Which painter married Hortense Fiquet and used her as the subject of many of his paintings?
"by Jean-Baptiste Rambot. A painting by Charles de La Fosse (1636-1716) was donated to the church in 1821. There are also two paintings by Michel Serre (1658–1733). Painter Paul Cézanne (1839–1906) married Hortense Fiquet in this church. In December 2013, a traditional Mass was said in provençal to celebrate the santons. It has been listed as a monument historique since 1983. Église Saint-Jean-Baptiste du Faubourg The Église Saint-Jean-Baptiste du Faubourg is a Roman Catholic church in Aix-en-Provence. The church building is located at 36 cours Sextius in Aix-en-Provence. The church was built on an old church building. It was designed"
"Portrait of Madame Cézanne (Roy Lichtenstein) Portrait of Madame Cézanne (sometimes Portrait of Mrs. Cézanne) is a 1962 pop art painting by Roy Lichtenstein. It is a quotation of Erle Loran's diagram of one of Paul Cézanne's 27 portraits of his wife Marie-Hortense Fiquet, now in the Barnes Foundation, Philadelphia. It was one of the works exhibited at Lichtenstein's first solo exhibition in Los Angeles. The work became controversial in that it led to a reconsideration of what constitutes art. Lichtenstein and Loran sparred in the press, and art critics were intrigued by the viewpoints of the two. Loran's view"
"enrolled in 1631 as a master of the Antwerp Guild of Saint Luke. In 1635 he married the flower painter Catarina Ykens-Floquet, who was the daughter of history painter Lucas Floquet I and the sister of three painters. Ykens was successful and his works were very popular with collectors of his time. He painted for Archduke Leopold in Brussels. His works were collected by Eleanor of Austria, Queen of Poland who purchased his work through Antwerp art dealers Forchondt. He was also very appreciated by his colleagues as is demonstrated by the fact that Rubens owned six of his still"
"Manet's ""Luncheon on the Grass"", which itself had referred to the 1515 engraving ""The Judgment of Paris"" by Raimondi and ""The Pastoral Concert"" ca. 1510, by Giorgione or Titian in the Louvre, in a serie of 95 identical serigraphies: portraying the art critic Pierre Restany and the painter Mario Schifano, one of which was left in the lobby of the hotel Chelsea in New York City for payment of his room. Jacquet lived in New York and Paris and taught at the École Nationale Supérieure des Arts Décoratifs. He was married (1992) to Sophie Matisse, great-granddaughter of the French Fauvist"
"Pre-Raphaelite Brotherhood, she became known to the artists Dante Gabriel Rossetti and Edward Burne-Jones. Although married, Burne-Jones became besotted with Frances, and painted her likeness in several works. In 1869, when Frances was 15, he drew her as ""The Lady of the Window"" in the Vita Nuova. She was included in ""The Golden Stairs"" in 1880, carrying cymbals at the bottom of the stairs. She has been described as the one of the most important women his life, after his wife, his daughter and his mistress Maria Zambaco. In 1883, she married the barrister John Francis Fortescue Horner (1842–1927). His"
"la robe verte""), one of many works using his future wife, Camille Doncieux, as his model. Both this painting and a small landscape were hung. The following year Monet used Camille for his model in ""Women in the Garden"", and ""On the Bank of the Seine, Bennecourt"" in 1868. Camille became pregnant and gave birth to their first child, Jean, in 1867. Monet and Camille married on 28 June 1870, just before the outbreak of the Franco-Prussian War, and, after their excursion to London and Zaandam, they moved to Argenteuil, in December 1871. During this time Monet painted various works"
"the National Exhibition of Fine Arts. He was married in Paris in 1865, to Louise Marie Héloise Perrin, whom he had met at the home of his friend, Jehan Georges Vibert. They had two children: Miguel Louis Pascual, who became a well-known journalist and playwright, and a posthumous daughter, Marie Hélène, (who married the painter, Jean Alfred Marioton). In 1866, he became good friends with the painter, Marià Fortuny, who did a portrait etching of him. During a trip to Rome, Zamacois also posed as a toreador for Fortuny's painting, ""The Spanish Wedding"". Later, he contacted his friend, , and"
"solidly packed as a steamer trunk-hence the elevated conceit comes down with a dull thud. No 3 ""A Floating Mist"" and Nos. 5 and 11, showing the same haystack under the baptism of an opalescent and an autumn sunrise declare some better work. Claude Monet, the great luminarist, who proved at least to the world the reasonableness of his artistic conceptions may not be proud of his Giverny pupil who should rub up against some of his own American trees and get down out of the clouds."" After six months he was back in Giverny. He married Marthe Hoschedé, Suzanne's"
"home. During one visit, in 1888, he created panels for the Opéra national de Montpellier. Two years later, he married Marie Castan, the daughter of one of the professors he had painted at the Faculty. After that, he returned to Montpellier permanently and opened a studio. His wife died only three years later, while giving birth to their second son. In 1900, he was one of numerous painters chosen to decorate the restaurant at the Gare de Lyon (now known as ""Le Train Bleu""), creating a panel depicting Montpellier. Many of his works draw their inspiration from the history of"
