Dutch Baroque Era Painter, ca.1628-1682 Ruysdael's favorite subjects are simple woodland scenes, similar to those of Everdingen and Hobbema. He is especially noted as a painter of trees, and his rendering of foliage, particularly of oak leaf age, is characterized by the greatest spirit and precision. His views of distant cities, such as that of Haarlem in the possession of the marquess of Bute, and that of Katwijk in the Glasgow Corporation Galleries, clearly indicate the influence of Rembrandt. He frequently painted coast-scenes and sea-pieces, but it is in his rendering of lonely forest glades that we find him at his best. The subjects of certain of his mountain scenes seem to be taken from Norway, and have led to the supposition that he had traveled in that country. We have, however, no record of such a journey, and the works in question are probably merely adaptations from the landscapes of Van Everdingen, whose manner he copied at one period. Only a single architectural subject from his brush is known--an admirable interior of the New Church, Amsterdam. The prevailing hue of his landscapes is a full rich green, which, however, has darkened with time, while a clear grey tone is characteristic of his seapieces. The art of Ruysdael, while it shows little of the scientific knowledge of later landscapists, is sensitive and poetic in sentiment, and direct and skillful in technique. Figures are sparingly introduced into his compositions, and such as occur are believed to be from the pencils of Adriaen van de Velde, Philip Wouwerman, and Jan Lingelbach. Unlike the other great Dutch landscape painters, Ruysdael did not aim at a pictorial record of particular scenes, but he carefully thought out and arranged his compositions, introducing into them an infinite variety of subtle contrasts in the formation of the clouds, the plants and tree forms, and the play of light. He particularly excelled in the painting of cloudscapes which are spanned dome-like over the landscape, and determine the light and shade of the objects. Goethe lauded him as a poet among painters, and his work shows some of the sensibilities the Romantics would later celebrate.  Related Paintings of Jacob van Ruisdael :. | Dunes by the sea | Cottage under the trees near a Grainfield | A Windmill near Fields | Winter Landscape with a Lamp-post and and a Distant view of Haarlem | View of Het Lj on a Stormy Day |
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George Benjamin Luks
(August 13, 1867-October 29, 1933) was an American realist artist and illustrator. His vigorously painted genre paintings of urban subjects are examples of the Ashcan school in American art. Luks was born in Williamsport, Pennsylvania, to Central European immigrants. His father was a physician and his mother was an amateur painter and musician.The Luks family (George, his parents and five siblings) eventually moved to Pottsville, in Southern Pennsylvania near the coal fields. In this setting, he learned at a young age the importance of compassion by watching how his parents helped the coal miners' families, and many believe that this is the reason why lower class New Yorkers were often Luks's subject matter. Luks studied at the Pennsylvania Academy of Fine Arts before he traveled though Europe where he attended several art schools. Later he went to Desseldorf where he lived with a distant relative, a retired lion-tamer. He abandoned Desseldorf for the more stimulating spheres of London and Paris. He then returned to Philadelphia in 1893 where he was an illustrator for the Philadelphia Press where he met John Sloan, William Glackens, and Everett Shinn. They would meet at the studio of Robert Henri, an artist who emphasized the depiction of ordinary life, shunning genteel subjects and painting quickly. The group became known as the "Philadelphia Five". In 1896, Luks moved to New York and began his art career there as the premier humorist artist for the New York World. During his time as an illustrator there, he lived with William Glackens.
Anselm Schultzberg
(1862 -1945 ) - Painter
Eliseu Visconti
1867-1944 Eliseu Visconti Gallery Brazilian painter and decorative artist, of Italian birth. He was taken as an infant from Italy to Rio de Janeiro. In 1884 he began studying in Rio de Janeiro at the Academia Imperial das Belas Artes and the Liceu Imperial de Artes e Of?cios under Victor Meirelles de Lima, Henrique Bernardelli (1837-1946) and Rodolfo Amoedo (1857-1941). He was active in efforts to eliminate the academy's rigid academic discipline. He went to Paris in 1892 and attended the Ecole des Beaux-Arts and the Ecole des Arts D?coratifs, where he was taught by Eug?ne-Samuel Grasset. At the 1900 Exposition Universelle in Paris, Visconti won a silver medal for the paintings Youth (1898) and Dance of the Wood Nymphs (1899; both Rio de Janeiro, Mus. N. B.A.). Following the Pre-Raphaelites, his main influences were Botticelli and other painters of the Italian Renaissance, but he was also affected by Grasset and Art Nouveau. On his return to Brazil, among the works exhibited in 1901 in Rio de Janeiro were a series of ceramic objects with Brazilian floral motifs and designs for postage stamps. His florid style began to give way to Impressionism in the stage curtain, circular ceiling panel and proscenium frieze he executed for the Rio de Janeiro Teatro Municipal (1906-7; in situ). In 1906 he became director of painting at the Escola Nacional de Belas Artes in Rio de Janeiro.