1774-1840 Caspar David Friedrich Locations German painter, studied art at Copenhagen, and in 1798 settled in Dresden. Friedrich painted chiefly landscapes and seascapes, with and without figures, architectural pictures, including a few of Dresden, and some religious subjects. Religious feeling and symbolism permeate his œuvre, of which the seascape with figures, Die Lebensstufen, is a characteristic example. He possessed considerable power to convey mood in landscape. Almost forgotten in the 19th c. and early 20th c., interest in his work increased considerably in the mid-20th c. He is hardly represented in Britain, but an exhibition of 112 of his pictures at the Tate Gallery in 1972 attracted much attention. F. G. Kersting was a friend of Friedrich.   Related Paintings of Caspar David Friedrich :. | LandscapewithTempleinRuin | Landscape with Solitary Tree | Hill and Ploughed Field near Dresden | Morgennebel im Gebirge | Gartenlaube in Greifswald |
Related Artists:
Alexandr Andreevich Ivanov
painted Appearance of Christ to the People in 1837
Georges Michel
French Painter, 1763-1843 French painter. He came from a humble background, his father being an employee at the market of Les Halles in Paris. At an early age, a farmer general, M. de Chalue, took an interest in him and found him a place with the curate of Veruts, on the plain of Saint-Denis, north of Paris. It was here that he first developed a love of the countryside. In 1775 he was apprenticed to a mediocre history painter called Leduc, but he preferred to go off and sketch out of doors. In order to assist him, M. de Berchigny, Colonel in the Hussars, engaged him in his regiment garrisoned in Normandy and arranged for him to take lessons in art. He remained there for more than a year and then returned to Paris, where he worked with M. de Grammont-Voulgy, who was Steward to the brother of Louis XVI.
Maris, Jacob
Dutch, 1837-1899 was a Dutch painter, who with his brothers Willem and Matthijs belonged to what has come to be known as the Hague School of painters. Maris studied at the Antwerp Academy, and subsequently in Hubertus van Hove's studio during a stay in Paris from 1865 till 1871. He returned to Holland when the Franco-Prussian War broke out, and died there in August 1899. Though he painted, especially in early life, domestic scenes and interiors invested with deeply sympathetic feeling, it is as a landscape painter that Maris excelled. He was the painter of bridges and windmills, of old quays, massive towers, and level banks; even more was he the painter of water, and misty skies, and chasing clouds. In all his works, whether in water or oil color, and in his etchings, the subject is always subordinate to the effect. His art is suggestive rather than decorative, and his force does not seem to depend on any preconceived method, such as a synthetical treatment of form or gradations of tone. And yet, though his means appear so simple, the artist's mind seems to communicate with the spectator's by directness of pictorial instinct, and we have only to observe the admirable balance of composition and truthful perspective to understand the sure knowledge of his business that underlies such purely impressionist handling. Maris has shown all that is gravest or brightest in the landscape of Holland, all that is heaviest or clearest in its atmosphere for instance, in the " Grey Tower, Old Amsterdam," in the " Landscape near Dordrecht," in the " Sea-weed Carts, Scheven-ingen," in " A Village Scene," and in the numerous other pictures which have been exhibited in the Royal Academy, London, in Edinburgh (1885), Paris, Brussels