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Augustus Earle
Solitude, watching the horizon at sun set, in the hopes of seeing a vessel, Tristan de Acunha
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ID: 94289
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Augustus Earle
Australian Painter , 1793-1838
Nephew of Ralph Earl. He exhibited at the Royal Academy in London between 1806 and 1815, when he began travelling. He visited the Mediterranean between 1815 and 1817, and lived in North America (1818-20) and South America (1820-24). In February 1824, en route to India, he was accidentally abandoned on Tristan da Cunha for eight months. The passing ship that rescued him took him to Australia. Here he lived from 1825 until 1828, a period broken by a seven-month residence in New Zealand. During all of his voyages he made watercolour sketches, particularly of places 'hitherto unvisited by any artist', apparently with the intention of publishing a series of aquatints. These drawings, such as a Bivouac, Daybreak, on the Illawarra Mountains (1827; Canberra, N. Lib.), have a robust autobiographical quality. In Sydney he obtained a number of commissions, including a full-length portrait of Governor Sir Thomas Brisbane (1825-6; Sydney, Govt House). Earle returned to England in 1829 and produced a series of prints, Views in New South Wales, and Van Diemen's Land. Related Paintings of Augustus Earle :. | Uncared for | Augustus Earle | The flower girl | Past and Present No 2 | Portrait of Bungaree | Related Artists: Adam Frans van der Meulenpainted Louis XIV before Strasbourg in 1682 Jasper CropseyAmerican 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. Newell Convers WyethNewell Convers Wyeth (October 22, 1882 - October 19, 1945), known as N.C. Wyeth, was an American artist and illustrator. He was the pupil of artist Howard Pyle and became one of America's greatest illustrators. During his lifetime, Wyeth created over 3,000 paintings and illustrated 112 books, 25 of them for Scribner's, the Scribner Classics, which is the work for which he is best-known. The first of these, Treasure Island, was his masterpiece and the proceeds paid for his studio. Wyeth was a realist painter just as the camera and photography began to compete with his craft. Sometimes seen as melodramatic, his illustrations were designed to be understood quickly. Wyeth, who was both a painter and an illustrator, understood the difference, and said in 1908, "Painting and illustration cannot be mixedeone cannot merge from one into the other."
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