Victor Gilbert | Belle Époque painter

The mid-nineteenth and early twentieth century saw the introduction of art based on daily life, a depiction of everything from the street vendors to the homeless in and around France.

Artists were often deeply embroiled in the social issues of the time and sought to free themselves from the imposing historicism that had stifled art production for decades.

Leo Putz | Impressionist painter

Leo Putz (1869-1940) was a Tyrolean painter. His work encompasses Art Nouveau, Impressionism and the beginnings of Expressionism. Figures and landscapes are his predominant subjects.

Leo Putz was born in Merano in South Tyrol, Italy, in 1869.

His artistic career began in 1885 under the aegis of his stepbrother.

This was Robert Poetzelberger (1856-1930) who was a professor at the Munich Academy and who taught him drawing.

Raymond Leech, 1949 | Impressionist painter

Raymond Leech was born at Great Yarmouth in East Angila and spent his childhood by the seaside.

He was influenced to take up an artistic career by his father, who taught him to draw.

In particular, he was inspired by the work of the Newlyn School, the french impressionists, Edgar Degas 1834-1917, Pierre-Auguste Renoir 1841-1919 and Henri de Toulouse-Lautrec 1864-1901.

Renoir: "Irregularity is the basis of all art"

• "They tell you that a tree is only a combination of chemical elements. I prefer to believe that God created it, and that it is inhabited by a nymph".

• "Ti dicono che un albero è solo una combinazione di elementi chimici. Io preferisco credere che sia stato Dio a crearlo e che sia abitato da una ninfa".

Pierre-Auguste Renoir and Love

Renoir’s joyful, discreet and tender vision, devoid of any hint of sentimentality, ribaldry or drama, distinguishes him from the other painters of his day.

The artist locates the interactions he depicts in his paintings in the public space, the new, modern social and natural settings - theaters, restaurants, guinguettes, boulevards and gardens - frequented by various social classes.

Theses popular "scenes" of modern love encouraged greater freedom of morals and the blossoming of "illicit" loves, in an era when bourgeois conventions and religious morality still governed romantic and sexual relationships.