German , Biberach 1609-Augsburg 1682/83   Related Paintings of Johann Heinrich Schonfeldt :. | Markgrafin Friederike Louise von Brandenburg Ansbach | Sintflut | II Tempo | Raub der Sabinerinnen | Gideon inspecting his army |
Related Artists:
Jean Paul Selinger
Jean Paul Selinger (1850-1909) and Emily Selinger (1848-1927), husband and wife, had summer art studios at the Glen House and the Crawford House. Born in Boston, Jean Paul studied at the Lowell Institute and in 1875 he went to Germany to study at the Munich Academy with Wilhelm Leibl. Upon returning, he opened an art studio in Providence, Rhode Island, and married Emily McGary, also an artist. The Selingers had a studio in Boston and a summer art studio at the Glen House, Pinkham Notch in the 1880s. In 1894 the Selingers moved into the former studio of Frank H. Shapleigh at the Crawford House. In August 1894 the Selingers accepted an invitation to serve on the board of judges for a North Conway Coaching Parade Committee. Jean Paul painted numerous portraits, still-life paintings, and White Mountain landscapes. Emily painted both watercolors and oils of local flora. Jean Paul was a member of the Boston Art Club. He exhibited at the National Academy of Design in 1880 and the Paint and Clay Club in Boston in 1889.
william wordsworth
Born: 7 April 1770 Birthplace: Cockermouth, England Died: 23 April 1850 Best Known As: The author of the poem "Tintern Abbey"
Conrad Witz
1400-1446 German (Resident in Switzerland) Conrad Witz Gallery -6). German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art, while Witz pure tempera technique differs emphatically from the refined use of oil glazes that endows Netherlandish pictures with their jewel-like brilliance.