1826-1900 American painter. He was a leading representative of the second generation of the HUDSON RIVER SCHOOL, who made an important contribution to American landscape painting in the 1850s and 1860s. The son of a wealthy and prominent businessman, he studied briefly in Hartford with two local artists, Alexander Hamilton Emmons (1816-84) and Benjamin Hutchins Coe (1799-1883). Thanks to the influence of the Hartford patron DANIEL WADSWORTH, in 1844 he became the first pupil accepted by Thomas Cole.   Related Paintings of Frederic E.Church :. | Twilight in the Wilderness | Rain Forest,jamaica,West Indies | View of Hartford | Niagara | Coast Scene,Mount Desert |
Related Artists:
MONNOYER, Jean-Baptiste
French Baroque Era Painter, ca.1634-1699
Francesco Guardi
1712-1793 Italian Francesco Guardi Galleries Francesco Guardi was born in Venice into a family of lesser nobility from Trentino. His father Domenico (born in 1678) and his brothers Niccolo and Gian Antonio were also painters, the latter inheriting the family workshop after the father's death in 1716. They probably all contributed as a team to some of the larger commissions later attributed to Francesco. His sister Maria Cecilia married the pre-eminent Veneto-European painter of his epoch, Giovanni Battista Tiepolo. In 1735, Guardi moved to the workshop of Michele Marieschi, where he remained until 1743. His first certain works is from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his better-known brother, Gian Antonio. The first work signed by Francesco is a Saint Adoring the Eucarist (circa 1739). His works in this period included landscapes as well as figure representations. His early vedutas show influence both from Canaletto and Luca Carlevarijs. On February 15, 1757 he married Maria Mattea Pagani, the daughter of painter Matteo Pagani. In the same year his brother Gian Antonio died and his first son, Vincenzo, was born. His second son, Giacomo, was born in 1764. In 1763 he worked in Murano, in the church of San Pietro Martire, finishing a Miracle of a Dominican Saint clearly influenced by Alessandro Magnasco in its quasi-expressionistic style. Francesco Guardi's most important later works include the Doge's Feasts, a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo. In his later years, Canaletto's influence on his art diminished, as showed by the Piazzetta in the Ca' d'Oro of Venice. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno. Miracle of a Dominicane Saint (1763), Lugano, private collection.In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, of which only two remain, and two others for that of Pope Pius VI. On September 12 of that year he was admitted to the Fine Art Academy of Venice. A stronger attention to colours is present in late works such as the Concerto of 80 Orphans of 1782, now in Munich, in the Façade of Palace with Staircase in the Accademia Carrara of Bergamo. Guardi died at Venice in 1793.
Paul Falconer Poole
(1806 - 1879) , an English painter born in Bristol an English painter born in Bristol.was an English painter born in Bristol. Though self-taught his fine feeling for colour, poetic sympathy and dramatic power gained for him a high position among British artists. He exhibited his first work in the Royal Academy at the age of twenty-five, the subject being The Well, a scene in Naples. There was an interval of seven years before he next exhibited his Farewell, Farewell in 1837, which was followed by the Emigrant's Departure, Hermann and Dorothea and By the Waters of Babylon. In 1843 his position was made secure by his Solomon Eagle, and by his success in the Cartoon Exhibition, in which he received from the Fine Art Commissioners a prize of 300 sterling. After his exhibition of the Surrender of Syon House he was elected an associate of the Royal Academy in 1846, and was made an academician in 1861. Poole's subjects divide themselves into two orders, one idyllic, the other dramatic. Of the former his May Day (1852) is a typical example. Of both styles there were excellent examples to be seen in the small collection of his works shown at Burlington House in the Winter Exhibition of 1883-1884. Among his early dramatic pictures was Solomon Eagle exhorting the People to Repentance during the Plague of 1665, painted in 1843. To this class belongs also the Messenger announcing to Job the Irruption of the Sabeans and the Slaughter of the Servants (exhibited in 1850), and Robert, Duke of Normandy .and Arietta (1848). Finer examples of his more mature power in this direction are to be found in his Prodigal Son, painted in. 1869; the Escape of Glaucusand lone with the blind girl Nydia from Pompeii (1860); and Cunstaunce sent adrift by the Constable of Alia, King of Northumberland, painted in 1868. More peaceful than these are the Song of Troubadours (painted in 1854) and the Goths in Italy (1851), the latter an important historical work of great, power and beauty. Of a less lofty strain, but still more beautiful in its workmanship, is the Seventh Day of the Decameron, painted in 1857. In this picture Poole rises to his full height as a colourist. In his pastorals he is soft and tender, as in the Mountain Path (1853), the Water-cress Gatherers (1870), the Shepston Maiden (1872). But when he turns to the grander and more sublime views of nature his work is bold and vigorous.