1796-1875 Corot Locations French painter, draughtsman and printmaker. After a classical education at the College de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers, his career as a whole shows his attachment to the principles of historic landscape painting which they professed.  Related Paintings of Jean Baptiste Camille Corot :. | Bacchante couchee au bord de la mer (mk11) | Rouen (mk11) | La melancolie (mk11) | Volterra (mk11) | Horseman on the road |
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Jan Bogumil Plersch
painted Tadeusz Kosciuszko falling wounded in the battle of Maciejowice in 1794
John Robert Cozens
British 1752-1797 ). Painter, draughtsman and printmaker, son of (1) Alexander Cozens. He was taught by his father, and an album by John Robert (Aberystwyth, N. Lib. Wales) indicates that he also learnt to sketch landscape directly from nature. The album contains drawings that record sketching tours to Nacton, near Ipswich, Suffolk (Aug 1768); day trips to the outskirts of London: Greenwich and Blackheath (1768, 1771), Epsom (1768) and Hampstead (1770-71); and a trip to Matlock, Derbys (June 1772). The earliest of these sketches are careful pencil drawings, some later reworked in pen, ink and wash, and there is at least one attempt at added colour. Later drawings are freer, either noting an idea for a composition or recording light and shade with rapid washes of ink over pencil. His father worked mainly in monochrome brown or grey washes, and John Robert earliest exhibits (he exhibited at the Society of Artists every year from 1767 to 1771) were also in this medium.
Franz Ittenbach
(April 18, 1813 - December 1, 1879) was a German religious painter from Königswinter, North Rhine-Westphalia, at the foot of the Drachenfels. Ittenbach began his art education as a student of Kaufmann, then left to study under Franz Katz in Cologne. In 1832, Ittenbach became a pupil, at the age of 19, of the Desseldorf Academy, where he also received private lessons from its president, Schadow. He was a member of the Nazarene movement and associated himself mainly with three of his friends and fellow-students: Karl and Andreas Meller, and Ernst Deger. The four men travelled about in Germany, studying and painting together. From 1839 to 1842, Ittenbach lived in Italy. On his return, he stayed in Munich for some time. In 1849, he returned to Desseldorf. From 1859 until his death, he was a member of the artist club "Malkasten". Ittenbach was exceedingly religious and persistently declined any commissions for mythological or pagan subjects. As a rule, he devoted his energies exclusively to church decoration. He would precede the execution of his greatest works with devout religious exercises, including confession and communion. His finest paintings are said to be found at Bonn, in the church of St. Remigius, and in Breslau in a church dedicated to the same saint. There is also a remarkable "Holy Family" dated 1861, painted for Prince Liechtenstein in his private chapel near Vienna. Most of his other works can be found in various Catholic churches in Germany. His only important fresco was painted in 1844 in a church at Remagen. Ittenbach was a popular painter in court circles, a member of most of the European academies, and the recipient of many medals and decorations. He painted a few portraits, but they were unimportant; his main work was his altar-pieces.