1805-1899 German painter, engraver and lithographer. Between 1825 and 1833 he studied engraving under Johann Gottfried Abraham Frenzel, lithography under Louis Z?llner and painting under Johan Christian Dahl at the Hochschule f?r Bildende K?nste, Dresden. Dahl encouraged in Gille an appreciation for the natural formations and changing conditions of light that had inspired Dahl's friend and mentor, the Romantic painter Caspar David Friedrich. Gille, however, did not adopt Friedrich's tendency to find mystical significance in these phenomena. Gille's prints are highly descriptive in style and include Saxon landscapes, genre scenes, animal studies and portraits of celebrated men. His paintings and sketches, in oils, watercolour and pen and brown ink, were mostly of landscapes, many with animal staffage.   Related Paintings of Christian Friedrich Gille :. | Adoration of the Shepherds | Ballet Class | Still Life 1 | Childe Hassam, Improvisation | Bauplatz mit Weiden |
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Thomas Birch
1779-1851 Thomas Birch Gallery American painter of English birth. He was one of the most important American landscape and marine painters of the early 19th century. He moved to America in 1794 with his father William Birch (1755-1834), a painter and engraver from whom he received his artistic training. The family settled in Philadelphia, where William, armed with letters of introduction from Benjamin West to leading citizens of that city, became a drawing-master. Early in their American careers both Birches executed cityscapes, several of which were engraved. Thomas contributed a number of compositions to The City of Philadelphia in the State of Pennsylvania, North America, as it Appeared in the Year 1800 (1800), a series of views conceived by the elder Birch in obvious imitation of comparable British productions. An English sensibility is also apparent in the many paintings of country estates executed by father and son in the early 19th century (e.g. Eaglesfield, 1808; priv. col.). These compositions, along with such portrayals of important public edifices in and near Philadelphia as Fairmount Waterworks (1821; Philadelphia, PA Acad. F.A.), emphasize the cultural progress and commercial prosperity of the young United States as well as its almost Edenic natural beauty. Birch is also known for his representations of winter landscapes.
BROUWER, Adriaen
Flemish Baroque Era Painter, ca.1605-1638 Adriaen Brouwer (1605, Oudenaarde - January 1638, Antwerp) was a Flemish genre painter active in Flanders and the Dutch Republic in the seventeenth century. At a young age Brouwer, probably born as Adriaen de Brauwer, moved perhaps via Antwerp to Haarlem, where he became a student of Frans Hals alongside Adriaen van Ostade. He also was active in stage acting and poetry. He stayed in Haarlem and Amsterdam until 1631, when he moved back to Antwerp in the Spanish Netherlands. There, he became a member of the Guild of St. Luke in 1631 ?C 1632, as well as the rhetoricians's chamber De Violieren. Tradition has it that Brouwer himself spent much time in the alehouses of Flanders and Holland. His works are typically detailed and small, and often adopt themes of debauchery, drunkenness and foolishness in order to explore human emotions, expressions and responses to pain, fear and the senses. The Bitter Tonic (illustrated right) is an example of the type of work that depicts such responses, in this case the sense of taste. His work was well liked, to the point that forgeries were sold in his own time. Both Rubens and Rembrandt owned a number of his works. Nevertheless, Brouwer appeared in financial trouble throughout his life. He died at the early age of 32 in Antwerp, where he was first buried in a common grave, but, upon instigation of the members of the guild, was reburied on Feb 1, 1638 in the church of the Carmelites.
BARTOLOMEO VENETO
Italian Painter, ca.1470-1531 Italian painter. He worked in Venice, the Veneto and Lombardy in the early decades of the 16th century. Knowledge of him is based largely on the signatures, dates and inscriptions on his works. His early paintings are small devotional pictures; later he became a fashionable portraitist. His earliest dated painting, a Virgin and Child (1502; Venice, priv. col., see Berenson, i, pl. 537), is signed 'Bartolomeo half-Venetian and half-Cremonese'. The inscription probably refers to his parentage, but it also suggests the eclectic nature of his development. This painting is clearly dependent on similar works by Giovanni Bellini and his workshop, but in a slightly later Virgin and Child (1505; Bergamo, Gal. Accad. Cararra) the sharp modelling of the Virgin's headdress and the insistent linear accents in the landscape indicate Bartolomeo's early divergence from Giovanni's depiction of light and space. An inscription on his Virgin and Child of 1510 (Milan, Ercolani Col.) states that he was a pupil of Gentile Bellini, an assertion supported by the tightness and flatness of his early style. The influence of Giovanni is still apparent in the composition of the Circumcision (1506; Paris, Louvre), although the persistent stress on surface patterns and the linear treatment of drapery and outline is closer to Gentile. Bartolomeo's experience as a painter at the Este court in Ferrara (1505-8) probably encouraged the decorative emphasis of his style. In the half-length Portrait of a Man (c. 1510; Cambridge, Fitzwilliam) the flattened form of the fashionably dressed sitter is picked out against a deep red curtain so that the impression of material richness extends across the entire picture surface.