NARCISSE VIRGILIO See also:

• NARCISSE VIRGILIO DIAZ (18(38-1876)
• DIAZ, PORFIRIO (183o– )

DIAZ (18(38-1876)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• BORDEAUX

Bordeaux of See also:

• SPANISH

Spanish parents, on the 25th of See also:

• AUGUST (originally Sextilis)

August 1808 . At first a figure-painter who indulged in strong See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, in his later See also:

• LIFE

life See also:

• DIAZ, NARCISSE VIRGILIO (18(38-1876)
• DIAZ, PORFIRIO (183o– )

Diaz became a painter of the See also:

• FOREST

forest and a " See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone artist " of the first See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order . He spent much See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time at See also:

• BARBIZON

Barbizon; and although he is the least exalted of the See also:

• HALF

half-dozen See also:

• GREAT

great artists who are usually grouped See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round that name, he sometimes produced See also:

• WORKS

works of the highest quality . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of ten Diaz became an See also:

• ORPHAN

orphan, and misfortune dogged his earlier years . His See also:

• FOOT

foot was bitten by reptile in See also:

• MEUDON

Meudon See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, near Sevres, where he had been taken to live with some See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends of his See also:

• MOTHER

mother . The bite was badly dressed, and ultimately it cost him his See also:

• LEG
• LEG (a word of Scandinavian origin, from the Old Norwegian leggr, cf. Swed. lagg, Dan. laeg; the O. Eng. word was sceanca, shank)

leg . Afterwards his wooden stump became famous . At fifteen he entered the studios at Sevres, where the decoration of See also:

• PORCELAIN

porcelain occupied him; but tiring of the See also:

• RESTRAINT (from " to restrain," Lat. restringere, to hold back, prevent)

restraint of fixed See also:

• HOURS, CANONICAL

hours, he took to See also:

• PAINTING

painting Eastern figures dressed in richly coloured garments . See also:

• TURKS

Turks and See also:

• ORIENTAL

Oriental scenes attracted him, and many brilliant gems remain of this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . About 1831 Diaz encountered See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau, for whom he entertained a great veneration, although Rousseau was four years his junior; but it was not until ten years later that the remark-able incident took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of Rousseau teaching Diaz to paint trees . At See also:

• FONTAINEBLEAU

Fontainebleau Diaz found Rousseau painting his wonderful forest pictures, and determined to paint in the same way if possible . Rousseau, then in poor See also:

• HEALTH

health, worried at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home, and embittered against the See also:

• WORLD

world, was difficult to approach .

Diaz followed him surreptitiously to the forest,—wooden leg not hindering,—and he dodged round after the painter, trying to observe his method of See also:

• WORK

work . After a time Diaz found a way to become friendly with Rousseau, and revealed his anxiety to understand his painting . Rousseau was touched with the passionate words of admiration, and finally taught Diaz all he knew . Diaz exhibited many pictures at the See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris See also:

• SALON

Salon, and was decorated in 1851 . During the Franco-See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War he went to See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels . After 1871 he became fashionable, his. works gradually See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose in the estimation of collectors, and he worked constantly and successfully . In 1876 he caught See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold at his son's See also:

• GRAVE

grave, and on the 18th of See also:

• NOVEMBER (Lat. novem, nine)

November of that See also:

• YEAR

year he died at See also:

• MENTONE (Fr. Menton)

Mentone, whither he had gone to recruit his health . Diaz's finest pictures are his forest scenes and storms, and it is on these, and not on his See also:

• PRETTY

pretty figures, that his fame is likely to See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest . There are several fairly See also:

• GOOD, JOHN MASON (1764-1827)

good examples of the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master in the Louvre, and three small figure pictures in the See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace collection, See also:

• HERTFORD
• HERTFORD, EARLS AND MARQUESSES OF

Hertford See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House . Perhaps the most notable of Diaz's works are " La See also:

• FEE

Fee aux Perks " (1857), in the Louvre; " Sunset in the Forest " (1868);." The See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

Storm." and " The Forest of Fontainebleau " (187o) at See also:

• LEEDS
• LEEDS, THOMAS OSBORNE

Leeds . Diaz had no well-known pupils, but See also:

• LEON
• LEON, LUIS PONCE DE (1527-1591)
• LEON, MOSES BEN SI
• LEON, or LEON DE LAS ALDAMAS

Leon Richet followed markedly his methods of See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree-painting, and J . F .

See also:

• MILLET (Fr. millet; Ital. miglietto, diminutive of miglio= Lat. mille, a thousand, in allusion to its fertility)
• MILLET (or MILE), JEAN FRANCOIS (c. 1642–1679)
• MILLET, FRANCIS DAVIS (1846- )
• MILLET, JEAN FRANCOIS (1814–1875)

Millet at one period painted small figures in avowed See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of Diaz's then popular subjects . See A . Hustin, See also:

• LES

Les Artistes celebres: Diaz (Paris) ; D . Croat See also:

• THOMSON, JAMES (1822-1892)
• THOMSON, JAMES (1834-1882)
• THOMSON, JAMES (r700-1748)
• THOMSON, JOHN (1778-184o)
• THOMSON, JOSEPH (1858-1895)
• THOMSON, SIR CHARLES WYVILLE (1830-1882)
• THOMSON, THOMAS (1773-1852)
• THOMSON, WILLIAM (1819-189o)

Thomson, The Barbizon School of Painters (See also:

• LONDON

London, 1890) ; J . W . Mollett, Diaz (London, 1890) ; J . See also:

• CLARETIE, JULES

Claretie, Peintres et sculpteurs contemporains: Diaz (Paris, 1882) ; See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert See also:

• WOLFF (less correctly WOLF), CHRISTIAN (1679-1754)
• WOLFF, CASPAR FRIEDRICH (1733-1794)
• WOLFF, JOSEPH (1795–1862)

Wolff, La Capitale de See also:

• PART

Part: Narcisse Diaz (Paris, 1886); Ph . Burty, Maitres et petitmaitres: N . Diaz (Paris, 1877) . (D . C .