Sandro Botticelli
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c. 1445 – May 17, 1510. Italian painter.

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Carl Larsson
Gustav Upmark

ID: 41599

Carl Larsson Gustav Upmark
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Carl Larsson Gustav Upmark


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Carl Larsson

Swedish Realist Painter, 1853-1919 Swedish painter, illustrator and printmaker. He came from a poor family and studied (1866-76) at the Konstakademi in Stockholm, supporting himself throughout this period. From 1871 to 1878 he contributed illustrations to the comic journal Kaspar and the Ny illustrerad tidning. From 1875, for several decades, he was a prolific book illustrator, his most renowned work in this field being his drawings for Föltskärns beröttelser ('The Barber-surgeon's tales'; pubd 1883-4) by Zacharius Topelius, and the Rococo-inspired watercolours for the Samlade skaldeförsök ('Collected attempts at poetry'; pubd 1884) by the 18th-century Swedish author Anna Maria Lenngren.  Related Paintings of Carl Larsson :. | familjen borjeson | By the River Loing | syende jantor-flickor som sy vid fonstret | medeltidsmysteriet | solrosor |
Related Artists:
j. h. scheffel
Wismar 1690 - Västerås 1786 J.H. Scheffel kom från en borgasläkt i Wismar, en nordtysk stad som på 1600-talets införlivats med Sverige. Om Scheffels läroår vet man ingenting utöver uppgiften i en gammal biografi att han studerade till målare i Berlin, Paris och Brabant. Scheffel dök upp i Stockholm år 1723. Uppenbarligen samarbetade han först med David von Krafft. Efter dennes död 1724 grundade Scheffel, då redan fullärd porträttör, sin egen atelj??. Ett av de första uppdragen, porträttet av borgmästare Bergstedts unga dotter, ledde till ett lyckligt och av en riklig hemgift åtföljt äktenskap med fröken Bergstedt. Scheffel samlade redan tidigt kring sig en trogen kundkrets bland adeln och det förmögna borgarskapet. Han behöll sin framgångsrika position från 1720-talet till 1760-talet. Någon ledande hovmålare eller mest gynnad societetsmålare i Stockholm var Scheffel aldrig. Hans stadiga popularitet som pålitlig och kompetent porträttmålare rubbades emellertid inte av modets växlingar, ty han hade förmågan att smidigt följa de nya strömningarna utan att pruta på sin karga och förnuftiga konstnärliga egenart. Scheffels porträtt visar sällan prov på pretentiösa barockgester eller affekterad romantisk tillgjordhet. Hans personåtergivning var utfunderad och konstaterande. I hans digra produktion ingår stela rutinarbeten, men i bästa fall är hans målningar karaktärsstudier som bygger på en stark vision. Hans målningsteknik var kompetent men anspråkslös: i helheten fäster man uppmärksamhet vid mänskobilden, inte vid utförandet. När Scheffel i 75-årsåldern som pensionerad drog sig tillbaka för att tillbringa tiden med sin familj var han en rask och förmögen gammal herre. Han uppnådde den för tiden ovanligt höga åldern av 91 år, enligt dottersonen till följd av sitt glada och jämna humör, sina ordentliga levnadsvanor och en till åldern anpassad flit och motion .
Jacopo da Empoli
1554-1640 Italian Jacopo da Empoli Location Italian painter and draughtsman. He lived and worked in Florence all his life, and he followed Santi di Tito in the return to the clarity of the Florentine High Renaissance. He absorbed the ideas of his more innovative contemporaries and became one of the most popular painters of altarpieces for churches in Florence and Tuscany. He was also a distinguished still-life painter and received many commissions from private patrons, among them the Medici. Empoli painting is distinguished by simple, lucid forms, strong colour and direct and clear interpretation of the subject.
Nicolas Mignard
(1606-1668) was a French 17th Century painter. He spent most of his active life in Avignon and was the older brother of Pierre Mignard. Nicolas Mignard was born in Troyes in 1606. There, he studied painting with a local master. After traveling to Fontainebleau, Mignard came to Avignon in 1632. He then traveled to Rome with Cardinal Archbishop of Lyon. Mignard came back to Avignon in 1636, after having executed multiple series of etching in Rome. There, he mostly painted for religious institutions. Mignard spent the end of his life in Paris, where he became a successful portrait painter. Mignard left Paris after a visit of King Louis XIV and his Court in Avignon. King Louis XIV decided to bring Mignard to Paris. Mignard eventually joined the Academie Royale. Mignardes spending most of his life in Avignon made his career somewhat overshadowed by his little brother Pierre, who was installed in Paris. After his death, paintings by Nicolas Mignard mostly stayed in Avignon or in small cities around Avignon. During the French Revolution, as these paintings were taken over, most of them were attributed to Pierre Mignard. His art is now rediscovered. His style is typical of the Italianate classicizing aesthetic that dominated seventeenth-century France, and obviously was very much influenced by French classical Baroque painter Poussin. Nicolas Mignard died in 1668 in Paris.






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