Italian Rococo Era Painter, 1697-1768 Italian painter, etcher and draughtsman. He was the most distinguished Italian view painter of the 18th century. Apart from ten years spent in England he lived in Venice, and his fame rests above all on his views (vedute) of that city; some of these are purely topographical, others include festivals or ceremonial events. He also painted imaginary views (capriccios), although the demarcation between the real and the invented is never quite clearcut: his imaginary views often include realistically depicted elements, though in unexpected surroundings, and in a sense even his Venetian vedute are imaginary. He never merely re-created reality. He was highly successful with the English, helped in this by the British connoisseur JOSEPH SMITH, whose own large collection of Canaletto works was sold to King George III in 1762. The British Royal Collection has the largest group of his paintings and drawings.  Related Paintings of Canaletto :. | View from the Right Bank of the Elbe | Looking East from the South West Corner | Venice The Piazzetta towards the Torre del'Orologio (mk25) | Riva degli Schiavoni- Looking East | Alnwick Castle, Northumberland |
Related Artists:
Alexandre N. Roussoff
Russian, 1844 - 1928
Jan Toorop
1858-1928 Dutch Jan Toorop Gallery He moved to the Netherlands in 1872 and took a course in drawing at the Polytechnische School in Delft (1876-9). He also studied at the Rijksakademie voor Beeldende Kunsten in Amsterdam (1880-82) and at the Ecole des Arts D?coratifs in Brussels (1882-5). In Amsterdam he joined the St Lukas Society, and in Belgium he was a founder-member of Les XX in 1884. Although he had met Jozef Isra?ls in 1880 and respected the style of the Hague school, he was more attracted by what he saw in Brussels, particularly work by French artists. His portraits of 1884 are painted in an Impressionist style. With other members of Les XX he trained himself in plein-air; he learnt from James Ensor how to apply colours with a palette knife and how to use white with the same intensity as other colours. His style, however, remained austere and his scenes of workmen show a sensitive realism reminiscent of Gustave Courbet's work, for example Respect for the Dead.
Hans Gude
March 13, 1825 ?C August 17, 1903,Norwegian painter. He was the most renowned Norwegian landscape painter of his time. At the age of 12 he was enrolled as a pupil of Johannes Flintoe (1787-1880). After attending evening classes at the Kongelige Tegneskole in Christiania, he went to D?sseldorf in 1841 to study privately with the landscape painter Andreas Achenbach (1815-1910). In 1842 Gude was admitted to the landscape class at the Akademie under Johann Wilhelm Schirmer. He was later appointed an assistant teacher at Schirmer private studio, and he succeeded his master as Professor of landscape painting both at the D?sseldorf Akademie (1854-62) and at the Karlsruhe Akademie (1864-80). In the 1840s Gude established his reputation in Norway and on the Continent with powerful images of the Norwegian mountains. These were shown in the Kunstforening galleries in D?sseldorf and Christiania and at the Berliner Akademische Kunstausstellung, where Gude exhibited throughout his life. Adolph Tidemand and Gude dominated the colony of Norwegian artists who studied in D?sseldorf in the mid-19th century. The two artists worked together on five paintings, all representing people in boats; Gude painted the landscape, Tidemand the figures. The Bridal Procession at Hardanger (1848; Oslo, N.G.) celebrates a ceremony of country life and is the most famous work of Norwegian National Romanticism. In a sunny western Norwegian landscape with snow on the high mountains, the bridal couple and wedding guests in national costume are shown rowing across the water from a medieval stave church on the headland in the background. Gude revealed greater maturity in High Mountain (1857; Oslo, N.G.). The disposition of mountains massed on the high plateau around a little lake produces an effect of monumentality. The predominant colours shade from grey to blue, concentrated in the cloud cover. The influence of Schirmer tranquil landscapes is apparent, while the rhythmic arrangement of light and shadow is reminiscent of Achenbach.