French Pointillist Painter, 1859-1891 Georges-Pierre Seurat (2 December 1859 ?C 29 March 1891) was a French painter and draftsman. His large work Sunday Afternoon on the Island of La Grande Jatte, his most famous painting, altered the direction of modern art by initiating Neo-impressionism, and is one of the icons of 19th century painting Seurat took to heart the color theorists' notion of a scientific approach to painting. Seurat believed that a painter could use color to create harmony and emotion in art in the same way that a musician uses counterpoint and variation to create harmony in music. Seurat theorized that the scientific application of color was like any other natural law, and he was driven to prove this conjecture. He thought that the knowledge of perception and optical laws could be used to create a new language of art based on its own set of heuristics and he set out to show this language using lines, color intensity and color schema. Seurat called this language Chromoluminarism. His letter to Maurice Beaubourg in 1890 captures his feelings about the scientific approach to emotion and harmony. He says "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of color and of line, considered according to their dominance and under the influence of light, in gay, calm or sad combinations". Seurat's theories can be summarized as follows: The emotion of gaiety can be achieved by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm is achieved through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness is achieved by using dark and cold colors and by lines pointing downwards.  Related Paintings of Georges Seurat :. | Underwater Horse | Die Frau mit der Puderquaste | fiskeflottan utanfor port | Grassy Riverbank | The Grand Jatte of Sunday afternoon |
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louis masreliez
Louis Masreliez (Adrien Louis Masreliez) född 1748 i Paris död 19 mars 1810, var en svensk målare, tecknare, grafiker och inredningsarkitekt. Han var äldre bror till ornamentsbildhuggaren Jean Baptiste Masreliez och son till Jacques Adrien Masreliez, också han en ornamentsbildhuggare, som kallats till Sverige från Frankrike för att medverka vid uppförandet av Stockholms slott. Jacques Adrien Masreliez grundade således konstnärssläkten Masreliez i Sverige. Louis Masreliez kom till Sverige 1753. Han började sin utbildning vid Ritarakademien vid 10 års ålder. Vid ritarakademien saknades utbildning i måleri, varför Masreliez inledde studier vid Lorens Gottmans verkstad. 1769 tilldelades han ett statligt studiestipendium som han använde till en studieresa till Paris och Bologna. 1773 lämnade han Bologna och bosatte sig i Paris, där han bodde under åtta år. Han återvände till Sverige 1782, där han blev ledamot av Konstakademien och året därpå professor i historiemåleri. Han blev rektor för akademien 1802 och direktör 1805. Till hans genombrottsverk räknas Gustav III:s paviljong i Hagaparken
COPPO DI MARCOVALDO
Italian Byzantine Style Painter, ca.1225-1274
William Maw Egley
English painter , (1826-1916) was a British artist of the Victorian era. The son of the miniaturist William Egley, he studied under his father. His early works were illustrations of literary subjects typical of the period, such as Prospero and Miranda from The Tempest. These were similar to the work of The Clique. William Powell Frith, one of The Clique, hired Egley to add backgrounds to his own work. Egley soon developed a style influenced by Frith, including domestic and childhood subjects. Most of his paintings were humorous or "feelgood" genre scenes of urban and rural life, depicting such subjects as harvest festivals and contemporary fashions. His best known painting, Omnibus Life in London (Tate Gallery) is a comic scene of people squashed together in the busy, cramped public transport of the era. Egley always showed great interest in specifics of costume, to which he paid detailed attention, but his paintings were often criticised for their hard, clumsy style. In the 1860s Egley adopted the fashion for romanticised 18th century subjects.