German-born American Hudson River School Painter, 1830-1902
Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the D??sseldorf School in D??sseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting.
Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career.
Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day. His use of uncommonly large canvases was thought to be an egotistical indulgence, as his paintings would invariably dwarf those of his contemporaries when they were displayed together. The romanticism evident in his choices of subject and in his use of light was felt to be excessive by contemporary critics. His paintings emphasized atmospheric elements like fog, clouds and mist to accentuate and complement the feel of his work. Bierstadt sometimes changed details of the landscape to inspire awe. The colors he used are also not always true. He painted what he believed is the way things should be: water is ultramarine, vegetation is lush and green, etc. The shift from foreground to background was very dramatic and there was almost no middle distance
Nonetheless, his paintings remain popular. He was a prolific artist, having completed over 500 (possibly as many as 4000) paintings during his lifetime, most of which have survived. Many are scattered through museums around the United States. Prints are available commercially for many. Original paintings themselves do occasionally come up for sale, at ever increasing prices. Related Paintings of Albert Bierstadt :. | Lake Lucerne, Switzerland | The Yosemite Fall | Mount Corcoran | Sierra_Nevada_Mountains | The Wolf River |
Related Artists:Josephus Laurentius Dyckmans
painted The Blind Beggar in 1853
(The Hague, 28 March, 1803 - Amsterdam, 12 October, 1866) was a Dutch painter and a forerunner of the Hague School.
Anthonie Waldorp was the son of Abel de Saaijer Waldorp and Jacomina Godde, and the grandson of Jan Gerard Waldor, who was superintendent of the National Art Gallery. On February 25, 1824 he married Johanna Sophia Waldorp van Hove. At the wedding in The Hague there was a clerical error in the marital attachments, mistakenly registering Anthonie as Anthonie Waldorp instead of Saaijer Waldorp.
Shortly after his 23rd birthday, Anthonie decides to follow a career as a painter and became one of the precursors of the Hague School. Anthonie took an apprenticeship with the well known stage scenery painter Joannes Breckenheimer jr. (1772-1856) in The Hague, who was also the tutor of the well known painter Andreas Schelfhout.
Anthonie started painting stage sceneries like his grandfather. Later he focused on domestic and church interiors and portraits (people in 17th century costumes). Finally he specialized in landscapes, river and seascapes (paintings, drawings and water colors). It proved to be a wise decision as it led to international recognition. He also did some lithographic work. In 1833, together with Wijnand Nuyen, he traveled through France, Belgium and Germany and became the tutor of C.P. et Hoen, J.C. Hofman, C. Rochussen and Johan Hendrik Weissenbruch. Many of his paintings were bought by German, Dutch and French kings.
Until 1857 he lived in The Hague, after which he settled in Amsterdam where he joined the Royal Academy . He received several awards: in 1845 Waldorp was appointed Knight of the Order of Leopold by the Belgian king, Knight in the Order of the Dutch Lion in 1847 by King William II and Knight in the Order of the Oak Crown in 1849 by William.
In The Hague and Amsterdam there are streets named after Anthonie Waldorp.
Pierre Puvis de Chavannes
Pierre Puvis de Chavannes Art Galleries
Born in Lyons on Dec. 14, 1824, Pierre Puvis de Chavannes belonged to the generation of Gustave Courbet and ??douard Manet, and he was fully aware of their revolutionary achievements. Nevertheless, he was drawn to a more traditional and conservative style. From his first involvement with art, which began after a trip to Italy and which interrupted his intention to follow the engineering profession that his father practiced, Puvis pursued his career within the scope of academic classicism and the Salon. Even in this chosen arena, however, he was rejected, particularly during the 1850s. But he gradually won acceptance. By the 1880s he was an established figure in the Salons, and by the 1890s he was their acknowledged master.
In both personal and artistic ways Puvis career was closely linked with the avant-grade. In the years of his growing public recognition, when he began to serve on Salon juries, he was consistently sympathetic to the work of younger, more radical artists. Later, as president of the Societe Nationale des Beaux-Arts - the new Salon, as it was called - he was able to exert even more of a liberalizing influence on the important annual exhibitions.
Puvis sympathy to new and radical artistic directions was reflected in his own painting. Superficially he was a classicist, but his personal interpretation of that style was unconventional. His subject matter - religious themes, allegories, mythologies, and historical events - was clearly in keeping with the academic tradition. But his style eclipsed his outdated subjects: he characteristically worked with broad, simple compositions, and he resisted the dry photographic realism which had begun to typify academic painting about the end of the century. In addition, the space and figures in his paintings inclined toward flatness, calling attention to the surface on which the images were depicted. These qualities gave his work a modern, abstract look and distinguished it from the sterile tradition to which it might otherwise have been linked.
Along with their modern, formal properties, Puvis paintings exhibited a serene and poetic range of feeling. His figures frequently seem to be wrapped in an aura of ritualistic mystery, as though they belong in a private world of dreams or visions. Yet these feelings invariably seem fresh and sincere. This combination of form and feeling deeply appealed to certain avant-garde artists of the 1880s and 1890s. Although Puvis claimed he was neither radical nor revolutionary, he was admired by the symbolist poets, writers, and painters - including Paul Gauguin and Maurice Denis - and he influenced the neoimpressionist painter Georges Seurat.
During his mature career Puvis executed many mural paintings. In Paris he did the Life of St. Genevieve (1874-1878) in the Panth??on and Science, Art, and Letters (1880s) in the Sorbonne. In Lyons he executed the Sacred Grove, the Antique Vision, and Christian Inspiration (1880s) in the Mus??e des Beaux-Arts. He painted Pastoral Poetry (1895-1898) in the Boston Public Library. These commissions reflect the high esteem with which Puvis was regarded during his own lifetime. Among his most celebrated oil paintings are Hope (1872) and the Poor Fisherman (1881). He died in Paris on Oct. 10, 1898.