Graphic artists Luminism
Anna Virginie Caroline De Weert, née Cogen, was a Belgian painter. She would paint in the Luminist style. In the 1890s she was a private (pro bono) student of the Belgian painter Emile Claus. Anna Cogen was a productive artist and had a long association with the Cercle Artistique et Littéraire in her home town after she first exhibited there in 1895.
Alfred Hazledine was a Belgian painter and graphic artist. Hazledine was a student of Ernest Blanc-Garin in Brussels and of Adrien-Joseph Heymans. He lived and worked for a long time in Wechelderzande, where there was a true artists' colony. He mainly painted landscapes in Impressionist style. Hazledine was a member of the Vie et Lumière group that brought together Impressionists and Luminists for exhibitions, and was also a member of L'Estampe and of the National Confederation of Painters and Sculptors of Belgium.
Fitz Henry Lane (born Nathaniel Rogers Lane) was an American painter and printmaker of a style that would later be called Luminism, for its use of pervasive light.
A contemporary of the Hudson River School, he enjoyed a reputation as America's premier painter of marine subjects during his lifetime, but fell into obscurity soon after his death with the rise of French Impressionism. Lane's work would be rediscovered in the 1930s by the art collector Maxim Karolik, after which his art steadily grew in popularity among private collectors and public institutions. His work can now command at auction prices ranging as high as three to five million dollars.
Jeanne (Jenny) Montigny was a Belgian painter. At seventeen, she decided to become an artist, knowing that she could not count on her parents' support. After seeing a painting by Emile Claus (The Kingfishers), Montigny decided to seek out a position in his studios near Deinze. In the summer of 1893, she and several other female students took his course in plein air painting. In 1902, she made her debut at the Ghent Salon, followed by shows in Paris. She later became a member of the luminist group Vie et Lumière. At the outbreak of World War I, she followed Claus and his wife in emigrating to London, where she became a member of the Women's International Art Club and exhibited at the Grafton Galleries. After the war, she returned to Belgium. In 1923, she joined the Société Nationale des Beaux-Arts.
George Morren or Georges Morren was a Belgian painter, sculptor, Impressionist and engraver. The painter and friend of the family Emile Claus who taught him and his brothers several times a week served as his first mentor. He began working in an Impressionist style. In the summer of 1892, eschewing the shortened painting process which was associated with Neo-Impressionism, he began to work in a more spontaneous manner, creating more space for emotions. He became one of the most eager admirers of the French Impressionists. After three years in Paris he returned to Antwerp where he participated in several avant-garde groups. Morren created light-flooded paintings, exhibited at the fairs La Libre Esthétique in Brussels, the 'Vie et Lumière', and at numerous international exhibitions. Towards 1913, he entered a new creative period. The colors in his new works were more subdued. He used grated rough pigment and pastels. Morren remained faithful to impressionist ideals and did not participate in new trends, such as Cubism or Expressionism. He dealt with the scenes of everyday life, interiors, still lifes, landscapes and portraits. His palette became darker and his paintings developed a solemnity and clarity of expression.
