Sandro Botticelli
Sandro Botticelli's Oil Paintings
Sandro Botticelli Museum
c. 1445 – May 17, 1510. Italian painter.

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unknow artist
Arab or Arabic people and life. Orientalism oil paintings 453

ID: 47709

unknow artist Arab or Arabic people and life. Orientalism oil paintings 453
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unknow artist Arab or Arabic people and life. Orientalism oil paintings 453


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unknow artist

  Related Paintings of unknow artist :. | Floral, beautiful classical still life of flowers.116 | Myrrh Bearers | Vintermansken | Sexy body, female nudes, classical nudes 43 | asgardsreijen |
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Jasper Cropsey
American Hudson River School Painter, 1823-1900 Jasper Francis Cropsey (February 18, 1823 - April 23, 1900) was an important American landscape artist of the Hudson River School. Cropsey was born on his father Jacob Rezeau Cropsey's farm in Rossville on Staten Island, New York, the oldest of eight children. As a young boy, Cropsey had recurring periods of poor health. While absent from school, Cropsey taught himself to draw. His early drawings included architectural sketches and landscapes drawn on notepads and in the margins of his schoolbooks. After studying architecture for five years, he turned his attention to landscape painting, under the instruction of Edward Maury. He visited England, France, Switzerland, and Italy in 1847, went abroad again in 1855, and resided seven years in London, sending his pictures to the Royal Academy and to the International exhibition of 1862. After his return home in 1863, he opened a studio in New York, where he resided until 1885, when he removed to Hastings-on-Hudson. Trained as an architect, he set up his own office in 1843. Cropsey studied watercolor and life drawing at the National Academy of Design and first exhibited there in 1844. A year later he was elected an associate member and turned exclusively to landscape painting in the 1840s, shortly after he was featured in an exhibition entitled "Italian Compositions." Cropsey married Maria Cooley in May 1847, traveled in Europe from 1847-1849, was elected a full member of the Academy in 1851, and lived in England 1856-1863. During this time he specialized in autumnal landscape paintings of the northeastern United States, often idealized and with vivid colors. One such painting is "The Valley of the Wyoming" set in eastern Pennsylvania. The name of this valley was given to the western state of Wyoming. He co-founded, with ten fellow artists, the American Society of Painters in Water Colors in 1866.
Master of the Housebook
German Northern Renaissance Painter, 15th Century, German graphic artist. The master is named for a series of vigorous and sophisticated drawings of everyday life found in the Hausbuch at Castle Wolfegg. Many of his engravings are in the Rijksmuseum, Amsterdam. His work is thought to have influenced Bosch, Bruegel, and Durer.
Edouard Castres
Swiss 1838 - 1902 Swiss painter. His father was a clock engraver, and he initially trained as an enamellist. He took drawing lessons from Barthelemy Menn and attended the Ecole des Beaux-Arts in Paris from 1859. He soon decided to concentrate on oil painting. He was assistant to the genre and figure painter Eduardo Zamacois y Zabala (1842-71). In the Franco-Prussian War he joined the Red Cross, moving into Switzerland at the beginning of February 1871 with the army led by Gen. Bourbaki. He painted military scenes from sketches carried out on the battlefield and received consistently good reviews, which also brought financial success. He was commissioned by a Belgian panorama company to record the entry of the French army into Switzerland, which he had witnessed in 1871. He spent the winter of 1876-7 on site at Les Verrieres, painting preparatory studies, and in 1881 he completed the panorama, Gen. Bourbaki's Army Retreating into Switzerland (Lucerne, Panorama). He was aided by nine assistants, recruited from among Menn's pupils, who included Ferdinand Hodler. The work was exhibited in Geneva and was brought to a rotunda in Lucerne in 1889. Among panorama paintings it is a work of a high order: despite the colossal dimensions and the barely comprehensible mass of people depicted, the dominant impression is of individual suffering.






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