"Springtime (painting) Springtime is an 1872 painting by Claude Monet. It depicts his first wife, Camille Doncieux, seated serenely beneath a canopy of lilacs. The painting is presently held by the Walters Art Museum. In this painting entitled ""Springtime"", Claude Monet uses his first wife, Camille Doncieux, as the model. Camille and Claude Monet were married in 1870, before this time she had been his mistress and served as a model for Monet's figurative paintings of the 1860s and 1870s. It is said that Camille possessed unusual talent as a model and was also used by Auguste Renoir and Édouard"
"the studio of Gustave Boulanger, in 1883 he won the Grand Prix de Rome for painting for ""Oedipus curses his son Polynices"", and became a pensionist at the Villa Médicis in Rome from 1883 to 1887. On 3 January 1888, he married Jeanne Guillemeteau, and they had two children, one son and one daughter. He became a teacher at the Académie Julian in 1889. From 1900, he spent a number of years as a teacher to Princess Mathilde. From 1907 to 1941, he had a shop at 21 quai Voltaire in Paris, where a commemorative plaque was placed after his"
"the window of the little train between Vernon and Gasny, he discovered Giverny. They next moved to Vernon, then to a house in Giverny, Eure, in Upper Normandy, where he planted a large garden and where he painted for much of the rest of his life. Following the death of her estranged husband in 1891, Alice Hoschedé married Claude Monet in 1892 on July 16. The witnesses were the painters Gustave Caillebotte and Paul César Helleu. Despite Claude Monet’s initial objections to his stepdaughter Suzanne Hoschedé's marriage to American painter Theodore Earl Butler (1861–1936), he relented after discovering the wealth"
"negative opinions about Casanova's work, but his reputation was already made. His fame soon spread eastward and he received commissions from Catherine the Great for the Hermitage, beginning in 1768. Two years later, he produced his four famous ""disaster paintings"", which were purchased by Jean-Benjamin de la Borde on behalf of King Louis XV. In 1771, he exhibited two large canvases depicting scenes from the Thirty Years' War (The Battle of Freiburg and the Battle of Lens) and once again won Diderot's approval. In 1762, he had married Jeanne-Marie Jolivet (1734–1773) a ballerina with the theatre of the Comédie-Italienne who"
"too realistic and not including heroic drama. Most of his war paintings were donated to the Musée de l'Armée in 1920. They include: In 1919 he was elected into the National Academy of Design as an Honorary Corresponding Academician. Flameng married Marguerite Henriette Augusta Turquet (1863–?) at Neuilly-sur-Seine on 30 November 1881. Their daughter Marie married the tennis star Max Decugis, whom Flameng also painted. François Flameng was a friend of John Singer Sargent, who painted his portrait, he also traveled with Jean-Léon Gérôme and Victor Clairin in Italy, and tutored Paul-Émile Bécat. François Flameng François Flameng (1856–1923) was a"
"Odéon-Théâtre in 1816, he directed the Académie Impériale de Musique. He was at Odéon-Théâtre until 1821. In the painting ""Louis-Benoît Picard and his family"", Pauline Auzou depicts Picard with his wife Victoria Longchamps (far right), his brother and sisters Latour and Adele Picard and Mrs. Guersant. With Mrs. Guersant is her husband physician Louis Benoit Guersant, their son, Paul Benedict Guersant Louis, who became a doctor, and baby daughter who became Ms. Blache. LaTour's wife wore a red shawl over a black dress. The Picard's father, who had been a lawyer and parliamentarian, is represented in a portrait made by"
"Yverdon Encyclopedia, for which he is now famous. In, 1769 he became a citizen of Yverdon and thus Swiss. He was married four times and had 13 children: in 1756 to Countess Agnese Arcuato, Countessa di Panzutti (1720-1759) (whereby his Earldom was received suo jure, confusing Arcuato's late husband is recorded as the first Count Panzutti), in 1759 to Susanne de Wavre Neuchâtel (1737-1769), in 1769 to Louise Marie Perrelet († 1774), and in 1774 to Jeanne Salomé Sinet. He died in Yverdon-les-Bains. The current holder of the portrait, the de Felice Duchi Estate, puts this painting as the best"
"he worked for Lucien Bonaparte, making sketches and paintings of the Prince's antiquities collection. He also began a portrait of Bonaparte's wife, Alexandrine de Bleschamp, but he (and some others) found it unsatisfactory, so he turned it into a painting of an anonymous lady of the court. This portrait (now in the Louvre) pleased him so much that he married the model, Jeanne-Catherine Delaigle. He returned to Paris in 1812, and exhibited annually at the Salon until his death, receiving medals in 1812, 1817 and 1820. His daughter, Eléonore Palmyre (1819-1874), a pianist of some note, married the writer Paul"
