Dutch-born Canadian Painter, 1815-1872 Canadian painter of Dutch birth. He learnt the rudiments of music and painting from his father and about 1830 attended the Akademie der Bildenden Kenste in D?sseldorf. He moved to America c. 1835 and enlisted in the US army. In New York he met Louise Gauthier, a French-Canadian, and settled in Montreal with her in 1840, working as a painter and a musician. In 1842-3 he had a studio in Rochester, NY; in the following year he studied in Paris, making copies in the Louvre. Returning to Canada in 1845, he painted portraits in Toronto, and from 1845 to 1853 he lived in Longueuil and then in Montreal, where he produced genre paintings, landscapes and portraits. He exhibited in Montreal and Toronto, and a series of lithographs were published after his drawings. However, he found it difficult to sell his work in Montreal and had to resort more or less completely to sign-painting for a living. About 1853, at the instigation of the auctioneer John Budden, Krieghoff settled in Quebec City. He lived there for 11 years, making several trips to Europe. During this period of intensive production, he achieved popularity and prosperity and painted his best-known pictures, which were scenes depicting the local townspeople and the North American Indians, and views of Quebec City and the surrounding region. About 1858 he made panoramic paintings of Canada for the Provincial Parliament buildings in Quebec. From 1864 to 1867 he lived in Paris and Munich,   Related Paintings of Cornelius Krieghoff :. | Chopping Logs Outside a Snow Covered Log Cabin | The Ice Bridge at Longue-Pointe | A Winter Scene | The River Road | 'Man With Red Hat and Pipe' |
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Richard ansdell,R.A.
1815-1885 English painter. He was the son of an artisan and in 1835 entered the Liverpool Academy Schools, where he later became president (1845-6). One of his earliest and largest dated works is the Waterloo Coursing Meeting (1.4*2.4 m, 1840; Liverpool, Walker A.G.). This canvas demonstrates his considerable skill as a portrait painter and creates a detailed record of a major sporting event of the period which was attended by many members of the local aristocracy, some of whom, notably the 3rd Earl of Sefton, were his patrons. It was engraved and published in 1843, and other works were similarly popularized. Shooting Party in the Highlands (1840; Liverpool, Walker A.G.) was the first of 149 works exhibited at the Royal Academy. It shows huntsmen with their horses and dogs resting after a good day's sport, a theme that Ansdell often depicted. He also portrayed other rural scenes such as gamekeepers or shepherds with domestic and wild animals, often in historical settings. All are painted with precision and sensitivity and without sentimentality. Although based in London from 1847 until 1884, Ansdell owned houses in Lancashire and Scotland and found inspiration in northern landscape. He travelled to Spain with the painter John Phillip in 1856 and alone in 1857 and produced several works of Spanish inspiration, for example Feeding Goats in the Alhambra (Preston, Harris Mus. & A.G.). He also collaborated with William Powell Frith and Thomas Creswick in rural genre scenes. Ansdell was commercially successful and was elected ARA in 1861 and RA in 1870.
Willem Kalf
1619-1693 Dutch Willem Kalf Galleries Willem Kalf was born in Rotterdam, in 1619. He was previously thought to have been born in 1622, but H. E. van Gelder??s important archival research has established the painter??s correct place and date of birth. Kalf was born into a prosperous patrician family in Rotterdam, where his father, a cloth merchant, held municipal posts as well. In the late 1630s, Willem Kalf travelled to Paris and spent time in the circle of the Flemish artists in Saint-Germain-des-Pr??s, Paris. In Paris he painted mainly small-scale rustic interiors and still-lifes. Kalf??s rustic interiors are typically dominated by groups of vegetables, buckets, pots and pans, which he arranged as a still-life in the foreground (e.g. Kitchen Still-life, Dresden, Gemäldegal; Alte Meister). Figures usually appeared only in the blurred obscurity of the background. Though painted in Paris, those pictures belong to a pictorial tradition practised primarily in Flanders in the early 17th century, by such artists as David Teniers the Younger. The only indication of the French origin of the paintings are a few objects that Flemish exponents of the same genre would not have pictured in their works. Kalf??s rustic interiors had a large influence on French art in the circle of the Le Nain brothers. The semi-monochrome still-lifes which Kalf created in Paris form a link to the banketjes or 'little banquet pieces' painted by such Dutch artists as Pieter Claesz, Willem Claeszoon Heda and others in the 1630s. During the 1640s, Kalf further developed the banketje into a novel form of sumptuous and ornate still-life (known as pronkstilleven), depicting rich groupings of gold and silver vessels. Like other still-lifes of this period, these paintings were usually expressing vanitas allegories.
Jakub Schikaneder
(February 27, 1855, Prague - November 15, 1924, Prague) was a Czech painter, known for his soft paintings of the outdoors, often lonely in mood. The National Gallery in Prague held an exhibition of his paintings from May 1998 until January 1999. He was descended from Urban Schikaneder, the elder brother of the librettist Emanuel Schikaneder.