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More information about Pissarro

Pissarro

4 June to 15 September 2013

Advance purchase is recommended

Autor:
Camille Pissarro
Título:
Self-portrait
Fecha:
1903
Técnica:
Oil on canvas
Medidas:
41 x 33 cm.

Ubicacion:
Tate: gift of Lucien Pissarro, the artist's son, 1931.
Brochure of Exchanging gazes 6

<exchanging gazes> 6: Reflections. From Van Eyck to Magritte

New Display of the Collections

From 10 June to 15 September 2013

Autor:
Jan van Eyck
Título:
The Annunciation Diptych: The Archangel Gabriel (detail)
Fecha:
c. 1433-1435
Técnica: Oil on panel
Museo Thyssen-Bornemisza. Nº INV. 137.a (1933.11.1)
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  • John Frederick Peto

Biography and Works

Author:
John Frederick Peto
Born/Dead:
Philadelphia, 1854-New York, 1907
Date:
Works

Biography

The American painter John Frederick Peto started out as a self-taught artist. Raised by his grandmother, with whom he lived until his twenties, he showed a great interest in drawing and painting from childhood. His first dated work was executed in 1875, two years after he began attending the Pennsylvania Academy of the Fine Arts. During this period he came into contact with William M. Harnett, who had then moved back to Philadelphia, and, like Peto, was studying at the academy. Harnett’s still lifes and his use of the trompe l’oeil technique had a decisive influence on the artistic development of the painter, who went on to show a preference for the same genre

Peto. married in 1887 and two years later he and his wife went to live in Island Heights, a summer resort on the New Jersey coast, where he spent the rest of his life. He died in 1907 from a painful illness that affected his kidneys after spending his final years completely out of contact with the art world. Peto was not an acclaimed artist in his lifetime. He did not enjoy success with the general public or with critics, and after his death his work was plunged into oblivion. Although his style and his personal, enigmatic iconography are now distinguished from the work of his contemporary Harnett, for a long time many of Peto’s paintings were attributed to the latter. Only Alfred Frankenstein’s study on trompe l’oeil in the 1940s recognised Peto to be Harnett’s best disciple and one of the most prominent still-life painters of nineteenth-century America

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