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ART 4 2-DAY 05 May
Died on 05 May 1883: Eva
Gonzalès, Mme Henri Guérard, French Impressionist
painter born on 19 April 1849.
— Her first introduction to art was through her parents. Her father, Emmanuel Gonzalès (of Spanish origin but naturalized French), was a well-known writer — her mother, a Belgian, was an accomplished musician. The family salon was a meeting place for critics and writers including Théodore de Banville and Philippe Jourde, the director of the newspaper Le Siècle. At 16 she had art lessons with the society portraitist Charles Chaplin [1825-1891], who ran a studio for women. Gonzalès rented a studio in the Rue Bréda and under Chaplin’s guidance painted figure compositions and landscapes, exhibiting at the Salon of 1870 as his student.
Eva Gonzalès was born in Paris into the family of the writer Emmanuel Gonzalez. In 1865, she began her professional training and took lessons in drawing. In 1869, she met Édouard Manet [1832-1883] and became his only formal student and his model. She exhibited for the first time at the Salon in 1870. Thereafter she submitted work every year to the Salon. Until 1872, she was strongly influenced by Manet but later developed her own, more personal style. Her watercolors with their bright colors and soft forms achieved great success. During the Franco-Prussian War she stayed in Dieppe. In 1879, she married a brother of the graphic artist Henri Guérard. She died during childbirth, five days after Manet.
— Lady with a Fan (1870, 43x28cm; 960x605pix, 309kb which is quite sufficient to appreciate, but, if you insist on enlarging the fuzziness, ZOOM to 1700x1071pix, 553kb, 1074kb or ZOOM++ to 2549x1606pix, 2196kb)
— Afternoon Tea (On the Terrace) (1875) — Le Petit Lever (1876)
— Jeanne Gonzales (1/4 from back) — Woman in White (1879) — Indolence (1872)
— La Toilette — Secretly (1878) _ Reading a book instead of practicing the piano.
— Roses in a Glass (1882) — White Shoes (1880) Enfant de troupe (1870)
Une Loge au Théâtre des Italiens (1874, 117kb) Morning Awakening (1876, 111kb) La Modiste (1877)
Died on 05 May 1913: Henri
Moret, French marine and landscape painter, born on 12 December
— Moret, although from Normandy, lived and worked practically his whole life in Brittany and is regarded as the most important impressionist interpreter of the Breton landscape. After completing his formal education at the Ecole National des Beaux-Arts under Jean-Paul Laurens and Jean-Léon Gérôme, Moret rejected his academic training in favor of the painting techniques of the Impressionists. In 1888, he moved to Pont-Aven where he worked alongside his friends, Paul Gauguin [1848-1903] and Emile Bernard [1868-1941], and was introduced to the tenets of symbolism. After Gauguin left Pont-Aven in 1891, however, Moret returned to his earlier Impressionist style. In 1896, he settled in the nearby fishing village of Doelen where his art, a combination of Impressionist handling of the paint and the subjective treatment of color, reached its maturity.
— First, he worked in Paris with Jean Paul Laurens [1838-1921] and debuted at the Salon in 1880. Soon thereafter he liberated himself from the academic artistic principles with which he was nurtured during his training with Jean-Léon Gérôme [1824-1904]. Not long after, he participated in the group of young artists around Gauguin at Pont-Aven and developed a free approach regarding painting technique and practice, including painting in the open air. The following years Moret was to dedicate himself exclusively to the study of various types of landscapes resulting in an enormous production of studies and sketches. Finally he settled in Douelan, where he was completely absorbed by painting marines and seascapes.
— Normand d'origine, Henry Moret devient Lorientais d'adoption. A partir du port de Lorient, il rayonne chaque année le long de la côte à Larmor, au Pouldu, à Doëlan, puis plus loin à Quimper, Douarnenez et la presqu'île de Crozon. Il s'attardent dans les îles : Groix, Belle-Ile, Houat, Ouessant. Au cours d'un séjour à Pont-Aven, en 1888, il fait la connaissance de Gauguin, Bernard, Chamaillard, Jourdan et Laval et s'intègre au petit groupe. Si au départ son art était tributaire de Corot, Courbet et de l'Ecole de Barbizon, à partir de sa rencontre avec Gauguin, Moret est influencé par le synthétisme.
— Haymaking (1893) — Peasant and her Herd (1910)
— A Farm near Pont Aven (1902; 925x1132pix, 355kb)
— The Pen-Clun Valley, Clohars, Carnoet (1907) — Farm at Doelan
— Le Village de Paulgoazec (1906) — Groux (1891) — View of Port Louis (1891)
— The Coast of Moelan (1896) — Cliffs of Moellan, Finistère (1901)
— 'Beg-er-Vran' - Finistère (1897) — The Breton Coast (1898) — Horse in a Meadow
— View of the Customs Cabin, Pourville (1901) — Cliffs of Kerserol, Finistère (1909)
— Porspoder, the Port, Finistère (1910) — Quimper, Lake Marie in the Snow (1909)
— Seascape (1895) — Fishing Boats off the Coast (1902)
— 97 images at Webshots