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・ Guillaume Tell (Grétry)
・ Guillaume Thierry
・ Guillaume Thomas François Raynal
・ Guillaume Thévenot
・ Guillaume Tirel
・ Guillaume Tremblay
・ Guillaume Tronchet
・ Guillaume V Arnaud de La Mothe
・ Guillaume Van Keirsbulck
・ Guillaume Van Strydonck
・ Guillaume Van Tongerloo
・ Guillaume Vandive
・ Guillaume Veau
・ Guillaume Vigneault
・ Guillaume Viole
Guillaume Vogels
・ Guillaume Voiriot
・ Guillaume Wafo-Tapa
・ Guillaume Warmuz
・ Guillaume Weijzen
・ Guillaume Wittouck
・ Guillaume Yango
・ Guillaume, Hereditary Grand Duke of Luxembourg
・ Guillaume-Abel Blouet
・ Guillaume-Alphonse Nantel
・ Guillaume-André Fauteux
・ Guillaume-André-Réné Baston
・ Guillaume-Antoine Calvière
・ Guillaume-Antoine Delfaud
・ Guillaume-Antoine Olivier


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Guillaume Vogels : ウィキペディア英語版
Guillaume Vogels

Guillaume Vogels (9 June 1836, Brussels - 9 January 1896, Ixelles) was a Belgian Impressionist painter.
== Life ==
He was the son of a laborer. After his primary education, he was apprenticed to the Bellis Brothers, a house painting and decoration firm, and received a master certificate in 1855. He later owned his own decorating company in Brussels. One of his employees there was the Greek painter Périclès Pantazis, who became his lifelong friend, introducing him to the works of Gustave Courbet and Édouard Manet and showing him the techniques of painting with the palette knife.
In 1870, he went to Paris, where he came under the influence of the Barbizon school. His first exhibition was at Ghent in 1874, but his work was not well received by the critics. He didn't achieve a career breakthrough until 1880, when he participated in the Paris Salon.〔Götz Czymmek: ''Guillaume Vogels und Emile Claus, zwei Belgische Impressionisten''. Exhibition catalog, Wallraf-Richartz Museum, Cologne, 1988〕 In 1884, he became a member of ''Les XX'', a secessionist group. This led to a meeting with James Ensor. The two apparently travelled together on study tours to England and the Netherlands and some critics cite Vogels as a significant influence on Ensor. After ''Les XX'' was disbanded in 1893, he participated in the creation of a new group called ''La Libre Esthétique''.
He kept no written records and left his works undated, which makes it difficult to establish a chronology showing the development of his style. Some influence from the Old Masters seems to mark his later paintings, although many display a loose brushwork that appears to anticipate Expressionist techniques.

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