1852-1927 French Eugene Buland Locations   Related Paintings of Eugene Buland :. | L'amour (mk26) | Still life floral, all kinds of reality flowers oil painting 223 | la grenouillere | Portrait of a Military Man | Game Still Life with Statue of Diana (mk14) |
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Johann Gottfried Steffan
1815-1905 Swiss painter. He moved to Munich in 1833 after an apprenticeship as a lithographer in Wedenswil. He studied at the Akademie der Bildenden Kenste and the Polytechnikum in Munich. He was impressed by Carl Rottmann's Italian landscapes and decided to devote himself to landscape painting. He travelled to Italy in 1845 and to Paris in 1855; he subsequently began to concentrate on painting lake and mountain scenes, for example Lake Starnberg in a Storm (1873; Zurich, Ksthaus), at which he was highly successful. He undertook numerous study-visits to Bavaria and Switzerland, often accompanied by his pupils Traugott Schiess (1834-69) and Otto Frölicher. In Munich Steffan became friendly with Rudolf Koller, Johann Caspar Bosshardt (1823-87) and Arnold Becklin, and under his leadership the 'Schweizer', as these artist-friends were known collectively, formed their own group.
LAWRENCE, Sir Thomas
English painter (b. 1769, Bristol, d. 1830, London). Thomas Lawrence was born in Bristol on May 4, 1769. At Devizes, where his father was landlord of the Black Bear Inn, Thomas's talents first became known. Fanny Burney, a prodigy herself, reports that in 1780 Sir Joshua Reynolds had already pronounced Lawrence the most promising genius he had ever met. When Thomas was 10, his father moved the family to Oxford and then to Bath to take advantage of the portrait skill of his son. At the age of 17 Lawrence began to paint in oil, all his previous work having been in pastel. In 1787 the family moved to London, and by 1789 he was challenging Reynolds. When Reynolds died in 1792, Lawrence was appointed to the lucrative post of painter in ordinary to the king. He soon became the foremost portrait painter in England, a position he maintained until his death. His portraits of women are models of beauty and elegance, whether the sitter be a tragic actress like Mrs. Siddons, a social figure like the Princess de Lieven, or a personal friend. At the close of the Napoleonic Wars, Lawrence was knighted and commissioned to paint the leading sovereigns and statesmen of Europe. When he returned to England in 1820, he was elected president of the Royal Academy; he handled the affairs of his office with tact and urbanity. He died on Jan. 7, 1830. Following the English masters of the 18th century, Reynolds, Thomas Gainsborough, and George Romney, Lawrence carried on the great tradition of society portraiture and raised it to new heights of dash and elegance, though not of psychological penetration. He was by no means an artist of the astonishing insight of Gainsborough, and he did not have the occasionally disconcerting originality of Reynolds. Lawrence had their faults: all were affected by the distorting demands of their fashionable clientele, and all succumbed to them. He had the least to say, and he reflected his sitters' own best views of themselves, yet even they must sometimes have been surprised at their own magnificence. Handsome his portraits undoubtedly are; all the women are strikingly beautiful, the men brave and distinguished. Lawrence enjoyed his great success. He lived for his work, never married, and was a prodigious worker. He was of an exceptionally generous nature, as an artist and as a man, with a rare talent for appreciating and encouraging the talents of others. He was an ardent collector of Old Master drawings; his collection, which was dispersed after his death,
MOEYAERT, Claes Cornelisz.
Dutch painter (b. 1590/91, Durgerdam, d. 1655, Durgerdam) Dutch painter, etcher and draughtsman. He was the son of an aristocratic Catholic Amsterdam merchant and moved to the city with his family in 1605. He was the most prolific of the history painters now called the PRE-REMBRANDTISTS, whose representations of biblical and mythological narratives, as well as of more recent secular history, give particular emphasis to dramatic and psychological effects. After working initially as a draughtsman and etcher, Moeyaert soon made his name as a painter. Landscapes with animals feature prominently in both his etchings and his paintings. At first he followed the lead of Adam Elsheimer, then of fellow Pre-Rembrandtists Pieter Lastman and Jan and Jacob Pynas, eventually, in the mid-1630s,