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 :. | marstrands fastning | titelbild till nodhjalpstidningen fran seinens strandl | draktstudie | Suzanne,Study for For Karin-s Name-Day | havreskarningll- |
Related Artists:
Jan Vermeer van Utrecht
(bapt. 16 February 1630, Schipluiden - c. 1696, Vreeswijk), was a Dutch Golden Age painter. Though he was born near Delft, there is no known relation between this painter and Johannes Vermeer. His father died when he was 10 and he was raised by his step-grandfather in Rotterdam. According to Houbraken he travelled to Italy with Lieve Verschuier and became friends with Willem Drost and Johann Carl Loth. He returned North in 1662, where he became member of the Utrecht Guild of St. Luke in 1663 and became deacon of the guild 1664-1666.Houbraken tells a curious story about Vermeer van Utrecht in his biography of Jan Davidsz de Heem. In this story, on his return from Italy, Vermeer marries a widow who owns a white lead factory. He is wealthy and has a carefree life until his wife dies and then his factory is burned by French soldiers. He manages to save a garland painting by De Heem that he once paid 2000 guilders for. This was an enormous sum of money, but Houbraken mentions that his grandfather had been a wealthy man, and until his factory was destroyed, Vermeer van Utrecht had been painting for pleasure, rather than professionally. The amount is meant as an indication of the fame and esteem of De Heem, rather than the wealth of Vermeer van Utrecht. Vermeer van Utrecht then applies to his benefactor, Frederick Nassau de Zuylestein, to give him a government post in return for this painting, which he offers to paint with the likeness of the young prince Willem III in the middle of the garland. The lord of Zuylestein was the governor of the young prince from 1659 to 1666, so this deal must have been done sometime between 1662 (Vermeer van Utrecht's return from Italy), and 1672 (the death of the lord of Zuylestein). Apparently, the deal is done, and several years pass, in which Vermeer van Utrecht did become an appointed member of the Utrecht regency (Vroedschap), but where he felt like a fifth wheel. In 1672 the Utrecht council takes pity on him, and gave him the post of Toll-collector and controller of the river lock at Vreeswijk, where he later remarried.
Andrea Soldi
Italian C1703-1771 Italian painter. George Vertue, the only source for Soldi's earliest years, described him in 1738 as a Florentine aged 'about thirty-five or rather more' who had been in England 'about two years'. He had previously been in the Middle East, where he painted some British merchants of the Levant Company who had advised him to go to London. Two three-quarter-length portraits called Thomas Sheppard (1733 and 1735-6; ex-art market, London, 1917 and 1924, see Ingamells, 1974) belong to this period. In London Soldi enjoyed considerable success in the period between 1738 and 1744; Vertue reported that he began 'above thirty portraits' between April and August 1738. He was extensively patronized by the 2nd and 3rd Dukes of Manchester (eight portraits, sold Kimbolton Castle, Cambs, 18 July 1949), the 3rd Duke of Beaufort (four portraits at Badminton House, Glos) and the 4th Viscount Fauconberg (eight portraits at Newburgh Priory, N. Yorks). The seated three-quarter-length of Isabella, Duchess of Manchester, as Diana (1738; London, Colnaghi's, 1986) and the informal full-length of Lord Fauconberg (c. 1739; Newburgh Priory, N. Yorks) exemplify his lively handling, strong colour and theatrical, Italianate imagination. In a less extravagant vein, the Duncombe Family (1741; priv. col., see Ingamells, 1974), a conversation piece of some charm, and the Self-portrait (1743; York, C.A.G.) suggest a versatile talent. Soldi's bravura contrasted with contemporary English portrait practice, then wavering between the sober manner of Kneller and a playful Rococo, and his attraction for Italianate Englishmen was obvious. He was rivalled only by Jean-Baptiste van Loo, who was in London between 1737 and 1742; both artists painted the dealer Owen McSwiny and the poet Colley Cibber about 1738. He far outclassed his Italian rivals, the Cavaliere Rusca (1696-1769), who worked in London from 1738 to 1739, and Andrea Casali, who was in London from 1741 to 1766.
Samuel J.Reader
1853-1914