Albert Bierstadt
Albert Bierstadt's Oil Paintings
Albert Bierstadt Museum
Jan 8, 1830 - Feb 18, 1902. German-American painter.

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David Roberts
View on the Tiber Looking Towards Mounts Palatine and Aventine

ID: 83792

David Roberts View on the Tiber Looking Towards Mounts Palatine and Aventine
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David Roberts View on the Tiber Looking Towards Mounts Palatine and Aventine


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David Roberts

1796-1864  Related Paintings of David Roberts :. | Doorish Tower on the Bridge at Cordoba | A View in Cairo | Edinburgh from the Calton Hill | The Israelites Leaving Egypt | The Temple at Dendera |
Related Artists:
RING, Ludger tom, the Younger
German Painter, 1522-1584
BREKELENKAM, Quiringh van
Dutch painter (active c. 1647-1669 in Leiden) Dutch painter. He probably trained in Leiden, possibly under Gerrit Dou. In 1648, with several other painters, he founded the Guild of St Luke in Leiden. He married for the first time in 1648 and again in 1656, a year after his first wife's death. In 1649 his sister Aeltge married the painter Johannes Oudenrogge (1622-53), and the couple soon moved to Haarlem while the Brekelenkam family remained in Leiden. About 1656 Brekelenkam apparently acquired a licence to sell beer and brandy, perhaps because his income as a painter was insufficient to support his large family (six children from his first marriage and three from his second). He continued to be active as an artist and paid his guild dues fairly regularly. The last dues were paid in 1667, and his last dated painting, the Portrait of a Man Aged 33, is from 1669.
Mura, Francesco de
Italian, 1696-1782 Italian painter. He was educated initially in the workshop of Domenico Viola at Naples, but in 1708 he entered the school of Francesco Solimena, whose favourite pupil and most trusted collaborator he became. At first he followed closely Solimena's monumental Baroque manner, as in the frescoes (1715) in S Nicola alla Carit? in Naples, but later developed a more controlled and refined style of rhythmical lines, light and airy colours and delicate psychological overtones. He employed this new style in his ten canvases of the Virtues and his vast Adoration of the Magi (all 1728; Naples, S Maria Donnaromita) and, above all, in his frescoes of the Adoration of the Magi in the apsidal dome of the church of the Nunziatella, Naples (1732; in situ). De Mura was also active as a portrait painter; his Portrait of the Artist's Wife






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