Related Paintings of unknow artist :. | Giotto, Christ Begrates | Napoleon Bonaparte pappa tronen iford all synd kejserliga farmor | Arab or Arabic people and life. Orientalism oil paintings 45 | Town Garden in Dogpole,Shrewsbury | jean eric rehn |
Related Artists:
Albert Weisgerber
German, 1878-1915 German painter and printmaker. He studied decoration at the Kreisbaugewerksschule in Kaiserlautern (1891-3) and began work in a decorator studio in Frankfurt am Main. However, in 1894 he moved to Munich to resume his studies, first at the Kunstgewerbeschule and later under Franz von Stuck at the Akademie der Bildenden Kenste (1897-1901). For some years he concentrated on poster design and book illustration, contributing a total of 500 drawings to Jungend: Illustrierte Wochenschrift for Kunst und Leben from 1899. His early paintings such as the portrait of Ludwig Scharf II (c. 1905; Munich, Staatsgal. Mod. Kst) were executed in dark-toned academic style, but an exhibition of French Impressionism in Berlin in 1905 so impressed him that he went to Paris for nearly a year (until May 1906). Despite his association with the circle of artists around Matisse, he was more influenced by the work of Cezanne. In 1907 he made a second visit to Paris and joined Phalanx in 1909. In the latter year he was visited by Hans Purrmann and Matisse. By 1911 with a third visit to Paris and travels to Rome and Naples, he had established himself as one of the foremost German Impressionists. As well as such lyrical scenes as Munich Hofgarten (1911; Munich, Lenbachhaus), in common with many of his German contemporaries, Weisgerber reconceived classical scenes in an energetic style, for example in Amazon Camp (1910; Stuttgart, Staatsgal.). In 1912 he had a one-man show in the Kunsthaus, Zurich, and a year later participated in the annual Kunstausstellung in Munich. Although using an Impressionist style, he was equally at home in Expressionist circles, and this undoubtedly influenced his election to the presidency of the Neuen Menchner Sezession (1913). In the last four years of his career he was obsessed with sacrificial subject-matter from the Old and New Testaments, which he had originated in the theme of St Sebastian (e.g. St Sebastian Felled by Arrows, 1910; Munich, Staatsgal. Mod. Kst). While not exclusively tragic (e.g. David and Goliath, 1914; Saarbrecken, Saarland-Mus.), these final works strip away historical references to concentrate upon the fate of the isolated individual, as in Absalom (1914; Hamburg, Ksthalle).
Jan Vermeer
Dutch Baroque Era Painter, 1632-1675 Johannes (or Jan) Vermeer is now recognized as one of the great Dutch painters, but while he was alive he could barely make ends meet, and his artistic achievement was almost entirely ignored for 200 years after his death. Little is known about his personal life, other than he died poor and young and left behind a wife and eleven children. Vermeer is admired for his realistic style, his subtle use of color and light and his unusual and inventive brush technique, but fewer than forty of his paintings exist. His most famous works include domestic scenes such as Girl With a Peal Earring (1665) and The Music Lesson (1662-65), and tranquil landscapes such as The Little Street (1657-58) and View of Delft (1659-60). Although his actual birth and death dates are unknown, Vermeer was baptized 31 October 1632 and buried 15 December 1675... During his career he used the names Johannes van der Meer, Johannes Vermeer and Jan Vermeer
Jusepe de Ribera
1591-1652 Spanish Jusepe de Ribera Galleries Jusepe de Ribera (January 12, 1591 - 1652) was a Spanish Tenebrist painter and printmaker, also known as Jos?? de Ribera in Spanish and as Giuseppe Ribera in Italian. He was also called by his contemporaries and early writers Lo Spagnoletto, or "the Little Spaniard". Ribera was a leading painter of the Spanish school, although his mature work was all done in Italy. In his earlier style, founded sometimes on Caravaggio and sometimes on the wholly diverse method of Correggio, the study of Spanish and Venetian masters can be traced. Along with his massive and predominating shadows, he retained from first to last a great strength in local coloring. His forms, though ordinary and sometimes coarse, are correct; the impression of his works gloomy and startling. He delighted in subjects of horror. In the early 1630s his style changed away from strong contrasts of dark and light to a more diffused and golden lighting. Salvator Rosa and Luca Giordano were his most distinguished followers, who may have been his pupils; others were also Giovanni Do, Enrico Fiammingo, Michelangelo Fracanzani, and Aniello Falcone, who was the first considerable painter of battle-pieces. Among Ribera's principal works could be named "St Januarius Emerging from the Furnace" in the cathedral of Naples; the "Descent from the Cross" in the Certosa, Naples, the "Adoration of the Shepherds" (a late work, 1650), now in the Louvre; the "Martyrdom of St Bartholomew" in the Prado; and the "Pieta" in the sacristy of San Martino, Naples. His mythologic subjects are often as violent as his martyrdoms: for example, "Apollo and Marsyas", with versions in Brussels and Naples, or the "Tityus" in the Prado . The Prado and Louvre contain numbers of his paintings; the National Gallery, London, three. He executed several fine male portraits and a self-portrait. He was an important etcher, the most significant Spanish printmaker before Goya, producing about forty prints, nearly all in the 1620s.