Francisco Sanchis Cortés, 1969 | Impressionist figurative painter

The Valencian painter Francisco Sanchis Cortés has an enviable genetic line that leads him in pursuit of the fine arts.

A line that genetically connects the best manners of Hispanic roots, heir to the demonic fictional painting of the Pinazo, Emilio Sala, Mongrell and Sorolla.

A narrative line in which he tells a lot about the story of the matter and his ability to move.

A line in which knowing how to paint is essentially valued, precisely to characterize the motifs, with humanity in the gestures of the characters and above all with an outcrop of a romantic character.

Nancy Boren, 1955 | Impressionist painter

Nancy Boren’s first painting, a watercolor, was done at age 12 while sitting next to her artist father, James Boren, as he painted at the Grand Canyon.

Since then she has branched out to original print making and oil painting, depicting a variety of landscape and marine subjects, and is often captivated by scenes in which the figure fills the canvas.

She received a Bachelor of Fine Arts from Abilene Christian University and cites the influence of notable traditional painters such as Sargent, Sorolla and Fechin.

Johan Ericson | Landscape painter

Johan Erik Ericson (1849-1925) was a Swedish landscape painter.

He was born to Anders Eriksson, a woodcarver, and his wife Johanna, née Petersson. His father emigrated to America when he was only four.

From 1872 to 1878, he studied at the Royal Institute of Art, where his primary teacher was Per Daniel Holm.

This was followed by studies in France from 1878 to 1884, where he came under the influence of the Impressionists and served as an assistant in the studios of Alfred Wahlberg.

Pierre-Auguste Renoir | Jeune fille (L’Eté), 1880

Renoir’s Jeune fille (L'Eté) is a pretty pastel fantasy: a plump brunette wears a breezy white chemise and a fashionable straw hat, festooned with a thick blue ribbon.

This Impressionist goddess of summer, nestled in a flowering meadow, has adorned her hat with freshly plucked blooms.

She leans towards the viewer with a sweet, languid look, her lips gently parted.

The sensuality of her expression is underscored by the casual exposure of her bare shoulder, arms and décolleté.

Pierre-Auguste Renoir | Jeune fille (L’Eté), 1880 | Christie's

Claude Monet | Nazi looting / Il saccheggio nazista

Under the Nazi regime, both in Germany from 1933 and in German-occupied countries until 1945, Jewish art collectors of Monet were robbed by Nazis and their agents.

Several of the stolen artworks have been returned to their rightful owners, while others have been the object of court battles.

In 2014, during the spectacular discovery of a hidden trove of art in Munich, a Monet that had belonged to a Jewish retail magnate was found in the suitcase of Cornelius Gurlitt, the son of one of Hitler's official dealers of looted art, Hildebrand Gurlitt.

Claude Monet | Fécamp, bord de mer

Emily Dickinson | Marzo: Mese di attesa / March: Month of expectation, 1877

Marzo: mese di attesa.

Le cose che ignoriamo -

E le persone del nostro presagio

Sono in cammino -

Ci sforziamo di fingere fermezza -

Come si deve, ma la gioia solenne

Claude Monet | Strada Romana at Bordighera | Museum Barberini

Auguste Rodin | L'Adieu / Farewell, 1898

The Farewell or The Convalescent / L'adieu - is composed of Camille Claudel with short hair (1884) and two independent hands added in front of her face, the work attests to Rodin's passion for assemblages, evident in both his narrative and portraiture registers.

By placing her head and hands on a block of plaster, Rodin shed light on his thoughts about pedestals.

The construction causes Camille's face to stand out slightly from the plaster block and conveys a sense of slow absorption that contributes to the melancholy of the composition.

Auguste Rodin | L'Adieu /Farewell, 1898 | Musée Rodin, Paris

Cecilia Beaux | Sita and Sarita, 1894

This portrait by Cecilia Beaux (American Impressionist painter and portraitist, 1855-1942) portrays the artist's cousin, Sarah Allibone Leavitt, dressed in white with her black cat on her shoulder.

