1801-1848 Thomas Cole Galleries Thomas Cole (February 1, 1801 - February 11, 1848) was a 19th century American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism. In New York he sold three paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where he visited the Catskill Mountain House and painted the ruins of Fort Putnam. Returning to New York he displayed three landscapes in the window of a bookstore; according to the New York Evening Post, this garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Among the paintings was a landscape called "View of Fort Ticonderoga from Gelyna". Trumbull was especially impressed with the work of the young artist and sought him out, bought one of his paintings, and put him into contact with a number of his wealthy friends including Robert Gilmor of Baltimore and Daniel Wadsworth of Hartford, who became important patrons of the artist. Cole was primarily a painter of landscapes, but he also painted allegorical works. The most famous of these are the five-part series, The Course of Empire, now in the collection of the New York Historical Society and the four-part The Voyage of Life. There are two versions of the latter, one at the National Gallery in Washington, D.C., the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. Cole spent the years 1829 to 1832 and 1841-1842 abroad, mainly in England and Italy; in Florence he lived with the sculptor Horatio Greenough.  Related Paintings of Thomas Cole :. | View of fort Putnam | Skizze fur Oxbow | The Voyage of Life:Childhood (mk13) | The Subsiding of the Waters of the Deluge | Il Penseroso |
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Joseph-Benoit Suvee
(3 January 1743 - 9 February 1807) was a Flemish painter strongly influenced by French neo-classicism. He was born in Bruges. Initially a pupil of Matthias de Visch, he came to France aged 19 and became a pupil of Jean-Jacques Bachelier. In 1771, he won the Prix de Rome. In Rome from 1772 to 1778, he prolonged the usual duration allowed to pensionaries of the French Academy in Rome. He was named an academician on his return to Paris and he opened an art school for young women at the Louvre. He emulated and competed with Jacques-Louis David, earning his enduring hatred. Named the French Academy in Rome's director in 1792, replacing François-Guillaume Menageot, he was imprisoned for a while in the Prison Saint-Lazare and only able to take up the post in 1801. After a brilliant career, and a six years' stay in Rome as the Academy's Director, he died there suddenly. His works include Achilles depositing the body of Hector at the feet of the body of Patroclus, (1769, Louvre), and Cornelia, mother of the Gracchi, (1795, Louvre).
Anton Ritter von Stadler
painting Landschaft in 1909
George Durrie
Landscape painter, Portrait Painter . American , 1820-1863 American painter. Durrie and his older brother John (1818-98) studied sporadically from 1839 to 1841 with the portrait painter Nathaniel Jocelyn. From 1840 to 1842 he was an itinerant painter in Connecticut and New Jersey, finally settling permanently in New Haven. He produced c. 300 paintings, of which the earliest were portraits (e.g. Self-portrait, 1839; Shelburne, VT, Mus.); by the early 1850s he had begun to paint the rural genre scenes and winter landscapes of New England that are considered his finest achievement. His landscapes, for example A Christmas Party (1852; Tulsa, OK, Gilcrease Inst. Amer. Hist. & A.), are characterized by the use of pale though cheerful colours and by the repeated use of certain motifs: an isolated farmhouse, a road placed diagonally leading the eye into the composition, and a hill in the distance. By the late 1850s Durrie's reputation had started to grow, and he was exhibiting at prestigious institutions, such as the National Academy of Design. In 1861 the firm of Currier & Ives helped popularize his work by publishing prints of two of his winter landscapes, New England Winter Scene and the Farmyard in Winter.