Swedish 1860-1920 Swedish painter, etcher and sculptor. He was brought up by his grandparents at Mora. As he displayed a precocious talent for drawing he was admitted to the preparatory class of the Kungliga Akademi for de Fria Konsterna, Stockholm, at the age of 15. Dissatisfied with the outdated teaching and discipline of the Academy and encouraged by his early success as a painter of watercolour portraits and genre scenes (e.g. Old Woman from Mora, 1879; Mora, Zornmus.) Zorn left the Academy in 1881 to try to establish an international career. He later resided mainly in London but also travelled extensively in Italy, France, Spain, Algeria and the Balkans and visited Constantinople. However, he continued to spend most of his summers in Sweden.  Related Paintings of Anders Zorn :. | Ols Maria, | Unknow work 69 | emma i schaferhatt | Unknow work 43 | Ambassador David Jayne Hill |
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Gustav Klimt
Austrian Art Nouveau Painter, 1862-1918 Gustav Klimt (July 14, 1862 ?C February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of the Vienna Art Nouveau (Vienna Secession) movement. His major works include paintings, murals, sketches, and other art objects, many of which are on display in the Vienna Secession gallery. Klimt's primary subject was the female body, and his works are marked by a frank eroticism--nowhere is this more apparent than in his numerous drawings in pencil. Klimt's work is distinguished by the elegant gold or coloured decoration, often of a phallic shape that conceals the more erotic positions of the drawings upon which many of his paintings are based. This can be seen in Judith I (1901), and in The Kiss (1907?C1908), and especially in Danaë (1907). One of the most common themes Klimt utilized was that of the dominant woman, the femme fatale. Art historians note an eclectic range of influences contributing to Klimt's distinct style, including Egyptian, Minoan, Classical Greek, and Byzantine inspirations. Klimt was also inspired by the engravings of Albrecht D??rer, late medieval European painting, and Japanese Rimpa school. His mature works are characterized by a rejection of earlier naturalistic styles, and make use of symbols or symbolic elements to convey psychological ideas and emphasize the "freedom" of art from traditional culture.
Aleksander Gierymski
Warsaw 1850-1901 Rome, Brother of Maks Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868-73) at the Akademie der Bildenden Kenste in Munich under Georg Hiltensperger (1806-90) and Alexander Strehuber (1814-82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare's Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother Maks to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome.
Hendrick Terbrugghen
1588-1629 Dutch Hendrick Terbrugghen Galleries Dutch painter and draughtsman. He was, with Gerrit van Honthorst and Dirck van Baburen, one of the leading painters in the group of artists active in Utrecht in the 1620s who came to be known as the UTRECHT CARAVAGGISTI, since they adapted Caravaggio subject-matter and style to suit the Dutch taste for religious and secular paintings. Ter Brugghen was an important innovator for later Dutch 17th-century genre painting; his recognition as an unorthodox, but significant influence on the work of Johannes Vermeer and others is a relatively recent, 20th-century phenomenon.