1825-1894 George Inness Galleries George Inness (May 1, 1825 -August 3, 1894), was an American landscape painter; born in Newburgh, New York; died at Bridge of Allan in Scotland. His work was influenced, in turn, by that of the old masters, the Hudson River school, the Barbizon school, and, finally, by the theology of Emanuel Swedenborg, whose spiritualism found vivid expression in the work of Inness' maturity. He is best known for these mature works that helped define the Tonalist movement. Inness was the fifth of thirteen children born to John Williams Inness, a farmer, and his wife, Clarissa Baldwin. His family moved to Newark, New Jersey when he was about five years of age. In 1839 he studied for several months with an itinerant painter, John Jesse Barker. In his teens, Inness worked as a map engraver in New York City. During this time he attracted the attention of French landscape painter Regis François Gignoux, with whom he subsequently studied. Throughout the mid-1840s he also attended classes at the National Academy of Design, and studied the work of Hudson River School artists Thomas Cole and Asher Durand; "If", Inness later recalled thinking, "these two can be combined, I will try." Concurrent with these studies Inness opened his first studio in New York. In 1849 Inness married Delia Miller, who died a few months later. The next year he married Elizabeth Abigail Hart, with whom he would have six children.  Related Paintings of George Inness :. | Across the Hudson Valley in the Foothills of the Catskills | Conway Meadows | Catskill Mountains | The Coming Storm | Shower on the Delaware River |
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DOMENICO DI MICHELINO
Italian painter, Florentine school (b. 1417, Firenze, d. 1491, Firenze) Italian painter. He took his name from his teacher, a carver in bone and ivory named Michelino. He was elected to the Compagnia di S Luca in 1442 and joined the Arte dei Medici e degli Speziali on 26 October 1444. In 1459 he received payment from Lorenzo Pucci for a processional banner (untraced) for a confraternity based in S Francesco, Cortona. Four years later he was paid for some figures of saints (untraced) for a cupboard belonging to the Compagnia di S Maria della Purificazione e di S Zanobi,
bruno liljefors
Bruno Andreas Liljefors (1860-1939) was a Swedish artist, the most important and probably the most influential wildlife painter of the late nineteenth and early twentieth century.[1] He also drew some sequential picture stories, making him one of the early Swedish comic creators. Liljefors is held in high esteem by painters of wildlife and is acknowledged as an influence, for example, by American wildlife artist Bob Kuhn.[1] All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.[1] However, he never exaggerated the ferocity of the predator or the pathos of the prey, and his pictures are devoid of sentimentality. The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in his Mallards, Evening of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname Panterfällen.[1] Bruno was fascinated by the patterns to be found in nature, and he often made art out of the camouflage patterns of animals and birds. He particularly loved painting capercaillies against woodland, and his most successful painting of this subject is the largescale Capercaillie Lek, 1888, in which he captures the atmosphere of the forest at dawn. He was also influenced by Japanese art, for example in his Goldfinches of the late 1880s.[1] During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life, as he left his wife, Anna, and took up with her younger sister, Signe, and was often short of money.[1] This darker quality in his paintings gradually began to attract interest and he had paintings exhibited at the Paris Salon. He amassed a collection of animals to act as his living models. Ernst Malmberg recalled: The animals seemed to have an instinctive trust and actual attraction to him...There in his animal enclosure, we saw his inevitable power over its many residents??foxes, badgers, hares, squirrels, weasels, an eagle, eagle owl, hawk, capercaillie and black game.[1] The greatness of Liljefors lay in his ability to show animals in their environment.[1] Sometimes he achieved this through hunting and observation of the living animal, and sometimes he used dead animals: for example his Hawk and Black Game, painted in the winter of 1883-4, was based on dead specimens, but he also used his memory of the flocks of black grouse in the meadows around a cottage he once lived in at Ehrentuna, near Uppsala. He wrote: The hawk model??a young one??I killed myself. Everything was painted out of doors as was usually done in those days. It was a great deal of work trying to position the dead hawk and the grouse among the bushes that I bent in such a way as to make it seem lively, although the whole thing was in actuality a still life.[1]
Eugene Isabey
1803-1886 French Eugene Isabey Galleries Born in Paris, the son of Jean-Baptiste Isabey, a painter as well, Eug??ne Isabey studied and worked at the Louvre Museum. Early in his career his paintings consisted of mostly watercolor landscapes. In 1820, he travelled to Normandy and Britain painting land and seascapes. Isabey journeyed with the French Expedition to Algiers in 1830 as an illustrator. Yet, the trip's paintings sold poorly on the market and encouraged him to switch to narrative and historical painting. He was later selected to become one of Louis-Philippe??s court painters.