German Painter, 1712-1774,German painter and etcher. He received his first training from his father, Johann Georg Dietrich (1684-1752), a court painter at Weimar, and was sent to Dresden at the age of 13 to study under the landscape painter Johann Alexander Thiele (1685-1752). In 1728 they travelled to Arnstadt to paint landscapes for stage sets. In 1730 Thiele presented his pupil to Frederick-Augustus I, Elector of Saxony, as a prodigy; Frederick-Augustus appointed him court painter and entrusted him to his minister Heinrich, Graf von Brehl, for whom he worked on some decorative paintings. From 1732 he used the name 'Dietricy' to sign his paintings. He travelled in Germany from 1734 and may have visited the Netherlands, the source of his artistic inspiration. He returned from his travels in 1741 and was appointed court painter to Frederick-Augustus II, Elector of Saxony, who sent him to Italy in 1743 to study. He visited Venice and Rome but returned to Dresden in 1744.  Related Paintings of Christian Wilhelm Ernst Dietrich :. | Grablegung Christi | Wasserfalle in Tivoli. | Wasserfalle in der Umgebung Roms | Schnitterin | The Eotombment |
Related Artists:
Manuel Barron Y Carrillo
Spanish , 1814-1884
Ion Georgescu
1856-1898
Christian Rohlfs
German Painter, 1849-1938 German painter and printmaker. He studied painting at the Kunstschule in Weimar (1870). Prolonged illness forced him to interrupt his studies, which he resumed in 1874 under Ferdinand Schauss (1832-1916) and Alexandre Struys (1852-1941). Through visits to Paris in the 1870s, he came into contact with the art of the Barbizon school, painting en plein-air on his return to Weimar. Under the influence of Struys he painted figurative works, such as Roman Builders (1879; Menster, Westfel. Landesmus.), and nudes in the tradition of academically enlightened Realism. In 1881 Rohlfs worked in a studio under Max Thedy (1858-1924). From c. 1883 he painted mainly landscapes with the approval of Ludwig von Gleichen-Russwurm (1836-1901), who was studying with Theodor Hagen (1842-1919), and was influenced in an indirect way by Albert Brendel (1827-95), who had taught at Weimar from 1875. He often chose formats that were unusually large for landscape paintings in this period, presenting landscape in a similar way to history painting. Atmosphere and light played an important role even in these early pictures, for example Sawmill at Ehringsdorf on the Ilm (930x780 mm, 1883; Weimar, Schlossmus.). From 1884 he worked as an independent painter. After 1885 colour became increasingly important for its own sake; light and shade were suggested purely by colour, which was applied in impasto spots and brushstrokes to create chiaroscuro values that determined the form, for example Wild Garden near Weimar (1888; Weimar, Schlossmus.). By the end of the 1880s he had developed an independent style parallel to Impressionist painting. When he saw works by Monet exhibited in Weimar in 1897, these corroborated his own efforts.