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See also:DECAMPS, See also:ALEXANDRE See also:GABRIEL (1803–1860) , See also:French painter, was See also:born in See also:Paris on the 3rd of See also:March 1803. In his youth he travelled in the See also:East, and reproduced See also:Oriental See also:life and scenery with a bold fidelity to nature that made his See also:works the See also:puzzle of conventional critics. His See also:powers, however, soon came to be recognized, and he was ranked along with See also:Delacroix and See also:Vernet as one of the leaders of the French school. At the Paris See also:Exhibition of 1855 he received the See also:grand or See also:council See also:medal. Most of his life was passed in the neighbourhood of Paris. He was passionately fond of animals, especially See also:dogs, and indulged in all kinds of See also:- FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
- FIELD, CYRUS WEST (1819-1892)
- FIELD, DAVID DUDLEY (18o5-1894)
- FIELD, EUGENE (1850-1895)
- FIELD, FREDERICK (18o1—1885)
- FIELD, HENRY MARTYN (1822-1907)
- FIELD, JOHN (1782—1837)
- FIELD, MARSHALL (183 1906)
- FIELD, NATHAN (1587—1633)
- FIELD, STEPHEN JOHNSON (1816-1899)
- FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)
field See also:sports. He died on the 22nd of See also:August 186o in consequehce of being thrown from a vicious See also:horse while See also:hunting at See also:Fontainebleau. The See also:style of Decamps was characteristically and intensely French. It was marked by vivid dramatic conception, by a manipulation bold and rapid, sometimes even to roughness, and especially by See also:original and startling use of decided contrasts of See also:colour and of See also:light and shade. His subjects embraced an unusually wide range. He availed himself of his travels in the East in dealing with scenes from Scripture See also:history, which he was probably the first of See also:European painters to represent with their true and natural See also:local background. Of this class were his " See also:Joseph sold by his Brethren," " See also:Moses taken from the See also:Nile," and his scenes from the life of See also:Samson, nine vigorous sketches in See also:charcoal and See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white. Perhaps the most impressive of his See also:historical pictures is his " Defeat of the See also:Cimbri," representing with wonderful skill the conflict between a See also:horde of barbarians and a disciplined See also:army. Decamps produced a number of genre pictures, chiefly of scenes from French and Algerine domestic life, the most marked feature of which is See also:humour. The same characteristic attaches to most of his numerous See also:animal paintings. He painted dogs, horses, &c., with See also:great fidelity and sympathy; but his favourite subject was monkeys, which he depicted in various studies and sketches with a See also:grotesque humour that could scarcely be surpassed. Probably the best known of all his works is " The See also:Monkey Connoisseurs," a See also:clever See also:satire of the See also:jury of the French See also:Academy of See also:Painting, which had rejected several of his earlier works on See also:account of their divergence from any known See also:standard. The pictures and sketches of Decamps were first made See also:familiar to the See also:English public through the lithographs of See also:Eugene le Rour.
See See also:Moreau's Decamps et son oeuvre (Paris, 1869).
End of Article: DECAMPS, ALEXANDRE GABRIEL (1803–1860)
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