Related Paintings of unknow artist :. | Our lady of Guadalupe | Flicka matar hons | Arab or Arabic people and life. Orientalism oil paintings 323 | Barthelemy | European city landscape, street landsacpe, construction, frontstore, building and architecture. 309 |
Related Artists:
Charles Napier Hemy
English Painter, 1841-1917, British painter, He was born at Newcastle-on-Tyne, of a musical family. He was trained in the Government School if Design, Newcastle, in the Antwerp academy and in the studio of Baron Leys. He returned to London in the 1870s. In 1881, he moved to Falmouth, Cornwall. He produced some figure subjects and landscapes, but is best known by his marine paintings. He was elected an Associate of the Royal Academy in 1898 and an Academician in 1910, Associate of the Royal Society of Painters in Water Colours in 1890 and member in 1897. Two of his paintings, "Pilchards" (1897) and "London River" (1904), are in the Tate collections. He had two brothers who were also artists, Thomas Hemy and Bernard Hemy. He died in Falmouth on September 30, 1917.
Mina Kolokolnikov
1708e-1775e) was a Russian painter and teacher. Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky. He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique. Kolokolnikov's brothers Ivan and Fedot were also painters.
Osbert, Alphonse
French Symbolist Painter, 1857-1939 French painter. He studied at the Ecole des Beaux-Arts and in the studios of Henri Lehmann, Fernand Cormon and L?on Bonnat. His Salon entry in 1880, Portrait of M. O. (untraced), reflected his early attraction to the realist tradition of Spanish 17th-century painting. The impact of Impressionism encouraged him to lighten his palette and paint landscapes en plein air, such as In the Fields of Eragny (1888; Paris, Y. Osbert priv. col.). By the end of the 1880s he had cultivated the friendship of several Symbolist poets and the painter Puvis de Chavannes, which caused him to forsake his naturalistic approach and to adopt the aesthetic idealism of poetic painting. Abandoning subjects drawn from daily life, Osbert aimed to convey inner visions and developed a set of pictorial symbols. Inspired by Puvis, he simplified landscape forms, which served as backgrounds for static, isolated figures dissolved in mysterious light. A pointillist technique, borrowed from Seurat, a friend from Lehmann's studio, dematerialized forms and added luminosity. However, Osbert eschewed the Divisionists' full range of hues in his choice of blues, violets, yellows and silvery green. Osbert's mysticism is seen in his large painting Vision