Swedish, 1866-1938  Related Paintings of Helmer Osslund :. | Hostafton Nordingra | Nordingra | Summer evening at Faxalven | the Coffeehouse Girl | Summer evening at Faxalven |
Related Artists:
Joshua Cristall
English Painter, ca.1767-1847
BECCAFUMI, Domenico
Italian Mannerist Painter, ca.1486-1551 Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist.[1] In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school. There are medieval eccentricities, sometimes phantasmagoric, superfluous emotional detail and a misty non-linear, often jagged quality to his drawings, with primal tonality to his coloration that separates him from the classic Roman masters.
Albert Baertsoen
Belgian, 1866-1922.Belgian painter and etcher. The son of a successful mill-owner and an excellent musician, he was a pupil and friend of Gustave Den Duyts (1850-97), and later, at the Ghent Acad?mie, of Jean Delvin (1853-1922). He was involved in the exhibiting society LEssor in Brussels as well as the triennial salons held in Brussels, Antwerp and Ghent in rotation. Among his earliest important works are The Scheldt at Dendermonde (1887; Ghent, Mus. S. Kst.), which he painted beside Isidore Meyers (1836-1917) and Franz Courtens in a Realist style characteristic of the Dendermonde school. In 1889-90 he attended the studio of Alfred Roll in Paris, where he met Jacques-Emile Blanche and Charles Cottet, and became particularly closely associated with Frits Thaulow, Emile-Ren? M?nard and Edmond Aman-Jean. He exhibited regularly at the Salon in Paris. Although Baertsoen is considered to be one of the first Belgian Impressionists, he belonged to no particular school. He was more than a descriptive landscape painter, for he sought to evoke through the depiction of the natural world a mood of melancholy and resignation. He painted silent streets, rocks, rivers and canals in Bruges, Li?ge, Nieuwpoort, Diksmuide and in London, where he stayed during World War I. His most important paintings, however, were inspired by his native town, Ghent, of which he built up a remarkable portrait over the years in such works as Barges in the Snow (1901) and Ghent in the Evening (1903; both Brussels, Mus. A. Mod.). A broad, spontaneous technique, great delicacy of nuance, deep sincerity as well as a certain meditative quality characterize his work, which is limited in quantity. Baertsoen played an important role in Belgian cultural life of his period and was elected to the Acad?mie Royale des Beaux-Arts in 1919.