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Louis XV, king of France, often called Jean-Baptiste Oudry to Versailles to paint the royal hounds--in the king's presence. "Monsieur Oudry had acquired such a habit of conversing with high-ranking persons and of working in their presence that he painted as calmly at the court as he would in his own studio," marveled a contemporary. Though his father was a painter and art dealer, Oudry's first serious training came from portrait painter Nicolas de Largillière. By about 1720, the young man was concentrating on animals, hunts, and landscapes. He became a member of the Académie de Peinture et de Sculpture in 1719 and a professor there in 1743. From 1726 Oudry had great success designing tapestries. In 1734 he was named director of the Beauvais tapestry manufactory, which he re-established by bringing in artists like François Boucher. Two years later, he became director of the Gobelins manufactory. Supervising all tapestry production gave Oudry considerable influence on French decorative arts. He also had a large studio and was literally overwhelmed by commissions. His clients included Czar Peter the Great of Russia and the Queen of Sweden. Oudry's work was marked by attention to detail combined with freedom of execution. A master of chiaroscuro, he maintained a lifelong interest in light and reflections.
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Jozef Israëls, (born January 27, 1824, Groningen, Netherlands—died August 12, 1911, The Hague), painter and etcher, often called the “Dutch Millet” (a reference to Jean-Franƈois Millet). Israëls was the leader of the Hague school of peasant genre painting, which flourished in the Netherlands between 1860 and 1900. He began his studies in Amsterdam and from 1845 to 1847 worked in Paris under the academic painters Horace Vernet and Paul Delaroche. Israëls first tried to establish himself as a painter of Romantic portraits and conventional historical pictures but had achieved little success when in 1855 ill health compelled him to leave Amsterdam for the fishing village of Zandvoort, near Haarlem. That change of scenery revolutionized his art: he turned to realistic and compassionate portrayals of the Dutch peasantry and fisherfolk (e.g., Waiting for the Herring Boats, 1875). In 1871 he moved to The Hague, and he often worked in nearby Scheveningen. Besides oils, Israëls worked in watercolours and was an etcher of the first rank. His later works in all media express a tragic sense of life and are generally treated in broad masses of light and shade. His painting style was influenced by Rembrandt’s later works, and, like Rembrandt, Israëls often painted the poor Jews of the Dutch ghettos (e.g., A Son of the Chosen People, 1889). His son Isaac (1865–1934), also a painter, adopted an Impressionist technique and subject matter and had some influence on his father’s later work.
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N. (Newell) C. (Convers) Wyeth (October 22, 1882-October 19, 1945), is one of the most celebrated illustrators in the history of art. He grew up on a farm in New England, and studied at the Massachusetts Normal Arts School where he attended classes taught by illustrators Eric Pape and Charles W. Reed. During 1902-04 he studied with the great illustrator Howard Pyle in Wilmington, Delaware. Wyeth accepted a commission from Scribner's and the Saturday Evening Post to paint western scenes, and traveled in the west to gain first hand knowledge of subjects. He worked as a ranch hand in Colorado and rode mail routes in New Mexico and Arizona. In 1906, Wyeth and Carolyn Brenneman Bockius were married in the Wilmington Unitarian church, and they made their home in nearby Chadds Ford, Pennsylvania. The focus of his painting soon shifted to the land and people of the region in which he lived. In 1911, Wyeth won a commission from Charles Scribner's Sons to illustrate a new edition of R. L. Stevenson's Treasure Island, a work that made him famous. He provided illustrations for dozens of other classic books, including Kidnapped (1913), The Black Arrow (1916), The Legends of Robin Hood (1917), The Last of the Mohicans (1919), and The Yearling (1939).
