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

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Edvard Munch
The Death of Mom and Som

ID: 37987

Edvard Munch The Death of Mom and Som
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Edvard Munch The Death of Mom and Som


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Edvard Munch

Norwegian 1863-1944 Edvard Munch Locations Edvard Munch (pronounced , December 12, 1863 ?C January 23, 1944) was a Norwegian Symbolist painter, printmaker, and an important forerunner of expressionistic art. His best-known composition, The Scream is one of the pieces in a series titled The Frieze of Life, in which Munch explored the themes of life, love, fear, death, and melancholy. Edvard Munch was born in a rustic farmhouse in the village of Adalsbruk in Loten, Norway to Christian Munch, the son of a prominent priest. Christian was a doctor and medical officer, who married Laura Cathrine Bjølstad, a woman half his age, in 1861. Edvard had an older sister, Johanne Sophie (born 1862), and three younger siblings: Peter Andreas (born 1865), Laura Cathrine (born 1867), and Inger Marie (born 1868). Both Sophie and Edvard appear to have gotten their art talent from their mother. Edvard Munch was related to painter Jacob Munch (1776?C1839) and historian Peter Andreas Munch (1810?C1863). The family moved to Kristiania (now Oslo) in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Edvard??s mother died of tuberculosis in 1868, as did Munch's favorite sister Johanne Sophie in 1877. After their mother's death, the Munch siblings were raised by their father and by their aunt Karen. Often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied. He also received tutoring from his school mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost stories and tales of Edgar Allan Poe. Christian??s positive behavior toward his children, however, was overshadowed by his morbid pietism. Munch wrote, ??My father was temperamentally nervous and obsessively religious??to the point of psychoneurosis. From him I inherited the seeds of madness. The angles of fear, sorrow, and death stood by my side since the day I was born.?? Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The oppressive religious milieu, plus Edvard??s poor health and the vivid ghost stories, helped inspire macabre visions and nightmares in Edvard, who felt death constantly advancing on him. One of Munch's younger sisters was diagnosed with mental illness at an early age. Of the five siblings only Andreas married, but he died a few months after the wedding. Munch would later write, "I inherited two of mankind's most frightful enemies??the heritage of consumption and insanity." Christian Munch??s military pay was very low, and his attempts at developing a private side practice failed, keeping his family in perrenial poverty. They moved frequently from one sordid flat to another. Munch??s early drawings and watercolors depicted these interiors, and the individual objects such as medicine bottles and drawing implements, plus some landscapes. By his teens, art dominated Munch??s interests. At thirteen, Munch has his first exposure to other artists at the newly formed Art Association, were he admired the work of the Norwegian landscape school, and where he returned to copy the paintings, and soon he began to paint in oils.  Related Paintings of Edvard Munch :. | Mystery | Hans | Model | Bite | Maduna |
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Jan van Gool
Johan, or Jan van Gool (1685 - 1763) was a Dutch painter and writer from The Hague, now remembered mainly as a biographer of artists from the Dutch Golden Age. According to the RKD he learned to paint from Simon van der Does and Mattheus Terwesten. He became a member of the Confrerie Pictura in 1711. He was first regent, and then five years later became director, of the Hague Drawing School from 1720-1734. He spent most of his time in the Hague, but travelled to England twice and is recorded there in 1711. He specialized in Italianate landscapes. He is best known today for his book of artist biographies, otherwise known as the "Nieuw Schouburg". The full title is De Nieuwe Schouburg der Nederlantsche kunstschilders en schilderessen: Waer in de Levens- en Kunstbedryven der tans levende en reets overleedene Schilders, die van Houbraken, noch eenig ander schryver, zyn aengeteekend, verhaelt worden. (The Hague, 1750).
Amico Aspertini
(c. 1474 - 1552) is an Italian Renaissance painter whose complex, eccentric, and eclectic style anticipates Mannerism. He is considered among the first of the Bolognese School of painting. He was born in Bologna to a family of painters (Guido Aspertini and Giovanni Antonio Aspertini, his father), and studied under masters such as Lorenzo Costa and Francesco Francia. He is briefly documented in Rome between 1500 - 1503, returning to Bologna and painting in a style influenced by Pinturicchio. In Bologna in 1504, he joined Francia and Costa in painting frescoes for the newly restored Oratory of Santa Cecilia in San Giacomo Maggiore, a work commissioned by Giovanni II Bentivoglio. In 1507-09, he painted a fresco cycle in San Frediano in Lucca. Asperini painted in 1508-1509 the splendid frescoes in the Chapel of the Cross in the Basilica di San Frediano in Lucca. Aspertini was also one of two artists chosen to decorate a triumphal arch for the entry into Bologna of Pope Clement VII and Emperor Charles V in 1529.
Fra Bartolomeo
Italian High Renaissance Painter, 1472-1517, also known as Baccio della Porta, was an Italian Renaissance painter of religious subjects. He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Porta ("Gate") San Pier Gattolini. Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli. In the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a direct visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence. The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on July 26, 1500. The following year he entered the convent of San Marco. He renounced painting for several years, not resuming until 1504 when he became the head of the monastery workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Bianco's family chapel in the Badia Fiorentina, finished in 1507.






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