1836-1910 Winslow Homer Locations Winslow Homer (February 24, 1836 ?C September 29, 1910) was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art. Largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations.  Related Paintings of Winslow Homer :. | The final hunting trip | Fall | Petersburg, Virginia, before the war induced | Eine Sommernacht | Summer Night |
Related Artists:
Matthias Grunewald
German 1475-1528 Matthias Grunewald Galleries Only religious works are included in his small surviving corpus, the most famous being the Isenheim Altarpiece, completed 1515, now in the Musee d'Unterlinden, Colmar. Its nine images on twelve panels contain scenes of the Annunciation, Mary bathing Christ, Crucifixion, Entombment of Christ, Resurrection, Temptation of St. Anthony and saints. As was common in the preceding century, there are different views, depending on the arrangement of the wings; but the three views available here are exceptional. The third view discloses a carved and gilded wood altarpiece in the centre. As well as being by far his greatest surviving work, the altarpiece contains most of his surviving painting by area, being 2.65 metres high and over 5 metres wide at its fullest extent. His other works are in Germany, except for a small Crucifixion in Washington and another in Basel, Switzerland. He was asked in about 1510 to paint four saints in grisaille for the outside of the wings of Durer's Heller Altarpiece in Frankfurt. D??rer's work was destroyed by fire and only survives in copies, but fortunately the wings have survived. There are also the late Tauberbischofsheim altarpiece in Karlsruhe, and the Establishment of the Santa Maria Maggiore in Rome (1517-1519), Freiburg, Augustinermuseum. A large panel of Saint Erasmus and Saint Maurice in Munich probably dates from 1521-24, and was apparently part of a larger altarpiece project, the rest of which has not survived. Other works are in Munich, Karlsruhe, and Rhineland churches. Altogether four somber and awe-filled Crucifixions survive. The visionary character of his work, with its expressive colour and line, is in stark contrast to Albrecht Durer's works. His paintings are known for their dramatic forms, vivid colors, and depiction of light.
Giovanni Boldini
1842-1931 Italian Giovanni Boldini Locations Italian painter and printmaker. He received his earliest training from his father, the painter Antonio Boldini (1799-1872). From 1858 he may have attended courses given by Girolamo Domenichini (1813-91) and Giovanni Pagliarini (?1809-78) at the Civico Ateneo di Palazzo dei Diamanti, where he assiduously copied Old Masters. At 18 he was already known in Ferrara as an accomplished portrait painter. In 1862 he went to Florence, where he sporadically attended the Scuola del Nudo at the Accademia di Belle Arti. He frequented the Caffe Michelangiolo, a meeting-place of progressive artists, where he came into contact with the MACCHIAIOLI group of artists.
Paul Berthon
A truly gifted illustrator and poster artist , French , 1872-1909 French designer and lithographer. He began his training in Villefranche, where he studied painting, and in 1893 he moved to Paris, entering the Ecole Normale d'Enseignement du Dessin. There he became a pupil and disciple of Eug?ne-Samuel Grasset, the Professor of Decorative Arts, and was also influenced by Luc Olivier Merson. Berthon's main output consisted of posters and decorative panels. However, he also produced bookbindings and furniture designs, both of which he exhibited at the Salon in 1895; designs for ceramics for Villeroy & Boch in the late 1890s; and a few designs for the covers of such magazines as L'Image (July 1897) and Poster (May 1899). His work is in an Art Nouveau style, and he adopted that movement's plant and figural motifs, especially the motif of the femme fatale, and also its long sinuous lines.