(25 January 1834 - 22 January 1902) was a German painter. He was born in Frankfurt am Main. On completing his schooling, Scholderer went to the Städel academy of arts in 1849, where he remained until 1851. Among his teachers were the art historian Johann David Passavant and the painter Jakob Becker. Subsequently, Scholderer established himself in Städel as a freelance painter. During this period his friendship with Victor Meller began; Scholderer became his brother-in-law in 1868. Through Meller, Scholderer became acquainted with the works of Gustave Courbet. Scholderer made several short study trips to Paris between 1857 and 1858, where he became friends with Henri Fantin-Latour and Édouard Manet, whose influence can be seen in his subsequent work. Fantin-Latour depicted Scholderer in his picture Studio aux Batignolles . Starting from 1858, Scholderer worked and lived predominantly in Kronberg in Taunus, where his colleagues included Anton Burger, Peter Burnitz and Louis Eysen; he was close to the Kronberger painter colony. In 1866, Scholderer established himself in Desseldorf and made friends with Hans Thoma. With Thoma, Scholderer went in 1868 to Paris and returned to Germany only shortly before the outbreak of the French-German War. First Scholderer established himself in Munich, renewing his friendship with Wilhelm Leibl and becoming one of the artists of the Leibl-Kreis (Leibl circle). At the beginning of 1871 he went to London and worked there till the autumn of 1899. After 1899, Scholderer returned to his hometown of Frankfurt, where he died at the age of almost 68 years on 22 January 1902. Otto Scholderer's art, initially dominated by landscapes, later consisted primarily of portraits and still lifes. The important connection between the romantic period and the Impressionists is evident in his work.   Related Paintings of Otto Scholderer :. | Self portrait | Grobes Stilleben mit junger Frau | Self-portrait | Stilleben mit Birnen und Trauben in Kupferschale | Tulpen in hohem Glas |
Related Artists:
mattsleiderstam
Adolf Ludvig Stierneld, född den 1 september 1755 i Stockholm död den 31 juli 1835 på Gripsholm, var en svensk friherre, politiker, hovman och samlare av historiska dokument, vilken av senare historisk forskning avslöjats som en av Sveriges mest förslagna och produktiva dokumentförfalskare. Stierneld var son till Samuel Gustaf Stierneld, vilken var chef för Västmanlands regemente, och vilken lär ha antecknat sitt regemente bland den nyföddes faddrar. Sonen inskrevs även endast sex månader gammal som volontär i samma kår. Oaktat denna militärståtliga början hann sonen ej längre än till ryttmästare vid livregementet, vartill han utnämndes 1781. Inom hovet anställdes Stierneld som kammarherre hos drottning Sofia Magdalena 1778. Han kom dock snart på mindre vänlig fot med Gustav III och tillhörde vid 1786 och 1789 års riksdagar ledarna för oppositionen inom adelsståndet. När kungen beredde sig att genomföra sina envåldsplaner, hörde Stierneld till de motståndare som arresterades. Till följd av sina förbindelser med ryske ministern hade han åsamkat sig konungens synnerliga ovilja, och när de övriga arresterade frigavs, sändes Stierneld till Varbergs fästning, där han kvarhölls till 1790. Genom sitt 1790 ingångna giftermål med grevinnan Kristina Charlotta Gyldenstolpe, dotter till Gustav III:s gunstling Nils Philip Gyldenstolpe, kom Stierneld snart åter på mera vänlig fot med hovet och blev 1792 överkammarherre. Vid riksdagen 1800 sågs han också, i likhet med andra ur 1789 års opposition (Magnus Fredrik Brahe, Claes Axel Lewenhaupt med flera) i hovpartiets främsta led.
Henri-Pierre Picou
(27 February 1824 - 17 July 1895) was a French painter born in Nantes.His oeuvre began with portraits and classical historical subject matter but he later moved on to allegorical and mythological themes.He was an academic painter and one of the founders of the Neo-Grec school, along with his close friends Gustave Boulanger, Jean-L??on G??rôme, and Jean-Louis Hamon, also academic painters. All of them studied in the workshops of both Paul Delaroche and later Charles Gleyre. Picou's style was noticeably influenced by Gleyre. While the rest of the group generally painted classical and mythological subjects, Picou also received commissions for large religious frescoes from many churches, including the Église Saint-Roch. His artistic debut was at the Salon in 1847. The next year he was awarded a second-class medal for his painting, Cl??opâtre et Antoine sur le Cydnus. Also known as Cleopatra on the Cydnus, it is commonly regarded as Picou's masterpiece. This showing at the Salon in 1848 was written about by the critic Th??ophile Gautier, who felt that the subject matter was too ambitious, but also said that "As it is, it gives the best hope for the future of the young artist, and ranks among the seven or eight most important paintings of the Salon.In 1875 the painting was exhibited in New York, and afterward found lodgment on the walls of a private art gallery in San Francisco.Picou maintained a large workshop in Paris on the Boulevard de Magenta, which provided him room to work on his expansive frescoes. His popularity continued to rise and he went on to win the Second Prix de Rome in 1853 for his painting, J??sus chassant les vendeurs du Temple (The Moneylenders Chased from the Temple), and another second-class medal for his Salon painting in 1857. From his debut in 1847, he was a regular at the Salon, showing almost every year until his final exhibit in 1893.He has been called the most fashionable painter towards the close of the Second French Empire
CODDE, Pieter
Dutch Baroque Era Painter, 1599-1678 Dutch painter and poet. Frans Hals was once thought to have been his teacher, but there is no evidence for this. It is possible that Codde studied with a portrait painter, perhaps Barent van Someren (1572/3-1632) or Cornelis van der Voort (1576-1624), since most of his earliest works, from the period 1623-7, seem to be portraits. His earliest known dated work is the Portrait of a Young Man (1626; Oxford, Ashmolean), which precedes by a year his earliest dated genre piece, the Dancing Lesson (1627; Paris, Louvre). He was particularly productive in the 1620s and 1630s, painting mainly interior genre scenes. After the mid-1640s only portraits and a few history paintings, such as the Adoration of the Shepherds