), however, remains a matter of debate. Logical or likely though it may be, the notion that this early activity developed out of his brother Giovanni still little-known art is hypothetical. Whereas the works grouped around Giovanni name are all small panels, Agnolo was an artist who, like his father, excelled in wall painting. Indeed, three monumental fresco cycles (see below), in the Castellani Chapel (painted c. 1384) and the choir (painted c. 1388-93) of Santa Croce, Florence, and the chapel of the Sacra Cintola (doc. 1393-5) in Prato Cathedral, constitute the artist most notable surviving works and offer a basis for reconstructing the content and chronology of his oeuvre.