Museum), in which he painted the landscape and the el-
der Cuyp the figures. Cuyp's early style is reminiscent of
Jan van Goyen and Salomon van Ruysdael. During the
16405 he must have spent time in Utrecht, where he was
influenced by the radiantly sunlit landscape paintings of
Jan Both, who had recently returned from Italy. In 1651-
52 Cuyp traveled through Arnhem, Nijmegen, and
Cleves, making sketches he used in later paintings such
as River Landscape with Horsemen of circa 1655 (Rijks-
museum). In 1652 Cuyp's father died, leaving him the
shop and with it the patronage of the Dordrecht patri-
ciate. Cuyp went on to produce some of his most mon-
umental works, such as Landscape with a Rider and Peasants
(National Gallery). After marrying the wealthy widow
Cornelia Boschman in 1658, he ceased painting. A pro-
lific draughtsman, he produced studies of figures, ani-
mals, and plants and a large number of landscapes, some
of which are delicately tinted in water color.
HONORE DAUMIER
Marseille 1808-Paris 1879
In 1814 Daumier and his family moved to Paris, where
he began working at a young age. He first studied with
the painter and archeologist Alexandre Lenoir before en-
rolling in the Académie in 1828. Daumier s oeuvre con-
sists of drawings, prints, watercolors, paintings, and
sculpture. In 1830 he began publishing his lithographs in
the satiric journals Silhouette, Caricature, and Charivari.
His Gargantua print of 1832, aimed at King Louis Phi-
lippe, cost him a fine and prison sentence. Daumier fo-
cused on painting from circa 1848 until the early 18705,
when progressive blindness forced him to give up the
medium. As with his drawings and lithographs, he
shrewdly observed the modern world in paintings such
as The Washerwoman of 1863 (Metropolitan Museum of
Art) and Third Class Carriage of circa 1865 (National Gal-
lery of Canada).EUGENE DELACROIX
Charenton-Saint-Maurice 1798-Paris 1863
In 1815 Delacroix was admitted to Pierre Guerin's studio,
where he delighted in copying the old masters. In 1816
he entered the Ecole des Beaux-Arts and worked along-
side Théodore Gericault and others. Delacroix debuted
at the Salon with Dante and Virgil of 1822 (Louvre), the
first of his many Romantic paintings. His imagination
was stirred by a great variety of painters, poets, and
events. His masterpieces include The Massacre ofScio of
1824, inspired by the Greek war of independence, and
The Death of Sardanapalos of 1827 (both Louvre). A trip
to North Africa in 1832 prompted Delacroix's interest incolor theory and inspired paintings such as The Woman
of Algiers of 1834 (Louvre). He exhibited his works reg-
ularly at the Salon and showed at the Exposition Univer-
selle in 1855. Throughout his career he completed
commissions from the State for decorative schemes, in-
cluding the painting of rooms in the Palais Bourbon
(1833, !^44, 1847) and Palais du Luxembourg (1845-47),
the Galerie d'Apollon in the Louvre (1849), and the Salon
de la Paix of the Hôtel de Ville (1852).DESIDERIO DA SETTIGNANO
Settignano circa 143 o-Florence 1464
Desiderio was one of the most important Florentine
sculptors of the Renaissance. He was the son of a stone-
mason; his two brothers were also sculptors. Desiderio
was probably a pupil of Bernardo Rossellino as well as a
follower of Donatello, adopting the latter's technique of
rilievo schiacciato (flattened relief). By the time Desiderio
matriculated into the stone and woodworkers' guild in
1453 he was certainly a well-established master. His most
important work is the tomb monument for the humanist
Carlo Marsuppini (Florence, Santa Maria Novella). The
monument was probably begun soon after Marsuppini s
death in 1453 as a pendant to the Bruni tomb by Bernardo
Rossellino for the same church. Another key work is the
Altar of the Sacrament of the 14605 (Florence, San Loren-
zo), composed of marble reliefs and statuettes centered
around a sculpted tabernacle. Desiderio is also known for
his marble reliefs of the Madonna and child and for his
portrait busts. He died prematurely at the age of thirty-
four.ALBRECHT DURER
Nuremberg 1471-1528
Durer was trained in Nuremberg as a goldsmith by his
father between 1485 and 1486 and as a painter by Michael
Wolgemut from 1486 until 1489. Between 1490 and 1494
he traveled.to Basel, Colmar, and Strasbourg as a jour-
neyman. A trip to Venice in 1494-95 inspired a lasting
interest in Italian theories of proportion and perspective.
During the years following his return to Nuremberg,
Durer published some of his greatest prints, including
the Apocalypse woodcuts of 1498 and the engraving
Adam and Eve of 1504. He took a second trip to Venice in
1505-7 and while there painted the Feast of the Rose Gar-
lands (Národní Galerie) for the local community of Ger-
man merchants. In 1511 he published the woodcuts of the
Large and Small Passion and the Life of the Virgin. Be-
ginning in 1512 Durer undertook a number of projects
for Emperor Maximilian I, who granted him a yearly
pension in 1515. In 1520/2 1 the artist traveled to the Neth-332 ARTISTS BIOGRAPHIES