Russian Painter, 1848-1916 Russian painter. He is principally noted for his treatment of episodes from the 17th century and the medieval period of Russian history. These works are remarkable for their thoroughly researched and detailed rendering of settings and costume and the drama of their presentation. Surikov was also an accomplished portrait painter and incorporated a large number of portrait studies into his history paintings.   Related Paintings of Vasily Surikov :. | View of the Kremlin | Conquest of Siberia by Yermak | Xi Kefu to stay in Myanmar and other village Vorontsov | The Morning of the Execution of the Streltsy | Boulevard Zubov in Winter |
Related Artists:
Albert Bierstadt
German-born American Hudson River School Painter, 1830-1902 Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the D??sseldorf School in D??sseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting. Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career. Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day. His use of uncommonly large canvases was thought to be an egotistical indulgence, as his paintings would invariably dwarf those of his contemporaries when they were displayed together. The romanticism evident in his choices of subject and in his use of light was felt to be excessive by contemporary critics. His paintings emphasized atmospheric elements like fog, clouds and mist to accentuate and complement the feel of his work. Bierstadt sometimes changed details of the landscape to inspire awe. The colors he used are also not always true. He painted what he believed is the way things should be: water is ultramarine, vegetation is lush and green, etc. The shift from foreground to background was very dramatic and there was almost no middle distance Nonetheless, his paintings remain popular. He was a prolific artist, having completed over 500 (possibly as many as 4000) paintings during his lifetime, most of which have survived. Many are scattered through museums around the United States. Prints are available commercially for many. Original paintings themselves do occasionally come up for sale, at ever increasing prices.
James McDougal Hart
(May 10, 1828 - October 24, 1901), was a Scottish-born American landscape and cattle painter of the Hudson River School. His older brother, William Hart, was also a Hudson River School artist, and the two painted similar subjects. Hart was born in Kilmarnock, Scotland, and was taken to America with his family in early youth. In Albany, New York he trained with a sign and carriage maker possibly the same employer that had taken on his brother in his early career. Unlike his brother, however, James returned to Europe for serious artistic training. He studied in Munich, and was a pupil of Friedrich Wilhelm Schirmer in Dusseldorf. Hart returned to America in 1853. He exhibited his first work at the National Academy of Design in 1848, became an associate in 1857 and a full member in 1859. James Hart was particularly devoted to the National Academy, exhibiting there over a period of more than forty years, and serving as vice president late in his life from 1895 to 1899. Like his brother, James also exhibited at the Brooklyn Art Association (he lived for a time in Brooklyn) and at major exhibitions around the country. Along with most of the major landscape artists of the time, Hart based his operations in New York City and adopted the style of the Hudson River School. While James Hart and his brother William often painted similar landscape subjects, James may have been more inclined to paint exceptionally large works. An example is The Old Homestead (1862), 42 x 68 inches, in the collection of the High Museum of Art in Atlanta, Georgia. James may have been exposed to large paintings while studying in D??sseldorf, a center of realist art pedagogy that also shaped the practices of Albert Bierstadt and Worthington Whittredge. William Hart, who did not seek academic European training, seems to have been more comfortable painting small and mid-sized works. Like his brother William, James excelled at painting cattle. Kevin J. Avery writes, "the bovine subjects that once distinguished [his works] now seem the embodiment of Hart's artistic complacency." In contrast with the complacency of some of his cattle scenes, his major landscape paintings are considered important works of the Hudson River School.
Auguste de Chatillon
(1808 - 1881)