"1871. In 1862, he was made an Officier de la Legion d'honneur. He lived at the end of his life, an hotel particulier of rue d'Anjou and started the very important Javal art collection with paintings of François Boucher, Claude Joseph Vernet, Canaletto, Andrea del Sarto, Bruegel and Rubens. In 1838, he married Augusta de Laemel, daughter of the financier Léopold von Laemel and the baroness Sophia von Eichthal, sister of the baron Simon von Eichthal of the family d'Eitchtal, one of the (the two hundred families that were the biggest shareholders of the Bank of France) that gave several"
"surgeon who tended to many high profile people, and even royal families. He made her his mistress and helped her settle down at 52, rue de Rome, where she held her “salon”, hosting all of the Parisian artistic avant-garde. Through this occasion, she became the mistress of Francois Coppée, Stéphane Mallarmé, Antonin Proust, as well as Edouard Manet’s mistress and model. When Laurent died, she bequeathed her wealth to Victor Margueritte, her last favorite and “protégé”, with the exception of her allegoric portrait of Autumn (a painting by Manet, begun in 1882), which went to the Museum of Fine Arts"
"Suzanne Hoschedé Suzanne Hoschedé (c. 1864–February 6, 1899) was the eldest daughter of Alice Hoschedé and Ernest Hoschedé, the stepdaughter and favorite model of French impressionist painter Claude Monet, and wife of American impressionist painter Theodore Earl Butler. Suzanne is known as ""The Woman with a Parasol"" in Monet's painting of 1886. In 1878 Monet and his family temporarily moved into the home of Ernest Hoschedé (1837–1891), a wealthy department store owner and patron of the arts. Both families then shared a house in Vétheuil during the summer. Hoschedé became bankrupt, and left in 1878 for Belgium. After the death"
"from court following the ""Day of the Dupes"", work on the Luxembourg was interrupted.) His first marriage was to Marie Passart, who bore him a son, the painter Dominique Cochet. From his second marriage - in 1630 with Anne Chauchet, daughter of a wine merchant - he had two daughters (including Antoinette, who was born in 1634). He is best known for creating “Dido About to Take Her Own life” offered by the Duke of Montmorency to Cardinal Richelieu (before 1632). The sculpture was praised by men of letters of the time, including Tristan Lhermite. This might be the ""Dido"""
"left ""La Hune"" as well as the ""Castel Beranger"" apartment to Berthe: they remained friends for the rest of his life. On 6 April 1927, Signac adopted Ginette, his previously illegitimate daughter. His granddaughter, Françoise Cachin, was an art historian. Paul Signac died from septicemia in Paris on 15 August 1935 at the age of 71. His body was cremated and buried three days later, on 18 August, at the Père Lachaise Cemetery. Some of his well-known paintings are: ""In the Time of Harmony"", ""Femmes au puits"", ""Port St. Tropez"", ""The Papal Palace"", and ""The Demolisher"". In 2010, a previously"
"in which he became a master, although he struggled to earn a living at first. Gratia married when he was twenty, a move that he later said hindered his career. He exhibited for the first time in the Salon of 1837, when he was twenty-two. He was praised for his pastel portrait of the dramatist Prosper Gothi. He later exhibited portraits of Mayer Schnerb (1840); Esther de Beauregard (1841); La Boisgontier (1844); the Comte d'Eu and the Comtesse de Solms, born Laetitia Bonaparte. His 1844 full-length portrait of La Boisgontier in pastel on paper earned him his first prize, a"
"With their Fauvist touches, these works constituted a point of no return. Bourgeois had finally discovered the way forward. From that moment on he painted nature with the same eyes as Guillaumin, and, thanks to his colleague, tapped into the sensibility of Monet, Sisley, Gauguin and Othon Friesz, who all loved and celebrated light. After the loss of his second wife, Bourgeois married Jeanne Marthe Bertrand on 19 March 1928 and they moved together to Dieulefit where she was born. Subsequently, he rarely left his Provençal retreat. One such retrospective was the 1926 ""Cinquantenaire de la Fondation des Prix du"
"attempts to establish a movement in France to resurrect the art of the 15th and 16th centuries. The influence of Botticelli and Leonardo da Vinci became evident in his work, for instance in the c. 1895 ""Eternal Chimera"". Hélène Linder became an ideal female model for Point who often painted her in a Leonardesque style but dressed like a muse from Botticelli. Leonardo da Vinci's ""Study for the head of Leda"" (study for an original painting now lost) seems to have influenced the hair styles that he gave Hélène. Hélène married French diplomat Philippe Berthelot just before the start of"
"Hoschedé commissioned Monet to paint decorative panels for the ""Château de Rottembourg"" and several landscape paintings. According to the ""Nineteenth-century European Art: A Topical Dictionary"", it may have been during this visit that Monet began a relationship with Alice Hoschedé and her youngest son, Jean-Pierre, may have been fathered by Monet. Ernest Hoschedé went bankrupt in 1877. Ernest, Alice, and their children moved into a house in Vétheuil with Monet, Monet's first wife Camille, and the Monets' two sons, Jean and Michel. Ernest spent increasing lengths of time in Paris. He then lived in Paris and worked at ""le Voltaire""."