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Born in Denver, CO on Aug. 7, 1897, Curtis was a resident of Seattle before moving to Los Angeles in 1914. He was inspired to become an artist by his teacher Rob Wagner at Manual Arts High School. After working as a bank teller and serving in WWI, he soon was able to support himself as an illustrator. He served as official artist of the U.S. Antarctica Expedition in 1939-40 and again in 1957. About 1960 he changed his residence from Los Angeles to Twenty Nine Palms, California, with summers in Moose, Wyoming. An avid mountain climber, his studio in the Grand Tetons was a rustic log cabin. In 1972 he moved to Carson City, Nevada, where he remained until his demise on March 17, 1989. He is best known for his landscapes of the High Sierra, Grand Tetons, and Antarctica. His works won dozens of medals and prizes from the early 1920s in southern California shows. Member: Carmel Art Association; Artland Club. Exh: California Art Club, 1923-27; Laguna Beach Art Association, 1924; California State Fair, 1926; Cannell & Chaffin Gallery (Los Angeles), 1926; Ebell Club (Los Angeles), 1926; Painters & Sculptors of Los Angeles, 1926-31; National Academy of Design, 1930; Toledo Museum, 1931; American Painters & Sculptors, Los Angeles County Museum of Art, 1931, 1937 (solo), 1946 (solo); Oakland Art Gallery, 1932; Tuesday Afternoon Club (Glendale), 1934; Golden Gate International Exhibition, 1939; California Palace Legion of
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Lacaze was a painter who was heavily influenced by Cubism and Post-Cubism, particularly by fellow Bordeaux painters such as André L’Hote. He was born in Angoulême, Charente and studied at the Lycée Montaigne in Bordeaux and it was there, under an inspirational art master, that his desire to be an artist was initiated. He enrolled at L’École des Beaux-Arts in Bordeaux and studied under André Edouard Marty. At first, his style was decidedly Cubist, showing the influence of Picasso through the aforementioned L’Hote. However he softened the linear effect somewhat as his career developed and this is particularly apparent in his paintings of nudes. He staged his first solo exhibition in Paris in Rue Visconti quite soon after leaving art school. He also exhibited through his career at other locations in Paris, his home city of Bordeaux, Sainte Maxine, Angoulême and Périgueux but he seems not to have had a particularly commercial attitude to his work apparently sometimes not even turning up to the opening nights. Lacaze was appointed Professor of Fine Art at Collège de Puyguillen and also joined the artistic group Maison des Artistes. Exhibitions: Paris, Galerie Visconiti; Périgueux, N.T.P.; Angoulême, Galerie Tison d’Argence; Bordeaux, Galerie du Loup; Sainte Maxine, Galerie L’Oleil Fauve. The Musée des Beaux Arts de Bordeaux also exhibited his work.
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Bell was born in Seattle, WA in 1906, and he later moved to Staten Island, NY. It was in New York City where he found the inspiration for his work, the city and its people, focusing on daily life subjects. He studied at the Art Institute of Chicago and the Art Students League with John Sloan. Exhibition venues include the Corcoran Gallery, Museum of Modern Art and the Tacoma Art Museum.
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Richard Parkes Bonington was born in the town of Arnold, 4 miles from Nottingham in England. His father was successively a gaoler, a drawing master and lace-maker, and his mother a teacher. Bonington learned watercolour painting from his father and exhibited paintings at the Liverpool Academy at age 11. In 1817, Bonington's family moved to Calais, France where his father had set up a lace factory. At this time, Bonington started taking lessons from the painter François Louis Thomas Francia, who trained him in English watercolour painting. In 1818, the family moved to Paris to open a lace retail outlet. It was Paris where he first met Eugène Delacroix, who he became friends with. He worked for a time producing copies of Dutch and Flemish landscapes in the Louvre. In 1820, he started attending the École des Beaux-Arts in Paris, where he studied under Antoine-Jean, Baron Gros. It was around this time that Bonington started going on sketching tours in the suburbs of Paris and the surrounding countryside. His first paintings were exhibited at the Paris Salon in 1822. He also began to work in lithography, illustrating Baron Taylor’s "Voyages pittoresques dans l'ancienne France" and his own architectural series Restes et Fragmens". In 1824, he won a gold medal at the Paris Salon along with John Constable and Anthony Vandyke Copley Fielding. Bonington died of tuberculosis on 23 September 1828 at 29 Tottenham Street in London, only 25 years old.
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