The Concise Oxford Dictionary of Art and Artists (115 page)

 
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(1858–1925).
German painter and graphic artist. Part of his training was with
Bouguereau
in Paris (1884–7), but he was more strongly influenced by the painterly work of French artists such as
Courbet
and
Manet
, as well as by
Hals
,
Rembrandt
, and
Rubens
. On his return to Germany he lived mainly in Munich before settling in Berlin in 1901. With
Liebermann
he became recognized as the leading representative of the German
Impressionist
school. An apoplectic stroke incapacitated him in 1911, however, and when he began to paint again (with great difficulty) it was in a much looser and more powerful
Expressionist
manner, to which he had previously been strongly opposed (he has been described as ‘an eleventh-hour convert to modern art’). Corinth was varied and prolific as a painter and graphic artist, his prints being mainly
drypoints
or
lithographs
. Apart from landscapes, portraits, and still lifes, he had a fondness for voluptuous allegorical and religious subjects. His late works were declared
degenerate
by the Nazis.

 
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(1845–1924).
French painter. He had a successful career both as a painter and a popular teacher (his pupils included
Matisse
,
Toulouse-Lautrec
, and van
Gogh
), but his reputation has not lasted well. His work included decorations at the Museum of Natural History and the Petit Palais in Paris and some excellent portraits, and he also had a penchant for paintings of prehistoric history (
The Age of Stone
, Musée du Prieuré, Saint-Germain-en-Laye, 1884).

 
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(1922– ).
Belgian painter, active mainly in Paris. He was a founder member of
Cobra
in 1948 and his paintings show brilliant colour and vigorous brushwork.

 
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(active 1533–74).
Netherlandish-born painter, active mainly at Lyons in France. He was a native of The Hague (in France he is still often known as ‘Corneille de La Haye’), but he settled in Lyons in 1534 and in 1540 he became court painter to the Dauphin, later Henry II. Contemporary references to Corneille indicate that he had a considerable reputation as a portrait painter, but only one work survives that is unquestionably from his hand, a portrait of Pierre Aymeric (Louvre, Paris, 1553), authenticated by an inscription in the sitter's handwriting on the back of the picture. Many other works in a similar style go under his name. They are mostly small in scale and sharply naturalistic in manner, with the sitter usually set against a plain green or blue background.

 
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(1562–1638).
Dutch painter who ranks with Hendrik
Goltzius
and Karel van
Mander
as one of the leading representatives of
Mannerism
in the Netherlands. He is best known for his large biblical and historical pictures packed with athletic, life-size Italianate nudes in wrenched and sharply foreshortened positions. But he also did a few forceful portraits of individuals and groups which show that he was an important forerunner of Frans
Hals
. Both facets of his work can best be seen in the Frans Hals Museum in Haarlem, the city where he spent most of his life.

 
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