Swedish Realist Painter, 1853-1919 Swedish painter, illustrator and printmaker. He came from a poor family and studied (1866-76) at the Konstakademi in Stockholm, supporting himself throughout this period. From 1871 to 1878 he contributed illustrations to the comic journal Kaspar and the Ny illustrerad tidning. From 1875, for several decades, he was a prolific book illustrator, his most renowned work in this field being his drawings for Föltskärns beröttelser ('The Barber-surgeon's tales'; pubd 1883-4) by Zacharius Topelius, and the Rococo-inspired watercolours for the Samlade skaldeförsök ('Collected attempts at poetry'; pubd 1884) by the 18th-century Swedish author Anna Maria Lenngren.  Related Paintings of Carl Larsson :. | Esbjorn i lanstolen | lapp-spelande fiol | lisana och margon | solglimt | Late Summer Karin by the Shore |
Related Artists:
John William Hill
English Painter, 1812-1879,Painter and illustrator, son of John Hill. At the age of seven he moved to Philadelphia, PA, with his family. In 1822 he moved to New York, where he was apprenticed to his father for seven years. During this time, he worked on the aquatint plates for William Guy Wall's Hudson River Portfolio (1821-5), which influenced his early paintings.
Francesco Monti
Italian Painter, 1685-1768 Italian painter and draughtsman. He was the son of a tailor who served the Este court in Modena during the 1690s. Monti studied with the foremost painter in Modena, Sigismondo Caula (b 1637), for three years from c. 1700. In 1703 he moved to Bologna and entered the studio of Giovanni Gioseffo dal Sole. Roli (1962) defined the formative influences on Monti's art as dal Sole and Donato Creti on the one hand, and Giuseppe Maria Crespi and Antonio Gionima on the other. Monti evolved a distinctive personal idiom, characterized by graceful figures reminiscent of the style of Parmigianino, but perhaps more directly inspired by the more extravagant late Mannerist idiom of such painters as Bartholomeus Spranger and Josef Heintz I of the court of Rudolf II at Prague. Monti may have known their work through prints by Aegidius Sadeler II, Jan Muller and others. This exotic figure style, with fluent, swaying forms and faces suggestively muted by half-shadow was accompanied by unusual shades of colour that glow richly in darkened settings. Monti's art contributed to a neo-Mannerist strain in 18th-century Emilian painting
Bartolomeo Suardi
c. 1465?C1530,was an Italian painter and architect, mainly active in his native Milan. He was born in Milan, the son of Alberto Suardi, but his biography remains unclear, and was long complicated by two "Pseudo-Bramantinos". He was trained by Donato Bramante, adopting a diminutive form of his master's name. This training gave him influences from by the Urbino quattrocento tradition of immobile realism, and later he assimilated some elements of the style of Leonardo, after he arrived in Milan, although in other respects he remained faithful to his training in the style of Central Italy. He is documented in late 1508 as helping in the decoration of the Vatican Stanze though nothing remains of his work there, and by 1509 he was back in Milan. His style changed considerably during his career, and also shows strongly individual traits. His main influences were the serene and sometimes unnatural quietist classicism of Piero della Francesca, Leonardo da Vinci, and Ercole de' Roberti