Botanical artist and Natural history artist Australian, 1801-1853  Related Paintings of William Buelow Gould :. | River scene with aborigines | Still life, fruit oil on canvas painting by Van Diemonian (Tasmanian) artist and convict William Buelow Gould | Flowers and Fruit | Still life, flowers in a blue jug oil on canvas painting by Van Diemonian (Tasmanian) artist and convict William Buelow Gould (1801 - 1853). | Still life |
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Pierre Edouard Frere
(1819-1886), French painter, studied under Hippolyte Delaroche, entered the cole des Beaux-Arts in 1836 and exhibited first at the Salon in 1843. The marked sentimental tendency of his art makes us wonder at John Ruskin's enthusiastic eulogy which finds in Frere's work the depth of William Wordsworth, the grace of Joshua Reynolds, and the holiness of Fra Angelico. What we can admire in his work is his accomplished craftsmanship and the intimacy and tender homeliness of his conception. Among his chief works are the two paintings, Going to School and Coming from School, The Little Glutton (his first exhibited picture) and L'Exercice (in the 19th century this work was in John Jacob Astor's collection). A journey to Egypt in 1860 resulted in a small series of Orientalist subjects, but the majority of Frere's paintings deal with the life of the kitchen, the workshop, the dwellings of the humble, and mainly with the pleasures and little troubles of the young, which the artist brings before us with humor and sympathy. He was one of the most popular painters of domestic genre in the middle of the 19th century.
PERRONNEAU, Jean-Baptiste
French Rococo Era Painter, ca.1715-1783 French pastellist, painter and engraver. He was, with his older contemporary Maurice Quentin de La Tour, the most important pastel artist and portrait painter in 18th-century France. Perronneau trained first with the engraver Laurent Cars and then with the successful portrait painter Hubert Drouais. His work as an engraver, which includes prints after Charles-Joseph Natoire, Fran?ois Boucher, Edme Bouchardon and Carle Vanloo (see Vaillat and Ratouis de Limay,), did not continue beyond the 1730s. Nevertheless, his involvement with Cars, much of whose work consisted in the reproduction of portraits by artists such as Hyacinthe Rigaud, left its mark on the composition of his pastels, most of which employ the bust-length format, often within a feigned stone oval typical of 17th- and 18th-century engraved portraits. His early pastel portrait of Mme Desfriches (1744; France, A.M. Ratouis de Limay priv. col.), mother of his friend and patron, the Orl?ans collector Aignan-Thomas Desfriches,
John Kensett
1816-1872 John Kensett Art Galleries Artist John Frederick Kensett was born on March 22, 1816 in Cheshire, Connecticut, and died on December 14, 1872 in New York City. He attended school at Cheshire Academy, and studied engraving with his immigrant father, Thomas Kensett, and later with his uncle, Alfred Dagget. He worked as engraver in the New Haven area until about 1838, after which he went to work as a bank note engraver in New York City. In 1840, along with Asher Durand and John William Casilear, Kensett traveled to Europe in order to study painting. There he met and traveled with Benjamin Champney. The two sketched and painted throughout Europe, refining their talents. During this period, Kensett developed an appreciation and affinity for 17th century Dutch landscape painting. Kensett and Champney returned to the United States in 1847. After establishing his studio and settling in New York, Kensett traveled extensively throughout the Northeast and the Colorado Rockies as well as making several trips back to Europe. Kensett is best known for his landscape of upstate New York and New England and seascapes of coastal New Jersey, Long Island and New England. He is most closely associated with the so-called "second generation" of the Hudson River School. Along with Sanford Robinson Gifford, Fitz Hugh Lane, Jasper Francis Cropsey, Martin Johnson Heade and others, the works of the "Luminists," as they came to be known, were characterized by unselfconscious, nearly invisible brushstrokes used to convey the qualities and effects of atmospheric light. It could be considered the spiritual, if not stylistic, cousin to Impressionism. Such spiritualism stemmed from Transcendentalist philosophies of sublime nature and contemplation bringing one closer to a spiritual truth. In 1851 Kensett painted a monumental canvas of Mount Washington that has become an icon of White Mountain art. Mount Washington from the Valley of Conway was purchased by the American Art Union, made into an engraving by James Smillie, and distributed to 13,000 Art Union subscribers throughout the country. Other artists painted copies of this scene from the print. Currier and Ives published a similar print in about 1860. This single painting by Kensett helped to popularize the White Mountain region of New Hampshire. Kensett's style evolved gradually, from the traditional Hudson River School manner in the 1850s into the more refined Luminist style in his later years. By the early 1870s Kensett was spending considerable time at his home on Contentment Island, on Long Island Sound near Darien, Connecticut.