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 :. | Woman at a Window (mk22) | wanderer above the sea of fog | Der Watzmann | Chalk Cliffs on Rugen | Mountainous River Landscape (mk45) |
Related Artists:
Hesselius Gustavus
American portrait painter. 1682-1755 He was trained in Sweden as a wood-engraver, gilder and painter. In 1712 he accompanied his brother, a Lutheran pastor, to America, where he settled in Philadelphia, PA. About 1720 he moved to the Annapolis, MD, area, returning before 1730 to Philadelphia, where he lived until his death. He was one of the first European-trained painters to settle permanently in America and introduced a greater technical skill and increased realism into Colonial painting. His painterly, atmospheric style, which derived from European Baroque, contrasted with the more linear technique of American-born painters. During most of his career he was the leading painter of the Middle Colonies. In addition to mythological scenes, altarpieces and portraits of prominent individuals, Hesselius undertook utilitarian work that included painting the country seat at Springettsbury of Thomas Penn (1702-75) and the interior of the Pennsylvania State House, as well as flower-boxes,
Il Pordenone
(c. 1484 - 1539), was an Italian painter of the Venetian school, active during the Renaissance. Vasari, his main biographer, identifies him as Giovanni Antonio Licinio. He was commonly named il Pordenone from having been born in 1483 at Corticelli, a small village near Pordenone in Friuli. He ultimately dropped the name of Licinio, having quarrelled with his brothers, one of whom had wounded him in the hand; he then called himself Regillo, or De Regillo. Others say he once took up his maternal name of Cuticelli[1] His signature runs Antonius Portunaensis, or De Portunaonis. He was knighted as a cavaliere by Charles V. As a painter, Pordenone was a scholar of Pellegrino da San Daniele, but a leading influence of his style was Giorgione; the popular story that he was a fellow-pupil with Titian under Giovanni Bellini is false. It was claimed that Pordenone's first commission was given him by a grocer in his home town, to try his boast that he could paint a picture as the priest commenced High Mass, and complete it by the time Mass was over; he completed the picture in the required time.[2] The district about Pordenone had been somewhat fertile in capable painters; but Pordenone is the best known, a vigorous chiaroscurist and flesh painter. The 1911 Britannica states that "so far as mere flesh-painting is concerned he was barely inferior to Titian in breadth, pulpiness and tone". The two were rivals for a time, and Licinio would sometimes affect to wear arms while he was painting. He excelled in portraits; he was equally at home in fresco and in oil-color. He executed many works in Pordenone and elsewhere in Friuli, Cremona, and Venice; at one time he settled in Piacenza, where one of his most celebrated church pictures, St. Catherine disputing with the Doctors in Alexandria is located; the figure of St. Paul in connection with this picture is his own portrait.
Aelbert Cuyp
1620-1691 Dutch Aelbert Cuyp Locations Painter and draughtsman, son of Jacob Cuyp. One of the most important landscape painters of 17th-century Netherlands, he combined a wide range of sources and influences, most notably in the application of lighting effects derived from Italianate painting to typical Dutch subjects. Such traditional themes as townscapes, winter scenes, cattle pieces and equestrian portraits were stylistically transformed and given new grandeur. Aelbert was virtually unknown outside his native town, and his influence in the 17th century was negligible. He became popular in the late 18th century, especially in England.