Beaux was recognized not only for her bold painting technique, but also for her ability to imbue her female subjects with wit and intelligence, rendering them more than just mere objects of beauty.

A student in Paris in the late 1880s, the artist was influenced by her firsthand exposure to French impressionism.

Her light-filled palette and gestural style invite comparisons with many of her contemporaries, including William Merritt Chase, James McNeill Whistler, John Singer Sargent and Mary Cassatt.

Cecilia Beaux | Sita and Sarita, 1894 | Musée d'Orsay, Paris

Pierre-Auguste Renoir | Femme en promenade, 1890

Pierre-Auguste Renoir demonstrated affinity toward portraiture, evidenced by its prevalence in and importance to his oeuvre.

He had a range of patrons, and in fact, his success and resultant legacy as an artist is intimately tied to his penchant for depicting women and children.

In the Paris Salon of 1879, he exhibited a family portrait of Madame Charpentier titled Portrait de Madame Charpentier et ses enfants.

Madame Charpentier was the wife of the publisher of Emile Zola, Gustave Flaubert, and the Goncourt brothers, and this initial work spurred his popularity and resulted in an increasing number of portrait commissions following its public exhibition.

Pierre-Auguste Renoir | Femme en promenade, 1890 | Christie's

Skagen painters | Art History and Sitemap

The Skagen Painters (Danish: Skagensmalerne) were a group of Scandinavian artists who gathered in the village of Skagen, the northernmost part of Denmark, from the late 1870s until the turn of the century.

Skagen was a summer destination whose scenic nature, local milieu and social community attracted northern artists to paint en plein air, emulating the French Impressionists - though members of the Skagen colony were also influenced by Realist movements such as the Barbizon school.

They broke away from the rather rigid traditions of the Royal Danish Academy of Fine Arts and the Royal Swedish Academy of Arts, espousing the latest trends that they had learned in Paris.

Peder Severin Krøyer | Summer Evening at Skagen Beach - The Artist and his Wife, 1899 | Hirschsprung Collection

Giuseppe De Nittis | Vita ed opere

De Nittis Giuseppe (1846-1884) - Nacque a Barletta (Bari) il 25 febbr. 1846, da Raffaele e da Teresa Buracchia. Visse gli anni della sua prima giovinezza nella città natale con i fratelli, dopo la morte di entrambi i genitori.

Compiuti i primi studi con G. B. Calò e con V. Dattoli, iniziò a dipingere trovando ispirazione nella natura, con quell'istintiva gioia e dedizione che saranno le doti primarie del suo operare.

Quindicenne, entrò all'istituto delle belle arti di Napoli, dove studiò sotto la guida di G. Smargiassi e di G. Mancinelli.

Detlev Nitschke, 1935 | Impressionist painter

The German artist Detlev Nitschke is mainly known for his picturesque scenes and outdoor paintings (plein air), which he developed into designs for calendars and maps.

In 1954 he graduated from school as a lithographer.

He went on to continue his studies at Meisterschule Fur Druck and Graphik.

He later served as the director of a graphic company until 1969 when he opened his own studio.

Pierre-Auguste Renoir in Guernsey, 1883

Between late summer and early autumn of 1883, Pierre-Auguste Renoir spent over a month on the Channel Island of Guernsey, lodging at no. 4 of George Road, St. Peter Port.

The beach of Moulin Huet, and the nearby bay at the east end of the island's rocky south coast within walking distance from his lodgings, provided the inspiration for approximately fifteen paintings, including Rochers de Guernesey avec personnages (plage à Guernesey), alongside Moulin Huet Bay, Guernsey (in the National Gallery, London) and Enfants au bord de la mer Guernsey (in the Barnes Foundation, Pennsylvania).

Pierre-Auguste Renoir | Rochers de Guernesey avec personnages (plage à Guernesey), 1883 | Christie's

Hayley Lever | Impressionist painter

Richard Hayley Lever (1876-1958) was an Australian-American painter, etcher, lecturer and art teacher.

His work was part of the art competitions at the 1928 Summer Olympics and the 1932 Summer Olympics.

Richard Hayley Lever was born and brought up in Adelaide, Australia.

