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 :. | Marsh in a Forest | Winter Landscape | View of Naarden | Hilly Landscape with a great oak and a Grainfield | Two Watermills |
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Jessie Marion King
1875-1949,was a Scottish painter and illustrator of Children's books. She was married to E. A. Taylor. She was born in Bearsden, near Glasgow. Her father was a minister with the Church of Scotland and she received a strict religious education and was discouraged from becoming an artist. Jessie M. King began training as an Art teacher in 1891 at Queen Margaret??s College. In 1892 she entered the Glasgow School of Art. As a student, she received a number of awards, including her first silver medal from the National Competition, South Kensington (1898). King was made Tutor in Book Decoration and Design at Glasgow School of Art in 1899. Her first published designs, and some people believe her finest, were for the covers of books published by Globus Verlag, Berlin between 1899 and 1902. The publisher was a subsidiary company of the great Berlin department store, Wertheim's. She was influenced by the Art Nouveau of the period and her works juxtaposed in mood with that of The Glasgow Four. She made a Grand Tour of Germany and Italy in 1902 and was influenced by the works of Botticelli. In the same year her binding for "L'Evangile de L'Enfance" was awarded a gold medal in the International Exhibition of Modern Decorative Art, held in Turin. King became a committee member of the Glasgow Society of Artists (1903) and a member of the Glasgow Society of Lady Artists (1905). Her contribution to Art Nouveau peaked during her first exhibitions, Annan's Gallery in Glasgow (1907) and Bruton Street Galleries, London (1905). She married E. A. Taylor in 1907 and moved with him to Salford. In 1910 they moved on to Paris where Taylor had gained a professorship at Tudor Hart's Studios.
Bartolo di Fredi
Italian Gothic Era Painter, ca.1330-1410 He had a large studio and was one of the most influential painters working in Siena and the surrounding towns in the second half of the fourteenth century. He registered in the Guild of that city in 1355; he had several children, who all died before him, with the exception of Andrea Bartoli. He was the companion of Andrea Vanni from 1353, and helped decorate the Hall of Council at Siena, in 1361. In 1362 he went to San Gimignano, where, by 1356, he had painted the entire side of the left aisle of the Pieve with scenes drawn from the Old Testament. In 1366 the Council of the city of Gimignano ordered a painting, representing Two Monks of the Augustine Order to be placed in the Palazzo Pubblico, in order to commemorate the settlement of some disputes which had long existed between that order and the city. In the early part of 1367 he returned to Siena, and was employed with Giacomo di Mino in the decorations of the cathedral. In 1372 he rose to a position in the government of the city, and was sent to welcome the new Podesta, on his approach to Siena. In 1381 he was himself made a member of the Council, and in 1382 he executed the Descent from the Cross now in the Sacristy of San Francesco, Montalcino. The same church also possesses panels painted by him containing the Baptism of Christ figures of SS. Peter, Paul, and Francis, and five scenes from the life of St. Philip of Montalcino. In 1389, Bartolo, assisted by Luca Thome, painted the altar-piece for the Shoemakers Company, in the Cathedral, and continued from that year until his death to furnish altar-pieces for the cathedral and other churches of Siena, which have now all disappeared. His style is marked by the rejection of the concrete figures associated with Pietro Lorenzetti to instead favor flatter decorative otherworldly compositions in the manner of Simone Martini and Duccio. He combined a spirit of fantasy with anecdotal details. The Honolulu Academy of Arts, the Los Angeles County Museum of Art, the Louvre, the Metropolitan Museum of Art, the Mus??e des Beaux-Arts (Chambery, France), the Musee du Petit Palais (Avignon, France), Museo Civico e Diocesano d Arte Sacra (Montalcinothe, Italy), the Museum of Fine Arts, Boston and the University of Virginia Art Museum are among the public collections having paintings by Bartolo di Fredi.
Anton Chladek
painted Portrait of Ienachita Vacarescu in 1794 - 1882