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 :. | A Summer Night | Inside the Bay,Cullercoats (mk44) | The Croquet Game | Special Yingtou Coast | Coast of Maine |
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CAPRIOLO, Domenico
Italian painter, Venetian school (b. 1494, Venezia, d. 1528, Treviso) Italian painter. He moved from Venice to Treviso c. 1517, where he is well documented (though there is little about his painting). In 1518-19 he married Camilla, daughter of the painter Pier Maria Pennacchi. A coherent body of work executed between 1518 and 1528 has been reconstructed. Capriolo's first secure work, the Adoration of the Shepherds (Treviso, Mus. Civ.), signed and dated 1518, has a formal structure reminiscent of the late style of Giovanni Bellini, with the broader chromatic range of Palma Vecchio and a crepuscular light that recalls the Venetian works of Giovanni Girolamo Savoldo or Giovanni da Asola ( fl 1512-31). The Assumption in Treviso Cathedral, commissioned in 1520, shows, in its spiralling movement, the influence of the contemporary frescoes of Pordenone in the nearby Malchiostro Chapel. In the Legend of the Doubting Midwife (Treviso, Mus. Civ.), signed and dated 1524, the influence of Savoldo is greater than that of Palma. This is also apparent in the altarpiece of the parish church of Ponzano Veneto (Treviso), dated 1525. The portrait of Lelio Torelli (Barnard Castle, Bowes Mus.), signed and dated 1528, Capriolo's last known work, seems by contrast to reflect local models of portraiture and lies somewhere between the styles of Sebastiano Florigerio and Bernardino Licinio. Other works assigned to Capriolo include: the altarpieces of the parish churches of Cavasagra and Spercenigo, near Treviso; the Adoration of the Shepherds in the sacristy of Serravalle Cathedral at Vittorio Veneto; a fragment of a Nativity (Venice, Mus. Correr); two paintings of the Virgin and Child with Saints (Bucharest, Mus. A.; Conegliano, Mus. Civ. Castello).
Franz Horny
German, 1798-1824,German painter. He received his first instruction in art from his father, Conrad Horny (1764-1807), a painter and copperplate engraver, who taught at the Zeichenschule in Weimar. He attended this school from 1806 to 1816, training primarily as a painter of landscapes. In 1816, his patron Baron Carl Friedrich von Rumohr, a friend of his father, enabled him to travel to Italy. In Rome Horny became a student of Joseph Anton Koch, who introduced him to landscape composition in the classically heroic style. Through eager study, both from nature and from live models, Horny's skills developed swiftly, especially in his work in pen and watercolour (e.g. View of Olevano with Shepherds and a Hermit, 1817; Dresden, Kupferstichkab.). Horny was soon, however, drawn into the circle of the Lukasbr?der: Peter Joseph Cornelius persuaded him to participate in the major fresco project for the Casino Massimo in Rome. Horny completed a large number of pen and watercolour drawings (e.g. Weimar, Schlossmus.) depicting flowers, fruit and birds, and intended as wreaths and festoons to frame Cornelius's historical scenes from Dante's Paradiso. When Cornelius was recalled to Munich in 1818, however, this fresco was not carried out and Horny's designs were therefore not used. In the same year, Horny developed tuberculosis and moved to Olevano for his health. The rugged beauty of the Sabine Hills and their picturesque towns drew him back to the depiction of landscape. His drawings, combining Koch's classically heroic outlook with the poetic sensibility of the Lukasbr?der, often convey the impression of an earthly paradise, as in Italian Country Life (c. 1820; L?beck, St Annen-Mus.).
alexej von jawlenskij
Alexej Georgewitsch von Jawlensky (13 March 1864 ?C 15 March 1941) was a Russian expressionist painter active in Germany. He was a key member of the New Munich Artist's Association (Neue Kunstlervereinigung M??nchen), Der Blaue Reiter (The Blue Rider) group and later the Die Blaue Vier (The Blue Four). Alexej von Jawlensky was born in Torzhok, a town in Tver Governorate, Russia, as the fifth child of Georgi von Jawlensky and his wife Alexandra (n??e Medwedewa). At the age of ten he moved with his family to Moscow. After a few years of military training, he became interested in painting, visiting the Moscow World Exposition circa 1880. In 1896 he moved to Munich, where he studied in the private school of Anton Ažbe. In Munich he met Wassily Kandinsky and various other Russian artists, and he contributed to the formation of the Neue K??nstlervereinigung M??nchen. His work in this period was lush and richly coloured, but later moved towards abstraction and a simplified, formulaic style. Alexej von Jawlensky. Abstract Head, c. 1928Von Jawlensky died in Wiesbaden, Germany on 15 March 1941. He and his wife Helene are buried in the cemetery of St. Elizabeth's Church, Wiesbaden.