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NARCISSE VIRGILIO DIAZ (18(38-1876) , French painter, wasSee also: born in See also: Bordeaux of See also: Spanish parents, on the 25th of See also: August 1808
.
At first a figure-painter who indulged in strong colour, in his later See also: life Diaz became a painter of the See also: forest and a " See also: tone artist " of the first See also: order
.
He spent much See also: time at See also: Barbizon; and although he is the least exalted of the See also: half-dozen See also: great artists who are usually grouped round that name, he sometimes produced See also: works of the highest quality
.
At the age of ten Diaz became an See also: orphan, and misfortune dogged his earlier years
.
His See also: foot was bitten by
reptile in See also: Meudon See also: wood, near Sevres, where he had been taken to live with some See also: friends of his See also: mother
.
The bite was badly dressed, and ultimately it cost him his See also: leg
.
Afterwards his wooden stump became famous
.
At fifteen he entered the studios at Sevres, where the decoration of See also: porcelain occupied him; but tiring of the restraint of fixed See also: hours, he took to See also: painting Eastern figures dressed in richly coloured garments
.
See also: Turks and See also: Oriental scenes attracted him, and many brilliant gems remain of this See also: period
.
About 1831 Diaz encountered See also: Theodore See also: 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 place of Rousseau teaching Diaz to paint trees
.
At
See also: 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, worried at home, and embittered against the See also: 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
.
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 See also: Salon, and was decorated in 1851
.
During the Franco-See also: German War he went to Brussels
.
After 1871 he became fashionable, his. works gradually See also: rose in the estimation of collectors, and he worked constantly and successfully
.
In 1876 he caught cold at his son's See also: grave, and on the 18th of See also: November of that See also: year he died at See also: 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 figures, that his fame is likely to rest
.
There are several fairly See also: good examples of the master in the Louvre, and three small figure pictures in the See also: Wallace collection, Hertford See also: House
.
Perhaps the most notable of Diaz's works are " La See also: Fee aux Perks " (1857), in the Louvre; " Sunset in the Forest " (1868);." The See also: Storm."
and " The Forest of Fontainebleau " (187o) at See also: Leeds
.
Diaz had no well-known pupils, but Leon Richet followed markedly his methods of See also: tree-painting, and J
.
F
.
See also: Millet at one period painted small figures in avowed imitation of Diaz's then popular subjects
.
See A
.
Hustin, See also: Les Artistes celebres: Diaz (Paris) ; D
.
Croat See also: Thomson, The Barbizon School of Painters (See also: London, 1890) ; J
.
W
.
Mollett, Diaz (London, 1890) ; J
.
See also: Claretie, Peintres et sculpteurs contemporains: Diaz (Paris, 1882) ; See also: Albert See also: Wolff, La Capitale de See also: Part: Narcisse Diaz (Paris, 1886); Ph
.
Burty, Maitres et petitmaitres: N
.
Diaz (Paris, 1877)
.
(D
.
C
.
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