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c. 1445 – May 17, 1510. Italian painter.

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Lambdin, George Cochran
Roses

ID: 19123

Lambdin, George Cochran Roses
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Lambdin, George Cochran Roses


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Lambdin, George Cochran

American Painter, 1830-1896 American painter. He was a son of the portrait and landscape painter James R. Lambdin (1807-89), who had founded a museum in Pittsburgh in 1828 and directed the Pennsylvania Academy of the Fine Arts in Philadelphia from 1845 to 1864. George Lambdin studied with his father and began exhibiting at the Pennsylvania Academy in 1848 and at the National Academy of Design, New York, in 1856. In the mid-1850s he travelled, probably to Munich, Paris and Rome. His early works were sentimental genre paintings, the best known of which are Our Sweetest Songs (1857; New York, N. Acad. Des.) and the Dead Wife (The Last Sleep) (exh. 1858; Raleigh, NC Mus. A.). The latter was shown at the Exposition Universelle in Paris in 1867 together with one of his depictions of a Civil War subject, Consecration, 1861 (1865; Indianapolis, IN, Mus. A.). In 1868-9 he was at the Tenth Street Studio Building, New York, where he continued to exhibit anecdotal genre, especially childhood subjects, as in The Pruner (1868; Boston, MA, Mus. F.A.). He was elected an Academician by the Pennsylvania Academy in 1863 and by the National Academy of Design in 1868. In Germantown, after a short trip abroad in 1870, Lambdin turned to floral studies, especially of roses from his own garden. Some of his floral still-life subjects were conventional table-top arrangements in glass or ceramic vases, but most were paintings of blooming plants and shrubs as they grow in nature or in garden pots, their foliage and blossoms silhouetted against blue sky or a neutral wall, as in Autumn Sunshine   Related Paintings of Lambdin, George Cochran :. | Detail of Ansicht von Unterseen mit Blick auf die Jungfrau | The Sunset (Il Tramonto) sh | A Ewe with Lambs and A Heron Beside A Loch | Woman at the mirror | A Lady in a green velvet and orange dress and a pearl |
Related Artists:
WTEWAEL, Joachim
Dutch painter (b. 1566, Utrecht, d. 1638, Utrecht). Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest ('from the imagination') and naer 't leven ('after life'). Wtewael's activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate;
Lyon, Corneille de
Dutch practicing in France, approx. 1500-1575 Dutch painter, active in France. It is uncertain whether he was apprenticed in his native city of The Hague or in Antwerp, and nothing is known of him before 1533, when he was recorded in Lyon. It was possibly in the same year, while the French court was resident in Lyon, that Corneille was made painter to Queen Eleanor, the second wife of Francis I. In 1541 Corneille was painter to the Dauphin (later Henry II), and when the new king succeeded to the throne (1547) and made his state entry into Lyon in 1548, Corneille became Peintre du Roi. Corneille had obtained his naturalization papers in December 1547 and retained French nationality for the rest of his life. He married Marguerite Fradin, the daughter of a Lyon printer of some importance, and this allowed him to enter Lyon society. His studio was extremely prosperous until c. 1565, the year he is known to have visited Antwerp, but disappeared completely after his death despite the fact that he founded a dynasty of painters. His sons Corneille de La Haye II (b 1543) and Jacques de La Haye and his daughter Cl?mence de La Haye were all painters, and the family continued to be known for its artists until the 18th century. Corneille de Lyon was a Protestant, like all those in the circles in which he moved, and it may be that the decline of his fortunes in the 1560s was precipitated by the reversion of Lyon to the Catholic faction
Christian Georg Schutz the Elder
painted Gebirgslandschaft in 1773






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