He trained as an artist there under the guidance of James Ashton, an English born seascape artist whose son he was later to befriend in St Ives. In 1894 he set sail to Europe to finish his art studies.

Whilst in Paris he studied the human figure under Rene-Francois-Xavier Prinet but showed a natural inclination for open-air subjects and marine pictures.

Fred Appleyard (1874-1963)

Fred Appleyard was a British artist known for his landscape paintings, portraits, classical subjects and allegorical compositions.

He had 41 works exhibited during his lifetime by the Royal Academy and painted the mural Spring Driving Out Winter in the Academy Restaurant.

Appleyard was born in Middlesbrough, England on 9 September 1874, the son of Isaac Appleyard, an iron merchant. His uncle was the sculptor John Wormald Appleyard.

Claude Monet | Woman in the Garden, Sainte-Adresse, 1867

This is a very early Impressionist work by the group's leader, Claude Monet.

The sunlight which floods the paintings of the Impressionists - who did most of their painting out of doors, directly from nature - here plays the central role.

Monet spent his childhood in Le Havre, which he periodically visited.

The Le Coteaux estate at Sainte-Adresse near Le Havre belonged to Monet's cousin, Paul-Eugene Lecadre.

Settling here in the summer of 1867, the artist painted several landscapes in the garden of the estate, of which "Woman in the Garden" is of central importance.

Claude Monet (1840-1926) | Woman in the Garden, Sainte-Adresse France, 1867 | Source: © State Hermitage Museum

Masterpieces of the Musée d’Orsay

Pierre-Auguste Renoir | Bal du moulin de la Galette, 1876

This painting is doubtless Renoir's most important work of the mid 1870's and was shown at the Impressionist exhibition in 1877.

Though some of his friends appear in the picture, Renoir's main aim was to convey the vivacious and joyful atmosphere of this popular dance garden on the Butte Montmartre.

The study of the moving crowd, bathed in natural and artificial light, is handled using vibrant, brightly coloured brushstrokes.

The somewhat blurred impression of the scene prompted negative reactions from contemporary critics.

This portrayal of popular Parisian life, with its innovative style and imposing format, a sign of Renoir's artistic ambition, is one of the masterpieces of early Impressionism. | © Musée d'Orsay, Paris

Pierre-Auguste Renoir (French, 1841-1919) | Bal du moulin de la Galette, 1876 | Musée d'Orsay, Paris

Camille Pissarro | La charcutiére, 1883

Like 'The Little Country Maid', this painting was executed while the artist lived near Pontoise, north-west of Paris.

During the 1880s he became interested in painting rural market scenes, several of which were based on the markets at Pontoise and its neighbouring villages.

Such subjects allowed Pissarro to combine the study of the human figure with depictions of outdoor scenes of everyday rural life.

Although he wrote to his son Lucien that he wished the painting to have a 'certain naive freshness', hence the light and informal brushstrokes, the central figure of the 'charcutière' was painted from the model and the pose carefully studied.

Camille Pissarro | La charcutiére, 1883 | Tate Gallery

Juliette Wytsman | Impressionist painter

Juliette Wytsman (1866-1925) was a Belgian impressionist painter.

She was married to painter Rodolphe Wytsman.

Her paintings are in the collections of several museums in Belgium.

Wytsman was born as Juliette Trullemans on 14 July 1866 in Brussels, in Belgium.

She first studied under Henri Hendrickx at the Bischoffsheim Institute in Brussels.

Salon des Indépendants, Paris 1884

Since 1884, the Salon des Indépendants has played a key role in the history of world art.

Salon des Indépendants, annual exhibition of the Société des Artistes Indépendants, held in Paris since 1884.

In the course of revolutionary developments in painting in late 19th-century France, both artists and the public became increasingly unhappy with the rigid and exclusive policies of the official Salon, an exhibition held sporadically between 1667-1737 and annually thereafter by the Académie Royale de Peinture, which had maintained almost total control over the teaching and exhibition of art since about 1661.

Edgar Degas | Repasseuses | Musée d'Orsay