In 1975, he exhibited first personal collection in Barbizon.
1846–1850 he painted Paris and its surroundings, particularly Montmartre; from 1850–1857 he lived in Igny and frequently painted in Barbizon, and from 1857 on he lived and worked in La Tournelle-Septeuil in the Seine valley.
In his further development he worked with Paul Gabriël, painting from nature, and they regularly stayed and worked together at Oosterbeek, the 'Dutch Barbizon'.
The Barbizon school of painters is named after the village; Théodore Rousseau and Jean-François Millet, leaders of the school, made their homes and died in the village.
In the summer of 1874 Carl Fredrik Hill travelled to the village of Barbizon south of Paris, a Mecca for artists worldwide.
After spending two summers in Barbizon, the refuge of the plein-air painters, he settled down with his Swedish painter colleagues in 1882 in Grez-sur-Loing, at a Scandinavian artists' colony outside Paris.
Fleeing the Cholera epidemics that besieged Paris in the mid-nineteenth century, Charles Jacque relocated to Barbizon in 1849 with Millet.
Initially Daubigny painted in a traditional style, but this changed after 1843 when he settled in Barbizon to work outside in nature.
In 1897, Voorhees traveled to Europe, studying with Benjamin Constant and J. P. Laurens at the Académie Julianin Paris and spending time in the French village of Barbizon as well as in Holland.
Barbizon landscapes were noted for their looser brushwork, darker palette, and emphasis on mood.
Ducker's Barbizon- and British-influenced landscapes emphasize various qualities of the Scottish and British countrysides.
However, in 1900, at the age of seventy, he took a trip to Barbizon where he painted his famous forest scene.
During this period, the so-called ‘Loosduinse painters colony’, or ‘The Hague Barbizon’, began.
His father's brother Richard was at one time a well-known member of the Barbizon set of artists, although he did not become well known as a painter, possibly due to a lack of personal ambition.
The couple moved to the village of Barbizon, outside Paris, where they devoted themselves to horse breeding.
At the end of the 1870s he also worked in Barbizon, together with Paál, and painted fresh, richly coloured landscapes, such as Dusty Road, Corn Field, and Walking in the Woods.
Moving to Barbizon in 1849, Millet quickly became associated with the Barbizon School.
Upon his return, a serious interest in French 19th century Academic, Realist and Barbizon art emerged and over the years more works from these schools were purchased by the gallery.
She spent her childhood between Barbizon and Paris, receiving her musical education from her mother and family friends including Charles Lamoureux and Camille Chevillard.
Until this period Rousseau had lived only occasionally at Barbizon, but in 1848 he took up his residence in the forest village, and spent most of his remaining days in the vicinity.
In 1880, De Bock traveled to Paris and Barbizon where he would often return, perhaps because of his appreciation for the work of Millet and Corot.
The picturesqueness of the village, as well as its proximity and railway connection to Paris, made it a popular destination for artists and during the mid- to late-nineteenth-century an influx of painters, such as Daubigny, Cézanne, Pissarro, Daumier and Corot, saw the village become an artist’s colony comparable to Barbizon.
Disappointed with the academic art that he observed, Lungren left his Paris studies and traveled to the town of Barbizon, South East of Paris, near Fontainebleau, and to the village of Grez-sur-Loing, where he became acquainted with artists who were practicing plein-air (outdoor) painting.
Today the gallery specializes in 19th- and early 20th-century European works of art and displays paintings many important Barbizon, Realist, Academic and Impressionist artists including: Eugène Boudin, Jean-Baptiste-Camille Corot, William Bouguereau, Julien Dupré, Daniel Ridgway Knight, Edouard Cortes and Emile Munier.