"him to Paris when he was 18 to study with the painter and sculptor Auguste Debay. He also studied with Léon Cogniet, a historical and portrait painter whose pupils included Léon Bonnat, and Constant Troyon, who painted landscapes and animals. He married twice. By his first wife, Anne Foiret, he had a daughter, Esther. After Anne's death in 1874, he remarried in 1876 to one of his pupils, Hélène de Sahuguet d'Amarzit d'Espagnac; she had been married to Claude Durand de Neuville but had been widowed in the War of 1870. He made his official début at the 1843 Paris"
"He was an early member of the Society of French Watercolourists, which had recently been founded by Édouard Detaille. One of the first watercolours he sent to their exhibition was a portrait of a young woman in Renaissance clothing; its great success opened the door for a career as a portrait painter. His skill at capturing the moods of children gained him many commissions from upper middle class parents. He received so many commissions for portraits that at one time he contemplated giving up book illustration (see below). In 1876, he married Jeanne Labaigue of Orléans, and their first child"
"de Paris"", displaying her mythology-inspired picture ""Psyché faisant ses adieux à sa famille"". Another of her paintings of this period, ""L'Innocence entre la vertu et le vice"", is similarly mythological and reveals her feminist interests—in this picture, vice is represented by a man, although it was traditionally represented by a woman. In 1793, she married the lawyer Pierre-Vincent Benoist. Her work, reflecting the influence of Jacques-Louis David, tended increasingly toward history painting by 1795. In 1800, she exhibited ""Portrait d'une négresse"" in the ""Salon"". Six years previously, slavery had been abolished, and this image became a symbol for women's emancipation"
"for a number of years, the two were married on 3 August 1920. The married couple often traveled to Europe in the summers, where Hortense was inspired by the Barbizon School and other European masters. Her landscape works developed an increasingly soft, loose paint handling style and a sense of spontaneity. For almost four decades, Hortense painted landscapes and still life almost exclusively. However, after the death of her husband in 1940, Hortense's style became much less inhibited. She studied at the Cranbrook Academy of Art between 1941 and 1945 with famed abstract expressionist Hans Hofmann. Hofmann's influence and friendship"
"the age of 46, Doumenq married his art student, Magdalene Bernard (1854-1896), with whom he had two children, Pierre-Charles (1887-1890) Jean (1893-1915). Henri Bouchet-Doumenq Henri Bouchet-Doumenq (13 May 1834, Paris - 1884) (alternate spellings: Bouchet-Doumeng, Bouchet-Doumencq, Boucher-Doumencq, Boucher-Doumeng, Doumenq-Boucher) was a 19th-century French painter who specialized in portraits and landscapes. He was the second son of the amateur painter Charles Bouchet-Doumenq, whose family was from Montpellier; a work of Charles hangs at the Fondation Calvet. His mother, Antoinette Bonpard, was a native of Vallant-Saint-Georges. The family home was also shared by a friend of the father, Auguste-Barthélemy Glaize, originally from"
"satirical lithographs which were published in the student magazine ""Le Crocodile"". These and the lithographs he contributed until 1862 to the magazine ""Uylenspiegel"" brought him early fame as a caricaturist. In 1857, he married Charlotte Polet de Faveaux, with whom he had two children, Paul and Juliette (the latter died at a young age). He produced a number of etchings as illustrations for books by Charles de Coster. In 1862 he went to Paris where he met the etchers Félix Bracquemond and Jules Ferdinand Jacquemart. His activity as a lithographer ceased about 1865, and he became a restless experimenter with"
"L'Origine du monde Art historians have speculated for years that Courbet's model for was his favourite model, Joanna Hiffernan, also known as ""Jo"". Her lover at the time was the American painter James Whistler, a friend of Courbet. Hiffernan was the subject of a series of four portaits by Courbet entitled ""La belle Irlandaise (Portrait of Jo)"" painted in 1865-66. The possibility that she was the model for or that she was having an affair with Courbet might explain Courbet's and Whistler's brutal separation a short while later. In spite of Hiffernan's red hair contrasting with the darker pubic hair"