Swedish, 1858-1930,Swedish painter, draughtsman and illustrator. From 1874 he studied at the Konstakademi in Stockholm, where he soon became a friend of Richard Bergh and Karl Nordstrem, both of whom were later prominent exponents of the more advanced Swedish painting of the 1880s and 1890s. After being forced to interrupt his studies because of illness, Kreuger trained from 1878 at the art school of Edvard Perseus (1841-90) in Stockholm before he travelled to Paris, where he stayed for the most part until 1887. He made his d?but at the Paris Salon in 1882, and he also resided in the artists' colony in Grez-sur-Loing. During this period he painted such works as Old Country House (1887; Stockholm, Nmus.) with a free brushwork and sense of light that owed much to Jules Bastien-Lepage. In 1885 Kreuger was active in organizing the Opponenterna, a protest movement led by Ernst Josephson against the conservative establishment of the Konstakademi in Stockholm, and the following year he helped to found the Konstn?rsf?rbund (Artists' Union). Like the majority of the Konstnersferbund's members, Kreuger abandoned the French-inspired plein-air realism of the 1880s for symbolically coloured National Romanticism in the 1890s. For Kreuger this change took place between 1893 and 1896 in Varberg on the west coast of Sweden, where, together with Bergh and Nordstrem, he founded the Varberg Group. Drawing on Paul Gauguin's Synthetism, the group contributed to the formation of the National Romantic style of the 1890s in Sweden. Kreuger's encounter with van Gogh's drawings at an exhibition in Copenhagen in 1893 also played a decisive role in his development. He devised an intensely personal style in which the landscape was composed in large blocks that were then covered by a pattern of directional lines and dots in India ink (somewhat in the manner of van Gogh's late landscape drawings) to bring out the painting's colour values and create an effect of decoratively stylized forms: for example Spring in Halland (1894; Stockholm, Nmus.). Kreuger was also a prolific draughtsman and illustrator.   Related Paintings of Nils Kreuger :. | i solgasset, motiv fran alvaret, oland | Labor - horse pulling a threshing machine | stora landsvagen till orleans | akarstation vid tegelbacken, stockholm | host, varberg |
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VINCKBOONS, David
Flemish Baroque Era Painter, 1576-ca.1632 was a Dutch painter of Flemish origin. Vinckboons was one of the most prolific and popular painters and print designers in the Netherlands. Himself influenced by Pieter Bruegel the Elder, he was instrumental ?? together with Hans Bol and Roelant Savery ?? in the development of genre painting in the northern Netherlands. The family moved to Antwerp around 1580, and then to Middelburg after the Spanish occupation of Antwerp in 1585. It is not likely they moved for religious reasons to Amsterdam. His father became a citizen in 1591, but none of his grandchildren were baptized in a Calvinist church. In 1602 David married in Leeuwarden to Agneta van Loon, the daughter of a notary. Then he lived in Sint Antoniesbreestraat like many other artists and painters. According to Karel van Mander he did not have any teacher other than his father Phillipe, a painter on canvas with watercolors, an art form practised mainly in his birthplace of Mechelen. David specialized in elegant figures in park-like landscapes (Outdoor Merry Company, 1610; Vienna, Akademie der Bildenden K??nste) as well as Kermis and other village festivals. His landscapes reflect his contact with Gillis van Coninxloo. Vinckboons attracted a number of students; among them were Gillis d'Hondecoeter, Claes Janszoon Visscher and probably Esaias van de Velde. Vingboons, as his name is often spelled,
Adriaan de Lelie
was born at Tilburg in 1755, and was a scholar of Peeters, a painter of tapestries and ornaments, and afterwards of Quertenmont at Antwerp. He made copies of many of the portraits by Rubens and Van Dyck at Desseldorf, and also of historical pictures by Italian and Dutch masters. By the advice of Professor Camper, he established himself at Amsterdam, where he painted a great number of portraits and cabinet pictures; among the latter is one of the celebrated amateur Jan Gildemeester showing his collection to a party of ladies and gentlemen, in which the principal pictures are readily recognised. One of his best works is that representing the 'Drawing Academy' of the Felix Meritis Society at Amsterdam. His pictures are highly esteemed in Holland and Germany, where they are to be met with in the best collections. He died at Amsterdam in 1820.
Ludovico Carracci
(Bologna 1555-1619) Painter, draughtsman and etcher. His father, Vincenzo Carracci, was a butcher, whose profession may be alluded to in Ludovico's nickname 'il Bue', though this might also be a reference to the artist's own slowness. Ludovico's style was less classical than that of his younger cousins Agostino and Annibale, perhaps because of a mystical turn of mind that gave his figures a sense of other-worldliness. Like his cousins, he espoused the direct study of nature, especially through figure drawing, and was inspired by the paintings of Correggio and the Venetians. However, there survives in his work, more than in that of his cousins, a residue of the Mannerist style that had dominated Bolognese painting for most of the mid-16th century. Ludovico maintained a balance between this Mannerist matrix, his innate religious piety and the naturalism of the work of his cousins. With the exception of some travels during his training and a brief visit to Rome in 1602, Ludovico's career was spent almost entirely in Bologna.